Blasphemy sells and sells big time. Karan Johar, the producer (alongwith Apoorva Mehta and Hiroo Yash Johar), director, story-writer and with dialogue writer (Niranjan Iyengar) of the movie Ai Dil Hai Mushkil (ADHM) is laughing all the way to the bank in having made yet another hit movie. However, a dialogue in the movie when the actress Anushka Sharma, playing the role of Alizeh, tells Ranbir Kapoor as Ayan Sanger about the god of songs (as held by millions of his fans) Mohammad Rafi that ‘Woh gaate kam, rotey zyada the’ has angered his fans. They protested and demanded an apology. However, Karan Johar with an eye on the box office (the more controversy a film gathers, the better it does at box office) has declined to tender apology or to blot out the offending dialogue. This confirms that unlike what the Censor Board people feel about it, this dialogue didn’t appear there accidentally but was a deliberate move to profit from such cheap, despicable and highly offensive stunt.
I am one of the affected fans of Mohammad Rafi. With his seemingly limitless range of singing encompassing romantic numbers, enchanting duets, comic songs, children’s songs, bhajans, ghazals, happy and lighthearted songs, songs in the vernacular, songs for the elderly, poor, men and women on the street, patriotic songs, rebellious songs and sorrowful songs, wedding and bidai songs, party songs and even pop songs (in each one of these he being the best), I am at a loss as to how this dialogue makes any sense.
Here, it is not my intention to give examples of songs that were not the so called crying songs, or to bring out what a wonderful person in real life our most beloved singer was. This piece has limited purpose. It is to prove to Karan Johar (I shall never again see any of his movies or television appearances) that he wasn’t right even in the essence of the most ridiculous lament: ‘Woh gaate kam, rotey zyada the’.
An artiste’s work speaks for itself and here I present to you some of my most revered idol’s so called crying songs just to bring home one small point to Karan Johar: Mohammad Rafi’s singing wasn’t crying but on those rare occasions when he cried, it was singing of outstanding excellence. It is fashionable these days to make the movie titles as the titles of old and popular songs and Karan Johar has his share of movies with such titles. He chose the title of a peppy and popular song sung by Mohammad Rafi himself as the title of his movie and then went about denigrating the singer.
Shame!
Song #1
O duniya ke rakhwaale, sun dard bhare mere naale…
Mister Karan Johar should know that, in this song, Mohammad Rafi actually cried so beautifully that it is one of the best ever bhajans ever made. Even today, 64 years after the 1952 movie Baiju Bawra was made, we cry not just at the emotions of the song (I maintain that the best Hindi songs ever have been made by Shakeel Badayuni as lyricist, Naushad Ali as Music Director, Mohammad Rafi as singer and Dilip Kumar as actor. Though in Baiju Bawra, Bharat Bhushan was the actor but the other three proved their magic. Please read: ‘The Best Of Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’) but also for the fact that we shall never have this voice again. I can imagine not just people crying with the song but perhaps even God doing so. In the finale of the song when the throat bleeding pitch reaches a crescendo, you feel drained out listening to it but Rafi ji did it with his customary ease.
The makers of best songs in Hindi movies: Mohammad Rafi with Naushad Ali and Shakeel Badayuni
The song was composed by Naushad in Raag Darbari, Tal Kaherava (Naushad is credited with having brought Raaga based compositions in Hindi movies and each one of the Baiju Bawra’s thirteen songs (including Sargam) was based on a Raaga. Rafiji’s genre’ of singing included Raaga based songs and he did an outstanding job of singing them all.
Please enjoy a tour de force of a song and help revise Karan Johar’s views about Rafi ji’s singing and crying: O duniya ke rakhwaale, sun dard bhare mere naale …
Bhagavaan, bhagavaan … bhagavaan O duniyaa ke rakhavaale, sun dard bhare mere naale Sun dard bhare mere naale Aas niraash ke do ra.ngo.n se, duniyaa tuune sajaaI Nayyaa sa.ng tuufaan banaayaa, milan ke saath judaaI Jaa dekh liyaa harajaaI O… luT gaI mere pyaar kii nagarii, ab to niir bahaa le ab to niir bahaa le O… ab to niir bahaa le, o duniyaa ke rakhavaale …
Aag banii saavan kii barasaa, phuul bane a.ngaare Naagan ban ga_ii raat suhaanii, patthar ban gae taare Sab TuuT chuke hai.n sahaare, o … jiivan apanaa vaapas le le Jiivan dene vaale, o duniyaa ke rakhavaale …
Chaa.nd ko Dhuu.NDhe paagal suuraj, shaam ko Dhuu.NDhe saveraa Mai.n bhii Dhuu.NDhuu.N us priitam ko, ho naa sakaa jo meraa Bhagavaan bhalaa ho teraa, o … qismat phuuTii aas na TuuTii Paa.nv me.n pa.D gae chhaale, o duniyaa ke rakhavaale …
Mahal udaas aur galiyaa.n suunii, chup-chup hai.n diivaare.n Dil kyaa uja.Daa duniyaa uja.Dii, ruuTh gaI hai.n bahaare.n Ham jiivan kaise guzaare.n, o … ma.ndir girataa phir ban jaataa Dil ko kaun sambhaale, o duniyaa ke rakhavaale …
O duniyaa ke rakhavaale Rakhavaale Rakhavaale Rakhavaale … (throat bleeding pitch)
Song #2
Ye aansu mere dil ki zubaan hain….
Here is another one of those rare occasions when Mohammad Rafi expressed his emotions throught the medium of tears. Hasrat Jaipuri, the great lyricist who worked with the best music duo ever: Shankar Jaikishan, called these tears as the language of the heart (Dil ki zubaan). If Anushka Sharma or Karan Johar would pay attention to the lyrics and their superb rendition by Mohammad Rafi, they would instantly feel ashamed about passing off Rafi’s singing as crying. Each word in the song assumes greater meaning with the effect of his singing.
Mohammad Rafi with Hasrat Jaipuri, Shashi Kapoor and Jaikishan (the song is picturised on Rajendra Kumar and Jamuna)
Pleaase enjoy: Ye aansu mere dil ki zubaan hain….
Ye aa.Nsuu mere dil kii zubaan hai.n -2 Mai.n ro_uu.N to ro de.n aa.Nsuu Mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu Ye aa.Nsuu mere dil kii zubaan hai.n -2
Aa.Nkh se Tapakii jo chi.ngaarii, har aa.Nsuu me.n chhabii tumhaarii Chiir ke mere dil ko dekho, bahate lahuu me.n priit tumhaarii Ye jiivan jaise sulagaa tuufaan hai Ye aa.Nsuu mere dil ki zubaan hai.n -2 Mai.n ro_uu.N to ro de.n aa.Nsuu Mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu Ye aa.Nsuu mere dil kii zubaan hai.n -2
Jiivan-path par jiivan saathii, saath chale ho mu.Nh na mo.Do Dard-o-Gam ke doraahe par, mujhako ta.Dapataa yuu.N na chho.Do Ye naGamaa mere Gam kaa bayaan hai Ye aa.Nsuu mere dil kii zubaan hai.n -2 Mai.n ro_uu.N to ro de.n aa.Nsuu Mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu Ye aa.Nsuu mere dil kii zubaan hai.n -2
Song #3
Kabhi khud pe kabhi halaat pe rona aaya…
Mister Karan Johar, after you have made your millions blaspheming our most revered singer ever, please give it a thought that the song that I am giving you now is amongst the best of one of the best lyricists ever: Sahir Ludhianvi. Music Director Jaidev composed it in Raag Gara, Tal Dadra and after both of them did their bit to make this song great, finally it was the extraordinary rendition by Mohammad Rafi that made the emotions of Dev Anand on celluloid come alive.
Mohammad Rafi with Dev Anand
Please enjoy: Kabhi khud pe kabhi halaat pe rona aaya…
Kabhii Kud pe, kabhii haalaat pe ronaa aayaa Baat nikalii, to har ik baat pe ronaa aayaa
Ham to samajhe the ki ham bhuul gae hai.n unako Kyaa huaa aaj, ye kis baat pe ronaa aayaa
Kis liye jiite hai.n ham kisake liye jiite hai.n Baarahaa aise savaalaat pe ronaa aayaa
Kaun rotaa hai kisii aur kii Kaatir ai dost Sabako apanii hii kisii baat pe ronaa aayaa
Song #4
Ye hanste hue phool…
The 1957 movie Pyaasa has the most crying songs of Mohammad Rafi in a single movie and the songs are as much classic as the movie is. Time magazine ranked it in 2005 as one of the Top 100 movies of all times and the same magazine, in 2011, ranked it as one of the Ten Most Romantic movies in the world. And guess what? Guru Dutt plays a poet Vijay in the movie (Sahir Ludhianvi‘s poetry) whose poetry is considered pedestrian by people until later they realise that it is poetry of the highest excellence. Similarly, Karan Johar and Anushka would think it is mere crying when the rest of the world thinks of it as singing of great skill and brilliance. He sang those songs because the story demanded it and each one is a masterpiece composed by SD Burman.
Mohammad Rafi with Guru Dutt and SD Burman
For your information, Mister Karan Johar and Ms Anushka, when Mohammad Rafi through Vijay (Guru Dutt) sang in an audience in early stages of his poetry-writing in the movie: Tang aa chuke hain qash-ma-qash-e-zindagii se ham, thukaraa na dein jahaan ko kahiin bedilii se ham, one of the men in the audience, as ill-informed as you both are about real value of Rafi’s singing, used a variation of your blasphemous dialogue: “Aji janaab, khushii ke mauke par kyaa bedili kaa raag chhedaa huaa hai? Koi khushii kaa giit sunaaiye“, he replied in his singing voice: Ham gam-zadaa hain laayen kahaan se khushi ke geet, denge wohi jo paayenge is zindagii se ham. It was a brilliant reply as good in its lyrical value as in singing eminence.
And for irreverant people like you, Rafi had a beautiful reply in another song: Gam is qadar badhe, ke main ghabaraa ke pii gayaa; is dil kii bebasii pe taras khaa ke pii gayaa. And a female voice commented: Achchhaa to ye shaayar bhii hain, in the same mocking way that you feel he was less a singer than a crier, Rafi, once again through Vijay (Guru Dutt) responded brilliantly in the end: Thukaraa rahaa thaa mujhako badi der se jahaan, main aaj sab jahaan ko thukra ke pi gaya!
Rafi would have had something to say, in his singing voice to you too, Mister Karan Johar except that he had already concluded in the movie that he was above all this: Ye duniya agar mil bhi jaaye to kyaa hai?
Pyaasa was the last time when the pair of Sahir Ludhianvi and SD Burman were together and this is what they made Rafi sing. Please enjoy: Ye hanste hue phool…
Ye ha.Nsate huye phuul Ye mahakaa hu_aa gulashan ( Ye ra.ng me.n aur nuur me.n Duubii hu_ii raahe.n ) -2
Mai.n duu.N bhii to kyaa duu.N tumhe.n Ai shoK nazaaro.n Le de ke mere pass Kuchh aa.Nsuu hai.n kuchh aahe.n
All I can say is that happy songs are much easier to sing. The sad songs of Pyaasa are amongst the most difficult songs that he sang.
Song #5
Woh jab yaad aaye bahut yaad aaye….
On a rough count, Lata Mangeshkar and Mukesh would have sung many more cryingly sad songs than Mohammad Rafi. However, in case of Lata, Karan Johar would have been politically correct never to compare her singing with her crying. He would have known that his film would have been forced to be banned rather than his making millions by mocking her. Also, the fact is that Mohammad Rafi put his heart and soul into any type of songs including sad ones and his songs are the ones that are remembered most for their heart rending quality. In many of these, that were duets, Lata ji matched him ably just as she did with romantic and peppy duets.
Amongst Rafi and Lata’s most popular duets of all times is this crying song, in which she rightly says: Magar rote rote hansi aa gayi hai, khyaalon mein aake woh jab muskaraye.
This also happens to be one of the best remembered songs in Raag Kalyan, Tal Kaherava, composed by Laxmikant Pyarelal on the excellent lyrics of Asad Bhopali. One of Rafi’s qualities was that even if the actors were of lesser calibre, he covered up for them by the depth of his singing. In the 1963 movie Parasmani, for example, he sang for Mahipal whilst Lata sang for Geetanjali.
Wo jab yaad aae bahut yaad aae Gam-e-zi.ndagii ke a.ndhere me.n hamane Chiraag-e-muhabbat jalaae bujhaae
AahaTe.n jaag uThii.n raaste ha.ns diye Thaamakar dil uThe ham kisii ke liye Ka_ii baar aisaa bhii dhokhaa huaa hai Chale aa rahe hai.n vo nazare.n jhukaae
Dil sulagane lagaa ashq bahane lage Jaane kyaa-kyaa hame.n log kahane lage Magar rote-rote ha.nsii aa ga_ii hai Khayaalo.n me.n aake vo jab muskuraae
Wo judaa kyaa hue zi.ndagii kho ga_ii Shammaa jalatii rahii roshanii kho ga_ii Bahut koshishe.n kii.n magar dil na bahalaa Ka_ii saaz chhe.De ka_ii giit gaae
Song #6
Hum tumse judaa ho ke mar jaayenge ro ro ke…
Talking about Asad Bhopali, two years after Parasmani he repeated the magic of his lyrics in the 1965 movie Ek Sapera Ek Lutera with Feroze Khan playing both the title roles. This time the music director was Usha Khanna, the only female music director of contemporary fame (though earlier there were two others too: Jaddan Bai and Saraswati Devi) in a male dominated Hindi films music scene. She composed the song in Raag Darbari Kanada, Tal Kaherava. I was not yet in my teens when I saw the movie with my parents and I do remember that this was the most popular song of the movie at that time.
Please enjoy: Hum tumse judaa ho ke mar jaayenge ro ro ke….
Ham tumase judaa ho ke mar jaa_e.Nge ro-ro ke -2 Mar jaa_e.Nge ro-ro ke
Duniyaa ba.Dii zaalim hai dil to.D ke ha.Nsatii hai -2 Ik mauj kinaare se milane ko tarasatii hai Kah do na ko_ii roke -2 Ham tumase judaa …
Vaade nahii.n bhuule.nge kasame.n nahii.n to.De.nge -2 Ye tay hai ki ham dono.n milanaa nahii.n chho.De.nge Jo rok sake roke -2 Ham tumase judaa …
Sochaa thaa kabhii do dil milakar na judaa ho.nge Maaluum na thaa ham yuu.N naaqaam-e-vafaa ho.nge Qismat ne.n di_e dhokhe Ham tumase judaa …
Song #7
Tere bin soone nayan hamaare….
Jag mein rahaa main jagase paraayaa Saayaa bhii meraa mere saath na aayaa Hansane ke din bhi roke guzaare Haay! tere bin suune …
One of the greatest lyricists of all times – Shailendra (Please read: ‘The Best Songs Of Shailendra, The Lyricist Beyond Compare – Part I’ and ‘Part II’) penned those lyrics for the 1963 RK Rakhan movie Meri Soorat Teri Aankhen, which had Ashok Kumar in the most challenging role of his life (No successful actor of Karan Johar movies would ever take up such a role in which he is to be shown as dark and ugly; which only goes to prove that Karan Johar and his ilk are as devoid of reality around them as they are of respect for the finest singer on earth: Mohammad Rafi). These lyrics tell the story of some of the unfortunate people of India before (suddenly) everyone started moving in their cloistered and make believe world of riches, splashes of colour, skirts, jeans and fornication created by Karan Johar and the like. And, Mohammad Rafi was there to sing those emotions of the poor, the deprived and the victimised.
The great composer Sachin Dev Burman composed these lyrics in Raag Pilu (the favourite raaga of his contemporary OP Nayyar) and Tal Dadra. The last stanza has been sung by Lata Mangeshkar for Asha Parekh who was visiting that hilly and isolated locale with her lover Pradeep Kumar and who was visibly affected by the beauty of the singing.
Mohammad Rafi with Ashok Kumar
Please enjoy: Tere bin soone nayan hamare….
Tere bin suunii, nain hamaare Haay! tere bin suunii BaaT takat gaye saa.Njh sakhaare Haay! tere bin suunii
Raat jo aaye Dhal jaaye pyaasii Din kaa hai duujaa naam udaasii Nindiyaa na aaye ab mere dvaare Haay! tere bin suunii …
Jag me.n rahaa mai.n jagase paraayaa Saayaa bhii meraa mere saath na aayaa Ha.Nsane ke din bhii roke guzaare Haay! tere bin suunii …
O anadekhe, o anajaane Chhup ke na gaa ye prem taraane Kaun hai tuu mohe ab to bataa re Haay! tere bin suunii …
Song #8
Tum mujhe youn bhula na paaoge…
Finally, Mister Karan Johar, Anushka Sharma and party, this is as if directly sung by Mohammad Rafi for you. However much you try, you cannot forget Mohammad Rafi. Whenever you hear his songs, you too hum and will continue humming! Rafi ji had that quality. Even those who, for reasons known best to them, mock him, love Mohammad Rafi’s songs; there is no getting away from this reality.
This has been composed by my favourite music duo Shankar Jaikishan in my favourite Raag Jhinjhoti. Why is Jhinjhoti my favourite? Simple, because what I consider as the greatest song ever made in Hindi movies was sung in this Raag: Mere mehboob tujhe meri mohabbat ki kasam that was put together by the fabulous trio of Shakeel-Naushad-Rafi. Of course, S-J composed this song in Tal Dadra whereas Naushad’s song is in Tal Kaherava.
Mohammad Rafi sang it for Shammi Kapoor who admitted that this was the most challenging role of his career as Pagla Kahin Ka (the title of the 1970 movie).
Crying, Mister Karan Johar? Crying isn’t how you jeeringly put it in the movie; crying is empathising, crying is emotions melted into hot liquid, and in the case of Mohammad Rafi, crying is melody of the most outstanding refrain.
Once again Hasrat Jaipuri penned these powerful lyrics that have raw emotions hanging from hooks of despondency.
Mohammad Rafi with Shammi Kapoor, Hasrat Jaipuri and Shankar Jaikishan (Pic courtesy: mohdrafi.com)
Please enjoy: Tum mujhe youn bhula na paaoge…
Tum mujhe yU.N bhulaa naa paaoge Haa.N tum mujhe yU.N bhulaa naa paaoge Jab kabhii bhii sunoge giit mere Sa.ng sa.ng tum bhii gunagunAoge Haa.N tum mujhe yU.N bhulaa naa paaoge Ho tum mujhe yU.N …
(Wo bahaare.n vo chaa.ndanii raate.n Hamane kii thii jo pyAr kii baate.n ) – 2 Un nazaaro.n kii yaad aaegii Jab khayaalo.n me.n mujhako laaoge Haa.N tum mujhe yU.N bhulaa naa paaoge Ho tum mujhe yU.N …
(Mere haatho.n me.n teraa cheharaa thaa Jaise koI gulaab hotaa hai ) – 2 Aur sahaaraa liyaa thaa baaho.n kaa Wo shaam kis tarah bhulaaoge Haa.N tum mujhe yU.N bhulaa naa paaoge Ho tum mujhe yU.N …
(Mujhako dekhe binaa qaraar naa thaa Ek aisaa bhii daur guzaraa hai ) – 2 JhUTh maanU.N to pUchhalo dil se Mai.n kahU.ngaa to rUTh jaaoge Haa.N tum mujhe yU.n bhulaa naa paaoge
Jab kabhii bhii …
Perhaps now Mister Karan Johar, you would realise that all you did with that cheap and jeering dialogue of yours was akin to a man spitting at the moon.
How does it feel now, Mister Karan Johar, that the gooey stuff has landed on your own face? Apologise and help remove the blot from your own face and make millions of Mohammad Rafi fans happy. We pray that good sense would visit you soon and be your guest, even if for limited time.
I am a lyrical man; words of the songs are often the most important part of the songs for me. Indeed, on the Facebook I have a page titled ‘Lyrical’ to honour and pay tribute to various lyricists. I have several (almost a dozen) posts on my blog on my favourite lyricist and poet Shakeel Badayuni. The following posts about Shailendra have been reconstructed from the same page.
In Part I of this post, I gave you an introduction about my love for Shakeel Badayuni whom I regard as the best lyricist and poet in Hindi films ever. And then I went on to say that in the era in which Shakeel lived and was active, songs made or marred the success of movies. Hence lyricists were very important indeed. In addition to Shakeel, therefore, I started giving out lyrics of many of the other greats such as Shailendra, Rajendra Krishan, Sahir Ludhianvi, Kaifi Azmi, Neeraj, Anjaan, Anand Bakshi, Majrooh Sultanpuri and others. And then I started, on my Facebook page ‘Lyrical‘ ‘Remembering Great Lyricists‘ series. It isn’t surprising at all that the first one in these series happened to be on Shailendra. He was a complete lyricist in all genre’s of lyricism: serious, funny, spiritual, romantic, sad, happy and angry. Besides being associated with Shankar Jaikishan and Raj Kapoor, he associated with a number of music directors such as Salil Chowdhury and SD Burman. He was the lyricist of choice for the great Bimal Roy too. Gulzar called him the greatest lyricist in Hindi films, which is saying a lot since Gulzar himself is a lyricist of great fame besides wearing many other hats such as those of producer, director, story, dialogue and screenplay writer.
One would think of Shailendra as a rare lyricist for whom there was no other life beyond lyrics; this is because all the others including Shakeel were poets too in life beyond the films. All the talent that he was endowed with went into making beautiful lyrics and he made nearly 900 of them (864 to be exact), which were 98 more than Shakeel’s.
I decided to give you 50 from these 864 and in Part I, I gave you 25 of them from Kuchh aur zamaana kehta hai to Tera jaana dil ke armaano ka lut jaana.
In this part, therefore, I give you the remaining 25 songs. Please remember that these are just my list of the best 50 by Shailendra. It is quite possible that you will have your own list different from mine.
Song #26
Woh chand khila, woh taare hanse…..
Before we broke up at the end of Part I, we were taking up songs of 1959 movie Anadi (or Anari) for which Shailendra got his second Filmfare Award (for the song Sab kuchh seekha hamane). One last song from the movie before we take up other songs from other movies.
Normally, in Raj Kapoor movies in which Shankar Jaikishan have directed music and composed songs on the lyrics of Shailendra and Hasrat Jaipuri, there is always a title song. For example, I have already given you the Awara’s title song penned by Shailendra, which was the biggest international hit ever.
Here is the title song of Anadi and it is a duet between Lata Mangeshkar and Mukesh singing for Nutan and Raj Kapoor respectively.
Please enjoy: Woh chand khila, woh taare hanse…..
vo chaa.Nd khilaa, vo taare ha.Nse
ye raat ajab matavaalii hai
samajhane vaale samajh gaye hai.n
na samajhe, na samajhe vo anaa.Dii hai.n
vo chaa.Nd khilaa …
chaa.Ndii sii chamakatii raahe.n
vo dekho jhuum jhuum ke bulaaye.n
kiraNo.n ne pasaarii baahe.n
ki aramaa.N naach naach laharaaye
baaje dil ke taar, gaaye ye bahaar
ubhare hai pyaar jiivan me.n
vo chaa.Nd khilaa …
kiraNo.d ne chunariyaa taanii
bahaare.n kis pe aaj hai.n diivaanii
chandaa kii chaal masataanii
hai paagal jisape raat kii raanii
taaro.n kaa jaal, le le dil nikaal
puucho na haal mere dil kaa
vo chaa.Nd khilaa …
Song #27
Dum bhar jo udhar moonh phere, O’ Chanda….
For the last song of the day, let us get back to 1951 movie Awara starring Raj Kapoor and Nargis. I have already given you the title song of the movie that became the biggest international hit of those times.
I have now selected for you a duet from this movie produced and directed by Raj Kapoor. Some of the most enchanting romantic duets in the Hindi movies have been sung by Mukesh and Lata Mangeshkar in Raj Kapoor movies.
Some of the most enchnting romantic duets have been sung by Lata and Mukesh (Pic courtesy: Lata Online)
This is even more enchanting because it is on a moonlit night, on a beach, in a boat and she (Nargis) wearing a sailor’s dress.
Please enjoy: Dum bhar jo udhar moonh phere, O’ Chanda….
lataa: dam bhar jo udhar mu.Nh phere
dam bhar jo udhar mu.Nh phere, o chandaa
mai unase pyaar kar luu.ngii, baate.n hazaar kar luu.Ngii
dil karataa hai pyaar ke sajade – 2
aur mai.n bhii unake saath
chaa.Nd ko chandaa roz hii dekhe
merii pahalii raat, ho … merii pahalii raat
baadal me.n ab chhup jaa re o chandaa
mai unase pyaar kar …
mukesh: dam bhar jo idhar mu.Nh phere
dam bhar jo idhar mu.Nh phere, o chandaa
mai unase pyaar kar luu.Ngaa, nazare.n to chaar kar luu.Ngaa
mai chor huu.N kaam hai chorii – 2
duniyaa me.n huu.N badanaam
dil ko churaataa aayaa huu.N mai.n
yehii meraa kaam, ho … yehii meraa kaam
aanaa tuu gavaahii dene o chandaa
mai unase pyaar kar luu.Ngaa, nazare.n to chaar kar luu.Ngaa
lataa: dil ko churaake kho mat jaanaa – 2
raah na jaanaa bhuul
in kadamo.n se kuchal naa denaa
mere dil kaa phuul, ho … mere dil kaa phuul
ye baat unhe.n samajhaa de o chandaa
mai unase pyaar kar luu.Ngii …
Song #28
Chand sa mukhada kyun sharmaaya…..
We were taking up the lyrics of our first lyricist in the great lyricists series: Shailendra. Everyone knows that I am leading up to his Birth Anniversary on 30th August; he was born on that day in 1921.
Lyricists, in the making of songs, are least remembered. However, please remember that they are actually the origin of songs. They translate the emotions of the stories’ scenes into melodies and then only the composer and the singer work on them and finally the actors enact them.
My favourite lyricist has been Shakeel Badayuni. However, Shailendra has been one of the greatest. Indeed, Gulzar and many others do regard him as the greatest.
We have already taken up 27 of his songs in the last nine days. Lets take up the tenth day songs.
Most people who know me well through songs and music know this as my fantasy song: a man and woman in the boat on a moonlit night. What is more, in this song, the woman (Madhubala) has the moon right behind her face and you look at one chand and then at the other.
It is from the 1959 movie Insaan Jaag Utha with Sunil Dutt starring opposite this chand, Madhubala that is.
SD Burman made many of these compositions that appear to have been based on raagas but are entirely his innovation. One of these was in Bambai Ka Babu: Deewana mastana hua dil jaane kahan hoke bahaar aayi. The other is this. It was sung by Mohammad Rafi for Sunil Dutt and Asha Bhosle for Madhubala.
Asha Bhosle, Mohammad Rafi and his 3 year old son Hamid Rafi (Munna)
Please enjoy my fantasy scene song: Chand sa mukhada kyun sharmaaya…..
naTakhaT taaro hame.n na nihaaro
hamarii ye priit na_ii
chaa.Nd saa mukha.Daa kyo.n sharmaayaa
aa.Nkh milii aur dil ghabaraayaa
chaa.Nd saa…
jhuk gae cha.nchal nainaa ik jhalakii dikhalaake
bolo gorii kyaa rakhaa hai palako.n me.n chhupaake
tujhako re saa.Nvariyaa tujhase hii churaake
naino.n me.n sajaayaa mai.nne gajaraa banaake
chaa.Nd saa…
ye bhiige nazaare karate hai.n ishaare
milane kii ye rut hai gorii din hai.n hamaare
sun lo piyaa pyaare kyaa kahate hai.n taare
hamane to ??? ??? kitano.n ke pyaare
kabhii na alag huii saayaa se kaayaa
chaa.Nd saa…
Song #29
Raat ke hamsafar, thak ke ghar ko chale….
The magic of love at night that was in the last song: Chand sa mukhada kyun sharmaya was repeated by Shailendra eight years later in 1967 too (of course there are many earlier songs such as Dil ki nazar se, Kahe jhoom jhoom raat ye suhaani, Dum bhar jo udhar moonh phere and Woh chand khila, that I have already given you).
Lyricist Shailendra in his house in Mumbai (Photo courtesy: Neeraj Bhushan)
The name of the movie is An Evening In Paris starring Shammi Kapoor and Sharmila Tagore making it four ‘Sh’ in the making of this song: Shailendra and Shankar Jaikishan being the other two.
This too was sung by Mohammad Rafi and Asha Bhosle.
Please enjoy: Raat ke hamsafar, thak ke ghar ko chale….
raat ke hamasafar, thak ke ghar ko chale
jhuumatii aa rahii hai subah pyaar kii
dekh kar saamane, ruup kii roshanii
phir luTii jaa rahii hai subah pyaar kii
raat ne pyaar ke jaam bhar kar diye
aa.Nkho.n aa.Nkho.n se jo mai.n ne tumane piye
hosh to ab talaq jaa ke lauTe nahii.n
jaane kyaa laa rahii hai subah pyaar kii
raat ke hamasafar …
Song #30
Dil tadap tadap ke keh raha hai aa bhi jaa…..
I end tonight with another enchanting duet penned by Shailendra. This one is between Mukesh singing for Dilip Kumar and Lata Mangeshkar singing for Vyjayanthimala.
As you have already guessed it, it is from the 1958 Bimal Roy movie Madhumati with Vyjanthimala in the title role and Dilip Kumar as Anand, the manager in the estate of Pran.
Songs for this movie, as for Bimal Roy’s movie Parakh, were composed by Salil Chowdhury and without any argument, these are the best of Salil da.
(Poster courtesy: saavn)
In this duet, Lata joins Mukesh as late as in the second stanza and it is so enchanting when she joins.
Please enjoy: Dil tadap tadap ke keh raha hai aa bhi jaa…..
mu: dil ta.Dap ta.Dap ke kah rahaa hai aa bhI jaa
tU hamase aa.Nkh nA churaa, tujhe kasam hai aa bhI jaa (2)
(tU nahii.n to ye bahaar kyA bahaar hai
gul nahii.n khile to terA intazaar hai ) – 2
ke terA intazaar hai – 2
dil ta.Dap ta.Dap …
la: aa aa
dil dha.Dak dha.Dak ke de rahaa hai ye sadA
tumhaarii ho chukii.n huu.N mai.n
tumhaare sAth huu.N sadA
(tumase merI zindagii kA ye shrR^i.ngaar hai
jii rahii huu.N mai.n ke mujhako tumase pyaar hai ) – 2
ke mujhako tumase pyaar hai – 2
mu: dil ta.Dap ta.Dap ke kah rahaa hai …
(muskuraate pyaar kA asar hai har kahii.n
dil kahaa.N hai ham kidhar hai.n kuchh khabar nahii.n ) – 2
kidhar hai kuchh khabar nahii.n – 2
dil ta.Dap ta.Dap ke kah rahaa hai …
Song #31
Aaj kal mein dhal gaya…..
Today, we are going to start with his sad song from the 1964 movie Beti Bete that starred Sunil Dutt as Ramu and Krishna, Saroja Devi B as Saroj, Jamuna as Lakshmi, with Mehmood as Munna, Jayant, Shubha Khote, Agha and Rajendra Nath in the supporting roles.
A widower with three young children (Ramu, Munna and Lakshmi) finds himself in debt. Blinded, in an industrial accident, he loses his job and is admitted to hospital. Upon returning home, he overhears the heartless landlord criticising him for not dying instead of “merely” blinding himself because, if he were dead, the children could be looked after in an orphanage. He decides not to enter the house and disappears. Left alone, the children are evicted. They lose contact with one another after one is left on a train and another is kidnapped. Years pass. The children grow up in different homes under different circumstances. But fate has decreed that the family shall meet again.
Shailendra‘s depiction of these three children in their destitution forms the lyrics of this song composed by Shankar Jaikishan and sung by Lata Mangeshkar.
Shailendra with Lata Mangeshkar (Pic courtesy: Filmfare)
I recall when I saw the movie fifty years back, I had tears in my eyes and as I looked around in the hall so many other eyes were wet too.
Please enjoy: Aaj kal mein dhal gaya…..
aaj kal me.n Dhal gayaa, din huaa tamaam
tuu bhii so jaa, so ga_ii, ra.ng bharii shaam
so gayaa chaman chaman, so ga_ii kalii-kalii
so gae hai.n sab nagar, so ga_ii galii-galii
nii.nd kah rahii hai chal, merii baa.Nh thaam, tuu bhii …
hai bujhaa-bujhaa saa dil, bojh saa.Ns-saa.Ns pe
jii rahe hai.n phir bhii ham, sirf kal kii aas pe
kah rahii hai chaa.Ndanii, leke teraa naam, tuu bhii …
kaun aaegaa idhar, kisakii raah dekhe.n ham
jinakii aahaTe.n sunii, jaane kisake ye kadam
apanaa koI bhii nahii.n, apane to hai.n raam, tuu bhii …
Song #32
Shailendra, one of the greatest lyricists in Hindi movies, came up with lyrics similar to the 1964 movie Beti Bete song four years later in this lullaby for the 1968 movie Brahmachari. Again destitution, again desolation and again Shailendra won. This time, for this song, he won his third and last Filmfare Award as Best Lyricst.
Brahmachari starred Shammi Kapoor, Rajshree, Pran, Mumtaz, Jagdeep, Sachin and Asit Sen.
Shammi Kapoor in the title role takes care of a number of orphans in his house since he himself was raised as an orphan. He has no money. And then, one day, the orphans have nothing to eat. Just like the Beti Bete song, in this heart-rending lullaby he is putting the children to sleep with empty tummies.
Once again, the song has been composed by Shankar Jaikishan. It was sung by Mohammad Rafi.
Shailendra flanked by Mohammad Rafi and Shankar (of Shankar-Jaikishan) (Pic courtesy: bollywoodirect.com)
Please enjoy: Main gaayun tum so jayo…..
mai.n gaauu.N tum so jaao
sukh sapano.n me.n kho jaao
maanaa aaj kii raat hai lambii
maanaa din thaa bhaarii
par jag badalaa badalegii
ek din taqadiir hamaarii
us din ke khvaab sajaao
kal tum jab aa.Nkhe.n khologe
jab hogaa ujiyaaraa
khushiyo.n kaa sandeshaa lekar
aaegaa saveraa pyaaraa
mat aas ke diip bujhaao,
mai.n gaaU.N …
jii karataa hai jiite jii
mai.n yU.N hii gaataa jaaU.n
gardish me.n thake haatho.n kaa
maathaa sahalaataa jaauu.n
phir ik din tum doharaao,
sukh sapano.n …
Song #33
Jin raaton ki bhor nahin hai, aaj aaisi hi raat aayi….
To complete the series of deplorable nights, today evening, is a personal favourite of mine.
When Kishore Kumar made his 1964 movie Door Gagan Ki Chhaon Mein he depicted the struggles of an ex army man (played by Kishore Kumar himself) for getting a bright future for his handicapped son (played by his son Amit Kumar). The movie has the motivating song depicting this dream Aa chal ke tujhe main le ke chalun. But that was penned by Kishore Kumar himself.
The versatile Kishore Kumar has tried his hands on many diffferent things: Acting, Production, Direction, Singing, Music Direction, Composition, and even writing Lyrics
This song of despondency, on the other hand, has been penned by Shailendra, sung by Kishore da on his own composition. The song depicts exactly opposite sentiments of the Aa chal ke tujhe song.
Please enjoy: Jin raaton ki bhor nahin hai, aaj aaisi hi raat aayi….
jin raato.n kii bhor nahii.n hai
aaj aisii hii raat aaI
jo jis Gam me.n Duub gayaa hai
saagar kii hai gaharAI
raat ke taaro.n tum hii bataao
merii vo ma.nzil hai kahaa.N
paagal banakar jisake liye mai.n
kho baiThaa huu.N dono jahaa.N
jin raato.n …
raah kisii kii huii naa roshan
jalanaa meraa bekaar gayaa
luuT ga_ii taqadiir mujhe mai.n
jiit ke baazii haar gayaa
jin raato.n kii bhor nahii.n hai …
Song #34
Yaad na jaaye beete dinon ki…..
As far as Yaad songs are concerned, Shailendra penned one of the best remembered Yaad songs. It is from the 1963 movie Dil Ek Mandir. Rajendra Kumar is a doctor in a hospital whereat his former beloved Meena Kumari comes to seek treatment for her husband Raaj Kumar. In this song, Rajendra Kumar is overwhelmed with emotions thinking of those days when he and Meena Kumari were together in love.
Shankar Jaikishan have composed it in Raag Kirwani, Tal Kaherava. Mohammad Rafi sang it.
Please enjoy: Yaad na jaaye beete dinon ki…..
yaad na jaae, biite dino.n kii
jaake na aaye jo din, dil kyuu.N bulaae, unhe.n
dil kyo.n bulaae
yaad na jaaye …
din jo pakheruu hote, pi.njare me.n mai.n rakh detaa – 2
paalataa unako jatan se
paalataa unako jatan se, motii ke daane detaa
siine se rahataa lagaae
yaad na jaae …
tasviir unakii chhupaake, rakh duu.N jahaa.N jii chaahe – 2
man me.n basii ye suurat
man me.n basii ye suurat, lekin miTe na miTaae
kahane ko hai vo paraae
yaad na jaae …
Song #35
Jhumati chali hawa yaad aa gaya koi….
Another very beautiful Yaad song penned by him was for the 1962 movie Sangeet Samrat Tansen that had Bharat Bhushan in the title role. It is amongst the best of songs sung by Mukesh.
Many of Mukesh’s songs have been penned by either Shailendra or Hasrat Jaipuri since they all worked for Raj Kapoor; Mukesh, being the singing voice of Raj Kapoor.
Mukesh with arms around Shailendra on one side and Hasrat Jaipuri on the other. In the front row are Raj Kapoor, Jaikishan and Shankar
For this movie, however, SN Tripathi was the Music Director who composed it in Raag Sohani, Tal Dadra.
Please enjoy: Jhumati chali hawa yaad aa gaya koi….
kho ga_ii hai.n ma.nzile.n, miT gaye hai.n raaste
gardishe.n hii gardishe.n, ab hai.n mere vaaste
ab hai.n mere vaaste
aur aise me.n mujhe, phir bulaa gayaa koI
jhUmatii chalii havaa …
chup hai.n chaa.Nd chaa.Ndanii, chup ye aasamaan hai
miiThii miiThii nii.nd me.n, so rahaa jahaan hai
so rahaa jahaan hai
aaj aadhii raat ko, kyo.n jagaa gayaa koI
jhUmatii chalii havaa …
ek huuk sii uThii, mai.n sihar ke rah gayaa
dil ko apanaa thaam ke aah bhar ke rah gayaa
chaa.Ndanii kii oT se muskuraa gayaa koii
jhuumatii chalii havaa …
Song #36
Phir wo bhooli si yaad aayi hai….
The last song of Shailendra tonight on the Yaad theme is from the 1963 movie Begaana that starred Dharmendra, Supriya Chowdhury, Agha and Tarun Bose in the lead roles.
This song was composed by Sapan Jagmohan and sung by Mohammad Rafi.
Please enjoy: Phir wo bhooli si yaad aayi hai….
ko_ii mere dil se puuchhe tere tiir-e-niimakash ko
vo Kalish kahaa.N se uThatii jo jigar ke paar hotaa
(by Ghalib)
phir vo bhuulii sii yaad aa_ii hai -2
ai Gam-e-dil terii duhaa_ii hai
phir vo bhuulii sii …
baat itanii sii hai kahaanii me.n -2
ham bhii maare ga_e javaanii me.n -2
aag siine me.n khud lagaa_ii hai
ai Gam-e-dil terii …
aa.Nkh me.n buu.nd bhar jo paanii hai -2
pyaar kii ik yahii nishaanii hai -2
rote biitii hai jo bitaa_ii hai
ai Gam-e-dil terii …
Song #37
Ajeeb dastaan hai ye…..
Continuining with the Yaad theme in Shailendra songs (I gave you three yesterday). Wo shaam jab bhi aayegi, tum hamako yaad aayoge!
Having been born on 30th Aug 1923, he died at a very young age of 43 on 14th Dec 1966. Yet, exactly 50 years after his death, his songs are still as popular as they were those days.
One of his most popular songs these days is from 1960 Kamal Amrohi productionDil Apna Aur Preet Praayi that was directed by Kishore Sahu; yes, the same Kishore Sahu who acted as the archeaologist Marco in Guide, who negleted his wife Rosie (Waheeda Rehman) to such an extent that she ran away with the local tourist guide Raju (Dev Anand).
I saw this movie on 09 Nov last year and my first impression was that Kishore Sahu directed it very well indeed. Meena Kumari’s acting as Nurse Karuna in love with Doctor Sushil Verma (Raaj Kumar) (a doctor in my home-station Shimla) was the highlight of the movie, He, acceding to his mother’s wishes, got married to another woman whose father had done a number of favours to Raaj Kumar’s family.
This song is sung in the movie by Meena Kumari when he, Raj Kumar, returns with a wife, though still so much in love with Meena Kumari.
This is amongst the most memorable songs put together by Shailendra, Shankar Jaikishan and Lata Mangeshkar and I don’t foresee its popularity diminishing in near future at least. It is a boat song. It is a guitar song. It is a party song with a huge difference.
Please enjoy: Ajeeb dastaan hai ye…..
ajiib daastaa.n hai ye
kahaa.N shuruu kahaa.N khatam
ye ma.nzile.n hai kaun sii
na vo samajh sake na ham
ajiib daastaa.n…
(ye roshanii ke saath kyo.n
dhuaa.N uThaa chiraag se) -2
ye Kvaab dekhatii huu.N mai.n
ke jag pa.Dii huu.N Kvaab se
ajiib daastaa.n…
(kisiikaa pyaar leke tum
nayaa jahaa.N basaaoge) -2
ye shaam jab bhii aaegii
tum hamako yaad aaoge
ajiib daastaa.n…
(mubaarake.n tumhe.n ke tum
kisiike nuur ho gae) -2
kisiike itane paas ho
ke sabase duur ho gae
ajiib daastaa.n…
Song #38
Yaad aayi aadhi raat ko, kal raat ki tauba….
When I gave you the most remarkable song from the last movie Dil Apna Aur Preet Praayi, you must have shown surprise that the movie was directed by Kishore Sahu. Well, now, you are in for a bigger surprise since this movie is directed by the comedian Om Prakash, whose unique style of comedy based on elongated dialogue delivery couldn’t be imitated by anyone.
He himself wrote the story of the 1959 movie Kanhaiya starring Raj Kapoor and Nutan and Lalita Pawar.
Coming at the heels of our participation in our most favourite fest Janamashatami, this story is so apt:
“Shanno (Nutan) is devoted to Lord Krishna alias Kanhaiya, and often wanders off alone in the woods dancing and singing to the flute notes of her Kanhaiya. She accidentally meets Kanhaiya (Raj Kapoor), the village drunk and falls in his arms assuming him to be her ‘Kanhaiya’ – Lord Krishna. The gossip spreads that Kanhaiya and Shanno are having an affair, and in order to stay in the same village, they must get married. Shanno, still under the misconception regarding Kanhaiya is thrilled and gives her consent. During the marriage Shanno is shocked when she realises who “Kanhaiya” really is – the town drunk and idler who has taken advantage of her love for Lord Krishna, and now insists on marrying her. What the Village Panchayat does when Shanno refuses to marry Kanhaiya and is even ready to light herself on the funeral pyre to prove her piety, and how they cope when the village is swamped with plague, forms the basis for the rest of the story.”
Lord Krishna, stories based on you will never cease as long as this world exists; or rightly, as long as you allow the world to exist.
This Yaad song by Shailendra is therefore a light-hearted Yaad song and not a sad, desolate one.
It is no surprise at all that Shankar Jaikishan have composed it and Mukesh has sung it.
yaad aayii aadhii raat ko, kal raat kii taubaa
dil puuchhataa hai jhuum ke, kis baat kii taubaa? taubaa
yaad aayii aadhii raat ko
chaahat me.n vafaa aur vo mar miTane kii qasame.n
kyaa baat hai bahake hu_e jazabaat kii taubaa, taubaa
yaad aayii aadhii raat ko
saaqi mujhe batalaa to de, muu.Nh pher ke mat ha.Ns
piine me.n agar Thiik to, kis baat kii taubaa? taubaa
yaad aayii aadhii raat ko
marane bhii na de.nge mujhe, dushaman merii jaa.N ke
har baat pe kahate hai.n ki, kis baat kii taubaa? taubaa
yaad aayii aadhii raat ko
Song #39
Tumhen yaad karte karte jayegi rayn saari….
And the last Yaad song that I am putting up tonight is probably the best Yaad song penned by Shailendra. It is everyone’s favourite. Some of my friends start seeing yellow on seeing and hearing this song!
It is from the 1966 movie Amrapali with Vyjayanthimala in the title role. It was based on the life of Amrapali (Ambapali), the nagarvadhu (royal courtesan) of Vaishali in present-day Bihar, the capital of the Licchavi republic in ancient India around 500 BC and Ajatashatru (played by Sunil Dutt), the Haryanka dynasty king of the Magadha empire, who falls in love with her. Though he destroys Vaishali to get her, she in the meantime has been transformed by her encounter with Gautama Buddha, of whom she becomes a disciple and an Arahant herself. Her story finds mention in old Pali texts and Buddhist traditions.
All songs of the movie have been penned by Shailendra and have semi-classical compositions by Shankar Jaikishan. This is the best of them. All songs have been sung by Lata Mangeshkar for Vyjayanthimala including this one.
Please enjoy: Tumhen yaad karte karte jayegi ran saari….
(tumhe.n yaad karate karate jaaegii rain saarii
tum le gaye ho apane sa.ng nii.nd bhii hamaarii ) – 2
man hai ki jaa basaa hai, a.njaan ik nagar me.n
kuchh khojataa hai paagal khoii huii Dagar me.n
itane ba.De mahal me.n, ghabaraauu.N mai.n bechaarii
tum le gaye ho apane sa.ng nii.nd bhii hamaarii
tumhe.n yaad karate karate
virahaa kii is chitaa se tum hii mujhe nikaalo
jo tum na aa sako to, mujhe svapna me.n bulaa lo
mujhe aise mat jalaao, merii priit hai ku.Nwaarii
tum le gaye ho apane sa.ng nii.nd bhii hamaarii
tumhe.n yaad karate karate
Two weeks of giving you songs penned by one of the greatest lyricists in Hindi films. As mentioned by me earlier, he was one lyricist who didn’t have a separate life as a poet, unlike most other lyricists of that era. He was full-time lyricist only. And this job he did exceedingly well until premature death at the age of 45 years took him away from us.
Just like Shakeel Badayuni, Shailendra penned a lot of songs about the meaning of life itself.
The most famous of these zindagi songs is still as popular. It is from the 1956 Raj Kapoor production Jaagte Raho that was directed byAmit Maitra and Sombhu Mitra. The film starred Raj Kapoor, a poor peasant who comes to city in search of work. In order to quench his thirst he enters an apartment building whose residents take him as a thief and hence the name of the movie. Nargis has got an important role in the final scene of the movie only, in the rendition of the bhajan: Jaago Mohan pyaare.
This song is picturised on Motilal, a rich drunkard. It is a composition of Salil Chowdhury in Raag Pilu, Taal Kaherava. Mukesh has sung it well as he did with all Raj Kapoor songs.
Please enjoy: Zindagi khwaab hai…..
ra.ngii ko naara.ngii kahe, bane duudh ko khoyaa
chalatii ko gaa.Dii kahe, dekh kabIraa royaa…
zi.ndagii Kvaab hai, Kvaab me.n jhuuTh kyaa
aur bhalaa sach hai kyaa
(motIlaal) sab sach hai
zindagI khvAb hai…
dil ne hamase jo kahaa, hamane vaisaa hii kiyaa – 2
fir kabhI furasat se soche.nge buraa thA yA bhalaa
zindagii Kvaab hai…
ek kataraa may kA jab, patthar se ho.nTho.n par pa.Daa – 2
usake siine me.n bhii dil dha.Dakaa ye usane bhii kahaa
(motIlaal) kyA
ek pyaalii bhar ke mai.nne, Gam ke maare dil ko dii
zahar ne maaraa zahar ko, murade me.n phir jaan aa gaI
zindagii Kvaab hai…
Song #41
Kahan jaa raha hai tu ai jaane waale….
Another song about the meaning of life.
This is from the 1955 movie Seema starring Nutan and Balraj Sahni. Some of Shailendra‘s songs (like his songs for his own production of 1966 Teesri Kasam, whose failure coupled by alcohol abuse led to his death) go very deep. This is one of them.
Once again, the composition is that of Shankar Jaikishan and the singer is Mohammad Rafi.
Please enjoy: Kahan jaa raha hai tu ai jaane waale….
kahaa.N jaa rahaa hai tuu ai jaane vaale -2
a.Ndheraa hai man kaa diyaa to jalaa le
kahaa.N jaa rahaa hai …
ye jiivan safar ek a.ndhaa safar hai -2
bahakanaa hai mumakin bhaTakane kaa Dar hai -2
sa.mbhalataa nahii.n dil kisii ke sa.mbhaale
kahaa.N jaa rahaa hai …
jo Thokar na khaa_e nahii.n jiit usakii
jo gir ke sa.mbhal jaa_e hai jiit usakii
nishaa.N ma.nzilo.n ke ye pairo.n ke chhaale
kahaa.N jaa rahaa hai …
kabhii ye bhii sochaa ki ma.nzil kahaa.N hai -2
ba.De se jahaa.N me.n ( teraa ghar kahaa.n hai ) -2
jo baa.Ndhe the ba.ndhan vo kyo.n to.D Daale
kahaa.N jaa rahaa hai …
Song #42
O jaanewale ho sake to laut ke aana….
And the last song before we take up the last eight songs on the occasion of his birth anniversary tomorrow is also a deep-meaning song about meaning and secret of life.
This is from the 1963 Bimal Roy movie Bandini with Nutan in the title role. Composition is that of SD Burman who excelled not just in Raaga based songs but also in semi-classical compositions of his own.
Recording for a song for the 1960 Bimal Roy movie Usne Kaha Tha. Shailendra, standing behind Bimal Roy, was the favourite choice of Bimal Roy for songs in his movies (Pic courtesy: filmkailm.com)
It has been sung so beautifully by Mukesh that he has made this immortal.
Please enjoy: O jaanewale ho sake to laut ke aana….
o jaanevaale ho sake to lauT ke aanaa
ye ghaaT tuu ye baaT kahii.n bhuul na jaanaa
bachapan ke tere miit tere sa.ng ke sahaare
Dhuu.NDhe.nge tujhe galii-galii sab ye Gam ke maare
puuchhegii har nigaah kal teraa Thikaanaa
o jaanevaale…
hai teraa vahaa.N kaun sabhii log hai.n paraae
parades kii garadish me.n kahii.n tuu bhii kho naa jaae
kaa.NTo.n bharii Dagar hai tuu daaman bachaanaa
o jaanevaale…
de de ke ye aavaaz koii har gha.Dii bulaae
phir jaae jo us paar kabhii lauT ke na aae
hai bhed ye kaisaa koii kuchh to bataanaa
o jaanevaale…
Song #43
Duniya bananewale kyaa tere mann mein samayi…
And finally the day of his birth anniversary. He was born on this day as Shankardas Kesarilal in Rawalpindi (now in Pakistan).
Tonight we begin with the songs of his own production in 1966, Teesri Kasam, a few months before he died on 14th Dec of the same year, not able to bear the shock of loss in his own production and because of alcohol abuse.
What went wrong? He took Basu Bhattacharya as the director who had not just learnt direction under the great Bimal Roy in Madhuamati and Sujata but was also married to Bimal Roy’s daughter Rinki. Indeed, when I saw the movie on my com last year, I felt that it was a great movie indeed. Afterall the movie won the National Award for Best Feature Film.
Both the lead actors Raj Kapoor and Waheeda Rehman were accomplished ones and in the movie you can make out that they have come up with great performances.
His own lyrics were amongst his finest and even 50 years after the movie, these songs are still fondly remembered. Shankar Jaikishan composed them into numbers that were semi-classical and very good indeed.
Then, what went wrong? One can never say about Indian audiences. They often complained about run-of-the-mill stories and when someone came up with anything other than what is called ‘formula’ movies, it failed!
tuu bhii to ta.Dapaa hogaa man ko banaakar,
tuufaa.n ye pyaar kaa man me.n chhupaakar
koI chhavi to hogii aa.Nkho.n me.n terii – 2
aa.Nsuu bhii chhalake ho.nge palako.n se terii
bol kyaa suujhii tujhako, kaaheko priit jagaaI
kaaheko duniyaa banaaI, tuune kaaheko duniyaa banaaI …
priit banaake tuune jiinaa sikhaayaa, ha.nsanaa sikhaayaa,
ronaa sikhaayaa
jiivan ke path par miit milaae – 2
miit milaake tuune sapane jagaae
sapane jagaake tuune, kaahe ko de dii judaaI
kaaheko duniyaa banaaI, tuune kaaheko duniyaa banaaI …
Song #44
Chalat musaafir moh liya re pinjade waali muniyaa….
It is based on the short story Mare Gaye Gulfam by the Hindi novelist Phanishwarnath Renu. It is the story of a naive bullock cart driver who falls in love with a dancer at nautanki, the popular folk theatre of the Bihar region.
This is not a classical or even semi classical composition by Shankar Jaikishan, but a folk music tune on Shailendra‘s lyrics. It has been sung by Manna De.
Please enjoy: Chalat musaafir moh liya re pinjade waali muniyaa….
chalat musaafir moh liyo re pi.nja.De vaalii muniyaa – 4
u.D u.D baiThii halava_iyaa dukaniyaa – 2
he raamaa!!!!
u.D u.D baiThii halava_iyaa dukaniyaa
aare!!
(barafii ke sab ras le liyo re
pi.nja.De vaalii muniyaa ) – 2
a he a he … he raamaa
u.D u.D baiThii bajajavaa dukaniyaa – 2
aahaa!!!!
u.D u.D baiThii bajajavaa dukaniyaa
aare!
(kapa.Daa ke sab ras le liyo re
pi.nja.De vaalii muniyaa ) – 3
jiyo jiyo palakadas jiyo!!
u.D u.D baiThii panava.Diyaa dukaniyaa – 2
he raamaa!!!!
u.D u.D baiThii panava.Diyaa dukaniyaa
aare!!
(bii.Daa ke sab ras le liyo re
pi.nja.De vaalii muniyaa ) – 3
Song #45
Paan khaye sainya hamaro….
What is Teesri Kasam all about? Hiraman (Raj Kapoor) is a rustic villager, a bullock cart driver, from a remote village in Bihar. Hiraman takes two vows based on difficult situations in his life. He then meets and befriends Hirabai, a nautanki dancer. In the end, Hiraman takes a third vow.
Hiraman has traditional and conservative values. While smuggling illegal goods on his bullock cart and narrowly escaping the police, Hiraman takes a vow (the first kasam) to never again carry illegal goods. Subsequently, while transporting bamboo for a timber trader, Hiraman’s load upsets the horses of two men. The two men then beat Hiramam. After this, Hiraman takes a second vow (the second kasam) to never again carry bamboo in his cart.
In the end, when he finds that Waheeda Rehman (Heerabai) cannot leave nautanki in order to be with him for the rest of the life, Hiraman takes his third vow (Teesri Kasam) never to fall in love with a nautanki-wali.
This song has been sung by Asha Bhosle for Waheeda Rehman. She dances on it in her nautanki and this probably was the most popular song of the movie.
( hamane ma.Ngaa_ii suramedaanii
le aayaa zaalim banaaras kaa zaradaa ) -2
aa
apanii hii duniyaa me.n khoyaa rahe wo
hamare dil kii na puuchhe bedardaa
puuchhe bedardaa
( khaa ke gilorii shaam se uu.Nghe
so jaaye wo diiyaa-baatii se pahale ) -2
haa
aa.Ngan-aTaarii me.n ghabaraa_ii Doluu.N
chorii ke Dar se dil moraa dahale
dil moraa dahale
We shall be taking two more songs penned by Shailendra in the 1966 movie Teesri Kasam before we call it quits. There was just one song penned by Shailendra’s great friend Hasrat Jaipuri in this movie and that was the song of the title of the story on which the movie was based: Maare gaye gulfaam.
Here is Mukesh singing yet another time for Raj Kapoor.
Please enjoy: Sajan re jhoot mat bolo…..
sajan re jhuuTh mat bolo, khudaa ke paas jaanaa hai
na haathii hai naa gho.Daa hai, vahaa.N paidal hii jaanaa hai
tumhaare mahal chaubaare, yahii.n rah jaae.nge saare – 2
aka.D kis baat ki pyaare
aka.D kis baat ki pyaare, ye sar phir bhii jhukaanaa hai
sajan re jhuuTh mat bolo, khudaa ke paas jaanaa hai …
bhalaa kiijai bhalaa hogaa, buraa kiijai buraa hogaa – 2
bahii likh likh ke kyaa hogaa
bahii likh likh ke kyaa hogaa, yahii.n sab kuchh chukaanaa hai
sajan re jhuuTh mat bolo, khudaa ke paas jaanaa hai …
la.Dakapan khel me.n khoyaa, javaanii nii.nd bhar soyaa – 2
bu.Dhaapaa dekh kar royaa
bu.Dhaapaa dekh kar royaa, vahii kissaa puraanaa hai
sajan re jhuuTh mat bolo, khudaa ke paas jaanaa hai
na haathii hai naa gho.Daa hai, vahaa.N paidal hii jaanaa hai
sajan re jhuuTh mat bolo, khudaa ke paas jaanaa hai …
Song #47
Sajanva bairi ho gaye hamaar….
And the last song from the 1966 Basu Bhattacharya movie Teesri Kasam on which Shailendra the lyricist staked a lot of money as a Producer is this: Sajanva bairi ho gaye hamaar.
If you notice, most of the songs of the movie have been penned keeping in mind the rustic culture. The movie was adjudged as the National Best Feature Film of that year. However, it was a commercial failure for Shailendra that affected him tremendously. He took to heavy drinking to get over his loss and that eventually led to his death.
Shailendra’s close friends Jaikishan, Mukesh and Raj Kapoor having a last look at him (Pic courtesy: pankajmukesh)
This too is a composition of S-J and has Mukesh‘s voice.
Please enjoy: Sajanva bairi ho gaye hamaar….
sajanavaa bairii ho gaye hamaar (2)
chiThiyaa ho to har koI baa.Nche
bhaag naa baa.Nche koy
karamavaa bairii ho gaye hamaar
jaae base parades balamavaa sautan ke bharamaae
naa sandes naa koI khabariyaa, rut aae rut jaae
naa koI is paar hamaarA – 2
naa koI us paar
sajanavaa bairii ho gaye hamaar
suunii sej god morii suunii marm naa jaane koy
chhaTapaT ta.Dape ek bichaarii mamataa aa.Nsuu roe
Duub gae ham biich bha.Nvar me.n – 2
sarake solah saal
karamavaa bairii ho gaye hamaar
Song #48
Kuven mein kood ke mar jaana, yaar tum shadi mat karna…..
I am now coming to the last three songs in way of remembering this great lyricist, the #1 lyricist that I have taken to begin a new series.
Here is a curious thing that I have done in selection of these three songs: they are all of different genre’s.
The first one is not just a comedy song but the comedy song. Immediately after I finished acting in a play written by me: Hamara Drama, I was called on stage and I sang this funny Kishore Kumar song. Of course, I walked away with Best Actor Award since my play too was a comedy. In addition, the play was adjudged the Best Play in the Southern Naval Command Annual Dramatic Competition.
Imagine Shailendra writing this funny song! What is more, imagine Salil Chowdhury composing it. And then, it is easy to imagine Kishore Kumar acting on it whilst singing it.
Please enjoy: Kuven mein kood ke mar jaana, yaar tum shadi mat karna…..
( kuve.n me.n ) -2 kuud ke mar jaanaa
yaar tum shaadii mat karanaa -2
mat karanaa -3
kuve.n me.n kuud ke …
dekhii dillii kii ek la.Dakii jisako dekh tabiiyat pha.Dakii
mukh se aah nikal ga_ii Tha.nDii andar-andar aag sii bha.Dakii
usakaa naam gharaanaa puuchhaa usakaa Thaur-Thikaanaa puuchhaa
apane dil kii uma.nge lekar pahu.Nchaa mai.n usake ba.ngale par -2
jaate hii jhuk ke salaam bajaayaa ##daddy## ko dil kaa bayaan sunaayaa
bhole-bhaale ##daddy## bole haa.N haa.N jii -2
haa.N haa.N jii
achchhaa Kyaal hai aapakaa diiji_e mujhe pataa apane baap kaa
aapake baap ko chiTThii ke zari_e bataa duu.Ngaa
jii achchhaa Kyaal hai aapakaa
chaay pilaa_uu.N ke Tha.nDaa ma.ngaa_uu.N oy hoy oy hoy
chaay pilaa_uu.N ke Tha.nDaa ma.ngaa_uu.N
ke muragii ke a.nDe kii bhurajii banaa_uu.N
chaay pilaa_uu.N ke Tha.nDaa ma.ngaa_uu.N
ke a.nDe khilaa_u.N ke bhurajii banaa_uu.N
ha.Ns kar jab vo la.Dakii bolii mere dil pe chal ga_ii golii
mere man ke bataashe TuuTe aakhir maan ga_e prabhu ruuThe
terii jay-jay ho karataar -3
ho terii jay-jay ho karataar ho -3
terii jay-jay ho karataar
are baap re
itane me.n aa gayaa usakaa bhaa_ii zaalim nikalaa ba.Daa hii kasaa_ii
kahane lagaa
mu.Nh aur masuur kii daal ve ( nikal jaa ) -2 yahaa.N se cha.nDaal ke bachche
( usakaa bhaa_ii thaa baaksar bhaarii ) -2 usane kii hamale kii taiyaarii
mai.n to dum ko dabaakar bhaagaa raste me.n bolaa man kaa kaagaa
kyaa kyaa
( kuve.n me.n ) -2 kuud ke mar jaanaa …
Song #49
Sur na saje kyaa gayun main….
You must be still amazed with the last song from the 1956 movie Parivaar and also cursing yourselves as to why wasn’t this introduced to you earlier. Additionally, you must be thinking that it must be some other Shailendra who would have penned this funny song.
However, the hallmark of a great lyricist is that he/she can take any genre’ of song and write well. Shailendra did well in penning the laughable comedy number.
Lets now turn to 1956 movie Basant Bahar.
This song is as far away from the earlier song as you can get. It was composed by Shankar Jaikishan in Raag Pilu, Tal Kaherava. It was sung by Manna Dey and it is amongst the best classical based songs in Hindi movies.
Please enjoy: Sur na saje kyaa gayun main….
sur nA saje kyA gAU.N mai.n – 2
sur ke binA, jIvan sUnA – 2
sur nA saje kyA gAU.n mai.n
sur nA saje …
jalate gayaa jiivana meraa -2
is raat kaa na hogaa saveraa -2
sur naa saje …
dono.n jahA.n, mujhase rUThe – 2
tere binA ye gIt bhI jhUThe – 2
sur nA saje …
taT se lagii nadiyaa gaave -2
pii tum kahaa.N papiihaa gaave -2
sur naa saje …
(sa.ngIt man ko pa.nkh lagAe
gIto.n me.n rimajhim ras barasAe ) – 2
svar kI sAdhanA – 2
paramesh{}var kI
sur nA saje …
Song #50
O mere sanam, O mere sanam, do jism magar ik jaan hain hum…..
And the last song in my tribute to this great lyricist on the day of his ninety-fifth birth anniversary has been taken by me from the 1964 Raj Kapoor classic Sangam that was a triangle between Raj Kapoor, Rajendra Kumar and Vyjayanthimala. Raj Kapoor and Rajendra Kumar were very close friends as Sundar and Gopal respectively. They both loved Vyjayanthimala (Radha) but Gopal was able to keep silent for the sake of his friend whilst Radha was somewhat swept off her feet by the IAF officer Sundar whilst she was already in love with Gopal.
On their honey-moon in Europe, Sundar discovers Gopal’s love letters to Radha and this leads him to sing: Dost, dost na raha, another great Shailendra number.
This one is such a beautiful composition by S-J on lyrics that often leave me gaping in awe. S-J composed it in Raag Shivaranjani (they must be having the record of composing maximum songs based on Raagas), Tal Kaherava.
The image that one would want to remember Shailendra by: Centrestage with Shankar Jaikishan
Lata and Mukesh have sung this for Vyjayanthimala and Raj Kapoor respectively.
Please enjoy: O mere sanam, O mere sanam, do jism magar ik jaan hain hum…..
o mere sanam o mere sanam
do jism magar ek jaan hai.n ham
ek dil ke do aramaan hai.n ham
o mere sanam o mere sanam
tan sau.np diyaa, man sau.np diyaa
kuchh aur to mere paas nahii.n
jo tum se hai mere hamadam
bhagavaan se bhI vo aas nahii.n – 2
jis din se hue ek dUje ke
is duniyA se anajaan hai ham
ek dil ke do aramaan hai.n ham
o mere sanam o mere sanam
sunate hai.n pyaar kii duniyA me.n
do dil mushkil se samaate hai.n
kyA gair vahaa.N apano.n tak ke
sa.ng bhI nA aane paate hai.n – 2
hamane aakhir kyA dekh liyaa
kyA baat hai kyo.n hairaan hai ham
ek dil ke do aramaan hai.n ham
o mere sanam o mere sanam
mere apane, apanA ye milan
sa.ngam hai ye ga.ngA jamunaa kA
jo sach hai saamane AyA hai
jo bIt gayaa ek sapanaa thA – 2
ye dharatii hai insaano.n kii
kuchh aur nahii.n insaan hai.n ham
ek dil ke do aramaan hai.n ham
o mere sanam o mere sanam
There, that’s my list of 50 Best Songs of Shailendra. I have tried to give you all kinds of songs that he wrote: serious, romantic, comic, yaad songs, zindagi songs. The big problem that I have faced is that in narrowing it down to just 50 songs, I had to leave many good and even excellent ones. In case some song (s) is/are favourite of yours and you feel that I have done injustice in not including it, please pen your comments below.
Await my next blog-post about my next Great Lyricist: Rajendra Krishan.
I am a lyrical man; words of the songs are often the most important part of the songs for me. Indeed, on the Facebook I have a page titled ‘Lyrical’ to honour and pay tribute to various lyricists. I have several (almost a dozen) posts on my blog on my favourite lyricist and poet Shakeel Badayuni. The following posts about Shailendra have been reconstructed from the same page.
Song #1
Kuchh aur zamaana kehta hai…
When I was giving you Shakeel Badayuni’s songs during the Countdown to his Birth Centenary on 03 Aug, I started giving you, one song a day from his contemporary lyricists starting with Shailendra.
I am, as you already know, a ‘Lyrical’ man in the same sense (though lacking in equivalent excellence) as my friend Anand Desai is an Instrumental man.
In the era in which I was brought up, good lyrics simply ruled the scene. We may not remember the story-line of a movie after so many decades, but we do remember the lyrics. I can give you several examples, such as Rajinder Krishan‘s:
“Ghar se chale the ham to khushi ki talaash mein, Gham raah mein khade the wahin saath ho liye, Khud dil se dil ki baat kahi aur ro liye.”
If you have seen the movie Adaalat, you would know how aptly the lyrics fit with the story-line and the emotions of Nargis.
Shailendra Kesarilal was one such lyricist. He was born on 30th Aug 1921 in Rawalpindi (now in Pakistan). He and Hasrat Jaipuri associated with Shankar Jaikishan to create some of the best known songs in the Hindi movies.
His son Dinesh Shankar Shailendra brought out to us during the Shankar Jaikishan Music Foundation’s Mumbai Meet that we had on the 18th June 16 that amongst all of them, Shailendra was the only one who knew English and hence all contracts for the S-J and Hasrat were perused by him for correctness before asking them to sign!
If Raj Kapoor hadn’t noticed his poetry in a mushaira in Bombay in the year 1947, Shailendra would have probably continued working in the railways! And then first Aag (1948) and then Barsaat (1949) took place. Shailendra thereafter took us on a better journey than he would have in the Indian Railways.
Shailendra at work (Pic courtesy: JungleKey.in)
There are hundreds of his lyrics to appreciate. I am particularly fond of Patita’s Mitti se khelte ho baar baar kis liye and this from the 1965 movie Chhoti Chhoti Baatein that starred Nadira and Motilal.
The movie was written, produced and directed by Motilal. As some of you would know, Motilal died before the movie was released.
You would also appreciate the setting of this great song (and I urge you to see it please) in a boat.
Whilst giving you the description of Raag Sarang on Lyrical, I had mentioned the various names by which Sarang is known, the most popular being Brindavani Sarang. This is, however, composed in Gaur Sarang by Anil Biswas and the tal is Dadra.
Singing for Nadira is Meena Kapoor. She became famous for her 1957 movie Pardesi song: Rasiya re man basiya re. She was, of course married to Anil Biswas. Many people used to comment upon the likeness of her voice to Geeta Dutt with whom she was a friend.
But, this song has to be appreciated most for its exquisite lyrics by Shailendra! I get floored by them every time I listen to them.
Please enjoy: Kuchh aur zamaana kehta hai…..
kuchh aur zamaanaa kahataa hai, kuchh aur hai zidd mere dil kii
mai.n baat zamaane kii maanuu.N, yaa baat sunuu.N apane dil kii
kuchh aur zamaanaa kahataa hai …
duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
naadaan ham samajhe baiThe the
nibhatii hai yahaa.N dil se dil kii
kuchh aur zamaanaa kahataa hai …
inasaaf, muhabbat, sachchaa_ii
vo raham-o-qaram ke dikhalaave
kuchh kahate zubaa.N sharamaatii hai
puuchho na jalan mere dil kii
kuchh aur zamaanaa kahataa hai …
go bastii hai insaano.n kii
insaan magar Dhuu.NDhe na milaa
patthar ke buto.n se kyaa kiije
fariyaad bhalaa TuuTe dil kii
kuchh aur zamaanaa kahataa hai …
Song #2
Mitti se khelte ho baar baar kisliye…
Whilst my favourite Shakeel Badayuni and so many others such as Sahir Ludhainvi, Kavi Pradeep, Pt. Narendra Sharma and even Majrooh Sultanpuri, were poets and lyricists, Shailendra used all his literary genius in writing lyrics for songs. As a find of Raj Kapoor, he wrote most of his songs for Shankar Jaikishan, though in later years, he associated with other composers and music directors too.
Pic courtesy: Bablou (Dinesh) Shailendra
Let me recall this one from his 1953 movie Patita starring Dev Anand and Usha Kiran. A song from this movie has a mukhada that is the title of a Facegroup group of mine: Yaad Kiya Dil Ne; though penned by Hasrat Jaipuri. Indeed, when it came to S-J’s songs, we always keep going, like a metronome, between Shailendra and Hasrat.
Patita has two other songs penned by Shailendra: Kisi ne apna bana ke mujhako muskarana sikha diya, and Hai sabase madhur woh geet jise ham dard ke sur mein gaate hain.
However, my favourite in Lyrical excellence is Mitti se khelate ho baar baar kis liye.
The second stanza is particularly powerful.
Please enjoy: Mitti se khelate ho baar baar kis liye….
MiTTii se khelate ho baar-baar kis liye
TuuTe hu_e khilauno.n se pyaar kis liye
banaake zi.ndagaaniyaa.N bigaa.Dane se kyaa milaa
merii ummiid kaa jahaa.N ujaa.Dane se kyaa milaa
aa_ii thii do dino.n kii ye bahaar kis liye
zaraa sii dhuul ko hazaar ruup naam de di_e
zaraa sii jaan sar pe saat aasamaan de di_e
barabaad zi.ndagii kaa ye si.ngaar kis li_e
zamiin Gair ho ga_ii ye aasamaa.N badal gayaa
hawaa ke ruK badal ga_e har ek phuul jal gayaa
bajate hai.n ab ye saa.Nso.n ke taar kis li_e
Song #3
O sajana barkha bahaar aayi…
Last night I finally saw the 1960 movie Parakh!
If there is a song from a movie that I like, especially if it is an old one, I avoid seeing the movie lest I should be disappointed with the movie, its setting and the picturisation of the song.
My most favourite rain song ever is O sajana barkha bahaar aayi. It haunts me during the rains and it fascinates me otherwise. When I hear the notes of it and the lyrics, my heart goes aflutter. I build up my own scene around the songs and do not like the realm of my own imagination to be broken.
Shailendra certainly has the quality that tickles my imagination.
Even though the movie is a Bimal Roy movie, I avoided having a conflict between my own imagination and that of the movie’s.
However, yesterday I saw the movie with its story (a light-hearted satire/comedy, which no one can believe Bimal Roy would have directed!) written by Salil Chowdhury.
When I listen to the song, I imagine it as the picturisation of rain and the longing of a woman in rain for her lover without any necessity of a video! However, when I saw the movie and the song, I realised that the director and the music director too have done outstandingly well and the lyrics come out alive and throbbing with their handling.
Salil da, of course, composed the song in Raag Khammaj, Tal Kaherava. He thought about it with the swishing of his Ambassador car’s wipers in the rain. It is a late evening Raaga and that’s precisely the time in the movie too.
Shailendra was able to say it in a few words that would take volumes otherwise. Lata singing for Sadhana brought out the longing even more.
Please enjoy: O sajana barkha bahar aayi…..
(o sajanaa, barakhaa bahaara aaI
rasa kii phuhaara laaI, a.Nkhiyo.n me pyaar laaI ) – 2
o sajanaa
tumako pukaare mere mana kaa papiharaa – 2
miiThii miiThii aganii me.n, jale moraa jiyaraa
o sajanaa …
(aisI rimajhima me.n o saajan, pyaase pyaase mere nayana
tere hii, khvaaba me.n, kho gae ) – 2
saa.nvalii salonii ghaTaa, jaba jaba chhaaI – 2
a.Nkhiyo.n me.n rainaa gaI, nindiyaa na aaI
o sajanaa …
Song #4
Yeh mera deewanapan hai…
Just like Shakeel, Shailendra won the Filmfare Best Lyricist Award thrice:
1958: “Yeh Mera Deewanapan Hai” (Yahudi)
1959: “Sab Kuch Seekha Hamne” (Anari)
1968: “Main Gaoon Tum So Jao” (Brahmchari)
These awards were instituted in 1958. This means that Shailendra had won the first two awards after their institution, before Shakeel won the next one for the 1960 film Chaudhvin Ka Chand. And then of course, Shakeel did a hat-trick.
Day before yesterday I saw a Bimal Roy movie Parakh. Yahudi was another Bimal Roy movie. Dilip Kumar, Meena Kumari, Sohrab Modi, Nazir Hussain, and Nigar Sultana starred in the movie. It was based on a play Yahudi Ki Ladki by Agha Hashar Kashmiri, a classic in Parsi-Urdu theatre, about persecution of Jews in the Roman Empire. Hindi cinema, at that time was opening out to situations around the world.
1958 was only the 6th Filmfare Awards and already Best Lyricist award was introduced. Mukesh sang this song on the composition by Shankar Jaikishan.
Please enjoy: Yeh mera deewanapan hai yaa mohabbat ka saroor….
dil se tujhako bedilii hai, mujhako hai dil kaa guruur
tuu ye maane ke na maane, log maane.nge zuruur
ye meraa diivaanaapan hai, yaa muhabbat kaa suruur
tuu na pahachaane to hai ye, terii nazaro.n kaa qusuur
ye meraa diivaanaapan hai …
dil ko terii hii tamannaa, dil ko hai tujhase hii pyaar
chaahe tuu aae na aae, ham kare.nge i.ntazaar
ye meraa diivaanaapan hai …
aise viiraane me.n ik din, ghuT ke mar jaae.nge ham
jitanaa jii chaahe pukaaro, phir nahii.n aae.nge ham
ye meraa diivaanaapan hai …
Song #5
Chhoti si ye duniya pehchaane raaste..
Lyricists during those days didn’t have independent existence. They were either attached to music directors or to film studios. Shailendra was part of Shankar Jaikishan set up.
Shailendra (extreme right) with Hasrat Jaipuri and Shankar-Jaikishan (Pic courtesy: Cinema Sangeet)
Once, S-J promised Shailendra that they would recommend him to other music directors; but, later totally forgot about it. I have already told you that writing lyrics was the only life Shailendra had. So, he sent them a note after reasonable time had elapsed. The note said: “Chhoti si ye duniya, pehchaane raaste hain; kahin to miloge to poochhenge haal“.
Shankar-Jaikishan straightway understood that Shailendra was conveying to them about failed promise. However, the lines that Shailendra wrote were so good, loaded and with light ruefulness that they used it in a song.
The movie was the 1962 movie Rungoli that starred (exactly like the 1956 movie New Delhi that I saw last night): Kishore Kumar and Vyjayanthimala.
The film had the following songs:
1. Chhoti Si Ye Duniya, Pahachaane Raasate Hain – Kishore Kumar
2. Choti Si Ye Duniya Pehchane Raaste Hai – Lata Mangeshkar
3. Hum Tum Ye Khoyi Khoyi Rahe, Chanchal Isharon Se – Lata Mangeshkar , Mukesh
4. Ek Nazar Kisi Ne Dekha Aur Dil Hua Deewana – Kishore Kumar, Lata Mangeshkar
5. Jaao-jaao Nand Ke Lala Tum Jhoote – Lata Mangeshkar
6. Rangoli Sajaao Re, Teri Paayal Mere Git – Kishore Kumar
7. Sagar Pe Aaj Maujon Ka Raaj, Bechain Hai Nazaara – Lata Mangeshkar
8. Hum Bechare Pyar Ke Maare, Aur Tum To Tum Ho – Kishore Kumar
9. Chaau Chaau Bombiyana, Ishq Hai Maraz Purana – Manna Dey
Credits for the lyrics of the songs were shared between Shailendra and Hasrat Jaipuri.
Please enjoy: Chhoti si ye duniya pehchaane raaste hain….
chhoTii sii ye duniyaa, pahachaane raste.n hai.n
tum kabhI to miloge, kahii.n to miloge to puuchhe.nge haal
chhoTii sI …
ham to ye samajhe.nge hamane ek patthar ko puujaa
lekin tumako apane jaisA nahii.n milege duujaa, nahii.n milegaa duujaa
chhoTii sii ye duniyaa …
siikhaa nahii.n hamaare dil ne pyaar me.n dhiiraj khonaa
aag me.n jal ke bhI jo nikhaare, hai vohii sachchaa sonaa, hai vohI sachchaa sonaa
chhoTii sii ye duniyaa …
dil kI daulat mat Thukaraao, dekho pachhatAoge
aaj chale jaate ho jaise, lauT ke bhI aaoge, lauT ke bhI aaoge
chhoTii sii ye duniyaa …
Song #6
Awaara hoon…
I call Shakeel Badayuni as the Best Poet and Lyricist. Similarly, Gulzar calls Shailendra as the Best Lyricist the Hindi movies ever saw.
The most popular song (internationally) that was ever written by a Hindi films lyricist was actually written by Shailendra and at a very early stage in his career. I am talking about the title song of the 1951 Raj Kapoor movie Awaara. I need not repeat it that the song was a hit song across lands and oceans: China, Middle East, Europe and even Americas.
Recently, a WhatsApp video is going around with Turkish President singing the song at a public function. Of course, in Turkey Awaara was remade as Avare (1964) starring the Turkish actor Sadri Alışık, along with actress Ajda Pekkan.
In 2012, Time Magazine included Awaara and Anari amongst the 100 Best Movies Of All Times.
Shankar Jaikishan, of course, composed the song in their favourite Raaga: Raag Bhairavi, Tal Kaherava.
aabaad nahii.n barabaad sahii
gaataa huu.N khushiike gIt magar – 2
zakhmo.n se bharaa siinaa hai meraa
ha.nsatii hai magar ye mast nazar
duniyaa .a.a.a
duniyaa me.n tere tiir kaa yaa takadiir kaa maaraa huu.N
aavaaraa huu.N, aavaaraa huu.N
yaa gardish me.n huu.N aasamaan kaa taaraa huu.N
aavaaraa huu.N, aavaaraa huu.N
Song #7
Kaise din beete kaise beetin ratiyan…
I saw the 1960 Anuradha again last year in the month of July. I had seen it once when I was a boy more than 50 years ago. And the reason for seeing the movie was badically for its memorable songs. And what songs they are:
1. “Jaane Kaise Sapno Main” – Lata Mangeshkar
2. “Sanware Sanware Kahe Mose” – Lata Mangeshkar
3. “Kaise Din Beete, Kaise Beeti Ratiyan” – Lata Mangeshkar
4. “Bahut Din Huye” – Mahendra Kapoor
5. “Hai Re Woh Din Kyon Na Aaye” – Lata Mangeshkar
Each one of them has that pull that tugs at the chords of one’s heart. The film stars Balraj Sahni and Leela Naidu in lead roles. Leela Naidu was Miss India before joining films and this was her debut movie. The movie is all about the idealist village doctor Balraj Sahni ignoring the desires and aspirations of his city bred wife Anuradha (Leela Naidu) who, before she married him, had interest in music and singing (she was a singer on the All India Radio).
This sensitive theme was handled by Hrishikesh Mukherjee very well indeed. And, to help him build up the theme were Shailendra’s lyrics in the above songs and Sitar Maestro Ravi Shankar’s compositions (one of the rare movies with him as Music Director).
(Pic courtesy: Roadandmusic.com)
I am particularly fond of this one penned by Shailendra and composed by Pandit Ravi Shankar in Manj Khammaj, Tal Dadra.
ha~~ay~
kaise din biite kaise biitii ratiyaa
piyaa jaane na
haay
nehaa lagaa ke mai.n pachhataa_ii
saarii saarii rainaa nindiyaa na aa_ii
jaan ke dekho mere jii kii batiyaa
piyaa jaane na
haay
kaise din biite kaise biitii ratiyaa
piyaa jaane na
rut matavaalii aa ke chalii jaaye
man me.n hii mere man kii rahii jaaye
khilane ko tarase nanhii nanhii kaliyaa.N
piyaa jaane na
haay
kaise din biite kaise biitii ratiyaa
piyaa jaane na
kajaraa na sohe gajaraa na sohe
barakhaa na bhaaye badaraa na sohe
kyaa kahuu.N jo puuchhe mose morii sakhiyaa.N
piyaa jaane na
haay
kaise din biite kaise biitii ratiyaa
piya jaane na
Song #8
Ab ke baras bhej bhaiyya ko babul….
Tonight we have taken upon ourselves to give songs of Shailendra without Shankar-Jaikishan.
We just finished listening to 1960 Hrishikesh Mukherjee movie Anuradha’s number full of pathos of a woman ignoring her own desires and aspirations for her idealist husband Balraj Sahni who is devoted to his patiens in a village where there is no amusement for her at all. The song is: Kaise din beete kaise beeti ratiyan piya jaane na.
Let me take you now to the 1963 Bimal Roy movie Bandini with Nutan in the title role and Ashok Kumar and Dharmendra in leading roles.
The movie had a debut song by Sampooran Singh Kalra who took over the nom de plume of Gulzar: Mora gora ang layi le. The rest of the songs were penned by Shailendra:
1. Mora Gora Ang Laile Lata Mangeshkar
2. Jogi Jabse Tu Aaya Lata Mangeshkar
3. O Janewale Ho Sake To Laut Ke Aana Mukesh
4. O Panchhi Pyare Sanjh Sakare Asha Bhosle,
5. Ab Ke Baras Bhejo Asha Bhosle
6. O Mere Majhi Mere Sajan Hai S.D. Burman
7. Mat Ro Mata Lal Tere Manna Dey
All songs are masterpieces both in the excellence of their lyrics as well as the beautiful compositions by Sachin Dev Burman. I think the most poignant song is Ab ke baras. Sachin da composed it in Raag Pilu, the same raag in which OP Nayyar composed many of his songs including the 1958 movie Phagun song picturised on Madhubala: Piya, piya na laage mora jiya. The only difference is that whilst Phagun song is in Tal Kaherava, the Bandini song is in Tal Dipchandi (Moghali).
Please enjoy a masterpiece by Shailendra: Ab ke baras bhej bhaiya ko babul……
ab ke baras bhej bhaiyaa ko baabul
saavan ne liijo bulaay re
lauTe.ngii jab mere bachapan kii sakhiiyaa.N
dejo sa.ndeshaa bhiyaay re
ab ke baras bhej bhiiyako baabul …
ambuvaa tale phir se jhuule pa.De.nge
rimajhim pa.De.ngii phuhaare.n
lauTe.ngii phir tere aa.Ngan me.n baabul
saavan kii Tha.nDii bahaare.n
chhalake nayan moraa kasake re jiyaraa
bachapan kii jab yaad aae re
ab ke baras bhej bhiiyako baabul …
bairan javaanii ne chiine khilaune
aur merii gu.Diyaa churaaii
baabul kii mai.n tere naazo.n kii paalii
phir kyo.n huii mai.n paraaii
biite re jag koii chiThiyaa na paatii
na koii naihar se aaye, re
ab ke baras bhej bhiiyako baabul …
Song #9
Aaja re pardesi….
What about Shailendra‘s songs for the 1958 Bimal Roy movie: Madhumati starring Vyjayanthimala in the title role? She had Dilip Kumar, Pran and Johnny Walker, amongst others to support her.
The songs of this movie are fondly remembered even more than 50 years of their first appearance in the movie. Bimal Roy wanted SD Burman to compose the songs but Sachin da suggested to him that for what Bimal Roy had in mind, Salil Chowdhury would be better.
These are certainly amongst the best of Salil da:
1. “Aaja Re Pardesi” Lata Mangeshkar 04:26
2. “Chadh Gayo Papi Bichhua” Lata Mangeshkar, Manna Dey 05:23
3. “Dil Tadap Tadap Ke” Mukesh, Lata Mangeshkar 03:27
4. “Ghadi Ghadi Mora Dil Dhadke” Lata Mangeshkar 03:11
5. “Hai Bichhua Hai Re Hai” Lata Mangeshkar 01:55
6. “Ham Haal-e-Dil Sunaenge” Mubarak Begum 03:26
7. “Jungle Mein Mor Naacha” Mohammad Rafi 03:07
8. “Kancha Le Kanchi Lai Lajo” Asha Bhonsle, Sabita Chowdhury & Ghulam Mohammad 03:24
9. “Suhana Safar Aur Yeh Mausam” Mukesh 03:44
10. “Tan Jale Man Jalta Rahe” Dwijen Mukherjee 03:22
11. “Toote Huye Khwabon Ne” Mohammad Rafi 03:42
12. “Zulmi Sang Aankh Ladi” Lata Mangeshkar 04:05
Hats off to Shailendra to have written the lyrics of all these songs. And the only reason that he didn’t receive the Best Lyricist award for any of these was because he was getting the award for the title song of Awara, the very first Best Lyricist Award.
Aja re pardesi became the most memorable song of the movie and certainly amongst the best of Lata Mangeshkar too (as acknowledged by the Nightingale of India herself). Salil da composed it in Raag Bageshri and Tal Kaherava (the fast version of it).
Please enjoy: Aja re pardesi, main to kab se khadi is paar….
aa jaa re .a.a.a paradesii
mai.n to kab se kha.Dii is paar
ye a.Nkhiyaa.N, thak ga_ii pa.nth nihaar
aa jaa re, paradesii
(tum sa.ng janam janam ke phere
bhuul gaye kyuu.N saajan mere ) – 2
ta.Dapat huu.N mai.n saa.njh savere, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
(mai.n nadiyaa phir bhii mai.n pyaasii
bhed ye gaharaa baat zaraa sii ) – 2
bin tere har raat udaasii, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
mai.n diye kii aisii baatii
jal na sakii jo bujh bhii na paatii
aa mil mere jiivan saathii, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
Song #10
Barsaat mein hum se mile tum sajan tum se mile hum…..
Ladies and gentlemen, sorry for my absence yesterday; I had gone to see the premiere of the movie Rustom that a brother was kind enough to invite me for.
I am sure the more I write about Shailendra, the more you must be convinced that my having chosen him immediately after Shakeel Badayuni is not merely by fluke. By the way, this happens to be his birth-month too, having been born on 30th Aug in the year 1921 in Rawalpindi in then India, now Pakistan.
Tonight I am going to give you songs that he penned for his first movie: the 1949 Barsaat that happens to be also the debut movie of Shankar Jaikishan. It was also the debut movie of Nimmi and the first movie in which credit for playback singing was given to Lata Mangeshkar.
Here are all those debut artistes together in the title song of the movie. S-J composed it in a Raaga that turned out to be their favourite – Raag Bahiravi, that is. Tal Kaherava.
Please enjoy the very first song of Shailendra, S-J, Nimmi and Lata Mangeshkar (for which she was given credit on the screen): Barsaat mein hum se mile tum sajan tum se mile hum…..
ko : tak dhinaa dhin
dhinaa dhin
tak dhinaa dhin
barasaat me.n
ko : tak dhinaa dhin
barasaat me.n hamase mile tum sajan tumase mile ham
barasaat me.n
ko : tak dhinaa dhin
barasaat me.n hamase mile tum sajan tumase mile ham
barasaat me.n
ko : tak dhinaa dhin
priit ne si.ngaar kiyaa
mai.n banii dulhan -2
sapano.n kii rimajhim me.n
naach uThaa man
meraa naach uThaa man
aaj mai.n tumhaarii hu_ii tum mere sanam
tum mere sanam
barasaat me.n
ko : tak dhinaa dhin
barasaat me.n hamase mile tum sajan tumase mile ham
barasaat me.n
ko : tak dhinaa dhin
naino.n se jhaa.nkii jo
merii mast jawaanii
duniyaa se kahatii phire
dil kii kahaanii
mere dil kii kahaanii
unakii jo huu.N mai.n
unase kaisii sharam
ye samaa.N hai jaa rahe ho
kaise manaa_uu.N -2
mai.n tumhaarii raah me.n ye
nain bichhaa_uu.N -2
tum naa jaa_o tumako merii
jaan kii qasam -2
der naa karanaa kahii.n ye
aas chhuuT jaaye
saa.Ns TuuT jaaye
tum naa aa_o dil kii lagii
mujhako hii jalaaye
Kaaq me.n milaaye
aaG kii lapaTo.n me.n pukaare ye meraa man
mil naa sake haay mil naa sake ham -2
Song #11
Patli qamar hai tirchhi nazar hai…
The 1949 movie Barsaat had the following songs:
1. “Chhod Gaye Balam” Hasrat Jaipuri Mukesh, Lata Mangeshkar 4:28
2. “Jiya Beqarar Hai” Hasrat Jaipuri Lata Mangeshkar 3:10
3. “Barsaat Mein Humse Mile” Shailendra Lata Mangeshkar 5:00
4. “Hawa Mein Udta Jaye” Ramesh Shastri Lata Mangeshkar 2:30
5. “Zindagi Mein Hardam Rota Hi Raha” Hasrat Jaipuri Mohammed Rafi 2:51
6. “Patli Kamar Hai” Shailendra, Akhilesh Mukesh, Lata Mangeshkar 5:17
7. “Bichhde Hue Pardesi” Hasrat Jaipuri Lata Mangeshkar 3:28
8. “Mujhe Kisi Se Pyaar Ho Gayaa” Jalal Malihabadi Lata Mangeshkar 2:46
9. “Meri Aankhon Mein Bas Gaya Koi Re” Hasrat Jaipuri Lata Mangeshkar 2:47
10. “Ab Mera Kaun Sahara” Hasrat Jaipuri Lata Mangeshkar 3:15
11. “Jiya Beqarar Hai” Instrumental 2:29
If you have had a look at the list, you would know that the only other song that Shailendra wrote in his debut movie was Patli kamar hai, tirchhi nazar hai.
It has been sung by Mukesh for a licentious Prem Nath who is at pains to drive into Raj Kapoor, his best friend, that life is to be enjoyed with various women, clubs, drinks and all that and that love or true love is for the nincompoops.
Shailendra with his mastery over lyrics was able to contrast the licentious conduct of Prem Nath with the true love of Nimmi who loved him that way whilst he merely flirted with her as he did with others.
Of course, Lata sang for Nimmi.
Please enjoy: Patli kamar hai tirchhi nazar hai….
patalii kamar hai tirachhii nazar hai
khile phuul sii terii javaanii
koii bataaye kahaa.N qasar hai
o~ aajaa mere man chaahe baalam
aajaa teraa aa.Nkho.n me.n ghar hai
mai.n cha.nchal mad_mast pavan huu.N
jhuum jhuum har kalii ko chumuu.N
bichha.D gayii mai.n ghaayal hiraNii
tumako Dhuu.NDhuu.N ban ban ghuumuu.N
merii zi.ndagii mast safar hai
patalii kamar hai …
tum bin naino.n kii barasaate.n
rok na paa_uu.N laakh manaa_uu.N
mai.n bahate dariyaa kaa paanii
khel kinaaro.n se ba.Dh jaa_uu.N
ba.Ndh na paa_uu.N
nayaa nagar nit nayii Dagar hai
patalii kamar hai …
Song #12 Din dhal jaaye haay raat na jaaye…
I am going to end tonight with a song of his for the 1965 Dev Anand, Waheeda Rehman classic movie: Guide based on story by RK Narayan.
In this movie, as with Bimal Roy’s Bandini, Shailendra paired with SD Burman and created some exceedingly great songs:
1. “Aaj Phir Jeene Ki Tamanna” Lata Mangeshkar Dev Anand & Waheeda Rehman
2. “Din Dhal Jaaye” Mohammed Rafi Dev Anand & Waheeda Rehman
3. “Gaata Rahe Mera Dil” Kishore Kumar & Lata Mangeshkar Dev Anand & Waheeda Rehman
4. “Kya Se Kya Ho Gaya” Mohammed Rafi Dev Anand & Waheeda Rehman
5. “Piya Tose Naina Laage Re” Lata Mangeshkar Waheeda Rehman
6. “Saiyaan Beimaan” Lata Mangeshkar Dev Anand & Waheeda Rehman
7. “Tere Mere Sapne” Mohammed Rafi Dev Anand & Waheeda Rehman
8. “Wahan Kaun Hai Tera” Sachin Dev Burman Dev Anand
9. “He Ram Hamare Ramchandra” Manna Dey & Chorus Dev Anand
10. “Allah Megh De Paani De” Sachin Dev Burman Dev Anand
Each one of the songs is as much a classic as the movie and yet, after winning the first two Filmfare Best Lyricist awards in 1958 and 1959, it wasn’t until the 1968 movie Brahamachari (Main gaayun tum so jaao) that another Filmfare award was given to him!
In that year when Guide was released, the Best Lyricist award went to Majrooh Sultanpuri for his Chahunga main tujhe saanjh savere for Dosti. Shailendra was not nominated for any of the songs of Guide but for Sangam’s Dost dost na raha.
Award or no award, this happens to be my favourite song from Guide for its lyrics, music and picturisation.
Please enjoy: Din dhal jaaye haay raat na jaay…..
din Dhal jaaye haay, raat naa jaay
tuu to na aae terii, yaad sataaye, din Dhal jaaye
pyaar me.n jinake, sab jag chho.Daa, aur hue badanaam
unake hii haatho.n, haal huaa ye, baiThe hai.n dil ko thaam
apane kabhii the, ab hai.n paraaye
din Dhal jaaye haay …
aisii hii rim-jhim, aisii fuvAre.n, aisii hii thii barasaat
khud se judaa aur, jag se paraaye, ham dono.n the saath
phir se vo saavan, ab kyuu.N na aaye
din Dhal jaaye haay …
dil ke mere tum, paas ho kitanii, phir bhii ho kitanii duur
tum mujh se mai.n, dil se pareshaa.N, dono.n hai.n majabuur
aise me.n kisako, kaun manaaye
din Dhal jaaye haaye …
Song #13
Mera joota hai Japani…
Even though today is the 5th day and it is the 13th song of this great lyricist: Shailendra, frankly, it appears like as if we have just begun with him.
Shailendra wrote nearly a hundred songs more than Shakeel Badayuni; 859 to Shakeel’s 761. And hence, it is but natural that we take up quite a few of his songs.
In his case, I have decided not to go chronologically or by any plan or scheme but to give you the songs as they come to me. Suffice it to say that I am a ‘Lyrical’ man and good lyrics hold attraction for me.
The other day I gave you two songs from his debut film: the 1949 movie Barsaat.
He and Hasrat Jaipuri were the lyricists with music director Shankar Jaikishan to make songs for Raj Kapoor movies.
I saw the movie Shree 420 exactly a year back, in Aug 2015. In this movie, Shailendra and Hasrat didn’t divide the songs equally between themselves. Shailendra penned 5 to Hasrat’s 3:
1 “Dil Ka Haal Sune Dilwaala” Manna Dey Shailendra 5:36
2 “Ichak Dana Beechak Dana” Mukesh, Lata Mangeshkar Hasrat Jaipuri 5:08
3 “Mera Juta Hai Japani” Mukesh Shailendra 4:33
4 “Mudh Mudh Ke Na Dekh” Asha Bhosle, Manna Dey Shailendra 6:34
5 “O Janewale” Lata Mangeshkar Hasrat Jaipuri 2:20
6 “Pyar Hua Iqrar Hua” Lata Mangeshkar, Manna Dey Shailendra 4:22
7 “Ramaiya Vastavaiya” Mohammed Rafi, Lata Mangeshkar, Mukesh Shailendra 6:10
8 “Sham Gayi Raat Aayi” Lata Mangeshkar Hasrat Jaipuri 4:00
Just like the title song of Awara that became an international hit, one song of this movie became a global hit. My ship INS Himgiri made a port call at Odessa (in USSR then and now in Ukraine) in Aug 1975 and many Russians on the street would be humming this song.
The singing voice of Raj Kapoor: Mukesh, sang it. Shankar Jaikishan composed it in Raag Bhairavi (their favourite, as I have already told you several times) and in Tal Kaherava.
Please enjoy a song that is meaningful for our Independence Day 28 hours away: Mera joota hai Japani….phir bhi dil hai Hindustani…
Meraa juutaa hai jaapaanii, ye pataluun i.ngalistaanii
sar pe laal Topii ruusii, phir bhii dil hai hi.ndustaanii
meraa juutaa…
nikal pa.De hai.n khulii sa.Dak par
apanaa siinaa taane – (2)
ma.nzil kahaa.N kahaa.N rukanaa hai
uupar vaalaa jaane – (2)
ba.Dhate jaaye.n ham sailaanii, jaise ek dariyaa tuufaanii
sar pe laal…
uupar niiche niiche uupar
lahar chale jiivan kii – (2)
naadaa.N hai.n jo baiTh kinaare
puuchhe.n raah vatan kii – (2)
chalanaa jiivan kii kahaanii, rukanaa maut kii nishaanii
sar pe laal…
ho.nge raaje raajaku.Nvar ham
biga.De dil shahazaade – (2)
ham si.nhaasan par jaa baiThe
jab jab kare.n iraade – (2)
suurat hai jaanii pahachaanii, duniyaa vaalo.n ko hairaanii
sar pe laal…
Song #14
Ramaiyya Vastavaiyya…
The simplistic lyrics of the last song: Mera joota hai Japani had deep meaning; which is that as a newly independent country we might have things imported from various parts of the world but we were proud to be totally Indian at heart and proud of it.
A movie was titled on the last part of the mukhada of the song; ie, Phir Bhi Dil Hai Hindustani.
Another very popular song from the movie was a song about the homecoming of Raj Kapoor amidst his people (the poor people on the streets of Bombay) from whom he had departed to taste the life of the high and the mighty by being as deceitful as them; and that’s why the title: Shree 420, a man who indulges in deceit and fraud.
Hats off to Shailendra for the title of the song: Ramaiyya Vastavaiyya that he took from Telugu. The literal translation is: Ram, I knew you’d come (return).
This song has been sung in three parts: Mohammad Rafi for one of the street cronies of Raj Kapoor, Lata Mangeshkar for Nargis and in the end Mukesh for Raj Kapoor.
As with the first song Mera joota hai Japani, this too was composed by S-J in Raag Bhairavi but the Tal is Dadra/Hinch.
Please enjoy: Ramaiyya vastavaiyya….
ramayyaa vastaavayyaa, ramayyaa vastaavayyaa – 2
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa
naino.n me.n thii pyaar kii roshanii
terii aa.Nkho.n me.n ye duniyaadaarii na thii
tuu aur thaa teraa dil aur thaa
tere man me.n ye miiThii kaTaarii na thii
mai.n jo dukh paauu.N to kyaa, aaj pachhataauu.N to kyaa
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
us desh me.n tere parades me.n
sone chaa.ndii ke badale me.n bikate hai.n dil
is gaa.Nv me.n dard kii chhaa.nv me.n
pyaar ke naam par hii ta.Dapate hai.n dil
chaa.Nd taaro.n ke tale, raat ye gaatii chale
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
aa …
yaad aatii rahii dil dukhaatii rahii
apane man ko manaanaa na aayaa hame.n
tuu na aae to kyaa bhuul jaae to kyaa
pyaar karake bhulaanaa na aayaa hame.n
vahii.n se duur se hii, tuu bhii ye kah de kabhii
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
rastaa vahii aur musaafir vahii
ek taaraa na jaane kahaa.N chhup gayaa
duniyaa vahii duniyaavaale vahii
koii kyaa jaane kisakaa jahaa.N luT gayaa
merii aa.Nkho.n me.n rahe, kaun jo tujhase kahe
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
Song #15
Pyaar hua iqraar hua..
The 1955 movie Shree 420 was produced and directed by Raj Kapoor on a story by Khwaja Ahmad Abbas. Its songs are still as popular today as 61 years ago.
Here is an iconic duet from the movie sung by Mukesh for Raj Kapoor and Lata Mangeshkar for Nargis.
This is the thrid song from the same movie that S-J composed in Raag Bhairavi, Tal Kaherava. Once again, enjoy the beauty of the lyrics of Shailendra.
The image of Nargis and Raj Kapoor under an umbrella in rain has withstood the vagaries of time and has prevailed as the image of a loving couple in a their first romantic moments. It has been copied in many movies and stage performances.
Please enjoy: Pyaar hua iqraar hua….
pyaar huaa iqaraar huaa hai
pyaar se phir kyo.n Darataa hai dil
(kahataa hai dil, rastaa mushkil
maaluum nahii.n hai kahaa.N ma.nzil ) – 2
pyaar huaa iqaraar huaa …
dil kahe is maa.ng ko, mai.n taaro.n se sa.nvaar duu.N
tumase nayaa sa.nsaar luu.N, tumako nayaa sa.nsaar duu.N
chaa.Nd aur suuraj, diip gagan ke
is dharatii pe utaar duu.N
aahaa haa aahaa haa, aa …
pyaar huaa iqaraar huaa …
raato.n daso.n dishaao.n se, kahe.ngii apanii kahaaniyaa.N
priit hamaare pyaar kii, doharaae.ngii javaaniyaa.N
mai.n na rahuu.Ngii, tum na rahoge
phir bhii rahe.ngii nishaaniyaa.N
aahaa haa aahaa haa, aa …
pyaar huaa iqaraar huaa …
Song #16
Jaayun kahan bata ai dil…….
We have just started with our new series: ‘Remembering Great Lyricists’ and we started with the first: Shailendra born in Rawalpindi as Shankardas Kesarilal on 30th Aug 1921. Unlike other lyricists on his era who were poets too, all the talent of Shailendra was spent on writing lyrics for songs in Hindi movies. Gulzar called him the Best Lyricist ever in Hindi films.
In the last five days we have taken up 15 of his songs.
Tonight I start with a favourite of mine, penned by him for the 1959 movie Chhoti Behan starring Balraj Sahni and Nanda. As with most of his songs, it has been composed by Shankar Jaikishan and sung by Mukesh. The song has been picturised on Rehman and the best ever on him.
Now, why is this a favourite of mine? Simply because it was composed by S-J in Raag Jhinjhoti, the same raaga in which Naushad composed the best of Shakeel: Mere mehboob tujhe. I was able to observe and then convey to you that many of the songs composed in Jhinjhoti have the element of self-pity in them; eg, Ghungroo ki tarah bajata hi raha hoon main; Koi hamdam na raha, koi sahaara na raha; Mose chhhal kiye jaaye; Tum mujhe youn bhula na paayoge. So is this song. The Tal is Kaherava.
Please enjoy: Jaayun kahan bata ai dil…….
jaa_uu.N kahaa.N bataa ai dil
duniyaa ba.Dii hai sa.ngadil
chaa.Ndanii aa_ii ghar jalaane
sujhe na ko_ii ma.nzil
jaa_uu.N kahaa.N bataa …
banake TuuTe yahaa.N aarazuu ke mahal
ye zamii.n aasamaa.N bhii gaye hai.n badal
kahatii hai zi.ndagii is jahaa.N se nikal
jaa_uu.N kahaa.N bataa …
haay is paar to aa.Nsu_o.n kii Dagar
jaane us paar kyaa vo kise hai khabar
Thoka.re.n khaa rahii har kadam par nazar
jaa_uu.N kahaa.N bataa …
Song #17
Raat ne kyaa kyaa khwab dikhaye…..
It is not as if Shailendra didn’t write for Music Directors other than for Shankar Jaikishan. We have just covered only 16 songs of his and already I have given you his song of Anuradha (Kaise din beete) with Pandit Ravi Shankar, of Madhumati (Aaja re pardesi) with Salil Chowdhury and of Guide (Din dhal jaaye haay) with SD Burman.
If the last song that I gave you was called a ‘favourite’ by me, I don’t really know what I should call this? It often tugs at the strings of my emotions and makes me repeatedly conscious of its great lyrics, sadness of notes and awesome singing.
It is from the 1957 movie Ek Gaon Ki Kahani in which Talat Mehmood sang and acted opposite Mala Sinha. It has been composed by the same composer who worked with Shailendra one year later in Madhumati: Salil Chowdhury.
Please close your eyes and listen to: Raat ne kyaa kyaa khwab dikhaye…..
raat ne kyA kyA khvAb dikhaaye
ra.ng bhare sau jaal bichhAye
A.Nkhe.n khulI to sapane TUTe
rah gaye Gam ke kaale sAye
raat ne …
o … (ham ne to chaahA bhUl bhI jAye.n
vo afasAnA kyo.n dohorAye.n ) – 2
dil rah rah ke yaad dilAye
raat ne kyA kyA …
(dil me.n dil kA dad.r chhupAye
chalo jahA.n qismat le jAye ) – 2
duniyA parAyI log parAye
raat ne kyA kyA …
Song #18
Teri yaad dil se bhulane chala hoon…..
Some of you would have observed that I put up just three songs in a day and consciously or unconsciously I try to get the matching mood in all three. Tonight, we first listened to Jaayun kahan bata ai dil and then followed it up with Raat ne kyaa kyaa khwab dikhaye.
To end tonight, I give you a matching song from the 1962 movie Haryali Aur Rasta. The movie starred two actors whose style of acting was the same: in-your-face acting: Manoj Kumar and Mala Sinha. I who have always admired subtlety and sensitivity of acting just couldn’t stand them.
However, just look at their luck; the best of the songs in this movie (and several others) have been on them:
“Teri Yaad Dil Se Bhulaane Chala Hoon” (Shailendra) Mukesh
“Allah Jaane Kya Hoga Aage” (Hasrat Jaipuri) Lata Mangeshkar, Mukesh
“Yeh Hariyali Aur Yeh Rasta” Lata Mangeshkar
“Parwano Ki Raah Mein” Asha Bhosle
“Kho Gaya Hai Mera Pyar” (Hasrat Jaipuri) Mahendra Kapoor
“Ek Tha Raja Ek Thi Rani” (Shailendra) Lata Mangeshkar
“Dil Mera Chup Chap Jala” Lata Mangeshkar, Mukesh
“Bol Meri Taqdeer Mein Kya Hai- I” (Shailendra) Lata Mangeshkar
“Bol Meri Taqdeer Mein Kya Hai – II” (Shailendra) Lata Mangeshkar, Mukesh
Manoj and Mala apart, nothing takes away the excellence of the songs penned by Shailendra in the movie. Teri yaad dil se bhulane chala hoon was composed by Shankar Jaikishan in Raag Tilak Kamod, Tal Kaherava.
Please enjoy: Teri yaad dil se bhulane chala hoon…..
terii yaad dil se, bhulaane chalaa huu.N
ke khud apanii hastii, miTaane chalaa huu.N – 2
terii yaad …
kabhii is jagah khvaab dekhe the maine – 2
vahii KAk apanii u.Daane chalaa huu.N
u.Daane chalaa huu.N
terii yaad …
Song #19
Aaja ri aa nindiya tu aa….
Eighteeen songs of this great lyricist and it appears as if we have just started.
Having finished seeing 1953 movie Patita on my computer last night, I completed seeing 74 movies on my com in about a year and a half, Of course, Shaielndra’s three songs in the movie were great. The one that I gave you: Mitti se khelte ho baar baar kis liye must rank amongst his finest. The other two: Hai sabase madhur woh geet jise hum dard ke sur mein gaate hain; and Kisi ne apana bana ke mukhako muskarana sikha diya also tell of his mastery.
But, today, I start with another Bimal Roy movie (two of his movies Bandini and Madhumati had Shailendra’s lyrics in the songs except Mora gora rang layi le penned by Gulzar). This is the 1953 classic Do Bigha Zameen starring Balraj Sahni and Nirupa Roy. I saw the movie on 08/09 May this year when I was in my home-station Kandaghat.
Surprisingly, being a 1953 movie, when it was a done thing to have a dozen songs in the movie, Do Bigha Zameen had only four songs; it rode on the acting skills of Balraj Sahni and Bimal Roy’s superb direction. Just like Bimal Roy’s Parakh, it had a story written by Salil Chowdhury and all songs and background music was also composed by Salil da.
Have a look at the songs:
1. “Aaja ri aa nindiya tu aa” – Performed by Lata Mangeshkar
2. “Ajab tori duniya ho mere raaja” – Performed by Mohammed Rafi
3. “Dharti kahe pukaar ke” – Performed by Manna Dey, Lata Mangeshkar & chorus
4. “Hariyaala saawan dhol bajaata aaya” – Performed by Manna Dey, Lata Mangeshkar & chorus
We shall take up Aaja ri aa nindiya tu aa. Bimal Roy, very cleverly and poignantly brings out the contrast in this song between the poor Nirupa Roy working as a maid in the house of Meena Kumari; the latter singing a lullaby to put her child to sleep whilst Nirupa Roy’s lad (in earlier scenes) sleeps hungry. Shailendra came up with superb lyrics as follows:
aa jaa re aa ni.ndiyaa tuu aa
jhilamil sitaaro.n se utar aa.Nkho.n me.n aa sapane sajaa
soI kalI soyaa chaman pIpal tale soI havaa
sab ra.ngaa ik ra.ng me.n tuune ye kyaa jaaduu kiyaa
aa jaa …
sa.nsaar kii raanI hai tuu raa jaa hai meraa laaDalaa
duniyaa hai merii god me.n soyaa huaa sapanaa meraa,
aa jaa …
Song #20
Aha rimjhim ke yeh pyaare pyaare geet liye….
In the last song from Do Bigha Zameen, you would agree that one has to be full of immense sensitivity to write something like that. Shailendra was indeed a very sensitive lyricist.
Whereas Raj Kapoor used Shailendra for romantic songs (some of the best romantic songs of Raj Kapoor movies have been penned by him), Salil da made use of his sensitivity to come up with such numbers as the Do Bigha Zameen lullaby that I gave you or Parakh‘s: O sajana barkha bahaar aayi.
It is not as if Salil da was beyond romantic duets. Indeed, some of the romantic duets that he made with Shailendra are amongst the most enchanting in Hindi films.
Here is one of them. It is from the 1960 movie Usne Kaha Tha starring Sunil Dutt and Nanda. Talat Mahmood and Lata Mangeshkar have sung for them.
Recording a song for Usne Kaha Tha. Pic shows Salil da, Mohammad Rafi, Bimal Roy and Shailendra
Please enjoy: Aha rimjhim ke yeh pyaare pyaare geet liye….
t: aahaa rimajhim ke ye pyaare pyaare giit lie
aaI raat suhaanii dekho priit lie
miit mere suno zaraa havaa kahe kyaa, aa …
suno to zaraa, jhii.ngar bole chiikiimiikii chiikiimiikii
rimajhim ke ye pyaare pyaare giit lie
## Then Lata repeats it##
t: (khoii sii bhiigii bhiigii raat jhuume
aa.Nkho.n me.n sapano kii baaraat jhuume ) – 2
dil kii ye duniyaa aaj baadalo.n ke saath jhuume
aahaa rimajhim ke ye …
l: (aa jaao dil me.n basaa luu.N tumhe.n
naino.n kaa kajaraa banaa luu.N tumhe.n ) – 2
jaalim zamaane kii nigaaho.n se chhupaa luu.N tumhe.n
aahaa rimajhim ke ye …
t: (haath.on me.n tere meraa haath rahe
dil se jo nikalii hai vo baat rahe ) – 2
meraa tumhaaraa saarii zindagii kaa saath rahe
aahaa rimajhim ke ye …
Song #21
Kahe jhoom jhoom raat ye suhaani….
This is as metronomical as Salil da‘s last number from Usne Kha Tha. Surprisingly, this was not composed by him but by Shankar Jaikishan (it will still remind you of Salil da!).
This is from the 1959 movie Love Marriage starring Dev Anand and Mala Sinha and would remind you of the two Salil da’s number in Dev Anand-Mala Sinha starrer (though with Majrooh’s lyrics) Maya: Jaa re jaa re udhja re panchhi and Tasveer teri dil mein jis din se utaari hai.
Shankar Jaikishan composed it in Raag Kirwani, Tal Khareva. It has been sung by Lata Mangeshkar for Mala Sinha and of course Shailendra‘s lyrics are simply bewitching.
Please enjoy: Kahe jhoom jhoom raat ye suhaani….
kahe jhuum-jhuum raat ye suhaanii
piyaa haule se chhe.Do dubaaraa
vahii kal kii rasiilii kahaanii
kahe jhuum-jhuum raat …
sun ke jise dil meraa dha.Dakaa
laaj ke sar se aa.Nchal sarakaa
raat ne aisaa jaaduu pheraa
aur hii nikalaa ra.ng sahar kaa
kahe jhuum-jhuum raat …
mastii bharii ye Kaamoshii
chup huu.N kha.Dii dekho mai.n kho_ii sii
dekh rahii huu.N mai.n ek sapanaa
kuchh jaagii sii kuchh so_ii sii
kahe jhuum-jhuum raat …
tan bhii tumhaaraa man bhii tumhaaraa
tumase hii baalam jag ujiyaaraa
rom-rom meraa aaj manaa_e
chhuuTe kabhii na saath tumhaaraa
kahe jhuum-jhuum raat …
Song #22
Dil ki nazar se…..
In 1947, Shailendra started as an apprentice in Railways in Matunga (Bombay). He had started taking part in mushairas with his poems that he used to write in spare time. These days the movie Udhta Punjab is famous and controversial. Raj Kapoor noticed him with his poem Jalta hai Punjab and that changed everything for him.
Between him and Hasrat Jaipuri, they have written almost all songs in Raj Kapoor movies, which were then composed by Shankar Jaikishan.
I have already given you a few songs from Barsaat and Awaara. Lets turn to his 1959 movie Anadi for which he received his second Filmfare award for Best Lyricist. Since this award was introduced only the previous year, Shailendra had got the award for the first two years of its inception before being undseated by Shakeel Badayuni for the next three years.
The movie had the following songs. If you have a look at them you would realise two things: One, each one of them is a super-hit even today and two, Hasrat Jaipuri penned just one of the seven songs.
The first songs: Dil ki nazar se is so dear to me that I named a Song Group on Facebook ‘Dil Ki Nazar Se‘ until circumstances forced me to quit (It is going to be similar story for my other group ‘Yaad Kiya Dil Ne’, the song having been penned by Hasrat Jaipuri whilst for the same movie Patita from where the song has been taken, Shailendra penned two greeat numbers: Mitti se khelte ho baar baar kis liye, and Hai sabase madhur woh geet jinhe hum dard ke sur mein gaate hain).
1 “Dil Ki Nazar Se” Mukesh, Lata Mangeshkar Shailendra 04:38
2 “Nineteen Fifty Six ” Manna Dey, Lata Mangeshkar Shailendra 04:59
3 “Woh Chand Khila Woh Tare” Mukesh, Lata Mangeshkar Shailendra 04:13
4 “Sab Kuchh Seekha Ham Ne” Mukesh Shailendra 03:40
5 “Ban Ke Panchhi Gaaye Pyar Ka Tarana” Lata Mangeshkar Hasrat Jaipuri 03:35
6 “Kisi Ki Muskurahaton Pe” Mukesh Shailendra 04:31
7 “Tera Jana” Lata Mangeshkar Shailendra 03:41
As romantic duets go, Dil ki nazar se is one of the most enchanting compositions, if not the most enchanting, of Shankar Jaikishan. Together with its ethereal lyrics, it transports you to another world; the world of pure love. If you then come to the conclusion that there cannot be a more heart-warming romantic duet than this in Hindi movies, you are not too much off the mark.
It has been sung so beautifully by Mukesh and Lata Mangehskar; so much so that when they come to the words: ‘Hum kho gaye, chand hai ya koi jaadugar hai?‘, you are already in your own dream world.
Lyricist is the starting point of the singing emotions of the actors. So, first of all, full marks to Shailendra to have penned this.
Please enjoy: Dil ki nazar se…..
dil kii nazar se, nazaro.n kii dil se
ye baat kyaa hai, ye raaz kyaa hai
koI hame.n bataa de
dhiire se uThakar, hoTho.n pe aayaa
ye giitaa kaisaa, ye raaza kyaa hai
koI hame.n bataa de, dil kii nazar se …
(kyo.n bekhabar, yU.N khi.nchiisii chalii jaa rahI mai.n
ye kaunase bandhano.n me.n ba.ndhii jaa rahii mai.n ) – 2
kuchh kho rahaa hai, kuchh mil rahaa hai
ye baat kyA hai, ye raaz kyA hai
koI hame.n bataa de, dil kii nazar se …
(ham kho chale, chaa.Nd hai yA koI jaaduugar hai
yaa, madabharii, ye tumhaarii nazar kaa asar hai ) – 2
sab kuchh hamArA, ab hai tumhaaraa
ye baat kyA hai, ye raaz kyA hai
koI hame.n bataa de, dil kii nazar se …
(aakaasha me.n, ho rahe.n hai.n ye kaise ishaare
kyaa, dekhakar, aaj hai.n itane khush chaa.Nd-taare ) – 2
kyo.n tum paraaye, dil me.n samaaye
ye baat kyaa hai, ye raaza kyaa hai
koI hame.n bataa de, dil kii nazar se …
Song #23
Kisi ki muskrahaton pe ho nisaar….
I was going to go sequentially in giving you these songs penned by Shailendra but Sanjiv S Desai, the most ardent fan of Lyrical, intervened and hence, in his honour, I am putting up this song.
The lyrics of this song are a suggestion about how to live life. Coincidentally, today itself, my sister Surekha Saini, put up a quote: “If you develop a habit of praying to God for others, you will never need to pray for yourself”. The song amplifies this further to say that living for others is actual life.
Once again, it is Mukesh singing the lyrics of Shailendra, on S-J‘s composition.
Please enjoy: Kisi ki muskrahaton pe ho nisaar….
kisii kii muskuraahaTo.n pe ho nisaar
kisiikaa dard mil sake to le udhaar
kisiike vaaste ho tere dil me.n pyaar
jiinaa isii kaa naam hai
kisii kii …
(maanaa apanii jeb se fakiir hai.n
phir bhii yaaro.n dil ke ham amiir hai.n ) – (2)
miTe jo pyaar ke liye vo zindagii
jale bahaar ke liye vo zindagii
kisii ko ho na ho hame.n to aitabaar
jiinaa isii kaa naam hai
(rishtaa dil se dil ke aitabaar kaa
zindaa hai hamii.n se naam pyaar kaa ) – (2)
ke mar ke bhii kisii ko yaad aaye.nge
kisii ke aa.Nsuo.n me.n muskuraaye.nge
kahegaa phuul har kalii se baar baar
jiinaa isii kaa naam hai
Song #24
Sab kuchh seekha hamane, na seekhi hoshiyari….
And now for the song for which Shailendra got his second Filmfare Best Lyricist Award (the first one being for 1958 movie Yahudi’s ‘Ye mera deewanapan hai’; the first ever Filmfare award for Best Lyricist).
On Facebook, I have chosen this as my own profile song since I strongly feel that it is better not to be too clever, cunning or worldly-wise.
As expected, Shankar Jaikishan have composed it in their favourite Raag Bhairavi, Tal Kaherava.
As also expected Mukesh has sung this. Here is a picture of Shailendra with Jaikishan, Shankar and Mukesh with their awards:
Please enjoy: Sab kuchh seekha hamane, na seekhi hoshiyari….
Sab kuchh siikhaa hamane naa siikhii hoshiyaarii
Sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
Duniyaa ne kitanaa samajhaayaa
Kaun hai apanaa kaun paraayaa
phir bhii dil kii choT chhupaa kar
hamane aapakaa dil bahalaayaa
khud pe mar miTane kii ye zid thii hamaarii (2)
sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
Asalii nakalii chehare dekhe
Dil pe sau sau pahare dekhe
mere dukhate dil se puuchho
kyaa kyaa khvaab sunahare dekhe
TuuTaa jis taare pe nazar thii hamaarii (2)
sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
Dil kaa chaman uja.Date dekhaa
Pyaara kaa ra.nga utarate dekhaa
hamane har jiine vaale ko
dhan daulat pe marate dekhaa
dil pe marane vaale mare.nge bhikhaarii (2)
sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
Song #25
Tera jaana dil ke armaano ka lut jaana….
And now I come to a favourite of mine from the 1959 movie Anadi starring Raj Kapoor and Nutan. The movie had only one song out of seven penned by Hasrat. From the remaining six, Shailendra’s Sab kuchh seekha hamane fetched him his second Filmfare Award for Best Lyricist; the second year in succession after the award was instituted in 1958.
The song Tera jaana has been sung by Lata Mangeshkar. Once again, Shankar Jaikishan have composed it in their favourite Raaga Bhairavi, Tal Kaherava. It is a sad song since Nutan and Raj Kapoor have parted never to meet again. However, the beat is fast and both the interludes are different and beautiful.
Please enjoy: Tera jaana dil ke armaano ka lut jaana….
( tera jaanaa
dil ke aramaano.n kaa luT jaanaa ) -2
ko_ii dekhe -2
ban ke taqadiiro.n kaa miT jaanaa
teraa jaana
teraa Gam terii Kushii
meraa Gam merii Kushii
tujhase hii thii zindagii
ha.Ns kar hamane thaa kahaa
jiiwan bhar kaa saath hai
ye kal hii kii baat hai
aa
teraa jaanaa
dil ke aramaano.n kaa luT jaanaa
ko_ii dekhe -2
ban ke taqadiiro.n kaa miT jaanaa
teraa jaana
jab-jab chandaa aayegaa
terii yaad dilaayegaa
saarii raat jagaayegaa
mai.n ro kar rah jaa_uu.Ngii
dil jab zid par aayegaa
dil ko kaun manaayegaa
aa
teraa jaanaa
dil ke aramaano.n kaa luT jaanaa
ko_ii dekhe -2
ban ke taqadiiro.n kaa miT jaanaa
teraa jaana
I hope you liked my choice of 25 of his best songs. Please await another 25 in Part II.
Last night we concluded the Mera, Apna, Hamara Songs Fest on my Facebook group ‘Yaad Kiya Dil Ne’ at about 11 P.M. This Fest had large number of theme songs; I myself had a list of some 620 songs. It is, therefore, not possible for me to give all songs here. I am generally the organiser of the fests on YKDN. In addition, I participate like an ordinary participant with two exceptions: one, I put up my songs after everyone has put up theirs; and two, generally, the song of the cover picture of the Fest is reserved for me. This time the reserved song was Kahin door jab din dhal jaaye.
The rules of the fests remain the same fest after fest and these were:
1. Starts at 0600 hrs on Sat, 15th Oct 16.
2. Concludes at 2300 hrs on Sun, 16th Oct 16.
3. The songs are to have the word Mera or Apna or Hamara or any other synonyms/variations of these, either in the mukhada or the antara of your songs. Words such as Main and Hum are not permitted. However, Mora, Hamra etc are permitted.
4. Every participant is permitted to put up five songs per day and a total of ten songs in two days. You can’t put up ten songs in one day. If you have repeated someone’s song, you can’t replace it with another.
5. You must put up the mukhada (first few words) of the song as a comment in the pinned post (the post right on top; it is generally that month’s Calendar post.) to avoid repetitions. Also, read the previous comments put up by others to find what others have put up.
6. Don’t write full story in the comment as at Pt. #5 above. Just the first few words. Put up just one song per comment. I shall be copying and pasting these comments for preparing the Results and don’t want to copy the link: “See More”.
7. The description of your song (in your post and not in the pinned post) must have the title ‘MERA, APNA, HAMARA SONGS FEST” and the Day number and song number; eg, “MERA, APNA, HAMARA SONGS FEST, Day#1, Song #1 and so on). Immediately below this, copy pasre the mukhada that you put in the pinned post so that your song can be related to the mukhada. Immediately below this write the line in which the Theme-word/Keyword of the Fest occurs.
8. You neither write the lyrics of the song, nor sing it, nor make its music, not even make its video. Your total contribution is how well you present the song that you are putting up. Markings for presentation will be independent of Likes as that would be a separate category.
9. Negative marks (upto 5) for those who repeat songs that others have put up. Positive marks (upto 10) for those who put up rare songs.
10. All are requested not to put up, like or comment upon other than Fest theme songs for the duration of the Fest. These can be put up before 0600 hrs on Day #1 and after 2300 hrs on Day #2.
11. Songs are to be put up in YKDN group and not on the event page.
12. The second day starts at midnight after the first day.
13. In order to help me find your songs please title your songs “MERA, APNA, HAMARA SONGS FEST Day #1, Song #1′ and so on only. Don’t use your own synonyms or spellings. Negative marks will be awarded to those who default since members not following these make me spend extra time searching for your posts whilst preparing results.
14. Please put up one mukhada followed by a song and then the next one. Do not reserve songs by putting up nember of mukhadas together.
15. Please discourage copy-paste ‘artistes’ who put up just the url of the song (without any effort), by totally ignoring their posts. I intend awarding negative marks to those who mechanically ‘Like’ such posts.
Alright, with this introduction lets plunge into the ten songs on the theme put up by me. In this Fest, I tried telling a story through these songs and I am sure you will enjoy the story whilst listening to the songs.
Day #1 Song #1
Mera mujh mein kichh nahin…
Keyword: First word of mukhada
And now that we are nine hours into the Fest, it is finally my turn to put up my posts. As I said, I have made a list of over 600 theme songs but, if I can help it, I don’t want to put at random. I want to make it into a story.
Of this story, this song is the introduction. What is the essence of the song? Only this that the word MERA or any of its synonyms is a myth. Nothing actually belongs to any of us. On my Facebook page: ‘Make Your Own Quotes’ I had put up a quote about the futility and ridiculousness of offering sweets etc to God in temples. We accept the fact that everything – even every thought of our minds – is owned by Him. Hence, to then take out a small portion of that everything and offer it back to him is totally incongruous. It is like going to a jeweller and offering him free a beautiful necklace from his own shop. When you offer His own things back to God, it reeks of your desire to show ownership over those gifts. How ludicrous it sounds.
I was conscious of this recently when I did and asked you too to help Anindya Chatterjee in distress. Money is the least of the things that belong to us. Love and gratefulness may actually last longer. For example, any time (100 percent) I chat with and talk to Raj Dutta, he wins! That’s the least I can do for all the love that he showers upon me without holding back anything.
I was conscious of this thought when I planned the Fest. How arrogant MERA, APNA, HAMARA sounds! You already know my last song: Kahin Door Jab Din Dhal Jaaye and hence some of you can guess the intervening story that I shall be knitting for you.
A word about the hymn: Mera mujh mein kichh nahin, jo kichh hai oh tera (I don’t have (O’ God) anything of my own. Whatever is there is yours). This Shabad is composed by Bhagat Kabeer Ji, Guru Arjan Dev Ji and Guru Nanak Dev ji. It is on Page 1375 of Sri Guru Granth Sahib Ji:
1. Kabeer, mayraa mujh meh kichh nahee
Jo kichh hai so tayraa
tayraa tujh ka-o-sa-upatay
ki-aa laagai mayraa
3. Tu jeevan too paraan adhaaraa.
tujh hee paykh paykh man saadhaaraa.
too saajan too pareetam mayraa.
chiteh na bisrahi kahoo bayraa.
ha-o kichh, naahee sabh kichh tayraa.
ot pot naanak sang basayraa.
4. Kabeer, mayraa mujh meh kichh nahee
Jo kichh hai so tayraa
Translation:
1. (Kabeer) Nothing within myself is mine. Whatever there is, is Yours.
If I surrender to You what is already Yours, what does it cost me?
2. I am nothing, God; everything is Yours.
In this world, You are the absolute, formless Lord; in the world hereafter, You are the related Lord of form. You play it both ways, O my Lord and Master.
3. You are my Life, the very Support of my breath of life.
Gazing upon You, beholding You, my mind is soothed and comforted.
You are my Friend, You are my Beloved.
I shall never forget You.
4. (Kabeer) Nothing within myself is mine. Whatever there is, is Yours.
The shabad or the hymn teaches us to ‘Let Go’! A story of Guru Nanak comes to my mind. I was fortunate to see the movie ‘Nanak Shah Fakir’ with my brother Raj Dutta. In his youth, Guru Nanak was working as a storekeeper. One day, he was counting provisions verbally whilst dispensing them to the buyers, ‘One, two, three, …, eleven, twelve, thirteen’. When he reached thirteen, he started saying that number repeatedly. In Punjabi, the number thirteen is ‘Tera’, which also means ‘Yours’. This was called ‘Sachcha Sauda‘ (True Trade or Business) in Guru Nanak’s life as well as in the movie.
There are many different uses of this hymn to bring us inner peace. However, now that we are grief-stricken because of Anindya Chatterjee and Priti Chavan, let me recall the use of the hymn in grief:
Grief is an inevitable part of human experience. For example, the discovery that your child is autistic triggers grief. The discovery that the person you love so dearly does not reciprocate your feelings triggers grief. The discovery that you no longer have your job triggers grief. The discovery that you can never bear a child triggers grief. The list is endless.
In modern psychology, the KÃbler-Ross Model for the grieving process is quite popular. It was developed in 1969 by a Swiss psychiatrist KÃbler-Ross who spent many decades working with the terminally ill. The model has five stages: denial, anger, bargaining, depression and acceptance. The first four stages reflect non-acceptance. Note the words used for describing non-acceptance: ‘denial’, ‘anger’, ‘bargaining’ and ‘depression’.
How does one reach ‘acceptance’ when faced with grief? Many techniques and ideas are found in psychology and spiritual books. There is no single technique or algorithm that works for everybody. For those with a devotional bent of mind, hymns like ‘Mera Mujh Mein‘ are helpful. They shorten the time period that we would otherwise have spent in denial, anger and depression. They also lessen the impact of these negative states of mind, quickly bringing us back on track, with smiles adorning our faces.
And now, you would know why, when I put up pics of Arun Chavan’s daughter Priti Chavan with her husband and the twins who were born to die (all of us are; but in their case it was much much shortened due to SMA Type #1 or Spinal Muscular Atrophy; a rare ailment), I used the words in the cover picture itself: ‘God is always kind’. Tera tujhko saunpte, kyaa laagat hai mera?
Even at the risk of this post becoming long, here is a story that we used to hear and read when I was small:
Once, There was a fakeer (Typical name for a Muslim saint who perpetually worships ‘Allah‘). He used to always recite God’s name. If he got something to eat, then only he’d have his meal, else not. He wasent in need of any of the worldly wants: home, clothes, etc.
But one day, while meditating, a thought came into his mind, ‘O Allah, I pray to you a lot with full heart, but what have you given to me ? I don’t have any home/shelter, there is no second pair of clothes for me, I don’t even know from where am I going to get my next meal. What have you given me?’
So, he went to dargah (Muslim place to worship) and started ‘razoi‘ (We have akhand paath (Prayers without a break) in Sikhism, Muslims have ‘razoi‘). In the end, he put forth the same question to allah.
A voice came: What do you want dear fakeer ?
Fakeer: Hey Allah, you know very well why have I came here. Look at me, the condition of the person who praises you. My clothes are torn apart, I have rashes all over my body, I don’t even have even shoes. At some door, I get some food to eat, else I am left alone with hunger. Put something in my lap. Give me something.
Same voice (of Allah): Ok, here you go.
(‘1′ was placed in his lap/jhooli. (Now don’t ask what is ‘1’. Later you all will know, what is it).
Fakeer: Huh? Just ‘1’? What am I going to do with that ‘1’? You have just ‘1’ for me from your treasure house? You give loads of riches to others and just ‘1’ to me?
Same voice: Go dear, this ‘1’ is very valuable.
Fakeer: As you say Allah.
So he went …
After some time, a ‘0’ (zero) was added after that ‘1’. (Means he progressed 10 times). Then after some more time, one more ‘0’ was added making it ‘100’. Now as the time passed by, the 0’s (zeros) kept on adding.
A worthy thing to notice here is that the ‘0’s’ (zeros) are getting added after that ‘1’ which Allah gave to him. If that ‘1’ was not there, then no matter how many ‘0’s’ you have, the sum will always be equal to 0.
After some time, he became the richest man in the country. Now he had so much wealth, that it was difficult for him to take care of the same. He was very happy being so rich.
One day, he was sitting and reciting … Allah … Allah … and then suddenly he thought that he had so much wealth, now what’s the use of that ‘1’ given to him by his Allah? That ‘1’, he mused, was the only thing He gave me, rest all the wealth was accumulated up by me only. (Sri Guru Granth Sahib calls it: ‘Hau-main’, that is, the feeling of ‘I’ came). Why not I return the ‘1’ to Him back so that it won’t be said that I took Allah’s favour?
So he went back to that dargah and again called upon his Allah.
Allah: Fakeer what do you want now?
Fakeer: Nothing Allah. Now I haven’t came to ask for something, I came here to give you something. (See, a mortal human – Fakeer, acting as a daata/giver in front of the greatest and only true giver of the universe).
(Just think about this for a moment, are we in a position to give anything to our God?)
Allah: First you came to me being a bhikhari (beggar) and now you are in front of me in the form of daata (Great giver)? What is it that you are giving to me?
Fakeer: I came to you last time and you gave me just ‘1’, after that, it was me who gathered all the wealth myself. So I am here to return you that ‘1’.
Allah: (Laughing at his stupidity) Are you sure?
Fakeer: Absolutely. I made up my mind and then came with strong will to return to you your ‘1’.
Allah: Ok. As you wish. (And took back that ‘1’)
Now, in the absence of that ‘1’, it didnt took any time for that so called fakeer turned richest man to be turned back to the same old begger fakeer which he was in the beginning.
Then he again went back to that dargah.
Fakeer: Mere allah, please return me that ‘1’.
Allah: Fakeer, go, you won’t starve because you have recited my name, but I cannot give you back that ‘1’ because it has been taken by some other true lover.
Ladies and gentlemen, Mera mujh mein kichh nahin, jo kichh hai o tera is indeed the beginning of true knowledge and happiness.
My sister Surekha Saini would have told you (If she was participating, she would have certainly put this up) that various singers have sung this hymn over a period of time but the best was the original, sung in 1972, by Bhai Gopal Singh Ragi.
Please enjoy: Mera mujh mein kichh nahin….
Day #1 Song #2
Ai bhai zara dekh ke chalo…
Keyword: Last line: Viraan chidhiya ka basera hai, na tera hai, na mera hai.
The story so far: After announcing the Fest on this theme, I have been hit with emotions of regret. The word ‘Mera‘ (Mine) is a myth. Nothing is ever mine or yours. Everything belongs to God.
I read a lot of philosophy and have written a fair bit on my blog Sunbyanyname.com. A lot of debate and dicussion is there on the concept of Free-Will. However, if you have followed me so far, you would know that if nothing belongs to you, how can a mere mortal have ‘Free-Will’. One of the foremost modern thinkers on this subject was Swami Vivekananda. According to him you cannot find Free-Will in the universe. For obtaining Free-Will, as per Swami ji, one has to get out of the confines of the universe. And guess what, by invoking Consciousness, from the Vedic period, our sages have been actually traveling beyond the confines of the universe.
Generally, songs for Raj Kapoor movies have been penned by either Shailendra or Hasrat Jaipuri. However, this one from the 1970 movie Mera Naam Joker has been penned by Neeraj.
Mera Naam Joker is a comic theme about a circus joker who makes his audiences laugh, hiding his own sorrows and sadnesses. This song and the other: Jeena yahan marna yahan, is ke siwa jaana kahan, are actually, at the higher level, representative of the thoughts I have penned above. Things have been already writ for you (What the Guru Granth Sahib calls ‘Kirt‘. By the way, as an aside I must mention that my return to Sri Guru Granth Sahib, every now and then, is not to proclaim that it is the best amongst treatises of various religions. However, only give a thought that SGGS is already amalgamation of various religious thoughts in our country between 15th to 18th century and should not actually be the proprietary document of any particular religion).
Pay attention to every line penned by Neeraj and you would know that it is straight from the scriptures. Lets start with the first two: Tu jahan aaya hai, woh tera ghar nahin, gaanv nahin, gali nahin, kuuchcha nahin, rasta nahin, basti nahin…..duniya hai. And what happens in this duniya, since nothing belongs to us:
“Veeraan chidhiya ka basera hai, na tera hai, na mera hai“.
Many years before, Shakeel Badayuni, brought out similar thoughts in his famous Mela (closeness to ‘Circus’ of Mera Naam Joker) song:
“Duniya hai mauj-e-dariya, Katre ki zindagi kyaa”
A person who says Mera Mera (Mine, Mine) is like this:
“Jab tak tha dum mein dum, na jhuke aasma se hum, jab maut aagai, tab zameen ne daba liya”
(When there was life in this body,
The sky was the limit for me,
When I died
I was burried inside the earth)
Ladies and gentlemen, at this stage, remember what Bahadur Shah Zafar wrote (he was an emperor!):
“Kitana hai badnaseeb Zafar dafan ke liye, Do ghaz zameen bhi na mili kuye yar mein“.
We might have differences about the best lyricist: my sisters Manik Lakhkar Chava and Evani Leela would insist it is Sahir and I proclaim it is Shakeel. However, we have no differences about the music duo ever in Hindi films (I did a 45 days tribute to them on Lyrical). This too has been composed by them; Shankar Jaikishan. Manna Dey is the singer.
Please enjoy – and now that some of you at least are reading my story – pay attention to Neeraj’s lyrics: Ai bhai zara dekh ke chalo…. For example, see how each line has a meaning at a higher level. Let me give an example: “Ooper hi nahin, neeche bhi“. This is not just entertainment; as I said, it is straight out of the scriptures!
(Ai bhaaii, zaraa dekhake chalo, aage hii nahii.n piichhe bhii
daaye.n hii nahii.n baaye.n bhii, uupar hii nahii.n niiche bhii) – 2
Ai bhaaii
Tuu jahaa.N aayaa hai vo teraa – ghar nahii.n, gaa.Nv nahii.n
Galii nahii.n, kuuchaa nahii.n, rastaa nahii.n, bastii nahii.n
Duniyaa hai, aur pyaare, duniyaa yah ek sarakas hai
Aur is circus me.n – ba.De ko bhii, choTe ko bhii
Khare ko bhii, khoTe ko bhii, moTe ko bhii, patale ko bhii
Niiche se uupar ko, uupar se niiche ko
Baraabar aanaa-jaanaa pa.Dataa hai
(Aur ri.ng maasTar ke ko.De par – ko.Daa jo bhuukh hai
Tho.Daa jo paisaa hai, ko.Daa jo qismat hai
Tarah-tarah naach kar dikhaanaa yahaa.N pa.Dataa hai
Baar-baar ronaa aur gaanaa yahaa.N pa.Dataa hai
Hero se jokar ban jaanaa pa.Dataa hai) – 2
Girane se Darataa hai kyo.n, marane se Darataa hai kyo.n
Thokar tuu jab na khaaegaa, paas kisii Gam ko na jab tak bulaaegaa
Zi.ndagii hai chiiz kyaa nahii.n jaan paayegaa
Rotaa huaa aayaa hai chalaa jaaegaa
Kaisaa hai karishmaa, kaisaa khilavaa.D hai
Jaanavar aadamii se zyaadaa vafaadaar hai
Khaataa hai ko.Daa bhii rahataa hai bhuukhaa bhii
Phir bhii vo maalik par karataa nahii.n vaar hai
Aur insaaN yah – maal jis kaa khaataa hai
Pyaar jis se paataa hai, giit jis ke gaataa hai
Usii ke hii siine me.n bhokataa kaTaar hai
Circus?
Haa.N baabuu, yah circus hai sho tiin gha.nTe kaa
Pahalaa gha.nTaa bachapan hai, duusaraa javaanii hai
Tiisaraa bu.Dhaapaa hai
Aur usake baad – maa.N nahii.n, baap nahii.n
BeTaa nahii.n, beTii nahii.n, tuu nahii.n,
Mai.n nahii.n, kuchh bhii nahii.n rahataa hai
Rahataa hai jo kuchh vo – Kaalii-Kaalii kursiyaa.N hai.n
Kaalii-Kaalii taambuu hai, Kaalii-Kaalii gheraa hai
Veeran chi.Diyaa kaa baseraa hai, na teraa hai, na meraa hai
https://www.youtube.com/watch?v=2nRzs4BHzxY
Day #1 Song #3
What have I got of my own?
Keyword (s): In the mukhada (two out of the seven words)
Just before I went for my evening walk, followed by calisthenics, I got a live demo (arranged by God) of the fact that nothing belongs to me. I spent about 45 mins preparing this post and I was about to press ‘Post’, when Vipan Kohli commented on my Song #1. It popped up and instead of pressing ‘Post’, his pop-up notification got pressed. Lo and behold, my post vanished. This was God’s way to tell me that even the posts are not my posts! Ha!
THE STORY SO FAR: Nothing belongs to us; Everything belongs to God and to understand this simple fact is the beginning of true knowledge and real happiness. We do not have Free-Will. To obtain Free-Will one has to go beyond the confines of the universe. In the absence of Free-Will, we are like puppets in a Mela or Circus (Aur ring-master ke kodhe pe). And, we have an Invisible Force that controls our everything.
By the mukhada of this song, if you feel that mine is a one track mind and I am continuing relentlessly with this sub-theme, you are mistaken. With this song, I introduce the highest feeling on earth called Love. That invisible force, who gave us everything, every emotion, every thought in this world (duniya) gives us Love to exercise partial control. It is because Love controls everything. Love is God Himself.
It brings us sadnesses and grief, but, ultimately Love is Happiness.
As I was typing this, last time, I had Raj Dutta commenting on my post with a poem by Baba Farid where he compares human beings to maati ke putle. Here is for you, Raj Dutta, by a most respected lyricist Shailendra in a song from a movie produced by him (This song is not my post but introduction to my post):
(दुनिया बनाने वाले, क्या तेरे मन में समाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई ) – २
काहे बनाए तूने माटी के पुतले,
धरती ये प्यारी प्यारी मुखड़े ये उजले
काहे बनाया तूने दुनिया का खेला – २
जिसमें लगाया जवानी का मेला
गुप-चुप तमाशा देखे, वाह रे तेरी खुदाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई …
तू भी तो तड़पा होगा मन को बनाकर,
तूफ़ां ये प्यार का मन में छुपाकर
कोई छवि तो होगी आँखों में तेरी – २
आँसू भी छलके होंगे पलकों से तेरी
बोल क्या सूझी तुझको, काहेको प्रीत जगाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई …
प्रीत बनाके तूने जीना सिखाया, हंसना सिखाया,
रोना सिखाया
जीवन के पथ पर मीत मिलाए – २
मीत मिलाके तूने सपने जगाए
सपने जगाके तूने, काहे को दे दी जुदाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई …
Dear Raj Dutta, if you listen to the last stanza, you will now know what my story is leading to and perhaps now you will be able to guess why I kept Kahin door jab din dhal jaaye as the last song.
Trini Lopez’s What Have I Got Of My Own? was a song that I listened to when I was a boy and this song has found repeated mention in my blog. His songs like Lemon Tree, La Bamba, If I had a Hammer, and Love Me Tonight were popular during our times.
In the first three stanzas, he rues not having anything of his own; but, in the last stanza, he says if he’d have true love, he won’t want anything else on earth!
In short: ‘When you have love, you have everything‘. It lasts a lifetime being with you (Hindus believe it last saat janam) and, for God’s sake, that’s owning it much much longer than anything else!
I am not going to repeat my complete earlier post. What has gone is gone!
But, please enjoy: What have I got of my own?
What have I got of my own, my own?
What have I got of my own?
The castles I build when I lie in the sand,
Belong to a king in a fairy tale land.
The treasures I find, when I dream in my sleep,
Are gone in the dawn. Not a thjng I can keep.
What have I got of my own, my o~own?
What have I got of my own?
The stars all belong high in heaven above.
My heart belongs to the one that I love.
The rivers that flow all belong to the sea.
What have I got that belongs to me?
What have I got of my own, my o~own?
What have I got of my own?
I hope someday before too long
My heart will sing a happy song.
I’m tired of being lonely, unhappy and sad.
I wanna have the things that other men have.
What have I got of my own, my o~own?
What have I got of my own?
Solo interlude
If I could choose one thing forever to hold,
I know I would never choose diamonds or gold.
Just give me one true love to be mine alone,
Then I’ll have all the things of my own, my own.
What have I got of my own?
My own.
What have I got of my own?
Day #1 Song #4
Saare jahan se achcha Hindostan hamara
Keyword: In the mukhada.
THE STORY SO FAR: Nothing belongs to us. Everything belongs to God. Hence, we should never rue the loss of anything; it was God’s and He took it back. We have no Free-Will. We are like people in a play or circus who are given their parts to play and we do so to the best of our ability (Please recall the sermon given to Arjuna before the Battle of Mahabharta by our Lord Krishna) However, amongst everything that goes gives and takes back, Love is an emotion that gives us some sort of control after we fall in love (one has no control over Love and hence the expression “falling” in love and not “stepping” into it!)
Love is, hence, not a reasoned emotion! It is an attachment at one end and at the highest end, it is the greatest feeling on earth.
IT GIVES US OWNERSHIP!
Lets see, if all of us were to become saints and sages, what will happen to the world? No one would ever “fall” in love and people would be ‘selfishly‘ in pursuit of God. Now, it can’t be that God sent us on this earth to get back to Him; then, why to send us at all?
Let me take the Love between a Man and a Woman first, the commonest form of Love. Guru Nanak thinks of it as the purest form of Love since he in Sri Guru Granth Sahib (SGGS) regards himself as a woman seeking her Lover, God. He goes about advising all of us to be in that relationship with God as a ‘suhaagan‘ is with her ‘suhaag‘.
The other day, whilst commenting on one of the Sufi songs of Surekha Saini, I brought out this commonality between SGGS and Sufism.
What does this ownership born out of LOVE do to you? Well, it inspires you to be loyal to your love so that you are in true and perfect relationship and not just infatuated. This Love then is the beginning of all other relationships on earth: Brothers, Sisters, Uncles, Aunts etc. Without this Love relationship, the world won’t have progressed and hence when Shailendra bemoaned in Teesri Kasam as to why God made Love, he already had the answer.
The ownership (for as long as you love, you have it) born out of Love is the aspect that makes highest attainments in human beings possible.
Recently, we had the Surgical Strikes across LOC. What was the controlling feeling? Naturally, it is Love for one’s country and countrymen and women. That’s why we have defence forces and not offence forces. We are protectors of that Love for our country.
Let me give you one of the poems as introduction to the National Song to which I am leading you now. This poem was written by Ram Prasad Bismil. He was born on 11th June 1897 in Shahjahanpur. He was hanged by the British at the age of 30 years for what? For his love for the country. Look at the junoon this love manifests into:
सरफ़रोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू-ए-क़ातिल में है
(ऐ वतन,) करता नहीं क्यूँ दूसरा कुछ बातचीत,
देखता हूँ मैं जिसे वो चुप तेरी महफ़िल में है
ऐ शहीद-ए-मुल्क-ओ-मिल्लत, मैं तेरे ऊपर निसार,
अब तेरी हिम्मत का चरचः ग़ैर की महफ़िल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है
वक़्त आने पर बता देंगे तुझे, ए आसमान,
हम अभी से क्या बताएँ क्या हमारे दिल में है
खेँच कर लाई है सब को क़त्ल होने की उमीद,
आशिक़ोँ का आज जमघट कूचः-ए-क़ातिल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है
है लिए हथियार दुशमन ताक में बैठा उधर,
और हम तय्यार हैं सीना लिये अपना इधर.
ख़ून से खेलेंगे होली गर वतन मुश्किल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है
हाथ, जिन में हो जुनून, कटते नही तलवार से,
सर जो उठ जाते हैं वो झुकते नहीं ललकार से.
और भड़केगा जो शोलः सा हमारे दिल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है
हम तो घर से ही थे निकले बाँधकर सर पर कफ़न,
जाँ हथेली पर लिये लो बढ चले हैं ये कदम.
जिन्दगी तो अपनी मॆहमाँ मौत की महफ़िल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है
यूँ खड़ा मक़्तल में क़ातिल कह रहा है बार-बार,
क्या तमन्ना-ए-शहादत भी किसी के दिल में है?
दिल में तूफ़ानों की टोली और नसों में इन्क़िलाब,
होश दुश्मन के उड़ा देंगे हमें रोको न आज.
दूर रह पाए जो हमसे दम कहाँ मंज़िल में है,
जिस्म भी क्या जिस्म है जिसमें न हो ख़ून-ए-जुनून
क्या लढ़े तूफ़ान से जो कश्ती-ए-साहिल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू-ए-क़ातिल में है
This poem inspired many. One of them was Shahid Bhagat Singh. He sang (another theme song): Mera rang de basanti chola and when he was to be hanged for his own Love for India and his mother came to see him in the prison, he had this to say to her:
तू ना रोना, के तू है भगत सिंह की माँ
मर के भी लाल तेरा मरेगा नहीं
डोली चढ़के तो लाते है दुल्हन सभी
हँसके हर कोई फाँसी चढ़ेगा नहीं !
That is what Love can do for you. Mile sur tera hamaara. Just as a man in love thinks of his beloved as dulhan, the one who is in true love with his nation, thinks of his country as the Motherland. Just as a man thinks of his beloved as the most beautiful on earth, a man in love with his country thinks of his country (motherland) as the most beautiful.
And that brings us squarely to our national song:
It is known as Taranah-e-Hind or Anthem of the People of Hindustan. Forty three years before independence, it was written by the poet Muhammad Iqbal and published in the Ittehad, a weekly journal.
The next year, it was read by him in Government College Lahore (then in India) and it soon became the manifestation of our opposition to the British rule. He was, of course, a lecturer in the same college.
There is no Indian, whose chest doesn’t swell with pride at the recitation of this poem/song.
In parades all over the country, men and women march to the tune of this song.
I am giving you the poem in all three languages: Urdu, Hindi and English and its meaning in English:
Urdu
سارے جہاں سے اچھا ہندوستاں ہمارا
ہم بلبلیں ہیں اس کی، یہ گلستاں ہمارا
غربت میں ہوں اگر ہم، رہتا ہے دل وطن میں
سمجھو وہیں ہمیں بھی دل ہو جہاں ہمارا
پربت وہ سب سے اونچا، ہمسایہ آسماں کا
وہ سنتری ہمارا، وہ پاسباں ہمارا
گودی میں کھیلتی ہیں اس کی ہزاروں ندیاں
گلشن ہے جن کے دم سے رشکِ جناں ہمارا
اے آبِ رودِ گنگا! وہ دن ہیں یاد تجھ کو؟
اترا ترے کنارے جب کارواں ہمارا
مذہب نہیں سکھاتا آپس میں بیر رکھنا
ہندی ہیں ہم، وطن ہے ہندوستاں ہمارا
یونان و مصر و روما سب مٹ گئے جہاں سے
اب تک مگر ہے باقی نام و نشاں ہمارا
کچھ بات ہے کہ ہستی مٹتی نہیں ہماری
صدیوں رہا ہے دشمن دورِ زماں ہمارا
اقبال! کوئی محرم اپنا نہيں جہاں میں
معلوم کیا کسی کو دردِ نہاں ہمارا!
Hindi
सारे जहाँ से अच्छा हिन्दोसिताँ हमारा
हम बुलबुलें हैं इसकी यह गुलसिताँ हमारा
ग़ुर्बत में हों अगर हम, रहता है दिल वतन में
समझो वहीं हमें भी दिल हो जहाँ हमारा
परबत वह सबसे ऊँचा, हम्साया आसमाँ का
वह संतरी हमारा, वह पासबाँ हमारा
गोदी में खेलती हैं इसकी हज़ारों नदियाँ
गुल्शन है जिनके दम से रश्क-ए-जनाँ हमारा
ऐ आब-ए-रूद-ए-गंगा! वह दिन हैं याद तुझको?
उतरा तिरे किनारे जब कारवाँ हमारा
मज़्हब नहीं सिखाता आपस में बैर रखना
हिन्दी हैं हम, वतन है हिन्दोसिताँ हमारा
यूनान-व-मिस्र-व-रूमा सब मिट गए जहाँ से
अब तक मगर है बाक़ी नाम-व-निशाँ हमारा
कुछ बात है कि हस्ती मिटती नहीं हमारी
सदियों रहा है दुश्मन दौर-ए-ज़माँ हमारा
इक़्बाल! कोई महरम अपना नहीं जहाँ में
मालूम क्या किसी को दर्द-ए-निहाँ हमारा!
English
Sāre jahāṉ se acchā, Hindositāṉ hamārā
Ham bulbuleṉ haiṉ is kī, yih gulsitāṉ hamārā
G̱ẖurbat meṉ hoṉ agar ham, rahtā hai dil wat̤an meṉ
Samjho wuhīṉ hameṉ bhī dil ho jahāṉ hamārā
Parbat wuh sab se ūṉcā, hamsāyah āsmāṉ kā
Wuh santarī hamārā, wuh pāsbāṉ hamārā
Godī meṉ kheltī haiṉ is kī hazāroṉ nadiyāṉ
Guls̱ẖan hai jin ke dam se ras̱ẖk-i janāṉ hamārā
Ai āb-i rūd-i Gangā! wuh din haiṉ yād tujh ko?
Utrā tire kināre jab kārwāṉ hamārā
Maẕhab nahīṉ sikhātā āpas meṉ bair rakhnā
Hindī haiṉ ham, wat̤an hai Hindositāṉ hamārā
Yūnān o-Miṣr o-Rūmā, sab miṭ ga’e jahāṉ se
Ab tak magar hai bāqī, nām o-nis̱ẖaṉ hamārā
Kuch bāt hai kih hastī, miṭtī nahīṉ hamārī
Ṣadiyoṉ rahā hai dus̱ẖman daur-i zamāṉ hamārā
Better than the entire world, is our Hindustan,
We are its nightingales, and it (is) our garden abode
If we are in an alien place, the heart remains in the homeland,
Know us to be only there where our heart is.
That tallest mountain, that shade-sharer of the sky,
It (is) our sentry, it (is) our watchman
In its lap frolic where thousands of ponds,
Whose vitality makes our garden the envy of Paradise.
O the flowing waters of the Ganges, do you remember that day
When our caravan first disembarked on your waterfront?
Religion does not teach us to bear ill-will among ourselves
We are of Hind, our homeland is Hindustan.
In a world in which ancient Greece, Egypt, and Rome have all vanished without trace
Our own attributes (name and sign) live on today.
Such is our existence that it cannot be erased
Even though, for centuries, the cycle of time has been our enemy.
Iqbal! We have no confidante in this world
What does any one know of our hidden pain?
At this stage, I can hear my friend Jaswant Singh Lagwal ask me, “Sirjee, is baar Raagas ka kyaa huaa?“. Dear Jaswant Singh Lagwal, yes this is in Raag Pahadi (the raaga of your and my place in the hills). I could have given you Sarfroshi ki tamanna itself in Raag Darbari.
Day #1 Song #5
Tere bachpan ko jawani ki duaa deti hoon
Keyword in first line of first stanza: Mere munne mere gulazaar ke nanhe paudhe
THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara).
Lets proceed further:
One of the oft talked about Love (ownership) is by a mother for her child. If love can inspire people to highest attainments in everything, a love of a mother always reaches such pinnacles. I am fond of giving this example of a mother and her infant stuck under the rubble for three full days in an earthquake in Russia. As the rubble was moved away after three days, without having anything to eat or drink, the couple (mother and child) were found alive! It came out that the mother fed the child her own blood in order to keep it alive and willed herself to remain alive because if she would die the infant was certain to die (without any nourishment). That’s the love (ownership: mere bachche) of a mother for you.
I have been giving a song as introduction to my song (there are plenty of songs on the theme, that is why) Here is an introductory song from the movie Amar Prem. She is not even the blood-mother of the child (Vipan Kohli in his hymn of Anup Jalota would know that Yashoda wasn’t the blood mother of Krishna) and yet look at the words used by her:
बड़ा नटखट है रे कृष्ण-कन्हैया
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे
(ढूँढे री अंखियाँ उसे चारों ओर
जाने कहाँ छुप गया नंदकिशोर ) – २
उड़ गया ऐसे जैसे पुरवय्या
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे
(आ तोहे मै गले से लगा लूँ
लागे ना किसी की नज़र मन मे छुपा लूँ ) – २
धूप जगत है रे ममता है छैंया
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे
(मेरे जीवन का तू एक ही सपना
जो कोई देखे तोहे समझे वो अपना ) – २
सब का है प्यारा, हो सब का है प्यारा बंसी-बजय्या
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे
She wants her child to be as beloved to the people as Kanhaiyya is to all of us.
If this can be the feelings of the not-blood-mother, imagine the sense of ownership of the blood-mother wishing her child the best.
I copy the lyrics of the songs from Smriti.com. Normally, there is no introduction to the songs, just the lyrics. However, this song’s lyrics have an introduction and this is it:
“This song is sung by a mother (Waheeda) to her child as a “lori“. The father (Sunil Dutt) is a “daaku” and is on the run from the law. Hence the entire family is constantly in hiding, moving from place to place hoping to remain undetected. This song is basically an expression of how the sins of the parents visit the children. The “dard” and softness in Lata’s voice as she sings this song makes it
one of the most moving songs I have heard.”
Manik Lakhkar Chava and Evani Leela, I have to give it to you: the lyrics by Sahir Ludhianvi (your favourite poet and lyricist) are simply out of this world. As it is, in this world, after a new child is born, the mother thinks of how the child would face the cruel, selfish, and hostile world. However, if he/she is a dacoit’s son, one worries extra for the society treating the child with added animosity.
The fact of the matter is that a child carries with it, on its tiny shoulders, some of (if not most of) the virtues and sins, fruits of good deeds and bad deeds of its parents. In that sense, this song’s lyrics are truly a reflection of how one generation (sense of ownership) is carried forward to the next.
Mujhe Jeene Do. Chalo, mujhe to jeene na diya; ab isse to jeene do!
Please enjoy: Tere bachpan ko jawani ki dua deti hoon….
Tere bachapan ko javaanii kii duaa detii huu.N
Aur duaa deke pareshaan sii ho jaatii huu.N
Mere munne mere gulazaar ke nanhe paudhe
Tujhako haalat kii aa.ndhii se bachaane ke liye
Aaj mai.n pyaar ke aa.nchal me.n chhupaa letii huu.N
Kal ye kamazor sahaaraa bhii na haasil hogaa
Kal tujhe kaa.nTo.n bharii raaho.n pe chalanaa hogaa
Zi.ndagaanii kii ka.Dii dhuup me.n jalanaa hogaa
Tere bachapan ko javaanii …
Tere maathe pe sharaafat kii koI mohar nahii.n
Cha.nd hote hai.n muhabbat ke sukuun hii kyaa hai.n
Jaise maao.n kii muhabbat kaa koI mol nahii.n
Mere maasuum farishte tuu abhii kyaa jaane
Tujhako kis-kisakii gunaaho.n kii sazaa milanii hai
Diin aur dharm ke maare hue i.nsaano.n kii
Jo nazar milanii hai tujhako vo khafaa milanii hai
Tere bachapan ko javaanii …
Be.Diyaa.N leke lapakataa huaa kaanuun kaa haath
Tere maa.N-baap se jab tujhako milii ye saugaat
Kaun laaegaa tere vaaste khushiyo.n kii baaraat
Mere bachche tere a.njaam se jii Darataa hai
Terii dushman hii na saabit ho javaanii terii
Khaak jaatii hai jise sochake mamataa merii
Usii a.njaam ko pahu.nche na kahaanii terii
Tere bachapan ko javaanii …
https://www.youtube.com/watch?v=P2D-Z7XM7aU
Day #2 Song #1
Kisi raah mein kisi mod par
Keyword: In the last two words of the mukhada: Mere hamsafar.
THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon)
Lets proceed further, today, the second and the last day of the Fest:
It has been nearly 16 hours since everybody else started putting up songs for the second day and hence it is safe for me to start putting up now without anyone telling me that I put up his/her song. I had to re-jig my story a little bit because of some of you putting up the songs I had planned to do.
In any case, if you would have noticed I am trying to tell my story through the medium of very ordinary songs rather than trying to impress you with my choices. I maintain that anybody could have chosen the songs through which I am telling my story.
Love between a husband and wife is regarded in our scriptures as the purest form of love, so much so that Guru Nanak used the simile of husband and wife to talk about the Love that must exist between a man (or woman) and God. Isn’t it surprising that Guru Nanak didn’t choose the Love simile of a mother or father for her/his child?
How does this Love (not infatuation but real Love) take place? Our (culture and religion) theory is that this Love and the ensuing wedding is made in heaven. Please don’t forget what I told you about “Duniya bananewaale ne preet banayi”.
After undertaking the journey of life singly, the lovers are now planning to undertake this journey together, enjoying it together and surpassing all obstacles together: Tere mere sapane ab ek rang hain and so on.
Hamsafar is the right word to use for them in undertaking this journey. The girl has a doubt (in our culture, she is the one who leaves her family and moves with and into the boy’s family; or at least that used to happen during the period of the songs we are talking about); if not several doubts and she requires reassurance whether she has made the right choice in taking him as a hamsafar.
Sometimes even the boy has doubts, especially if he is poorer. There are several songs to this effect. One of the best that I can give you (as an introduction) is from the 1959 movie Kali Topi Laal Rumaal (as ordinary a movie as any of my songs). Majrooh, Chitragupta, Rafi and Lata have put this together:
ल : लागी छूटे ना अब तो सनम
चाहे जाए जिया तेरी क़सम
लागी छूटे ना …
र : तुझको पुकारे बन के दीवाना ना माने रे जिया -२
ल : ओ जी हो
प्यार किया तो करके निभाना सुनो जी रसिया
र : ओ प्यार किया तो प्यार किया तेरी क़सम
लागी छूटे ना …
ल : दूर हूँ फिर भी दिल के क़रीब निशाना है तेरा -२
र : सोच ले फिर से एक गरीब दीवाना है तेरा -२
ल : सोच लिया जी सोच लिया तेरी क़सम
र : लागी छूटे ना …
ल : जब से लड़ी है तुझसे निग़ाहें तड़प रहा दिल -२
र : देख के चलना प्यार की राह बड़ी है मुश्किल
ल : देख लिया जी देख लिया तेरी क़सम
लागी छूटे ना …
Please pay particular attention to the words: Soch liya ji soch liya, teri kasam!
Even in Ajnabee (and for that matter in several hundred movies) she still continues to have these doubts. Do you remember the train scene when he asks (in the song, that is): Kyaa soch rahi ho? And she answers:
“Aisa na ho tu kabhi chhod de mera saath”
And he immediately answers: “Phir na kabhi karna dil todane waali baat”
Reassured, she quips, “Maine to ki thi dillagi“!
You can call this Dillagi to ask this most important question sooner than later but the fact is you don’t want to be alone, high and dry when he leaves (Don’t forget that the Man by his very nature, from Stone Age onwards is actually polygamous) and then sing (Acknowledging his polygamous nature): Tum mujhe bhool bhi jaao to yeh haq hai tumako, meri baat aur hai maine to mohabbat ki hai (another theme song that is).
A similar thing happened with Sharmila Tagore in the 1970 movie Mere Hamsafar when she is running away with her love Jeetendra. Last night I was responding to Suman Saxena and I brought out this curious coincidence that Sharmila, in various movies, was the most easily impregnated woman and most often than not she landed up being an unwed mother from Aradhana to Daag to Aa Gale Lag Ja. Even in Amar Prem she took fancy to a boy who was not her son. Hence, for her to be asking this question is really important!
The beauty of this song penned by Anand Bakshi is that he reassures her with the sweetest sounding words: Teraa sa.ng saayaa bahaar kaa teraa ruup aa_iinaa pyaar kaa; tujhe aa nazar me.n chhupaa luu.N mai.n tujhe lag na jaa_e kahii.n nazar. Which is another way of saying what Suchitra Sen and Pradeep Kumar said to each other in Mamta: Chhupa lo youn dil mein pyaar mera ke jaise mandir mein lau diye ki. And yet, in that movie, he couldn’t be hers!
This song was composed by Kalyanji Anandji (KgAg for Jaswant Singh Lagwal) in Raag Charukesi, Tal Rupaktal (Rare combination that makes this ordinary song get the veneer of being extraordinary).
Suman Saxena brought out that Laxmikant Pyarelal were well versed with the use of Flute in their songs. Of course, I agreed with her and even gave her Milan song: sawan ka mahina pawan kare sor, as an example. But, the fact is that many composers of that era used Flute extensively. You should hear OP Nayyar in Phagun (Piya O piya na laage mora jiya, another theme song) or Naushad in Baiju Bawra or Kalyanji Anandji in this song or in the songs of Jab Jab Phool Khile (eg, Pardesiyon se na akhiyan milana).
The duet that I have selected for you has been sung by Lata Mangeshkar and Mukesh, the pair that put together some of the most enchantingly romantic songs in Hindi movies: eg, Dil ki nazar se.
Please enjoy: Kisi raah mein kisi mod par, kahin chal na dena tu chhod kar….
La : Kisii raah me.n kisii mo.D par kahii.n chal na denaa tuu chho.D kar
mere hamasafar -4
Mu : Kisii haal me.n kisii baat par kahii.n chal na denaa tuu chho.D kar
mere hamasafar -4
La : meraa dil kahe kahii.n ye na ho ( nahii.n ye na ho ) -2
kisii roz tujhase bichha.D ke mai.n tujhe Dhuu.NDhatii phiruu.N dar-ba-dar
mere hamasafar -4
Mu : teraa sa.ng saayaa bahaar kaa teraa ruup aa_iinaa pyaar kaa
tujhe aa nazar me.n chhupaa luu.N mai.n tujhe lag na jaa_e kahii.n nazar
mere hamasafar -4
La : Teraa saath hai to hai zindagii
Mu : Teraa pyaar hai to hai roshanii
La : Kahii.n din ye Dhal jaa_e kyaa pataa
Mu : Kahaa.N raat ho jaa_e kyaa Kabar
Do : Mere hamasafar -4
La : kahii.n chal na denaa …
Day #2 Song #2
Baabul moraa naihar chhootoo hi jaae
Keyword: Second word of the mukhada: moraa.
THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon).
And today, in the very first song we started with the Love between Man and Woman that would eventually lead to wedlock but she (and sometimes he) has doubts whether he would walk with her all throughout the journey of life or leave her midway (Song #6: Kisi raah mein kisi mod par kahin chal na dena tu chhod kar).
Lets proceed further:
He is in love with her and she wants to tell the whole world (Aaj mere man mein sakhi baansuri bajae!). She hopes for the best (Tera mera sath rahe). They sing together: Tere mere sapane ab ek rang hain and Hum tuhaare liye, tum hamare liye phir zamaane ka kya ho? or Tere mere beech mein kaisa hai yeh bandhan or Kisi ne apna bana ke mujhako muskarana sikha diya or even Kora kaagaz that ye man mera, likh diya naam uspe tera. She is grateful to God and him: Aap ki nazaron ne samajha pyaar ke kaabil mujhe.
And finally, it is: Mehandi lagi mere haath re!
And then, she has to leave her parents’ to join him and his family. Hundreds and even thousands of songs to describe this feeling such as: Chal ri sajani ab kyaa soche, Mujhe baabul ke ghar jaana hai, Baabul ki duaayen leti jaa and finally, after she reaches ther: Main to bhool chali baabul ka des, piya ka ghar pyaara lage.
However, the best in this category is the one that addresses this at two different planes: the material world plane of a woman leaving her home to join her new home, that of her husband. And the spiritual plane of finishing the journey of this world and going to the other world (jahan se koi nahin waapis aaya!).
By the way, there is a third plane at which the song is addressed:
The song was written by Nawab Wajid Ali Shah, the 19th-century Nawab of Awadh as a lament when he was exiled from his beloved Lucknow by the British Raj before the failed Rebellion of 1857, where he uses the metaphor of bidaai (bride’s farewell) of a bride from her father’s (babul) home, and his own banishment from his beloved Lucknow, to far away Calcutta, where he spent the rest of his years.
This song has, therefore, illustrious lineage about it. As I said earlier, it was written by Wajid Ali Shah, the last Nawab of Awadh. He was a poet, playwright, dancer and great patron of the arts. He is widely credited with the revival of Kathak as a major form of classical Indian dance. If you see Satyajit Ray’s movie Shatranj Ke Khiladi based on a story by Munshi Premchand, you would know how his kingdom was annexed by the British in a bloodless coup whilst he, the Nawab, busied himself in his artistic pursuits.
It was composed by RC Boral or Rai Chand Boral, widely considered as the father of Hindi films music. Naturally, he was the recipient of the highest in performing arts: the Babasaheb Phalke Award conferred by the government of India.
It was sung by the first super-star of the Hindi or even Indian movies: Kundan Lal Saigal. He often sang for himself playing the title and lead roles in the movies; before the playback era, he is credited with a song that he sang live whilst performing!
This thumri of the days of Wajid Ali Shah was composed by RC Boral in Raag Bhairavi, Tal Kaherava. The name of this 1938 movie was: Street Singer.
Please enjoy a song that addresses itself at three different planes (I am providing the translation): Baabul mora naihar chhooto hi jaay….
Baabul moraa, naihar chhuuTo hii jaae
Baabul moraa, naihar chhuuTo hii jaae
Aa.Nganaa to parbat bhayo aur deharii bhayii bidesh
Je baabul ghar aapanaa mai.n piiyaa ke desh
Baabul moraa …
Baabul moraa, naihar chhuuTo hii jaae
Baabul moraa, naihar chhuuTo hii jaae
बाबुल मोरा, नैहर छूटो ही जाए
चार कहार मिल, मोरी डोलिया सजावें (उठायें)
मोरा अपना बेगाना छूटो जाए | बाबुल मोरा …
आँगना तो पर्बत भयो और देहरी भयी बिदेश
जाए बाबुल घर आपनो मैं चली पीया के देश | बाबुल मोरा …
O My father! I’m leaving home. The four (coffin) bearers lift my palanquin. I’m leaving those who were my own.
Your courtyard is now like a mountain, and the threshold, a foreign country. I leave your house, father, I am going to my beloved’s country.
Day #2 Song #3
Tere mere sapne ab ek rang hain
Keyword: Second word of the mukhada: mere.
THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon).
And today, in the very first song we started with the Love between Man and Woman that would eventually lead to wedlock but she (and sometimes he) has doubts whether he would walk with her all throughout the journey of life or leave her midway (Song #6: Kisi raah mein kisi mod par kahin chal na dena tu chhod kar).
In the next song (Song#7: Baabul mora naihar chhooto hi jaay) she leaves her baabul’s place and joins him. This song was, some of you must have guessed it, a most important link to the journey that we started with abnegating Mera to start with and then having Mera pyaar, mera pati, meri patni.
Lets proceed further:
At this stage, I had dozens of songs to carry forward the story and none of them had been put up so far; for example:
1. Agar mujhse mohabbat hai mujhe sab apne gham de do (in which she tells him to share his sorrows just as he is sharing life with her; viz, Shareek-e-zindagi ko kyun shareek-e-gham nahin karte, dukhon ko baant kar in dukhon ko kam nahin karte). (Raag Darbari Kanada)
2. Aap ki nazaron ne samajha pyaar ke kaabil mujhe (Ji hamen manzuur hai aapka yeh faisla; and padh gayin dil pe mere aap ki parchhayian (and to think the Song#1 above is from the movie called Aap Ki Parchhayiyan! Coincidence? Hardly, since both have been penned by Raja Mehdi Ali Khan. (Raag Adana).
3. Naino mein badra chhaye bijali si chamake haay (Picchale janam se teri prem kahani hoon main; aa is janam mein bhi tu apna bana le (Raag Bhimpalasi)
I can go on and on but the song (a most ordinary one at that) that suits my story is Tere mere sapne. The fact, if you have followed the story so far, is that nothing is absolute, nothing is permanent; indeed, nothing is even real! It is merely a dream. However, it a dream worth having. It is a thought worth entertaining. Tere mere milan ki ye raina, naya koi gul khilayegi…..chanchal naina finally result in ….. nanha sa gul khilega angana, sooni bainyan sajegi sajana……and then it starts all over again.
You have to give it to Shailendra for having come up with these fine lyrics. All lyricists of that era were seeped in spiritualism and religion and Shailendra has very often taken us to a different plane with his songs. Here too he talks about the bond between them as the one that cannot be broken by “duniya“. And, he talks about “Jahan bhi le jaayen raahen (the journey of life) ham sang hain“.
However, he acknowledges it in his Teesri Kasam songs that the bond and its breaking are actually beyond us. These are in the hands of that invisible force that made you revel in Mera and Tera to start with. Guru Nanak went one step further and said that even the sense required for thinking of God or the Invisible Force is given to us by God; you cannot ask for it.
SD Burman who was responsible for having composed most of the songs for Dev Anand composed it in Raag Gara, Tal Dadra. Look at the beauty of this Raag. Two widely opposite songs, viz: Jeevan mein piya tera saath rahe and Hamsafar saath apna chhod chale have both been composed in this Raag. On my Facebook Page Lyrical, I had given you the ten basic thaats in which most, if not all raagas fall. Gara is from Khammaj thaat (O sajana barkha bahaar aayi being in Raag Khammaj).
Mohammad Rafi sang it for Dev Anand.
Please enjoy: Tere mere sapne ab ek rang hain…….
Tere mere sapane ab ek ra.ng hai.n
Ho jahaa.N bhii le jaae.n raahe.n, ham sa.ng hai.n
Tere mere dil kaa, tay thaa ik din milanaa
Jaise bahaar aane par, tay hai phuul kaa khilanaa
O mere jiivan saathii…
Tere dukh ab mere, mere sukh ab tere
Tere ye do nainaa, chaa.nd aur suuraj mere
O mere jiivan saathii…
Laakh manaa le duniyaa, saath na ye chhuuTegaa
Aa ke mere haatho.n me.n, haath na ye chhuuTegaa
O mere jiivan saathii…
https://www.youtube.com/watch?v=ORFczJpiwfI
Day #2 Song #4
Kahin door jab din dhal jaaye
Keyword: Fourth line of the mukhada: Mere khayalon ke aangan mein koi sapano ke deep jalaaye.
THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon)
And today, in the very first song we started with the Love between Man and Woman that would eventually lead to wedlock but she (and sometimes he) has doubts whether he would walk with her all throughout the journey of life or leave her midway (Song #6: Kisi raah mein kisi mod par kahin chal na dena tu chhod kar).
In the next song (Song#7: Baabul mora naihar chhooto hi jaay) she leaves her baabul’s place and joins him. This song was, some of you must have guessed it, a most important link to the journey that we started with abnegating Mera to start with and then having Mera pyaar, mera pati, meri patni.
In the song before this (Song #8: Tere mere sapne ab ek rang hain) I told you why I selected this song from dozens; primarily because of the pledge by the Man and Woman to Dream together, even forgetting the dream-maker!
Why am I ending the story with one song still to go, you will ask me. Wait, ladies and gents, guys and gals, it would become clear to you with the last song after the story! Now, I have a gut feeling that no one would put it up.
Why this song? Well isn’t it clear? I prepared you for Love and the relationship between Man and Life and everything else in the universe as just a dream (Sapna): Zindagi khwaab hai aur khwaab mein jhoot hai kya, sach hai kyaa!
In case of Raja Mehdi Ali Khan, Geeta Dutt sang one of his songs when he was just 17 years old:
मेरा सुन्दर सपन बीत गया
मैं प्रेम में सब कुछ हार गयी
बेददर् ज़माना जीत गया
मेरा सुन्दर सपना बीत गया
क्यों काली बदरिया चायी है
क्यों कली कली मुस्कायी है
मेरी प्रेम कहानी खत्म हुई
मेरा जीवन का संगीत गया
मेरा सुन्दर सपना बीत गया
ओ चोड़ के जाने वाले आ
दिल तोड़ के जाने वाले आ
आँखें असुवन में डूब गयीं
हँसने का ज़माना बीत गया
मेरा सुन्दर सपना बीत गया
हर रात मेरी दिवाली थी
मैं पिया की होने वाली थी
इस जीवन को अब आग लगे, आग लगे
इस जीवन को अब आग लगे
मुझे चोड़के जीवन मीत गया
मेरा सुन्दर सपना बीत गया
The time taken by this dream to get over varies. However, in all of us, without exception, the dream (sapna) gets over sometime or the other. In some cases, it lasts a lifetime.
In case it is still not clear, here it goes; it is from the same movie Anand, the 1970 movie, from where I have taken the last or the final song for this Fest. Here is the famous dialogue from the movie. A dear friend of mine Anindya Chatterjee informed me thus: ‘By the way, this dialogue of Anand was straightaway lifted from — The Seven Seasons — by Shakespeare —- You can find the poem in class 9th English CBSE Book’:
मौत तू एक कविता है,
मुझसे एक कविता का वादा है मिलेगी मुझको
डूबती नब्ज़ों में जब दर्द को नींद आने लगे
ज़र्द सा चेहरा लिये जब चांद उफक तक पहुचे
दिन अभी पानी में हो, रात किनारे के करीब
ना अंधेरा ना उजाला हो, ना अभी रात ना दिन
जिस्म जब ख़त्म हो और रूह को जब साँस आऐ
मुझसे एक कविता का वादा है मिलेगी मुझको
The above was spoken on the microphone by Dr Bhaskar (Amitabh Bachchan) to Anand (Rajesh Khanna) holding the mike and recording a memory. And then Anand role-plays the following dialogue:
‘Babumoshai, zindagi aur maut uparwale ke haath hai jahanpanah. Usse na toh aap badal sakte hain na main. Hum sab toh rangmanch ki kathputhliyan hain jinki dor uparwale ki ungliyon main bandhi hain. Kab, kaun, kaise uthega yeh koi nahi bata sakta hai. Ha, ha, ha.’
Still require clarification, ladies and gents? Well, this recorded tape plays on when Anand is no more and the spounds of Ha, ha, ha are the last sounds on the tape….. the tape of life.
Here is further introduction to this song by a song from the same movie:
Zi.ndagii … kaisii hai pahelii, haae kabhii to ha.nsaaye kabhii ye rulaaye zi.ndagii …
Kabhii dekho man nahii.n jaage piichhe piichhe sapano.n ke bhaage ek din sapano.n kaa raahii chalaa jaae sapano.n ke aage kahaa.N zi.ndagii …
So, the Man and the Woman having vowed to share sorrows and happinesses together, if you follow the above introduction, are only role playing; it is just a dream sequence! But, it is the best dream sequence that we ever go through!
So finally: Kahin door jab din dhal jaaye (The meaning on another plane would be clearer to you if you have followed my story, that is, Somewhere in the twilight years of your life!)
Saa.Njh kii dulhan badan churaae (Even the twilight fades)
Chupake se aae (It flits in silently)
Mere Kayaalo.n ke aa.Ngan me.n (In the threshold of my thoughts)
Koii sapano.n ke diip jalaae, diip jalaae (Someone lights the lamps of dreams) (I am sure you are following me now and you are wondering why you never thought of the song with its meaning at this plane!) Kahii.n duur …
Kabhii yuu.Nhii.n, jab huii.n, bojhal saa.Nse.n (Sometimes, like this only, when breathing became a burden) Bhar aa_ii baiThe baiThe, jab yuu.N hii aa.Nkhe.n (And simply whilst sitting, the eyes got moist) Tabhii machal ke, pyaar se chal ke (Then in a light-hearted manner, moving on the steps of love) Chhue koii mujhe par nazar na aae, nazar na aae (Someone touches me but I cannot see) (Ok, you got the point; I am not attempting any more translation)
kahii.n duur …
Kahii.n to ye, dil kabhii, mil nahii.n paate
Kahii.n se nikal aae, janamo.n ke naate
Ghanii thii ulajhan, bairii apanaa man
Apanaa hii hoke sahe dard paraaye, dard paraaye
Kahii.n duur …
Dil jaane, mere saare, bhed ye gahare
Kho gae kaise mere, sapane sunahare
Ye mere sapane, yahii to hai.n apane
Mujhase judaa na ho.nge inake ye saaye, inake ye saaye
Kahii.n duur …
That’s the reward for Love, for having gone through this Sapna (Dream): You have memories that you can finally call your own! Yeh mere sapane, yehi to hain apne. MERA, APNA, HAMARA is this only! Nothing more, nothing less!
The last line is the most important part of the story, ladies and gentlemen: Mujhase judaa na honge inake ye saaye (Their shadows (of those dreams and memories) will never be separated from me.
Even when you are re-born and some of those memories are still there with you. By the way, even scientific studies are holding that we carry forward all these.
Hats off to Yogesh the lyricist for helping me complete my story. It is better to have loved and lost than not to have loved at all. You have memories and dreams that no one can take from you….not even that Invisible Force. Mujhase judaa na honge (and he (Anand) knew he was going to die) inake ye saaye! What can be a better ending?
Hasts off to Salil Chowdhury for the heart-touching tune (copied from the original sung in Bengali by Hemant Kumar). And hats off to Mukesh for its meaningful and superb rendition.
Babumoshai, zindagi aur maut ooper waale ke haath mein hai Jahanpanah!
Hahahahahahaha HAHAHAHAHAHA
https://www.youtube.com/watch?v=BmYT79bYIQw
Day #2 Song #5
Ashqon mein jo paya hai….
Keyword: First word of the last line: Apne liye le de ke bas ik daaG mila hai!
Finally the story has ended: Meri apni kahani; my own story! Even the tape has screeched to a halt after the maddening Hahahahaha. Then why this?
Well, I have acted in a number of plays and directed quite a few. This is the curtain call!
Yeh zindagi jise ham meri, hamari, apna kehte hain, yeh sirf ek rangmanch hai aur ham ismein kaam karne waale kathputliyan. All of us.
It is mykarma to plan and organise the fests. It is your karma to participate in these; we are all role playing. And the best part is that I too participate. Each one of us deserves a curtain call, that 15 seconds of applause for having gone through two days of sharing songs that are close to our hearts, for liking, for commenting, for sharing emotions, for burning the midnight oil in first researching and then in putting up posts. All that we want in the end, as Manik Lakhkar Chava would tell you, is someone liking and commenting on our posts, to show empathy for all the hard-work that has gone into our participation in the Fest.
And the last thing that I want or anyone of us wants is ‘Zamaane ko gila hai‘ (The world has a complaint or grudge).
Yes, dreams are ours! But apne liye le de ke daaG to na do, please. How much time does it take to read, to view, to like and encourage with comments?
Hum (all of us here) phool hain auron ke liye laaye hain khushboo!
Go through the lyrics, ladies and gentlemen and see how appropriate the words are. Take two lines, for example:
“Jo taar pe nikali hai woh dhun sab ne suni hai, Jo saaz pe guzri hai woh kis ko pata hai”
Yeh zindagi ek rangmanch hai! No one knows what all has gone into, for example, each song that we have shared with others and then we have these copy-paste artistes who like to tell us by simply sharing a url or the lyrics that they have excellent taste! To them I have this to say (all my introductions of songs have been other songs):
दिल आज शायर है, ग़म आज नग़मा है
शब ये ग़ज़ल है सनम
गैरों के शेरों को ओ सुनने वाले
हो इस तरफ़ भी करम
(आके ज़रा देख तो तेरी खातिर
हम किस तरह से जिये) – २
आँसू के धागे से सीते रहे हम
जो ज़ख्म तूने दिये
चाहत की महफ़िल में ग़म तेरा लेकर
क़िस्मत से खेला जुआ
दुनिया से जीते पर तुझसे हारे
यूँ खेल अपना हुआ …
(ये प्यार हमने किया जिस तरह से
उसका न कोई जवाब) – २
ज़र्रा थे लेकिन तेरी लौ में जलकर
हम बन गए आफ़ताब
हमसे है ज़िंदा वफ़ा और हम ही से
है तेरी महफ़िल जवाँ
जब हम न होंगे तो रो रोके दुनिया
ढूँढेगी मेरे निशां …
(ये प्यार कोई खिलौना नहीं है
हर कोई ले जो खरीद) – २
मेरी तरह ज़िंदगी भर तड़प लो
फिर आना इसके करीब
हम तो मुसाफ़िर हैं कोई सफ़र हो
हम तो गुज़र जाएंगे ही
लेकिन लगाया है जो दांव हमने
वो जीत कर आएंगे ही …
That was a song penned by the poet Neeraj for Dev Anand starrer Gambler. This has been penned by our man from Ludhiana: Sahir. It has been composed by N Dutta and Talat Mehmood has sung this. Each word is a gem.
Please enjoy: Asqon mein jo paaya hai woh geeton mein diya hai, Is par bhi suna hai ki zamaane ko gila hai….
Ashko.n ne jo paayaa hai vo giito.n me.n diyaa hai
is par bhii sunaa hai ki zamaane ko gilaa hai
Jo taar se nikalii hai vo dhun sab ne sunii hai
jo saaz pe guzarii hai vo kis dil ko pataa hai
ashko.n ne jo paayaa hai …
Ham phuul hai.n auro.n ke liye laaye hai.n khushabuu
apane liye le de ke bas ik daaG milaa hai
ashko.n ne jo paayaa hai …
अश्कों ने जो पाया है वो गीतों में दिया है
इस पर भी सुना है कि ज़माने को गिला है
जो तार से निकली है वो धुन सब ने सुनी है
जो साज़ पे गुज़री है वो किस दिल को पता है
अश्कों ने जो पाया है …
हम फूल हैं औरों के लिये लाये हैं खुशबू
अपने लिये ले दे के बस इक दाग़ मिला है
अश्कों ने जो पाया है …
I hope you enjoyed my selection of ten Mera, Apna, Hamara songs in the Fest. I shall put up a selection from others’ posts later.
She was born on this day (28th Sep) in 1929. She is 87 years old today.
Childhood photo of Lata Mangeshkar (Pic courtesy: wn.wikipedia.org)
What do you say or write about a legend? You just bow your head in respect and of course thank God that you have lived through most of the era when she sang.
Lata Mangeshkar is to us what breathing is to all beings in the universe: she keeps us alive and kicking.
To many of us she is of our mother’s age. To the younger generation, she is of grand-mother’s and even great-grand-mother’s age.
One can write pages and pages about the number of awards that she has won starting with the highest in India: the Bharat Ratna, as well as the highest in Indian cinema: the Dadasaheb Phalke Award. One can even write about the number of awards that she has graciously declined so as to give the other singers a chance.
Everytime you write about her, you discover something new and yet, she is not just a phenomenon but an era, there is no way that you can ever do justice to a write-up on her. No one can.
All one can say is to play and listen to one’s favourite songs. My list of her top ten favourites has been ready for ages. How are one’s favourites different from hers and anyone else’s? I have explained it several times but here it is again: Your favourite may not have anything to do with the real or acknowledged worth of a singer’s singing prowess. Your favourite evokes the kind of emotions within you that others can’t.
Song #1
Rasik balma dil kyun lagaaya tose dil kyun lagaaya…
She was the favourite of Shankar Jaikishan (and vice-versa) and indeed, the first time that she was credited as a playback singer on screen was in their 1949 movie Barsaat, in a song penned by the great Shailendra.
Shankar-Jaikishan with Lata Mangeshkar (Pic courtesy: www.songsofyore.com)
It is therefore no surprise that my Choice #1 of her songs for decades now has been a song composed by S-J in Raag Shuddha Kalyan, Tal Kaherava. I happily lived the memories of this song without ever seeing the movie: the 1956 Raj Kapoor movie Chori Chori. I saw the movie last year on my computer but if you really ask me I don’t remember the scene in the movie when Nargis lip-syncs this song; so strong is my own imagined scene of the song!
This one was not penned by Shailendra but by Hasrat Jaipuri.
Lata with Jaikishan (on her left) and Hasrat Jaipuri on her right (Pic courtesy: www.sjmusic.org)
What feelings the songs evoke in me? Well, Lata Mangeshkar’s singing represented the feelings of all the women of that era who were left to pine for their lovers; and she did it so well. When the pardesi or the balma went away (even if in misunderstanding), they had nothing left with them except yaad. Lata sang her best songs in that era whence, sadly, women were not considered the equivalent of men and indeed all the heroines for whom she sang were paid much less than their male counterparts. It is another thing that in the movie, she (Nargis) is the daughter of a millionaire and Raj Kapoor the hero is the poor journalist.
Please enjoy my #1 favourite (consistently) amongst tens of thousands of Lata Mangeshkar’s songs (Some of you who do Cost-Benefit analysis of your time spent on the net in general and on my Facebook group Yaad Kiya Dil Ne in particular would say (secretly though): “In this much of description, I would have put all the five, if not ten!” But then, you are you and I am I and I have never been hard pressed for time!) (I remember the time when by hook and crook a driver overtook me in Mumbai traffic and we stopped parallel to each other on the next traffic light. I lowered my window and asked him, “Bhai sahib, ye jo aap ne peechhe kiya, us se aap ek do minute pehle pahunch jaayenge. Par us ek do minute mein aap kyaa zabardast cheez karne waale hain?” He laughed and laughed and when the lights turned green he saluted me and drove off!): Rasik balma, dil kyun lagaaya tose dil kyun lagaaya; jaise rog lagaaya……
rasik balamaa, haay, dil kyo.n lagaayaa
tose dil kyo.n lagaayaa, jaise rog lagaayaa
jab yaad aaye tihaarii
suurat vo pyaarii pyaarii
nehaa lagaa ke haarii
aa~
nehaa lagaa ke haarii
ta.Dapuu.N mai.n Gam kii maarii
rasik balamaa …
Dhuu.Ndhe hai.n paagal nainaa
paaye na ik pal chainaa
Dasatii hai ujda.Dii rainaa
aa~
Dasatii hai ujda.Dii rainaa
kaase kahuu.N mai.n bainaa
rasik balamaa …
Song #2
Jaa jaa re jaa baalmava…
Lata ji is as rooted in Raagas as were Shankar Jaikishan. After the Shankar Jaikishan Music Federation Mumbai Meet in Jul this year, my friend Anand Desai gifted us each a CD with 500 of S-J’s Raaga based songs. Quite a few of these have been sung by Lata Mangeshkar.
Not surprisingly then, that the second most favourite Lata song has also been composed by S-J. They chose the same raaga in which my most favourite song ever of any artiste has been composed: Raag Jhinjhoti (and the song everyone in my Facebook group Yaad Kiya Dil Ne knows is Mere mehboob tujhe meri mohabbat ki kasam). Jhinjhoti is a raaga named after an apsara and Hindi films songs based on it (my own observation) often bring in feelings of self-pity such as in “Tum mujhe youn bhula na paaoge” and “Mere mehboob tujhe” and of course the Mamta song picturised on Suchitra Sen: “Rehte the kabhi jinake dil mein hum jaan se bhi pyaron ki tarah“.
The song is from the 1956 movie Basant Bahaar and its lyrics are a marvel produced by the great Shailendra. Its tal is Tintal.
Why would a song picturised on a courtesan evoke such strong feelings in me? Well, courtesans were essentially a part of our culture. One of them (Anarkali) nearly married a would be emperor. In Shashi Kapoor’s movie Utsav, he brought out how important a courtesan (Rekha as Vasantsena) was in our society. In the movie Amrapali (based on a true story), the king Ajatashatru wages a war to get her (Vyjayanthimala in the title role) and she finally takes to Buddhism! By the way, Amrapali had some of her best songs including the iconic Tumhen yaad karte karte jaayegi rayn saari (also created for her by the team of Shailendra and Shanakar Jaikishan).
Vyjayanthimala lip-synching Lata’s Tumhe yaad karte karte in the 1966 movie Amrapali based on true story.
Hindi films directors of yore, often used the courtesans to express the feelings of the heroines (eg in Chhote Nawab song, the first song of RD Burman with Lata ji (composed in Raag Malgunji): Ghar aaja ghir aaye badraa saanwariya.
I can go on and on but the song is dear to me. Kumkum as Radhika does a very becoming dance on the song.
Please enjoy: Jaa jaa re jaa baalmwa…….
jaa jaa re jaa, baalamavaa
sautan ke sa.ng raat bitaa_ii
kaahe karat ab jhuuTii batiyaa.N
jaa jaa re jaa, baalamavaa
Gair ke ghar karii raat jagaa_ii
mose kahe tere binaa nii.nd na aayii
kaiso harajaa_ii daiyyaa
jaa jaa re, jaa baalamavaa …
kaa.Ndhe lagaa laayii bindiyaa kisiikii
jaanuu.N mai.n churaayii tuune nindiyaa kisiikii
laaj na aayii tohe
jaa re jaa, jaa re jaa, jaa re jaa, baalamavaa …
Song #3
Unako ye shikayat hai ke hum kuchh nahin kehate…
What is the common thread that you have noticed in the first two songs that I put up? Naturally, the first thing is Raaga based. Then that the lyrics are very beautiful. So that’s it; my choice of songs is always based on lyrics since I am indeed a Lyrical man.
Talking about good lyrics, some of the best songs of Lata ji have been penned by Rajendra Krishan and Raja Mehdi Ali Khan and in the next two songs I shall give you both.
Rajendra or Rajinder Krishan (Pic courtesy: travel.sulekha.com)
Rajendra or Rajinder Krishan’s 1958 movie Adalat was a major success for him and he cemented his pairing with Madan Mohan to create some of the best Lata Mangeshkar songs. As I never grow tired of saying it, the Top 10 Lata songs have Rajinder Krishan and Madan Mohan in large measure.
Lata ji with her “Madan bhaiyya”
Adalat starred Pradeep Kumar, Nargis and Pran and the story of her having been forced to become a courtesan is the same as Suchitra Sen’s Mamta or dozens of other pics that Hindi films dished out.
The songs of the movie were not as commonplace as the story and are amongst the best of Lata. Have a look:
1. “Zameen Se Hamen Aasmaan Par” Asha Bhosle, Mohammad Rafi 03:44
2. “Yun Hasraton Ke Daag Mohabbat Mein” Lata Mangeshkar 04:00
3. “Dupatta Mera Malmal Ka” Asha Bhosle, Geeta Dutt 02:49
4. “Jaana Tha Humse Door Bahaane Bana Liye” Lata Mangeshkar 03:20
5. “Unko Yeh Shiqaayat Hai Ki Hum Kuchh Nahin Kehte” Lata Mangeshkar 04:31
6. “Ja Ja Re Ja Saajna (slow)” Lata Mangeshkar
7. “Ja Ja Re Ja Saajna (fast)” Asha Bhosle 05:50
8. “Jab Din Haseen Dil Ho Jawaan” Asha Bhosle, Mohammad Rafi 04:07
Lets start with the lyrics of top most: Youn hasraton ke daag mohabbat mein dho liye. Marvel at the outstanding beauty of the lyrics:
Ghar se chale the ham to khushi ki talaash mein, Gham raah mein padhe the wahin saath ho liye
And then take up the 4th one: Jaana tha humse door bahaane bana liye and look at these outstanding lyrics:
dil ko mile jo daaG jigar ko mile jo dard un daulato.n se hamane khazaane banaa liye
But the song with the most powerful lyrics is the 5th one: Unako yeh shikayat hai ke hum kuchh nahin kehate.
This was composed by Madan Mohan in Raag Malgunji, Tal Dadra, the same raag in which RD Burman composed his first Lata song: Ghar aaja ghir aaye badra saanwariya in Chhote Nawab.
Please enjoy: Unako ye shikaayat hai ke ham kuchh nahin kehate….
un ko ye shikAyat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat hai ke ham, (kuchh nahI.n kahate – 2)
majabUr bahaut karatA hai ye, (dil to zubaa.n ko – 2)
kuchh aisI hI haalat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …
kahane ko bahaut kuchh thA agar, (kahanepe aate – 2)
duniyA kI inaayat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …
kuchh kahanepe tUfAn (uThA letI hai duniyA – 2)
ab isape qayAmat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …
Song #4
Aap ki nazaron ne samajha pyaar ke kaabil mujhe…
The fourth, as I have already let you know has been penned by Raja Mehdi Ali Khan who started giving us good songs when he was just about 17 years old, viz the 1947 movie Do Bhai (the same year when Shakeel penned his first song Afsaana likh rahi hoon) song sung by Geeta Dutt and composed by SD Burman: Mera sundar sapana beeta gaya, main prem mein sab kuchh haar gayi, bedard zamaana beet gaya.
Why do I like this song from the 1962 movie Anpadh (Illiterate) even though the movie, as seen by me, was just an average movie and the heroine was Mala Sinha who is as far from being my favourite heroine as you can get?
The reason are three. One, the lyrics by Raja are just superb. Look at this expression:
Padh gayi dil pe mere aap ki parchhayiyan, Har taraf bajane lagi sainkadon shahnaayiyan.
Second is the composition by the maestro Madan Mohan whom Lata ji used to call “Madan bhaiyya”. Some of her best songs have been composed by him including Lag jaa gale se phir ye haseen raat ho na ho (I never get tired of telling you that it is is in Raag Pahadi), Naino mein badra chhaye (Raag Bhimpalasi) and Bairan neend na aaye mohe (Raag Kafi).
Raja Mehdi Ali Khan with Madan Mohan
And lastly, the singing by her in her young voice has made this song not only my favourite but that of millions. Madan Mohan composed it in Raag Adana, a raag of late night (the raag being a blend of Raag Darbari Kanada and Malhar) and in Tal Rupaktal.
Please enjoy: Aap ki nazaron ne samajha pyaar ke kaabil mujhe….
aap kii nazaro.n ne samajhaa, pyaar ke kaabil mujhe
dil kii ai dha.Dakan Thahar jaa, mil ga_ii ma.nzil mujhe
aap kii nazaro.n ne samajhaa
jii hame.n ma.nzuur hai, aapakaa ye faisalaa – 2
kah rahii hai har nazar, ba.ndaa-paravar shukariyaa
do jahaa.N kii aaj khushiyaa.N ho ga_ii.n haasil mujhe
aap kii nazaro.n ne samajhaa …
aap kii ma.nzil huu.N mai.n merii ma.nzil aap hai.n – 2
kyuu.N mai.n tuufaan se Daruu.N mere saahil aap hai.n
koii tuufaano.n se kah de, mil gayaa saahil mujhe
aap kii nazaro.n ne samajhaa …
pa.D ga_ii dil par merii, aap kii parchhaa_iyaa.N – 2
har taraf bajane lagii.n saika.Do.n shahanaa_iyaa.N
ha.Nsake apanii zi.ndagii me.n, kar liyaa shaamil mujhe
aap kii nazaro.n ne samajhaa …
Song #5
Aaja re pardesi…
I seem to have my head on the chopper-block in selecting just five of her songs as my favourite. What about all those songs picturised on Sadhana, you will ask me? What about her pairing with my favourite Hemant da to produce some of the best duets in Hindi movies, eg, Aa neele gagan tale pyaar hum karen or Chhupa lo dil mein youn pyaar mera?
Well, when you have to select only five, you have to let go some outstanding songs too, some excellent ones and some endearing songs.
I am a great fan of Bengalis in Hindi movies, eg, Bimal Roy, Hemant da, SD Burman and Salil Chowdhury and I have written a few posts about this love of mine (Please read, for example: Bengal Based Hindi Movies From Anuradha To Piku). Somehow, there is always this feeling of enigma or mystery about their songs; as if something is missing and yet there is joy. The other day I explained this attribute of the Bengali song makers in a comment. There are quite a few of my favourite singer Hemant da’s songs: Ye raat ye chandini phir kahan, Beqraar karke hamen youn na chaahiye, and Ya dil ki suno duniyawaalon.
This song from the 1958 movie Madhumati (many of Bimal Roy movies had the heroine as the main protagonist ssuch as Sujata, Bandini and this one) falls squarely into this bracket.
First of all, have a look at all the songs of Madhumati, put together by Shailendra and Salil da:
1. “Aaja Re Pardesi” Lata Mangeshkar 04:26
2. “Chadh Gayo Papi Bichhua” Lata Mangeshkar, Manna Dey 05:23
3. “Dil Tadap Tadap Ke” Mukesh, Lata Mangeshkar 03:27
4. “Ghadi Ghadi Mora Dil Dhadke” Lata Mangeshkar 03:11
5. “Hai Bichhua Hai Re Hai” Lata Mangeshkar 01:55
6. “Ham Haal-e-Dil Sunaenge” Mubarak Begum 03:26
7. “Jungle Mein Mor Naacha” Mohammad Rafi 03:07
8. “Kancha Le Kanchi Lai Lajo” Asha Bhonsle, Sabita Chowdhury & Ghulam Mohammad 03:24
9. “Suhana Safar Aur Yeh Mausam” Mukesh 03:44
10. “Tan Jale Man Jalta Rahe” Dwijen Mukherjee 03:22
11. “Toote Huye Khwabon Ne” Mohammad Rafi 03:42
12. “Zulmi Sang Aankh Ladi” Lata Mangeshkar 04:05
These were amongst the most popular songs of our times.
Salil da was normally associated with songs based on western beat but he too was pretty strong in Raaga based songs, eg, O sajana barkha bahaar aayi in Raag Khammaj in Bimal Roy’s movie Parakh for which he wrote the story too.
Lata ji with Salil Chowdhury (Pic courtesy: learningandcreativity.com)
This one is a gem composed in Raag Bageshri, the raag of such songs as Ghadi ghadi mera dil dhadake (from the same movie), Jaag dard-e-ishq jaag (from Anarkali) and Maayi ri main kaase kahun peedh apne jiya ki (Dastak). The Tal is a faster version of Kaherava.
Please enjoy my last favourite of Lata today: Aaja re pardesi…..
aa jaa re .a.a.a paradesii
mai.n to kab se kha.Dii is paar
ye a.Nkhiyaa.N, thak ga_ii pa.nth nihaar
aa jaa re, paradesii
(tum sa.ng janam janam ke phere
bhuul gaye kyuu.N saajan mere ) – 2
ta.Dapat huu.N mai.n saa.njh savere, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
(mai.n nadiyaa phir bhii mai.n pyaasii
bhed ye gaharaa baat zaraa sii ) – 2
bin tere har raat udaasii, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
mai.n diye kii aisii baatii
jal na sakii jo bujh bhii na paatii
aa mil mere jiivan saathii, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
How can anyone stop at just five whilst listening to Lata Mangeshkar. It is like saying that in the seventy plus years of her enthralling us with her songs, she sang just five outstanding songs. Hence, whilst ending I just want to remind you that these are only my top five favourites. Surely, millions of others would have tens of thousands of other lists.
And, they’d all be right!
Happy Birthday Lata Mangeshkar. May you live for centuries and yet we would say in one voice: we haven’t had enough.
I find Human Evolution as a very fascinating subject. Humans or homo sapiens, as we see them around now, at some point of history of primates, separated themselves from the apes (hominids). Genetic studies bring out that the history of primates is older than 85 million years ago. There have been many theories (in the absence of recorded history we have either theories or gospel (word of mouth)) regarding the Evolution of Man, the foremost or the most accepted being the Darwinian theory. All these theories explore only the anatomical aspects; for example, the origin of man standing and walking on two feet and legs (bipedalism). Nothing has yet brought out the evolution of emotions and relationships, except in gospel. And that is the aspect that fascinates me most. For example, who was the first man or woman to fall in love? Or was it at the great ape stage or even earlier? When, how and why did the first man get angry and who triggered those emotions in him?
From emotions, relations and relationships are just the next logical steps, provided there has been some logic in evolution of these things. It is quite reasonable to assume that relations as we see them today have undergone dynamic changes in the thousands of years of evolution. Even if we believe gospel, for example, and assume that Adam and Eve were the only homo sapiens that were sent on Earth, their procreation, in terms of today’s relations would have produced only brothers and sisters. It would have stopped any further evolution of human-kind if they had considered procreation between brothers and sisters as sinful.
Family and Genes
It would be easy to consider that family and genes (both related to heredity) wouldn’t be exclusively human concepts. As humans, we are told (by sages and spiritual/religious leaders) that a feeling of I, My, Mine is the biggest obstacle that keeps us from true happiness and God (Sri Guru Granth Sahib refers to it as haume’) (Please read ‘Debatable Philosophies Of Life’). I had argued it out in the essay (that I have quoted above) that a feeling of myness is the most natural feeling in primates. No one needs to teach it even to apes and animals; they are naturally rejoicing in and protective of their progeny. So strong is this myness that it is imprinted on our genetic cells over generations; for example, we belong to a larger family having similarity of genes (heredity).
Even at that all-encompassing relationship of myness, it would be interesting to imagine the origin of specific familial relations, say, between father and son, husband and wife, uncles, aunts, brothers and sisters.
When did the concept of familial relations originate? (Pic courtesy: io9.gizmodo.com)
Blood Relations
Just as we have seen in the story of Adam and Eve, the concept of familial relations too has gone innumerable changes and modifications to arrive at the present accepted concept. The fact is that the present accepted concept is just a majority concept and is certainly not universal. In certain races or religions, for example, marriages are to take place within the family of blood relations only.
I have covered the concept of Religion and God in my essay ‘Whose God Is It Anyway?’ Lets, therefore, only ponder the concept of blood relations. It has become an important concept in legal circles and various tests are defined to prove blood relations. It would be easy to understand that the concept draws heavily from sexual reproduction (a physical phenomenon) and has nothing to do with one’s beliefs, biases and proclivities. Most often than not you don’t have to prove that you are brother and sister, mother and son, father and daughter. However, if inheritance, as seen by the law is at stake, you may have to prove that. It is another thing that at one time all of us may have belonged to one family. But, then, historically, as families became larger and larger, the concept of blood relations became narrower.
Human Relations Beyond Blood Relations
The fact is that increasingly human relations and relationships have become significantly more important than blood relations. One of the first ones to help propagate this concept was Lord Krishna. Even those who feel these tales are merely mythological (and have little historical basis), we are here talking about a concept that originated in India, which for the first time, more than 3000 years before Christ, made sacred a relationship beyond blood relation, even if forced by events or imagined events of that era. I am talking about the relationship between mother and child. Krishna was born to Devaki, the wife of Vasudeva. During the wedding of Krishna’s parents there was a prophecy that the eighth son of Devaki would kill the cruel Kansa. Since this prophecy was announced in the presence of Kansa (Devaki’s brother), he killed six sons that were born to Devaki. The seventh one Balarama escaped death by being transferred to the womb of Vasudeva’s other wife Rohini. Krishna escaped death by Vasudeva, his father, carrying him across Yamuna to his foster mother Yashoda (a wife of Nanda). In Hindu scriptures, Yashoda, the foster mother (not a blood relation) is far more important and revered than Devaki. In tales of Krishna-Leela, his childhood spent with Yashoda, is the most important period of episodic enchantment. Yes, this is not recorded history but gospel. However, this is the first time (even in folklore) that anyone called a relationship far more important than blood relation; the relationship of pure love that is.
Yashoda, the foster mother of Krishna playing with him (Pic courtesy: www.iskconbangalore.org)
Two important things to note here are (whether or not it is historical) is that the concretisation of the concept of blood relations in later-day India and the legal wranglings to prove blood relations (for inheritance) have radically moved away from this concept. This is all the more ironical since the Law itself has been an evolution over centuries and not something writ in stone. And the other follows from the first one itself, which is that even those who believe in Krishna, move the courts to prove blood relations. Hence, religion is not a way of life all the way but merely a philosophy of convenience; we believe in some parts and ignore others that stand in the way of pragmatism.
Husband – Wife Relationship
In Hinduism there is no relationship more sacred than the one between Krishna and Radha; so much so that Radha Krishna is considered as one name rather than a combination of two. And yet, though the concept of marriage was prevalent in that period (such as Devaki marrying Vasudeva; Krishna’s parents, that is), Krishna and Radha never married.
Some four thousand years (or more) after Krishna was believed to have been born to Devaki and Vasudeva, the Sanskrit poet Jayadeva (recorded history) wrote a famous poem Gita Govinda in the 12th century AD, and then the spiritual love between Radha and Krishna became the subject of intense folklore. Hence whilst Krishna is shown not as deity but God Himself, Radha, His devotee, is shown as the embodiment of love by a devotee towards God. The Hindus raised this Love by Radhe as even more important than God Himself (Krishna). And that’s why it is always Radha Krishna or Radhe Krishna and never Krishna Radha.
Human and God Relationship
The Adi Granth, the predecessor of present day Guru Granth Sahib, was compiled by the fifth Guru of the Sikhs – Guru Arjan Dev – in the sixteenth century. Thereafter, every Guru added something to it. The tenth and the last Guru, Guru Gobind Singh (whose name was one of the names of Krishna) didn’t add anything of his own but added all 115 hymns of his father Guru Teg Bahadur. In the year 1708, he decreed that after him there won’t be a human Guru but the Sikhs are to consider Guru Granth Sahib as their Guru.
The relationship between a devotee and God has been described in the Guru Granth Sahib by the first Guru – Guru Nanak – and curiously, it has drawn from the Radhe Krishna relationship: of between a wife and her husband. Guru Nanak portrayed the love of a suhagan (wife) for her husband as the purest form of devotion. He, of course, stressed upon the adornments for the suhagan being not material things like gold jewellery and diamonds but purity of heart and thoughts.
Take the case of Meerabai (born 1498). Meera Bai was born into a Rathore (Rajput) royal family of Kudki district of Pali, Rajasthan. Although born a princess, she renounced everything and became a devotee of Lord Krishna and considered herself married to Him. Since she flouted social and familial norms, she was persecuted by the society and especially by her in-laws. However, she didn’t desist from her chosen path. The Hindu scriptures, considering Devotee-God relationship as the one between wife and husband (Radhe Krishna), have widespread mention of the bhakti of Meera for Krishna as her husband, more than four thousand years after Krishna lived on earth.
More than four thousand years after Krishna, Meera again embodied the relationship between Devotee and God as being between wife and husband (Pic courtesy: lovekanha.blogspot.com)
Evolution of Modern Thought Process on Relations
Various rituals have been evolved over centuries to cement husband-wife relationship, the origin of all other familial relations.
The Saptapadi (Sanskrit for seven steps/feet), is the most important ritual of Vedic Hindu weddings, and represents the legal part of Hindu marriage. Sometimes called Saat Phere (seven rounds), couple conduct seven circuits of the Holy Fire (Agni), which is considered a witness to the vows they make to each other.
The Sikhs have Anand Karaj (blissful union introduced by Guru Amar Das (the third Guru) and involves four circuits around the Guru Granth Sahib (four lavan). Here God’s embodiment in the form of Guru Granth Sahib is considered witness to the holy marriage.
There are rituals in various other religions and castes most of them having some embodiment of God (such as agni, Guru Granth Sahib, Bible and other holy documents) as witness to the sacred marriage.
Guru Nanak, in his famous ‘Gagan mein thaal….’ arti in Jagannath Puri exhorted people to directly worship God (contained in His naam) rather than through any embodiment of God or deity (he refused to offer arti to Lord Krishna being only a deity when God Himself could be approached directly. Please read: ‘Nanak Shah Fakir – The Movie And Its Message‘). Curiously, this is one common element of all religions: they all know and feel that there is One God but the only real God is what they worship and all others are merely deities.
So the point is that the process of marriage is merely a ritual. Even if you want to make your marriage as sacred (marriages are, as is talked about in most religions and beliefs, made in heaven and then you are together for several lives (janam janam ka saath), merely chanting the name of God whilst accepting a person as your partner should be adequate for all purposes except for inheritance for which you have to legally prove your marriage.
Talking about dynamism or forever evolving concept of relationships, on the lighter side, in Mumbai (they must be elsewhere too) I have come across many couples whose male partners started off being Rakhi-Brothers (not blood brothers) (especially to widows) and who finally married their Rakhi Sisters.
Continuing with the lighthearted approach towards relations, I remember this anecdote of a divorced husband having to pay the bringing-up charges for his son (as part of alimony) until adulthood. On the first of every month, the son used to come calling at his blood father’s house, collect the alimony and go. On the first of a month just before the son’s 18th birthday, the father derisively told him, “Well, go back and tell your mother I am not your father anymore.” At this the son responded, “Mom wanted me to tell you that you never were”. Light-hearted alright, but that opens our eyes to the so called blood relations.
More and more people are now moving away from the religious rituals of weddings and for the purpose of legality of marriages for inheritance and other purposes getting married in courts (My son Arjun and daughter-in-law Samira did. Please read ‘Loveapalooza Arjun And Samira’s Lifetime Music Fest‘). Love is the strongest thread that need to be tied in order to complete the nuptials. Please recall that Guru Nanak, being a Hindu at that time, refused to wear the holy thread Janeyu as he said that no material symbols could replace oneness with God in thoughts.
Have the Hindi Movies Got it Right?
I am a fan and you would have seen it extensively in my blog posts. Whether or not the Hindi movies have got it right in other aspects of the movies, as far as evolution of relationships is concerned they seem to have kept pace and in many cases, several paces ahead.
Let me just give you three cases.
The first one is that of 1972 Shakti Samanta movie Amar Prem (Immortal Love) starring Rajesh Khanna and Sharmila Tagore. The film portrays the decline of human values and relationships (in blood relations, that is; Sharmila Tagore’s uncle sells her off as a courtesan) and contrasts it by presenting an outstanding example of a boy’s innocent love (Rajesh Khanna legally married to a wife who doesn’t care for him at all) for the same courtesan. A song about the decline of these relationships and double standards of people is a favourite of mine. It was penned by Anand Bakshi and composed by RD Burman in Raag Khammaj, Tal Kaherava. You must go through the lyrics in order to get the full meaning of these in the wake of discussions on relationships so far:
(kuchh to loga kahe.nge, logo.n kaa kaama hai kahanaa chho.Do bekaara kii baato.n me.n kahii.n biita naa jaae rainaa ) – 2 kuchha to loga kahe.nge, logo.n kaa kaama hai kahanaa
kuchha riita jagata kii aisii hai, hara eka subaha kii shaama huii – 2 tU kauna hai, teraa naama hai kyaa, siitaa bhii yahaa.N badanaama huii phira kyuu.N sa.nsaara kii baato.n se, bhiiga gaye tere nayanaa kuchha to loga kahe.nge, logo.n kaa kaama hai kahanaa chho.Do bekaara kii baato.n me.n kahii.n biita naa jaae rainaa kuchha to loga kahe.nge …
hamako jo taane dete hai.n, hama khoe hai.n ina ra.ngaraliyo.n me.n – 2 hamane unako bhii chhupa chhupake, aate dekhaa ina galiyo.n me.n ye sacha hai jhuuThii baata nahii.n, tuma bolo ye sacha hai naa kuchha to loga kahe.nge, logo.n kaa kaama hai kahanaa chho.Do bekaara kii baato.n me.n kahii.n biita naa jaae rainaa kuchha to loga kahe.nge
The second one is this 1969 Asit Sen movie Khamoshi (Silence) starring Rajesh Khanna and Waheeda Rehman. She is a nurse in the hospital where he is admitted with mental disorder caused by having been deceived in love by his beloved he wanted to marry. This song penned by Gulzar and composed by Hemant Kumar says it all as far as relationships are concerned; it suggests that the only true relationships are those of love:
Hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do sirf ehasaas hai ye ruuh se mahasuus karo pyaar ko pyaar hii rahane do koii naam na do hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do hamane dekhii hai
Pyaar koii bol nahii.n, pyaar aavaaz nahii.n ek Kaamoshii hai sunatii hai kahaa karatii hai na ye bujhatii hai na rukatii hai na Thaharii hai kahii.n nuur kii buu.Nd hai sadiyo.n se bahaa karatii hai
sirf ehasaas hai ye ruuh se mahasuus karo pyaar ko pyaar hii rahane do koii naam na do hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do hamane dekhii hai
muskuraahaT sii khilii rahatii hai aa.Nkho.n me.n kahii.n aur palako.n pe ujaale se jhuke rahate hai.n ho.nTh kuchh kahate nahii.n, kaa.Npate ho.nTho.n pe magar kitane Kaamosh se afasaane ruke rahate hai.n
sirf ehasaas hai ye ruuh se mahasuus karo pyaar ko pyaar hii rahane do koii naam na do hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do hamane dekhii hai
Surprisingly, the third one that I am giving is also from a Rajesh Khanna movie: the 1971 Hrishikesh Mukherjee movie Anand (Bliss). The song in which the truth about relationships occurs was also sung by Hemant da in Bengali. Here, it was penned by Yogesh and composed by Salil Chowdhury. Here are very meaningful lines about relationships:
Kahii.n to ye, dil kabhii, mil nahii.n paate Kahii.n se nikal aae, janamo.n ke naate
Love is the Greatest Relationship
Three months back I wrote an essay titled ‘Love – The Greatest Feeling On Earth‘. The relationship of Love is indeed the greatest relationship. And, it need not be between a husband and wife. Look at the relationship that a soldier has for the motherland (a son’s dedication for Bharat Mata). He is prepared to give his life for her and often does. There is a relationship of love between us and animals. Take this about our dog Roger and us:
The most important relation or relationship is not by virtue of rituals and ceremonies but what a person actually means to you. Rituals and ceremonies are for societal and legal purposes, for example for inheritance. And why should inheritance be the consideration in relationships since after you are gone, you don’t own anything anymore? As Shakeel Badayuni wrote:
Yeh zindagi ke mele,
Duniya mein kam na honge,
Afsos ham na honge.
You can go narrower and narrower in relations and relationships. The fact is that every man is a variation of yourself and you are indeed related to every person on earth by the colour of his or her blood. If you want to seek more refinement in this God made relationship, you can seek a relationship of Love.
Today happens to be the canonisation of Mother Teresa. She is now onwards Saint Teresa of Calcutta. Here is the relationship that made that possible:
The ghazal spread into South Asia in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of the Indian sub-continent.
I gave you 18 Ghazals in Part I starting with Shakeel Badayuni‘s Na milata gham to barbaadi ke afsaane kahan jaate, to Rajinder Krishan‘s Jahan Ara ghazal sung by Talat Mahmood: Phir wohi shaam wohi gham wohi tanhaayi hai. In between I packed ghazals by Kaifi Azmi, Sahir Ludhianvi, Bahadur Shah Zafar, Muztar Khairabadi, Hasrat Mohani, Hasrat Jaipuri, Jaan Nisar Akhtar, Majrooh Sultanpuri, and Farooq Qaiser.
I followed it up with another 18 Ghazals in Part II starting with Mohammad Rafi singing Sahir Ludhianvi‘s ghazal Tum ek baar mohabbat ka imtehaan to do for the 1960 movie Babur, to Lata Mangeshkar singing Jaan Nisar Akhtar‘s Aap youn faaslon se guzarte rahe for the 1977 movie Shankar Hussain. In between I gave you ghazals sung by Mubarak Begum, and ghazals of Mirza Ghalib, Raja Mehdi Ali Khan, Majrooh Sultanpuri, Rajinder Krishan, Gulzar, Bashar Nawaz and Mir Taqi Mir.
I followed the second part with another 16 Ghazals in Part III, starting with Talat Mehmood singing Sardar Jafri’sShaam-e-gham ki kasam, aaj gamgeen hain ham, Aa bhi jaa, aa bhi jaa, aaj mere sanam…. modified by Majrooh Sultanpuri for the 1953 movie Footpath and ending with Lata Mangeshkar singing Sahir Ludhianvi’s Jurm-e-ulfat pe hamen log saza dete hain, Kaise nadaan hain sholon ko hawa dete hain… for the 1963 movie Taj Mahal. In between I gave you three more ghazals by Talat Mehmood, one sung together by Mohammad Rafi and Mahendra Kapoor, a ghazal of Hassan Kamal, a few of Majrooh sultanpuri, one of Anand Bakshi and a few for which the great music director Roshan composed music.
In Part IV, I gave you 17 Ghazals, starting with Mahendra Kapoor singing Qamar Jalalabadi’s most famous ghazal: Rafta rafta woh hamare dil ke armaan ho gaye for the 1966 movie ‘Hum Kahan Jaa Rahe Hain’ to Shahryar‘s 1981 movie Umrao Jaan‘s ghazal sung by Asha Bhosle: Ye kyaa jagah hai dosto, ye kaun sa dyaar hai. In between, I gave you ghazals by SH Bihari, Shakeel Badayuni, Hasrat Jaipuri, Naqsh Lyallpuri, and Shahryar‘s other ghazals.
In the part immediately before this, Part V that is, I gave you 14 ghazals, starting with Noor Jahan sung ghazal penned by Faiz Ahmed Faiz, for the 1940 movie Qaidi (Mujhase pehle si mohabbat mere mehboob na maang) to Mahendra Kapoor sung ghazal of Hasan Kamaal for the 1982 movie Nikaah (Beete huye lamahon ki kasak saath to hogi). In between I gave you some more ghazals by Noor Jahan, Gulzar, Qamar Jalalabadi, three of them either sung or composed by Hemant Kumar before ending with Mahendra Kapoor.
Lets resume our journey into the fascinating world of Ghazals for the final part containing 16 ghazals.
Ghazal #85
Jagjit Singh
Now that we are getting close to the 100 mark, my anxiety is increasing; there are quite a few excellent ones still not having been put up.
This includes most of the ghazals of the Ghazal King Jagjit Singh who left us on 10th Oct 2011, having been born on 8th Feb 1941 in Sri Ganganagar earlier in Bikaner state and now part of Rajasthan.
Singh was still struggling to make a living in 1967 when he met the Bengali-born Chitra Dutta. She divorced her husband and married Singh in December 1969. Following the birth of their son, Vivek, the couple performed as a singing duo but it was not until the 1976 release of the album The Unforgettable that they found significant, and surprising, success. In the interval, the primary difficulty for them had been that the ghazal music genre was dominated by Muslim artists and especially those from Pakistan.
(Pic courtesy: jagjitchitra.wordpress.com)
Anyway, to cut a long story short, he finally emerged as the finest and most unique singer of ghazals in the sub-continent.
I have already given you a famous ghazal of his, penned by Kaifi Azmi, on the music of Kuldeep Singh for the 1982 movie Arth: Jhuki jhuki si nazar beqraar hai ki nahin (Ghazal #2 in the present series)
Here is another of his ghazals from the same movie. This too has been penned by Kaifi Azmi. Here Jagjit Singh has sung on his own music.
Please enjoy: Tum itana jo muskara rahe ho….
tum itanaa jo muskuraa rahe ho
kyaa Gam hai jisako chhupaa rahe ho
tum itanaa…
aa.Nkho.n me.n namii ha.Nsii labo.n par
kyaa haal hai kyaa dikhaa rahe ho
kyaa Gam hai…
ban jaaye.nge zahar piite piite – (2)
ye ashq jo piite jaa rahe ho
kyaa Gam hai…
rekhaao.n kaa khel hai muqaddar – (2)
rekhaao.n se maat khaa rahe ho
kyaa Gam hai…
Ghazal #86
Jagjit Singh
Another famous ghazal of Jagjit Singh. This was penned by Javed Akhtar for the 1982 movie Saath Saath starring Farooq Sheikh and Deepti Naval. Jagjit Singh sang it on Kuldeep Singh’s music.
Please enjoy: Tum ko dekha to ye khayal aaya….
tum ko dekhaa to ye Kayaal aayaa
zi.ndagii dhuup tum ghanaa saayaa
tum ko…
aaj phir dilane ek tamannaa kii – (2)
aaj phir dilako hamane samajhaayaa
zi.ndagii dhuup tum ghanaa saayaa…
tum chale jaaoge to soche.nge – (2)
hamane kyaa khoyaa, hamane kyaa paayaa
zi.ndagii dhuup tum ghanaa saayaa…
ham jise gunagunaa nahii.n sakate – (2)
vaqt ne aisaa giit kyuu.N gaayaa
zi.ndagii dhuup tum ghanaa saayaa…
https://www.youtube.com/watch?v=-GRqHkV9Bls
Ghazal #87
Jagjit Singh
The unique style of Jagjit Singh’s ghazal singing at its best in the 2002 movie Leela. It is a Gulzar’s ghazal sung by Jagjit Singh on his own music.
Khumaar-e-gham hai, mahekti fiza mein jeete hain -2
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Bade itafaak se milte hain milne waale mujhe -2
Woh mere dost hai, teri wafa mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Firaaq-e-yaar mein saanson ko rok ke rakhte hain -2
Harek lamha guzarti qaza mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Na baat poori huwi thi, ke raat toot gayi -2
Adhure khwaab ki aadhi saza mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Tumhaari baaton mein koyi masiha basta hai -2
Haseen labon se barasti shabha mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Ghazal #88
Kishore Kumar
Impossible, you are bound to tell me; Ravi old chap, you found three ghazals of Hemant Kumar…but you can’t find a single one of Kishore da. Kishore da was as far from ghazals as chalk is from cheese.
Well, don’t be too sure. Here is one from the 1985 movie Alag Alag starring Rajesh Khanna and Tina Munim. It has RD Burman‘s music and Anand Bakshi‘s lyrics.
(Pic courtesy: hindilyrics.tv)
Please enjoy: Kabhi bekasi ne maara….
haai ho, oh ho ho, oh oh ho ho ho
ye gazal hai na geet hai koi
ye mere dard ki kahani hai
mere seene me sirf, ho
mere seene me sirf shole hai
meri aankho me sirf pani hai
kabhi bekasi ne mara, kabhi bekasi ne mara
oh, kabhi bebasi ne mara, kabhi bekasi ne mara
oh, kabhi bebasi ne mara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara oh, kabhi bebasi ne mara
muqaddar pe kuch jor chalta nahi
wo mausam hai ye jo badalta nahi
muqaddar pe kuch jor chalta nahi
wo mausam hai ye jo badalta nahi
kahi thi ye badnaseebi oh, kahi thi meri garibi
oh, kahi thi meri garibi
kis kis ka naam lu mai oh, kis kis ka naam lu mai
mujhe har kisi ne maara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara oh, kabhi bebasi ne maara
bemurawwat bewafa duniya hai ye
hai ye duniya to kya duniya hai ye
bemurawwat bewafa duniya hai ye
hai ye duniya to kya duniya hai ye
na kami thi dosto ki, na kami thi dushmano ki
oh, na kami thi dushmano ki
kahi dushmani ne luta, kahi dushmani ne luta
kahi dosti ne mara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara, kabhi bebasi ne mara
ujalo se veshat mujhe ho gayi hai
andhero ki aadat mujhe ho gayi hai
ujalo se veshat mujhe ho gayi hai
andhero ki aadat mujhe ho gayi hai
raha jab talak andhera oh, kata khub waqt mera
oh, kata khub waqt mera
mujhe chaandni ne luta oh, mujhe chaandni ne luta
mujhe roshni ne mara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara, kabhi bebasi ne mara
kabhi bekasi ne mara oh, kabhi bebasi ne mara
https://www.youtube.com/watch?v=RfxGw3F4Ecg
Ghazal #89
Kishore Kumar
Can a truck driver have such finer feelings as to think of a ghazal whilst driving? Well, only Kishore Kumar can make it possible!
This too is on the music of RD Burman but it has Gulzar‘s lyrics.
The name of this 1982 movie is Namkeen and the truck-driver is Sanjeev Kumar.
Two Kumars, one Dev and one Singh (Sampooran Singh, alias, Gulzar) making a Ghazal!
Please enjoy: Raah pe rehate hain, yaadon pe basar karate hain…
raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
jal gaye jo dhUp me.n to sAyA ho gaye – 2
AsamA.N kA koI konA le tho.DA so gaye
jo guzar jAtI hai bas usape guzar karate hai.n
ho raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
u.Date pairo.n ke tale jab bahatI hai.n zamIn – 2
mu.Dake hamane koI ma.nzil dekhI hI nahI.n
raat din rAho.n pe ham shAmo sahar karate hai.n
ho raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
aise ujA.De AshiyA.N me.n tinake u.D gaye
ho aise ujA.De AshiyA.N me.n tinake u.D gaye
bastiyo.n tak aate aate rAste mu.D gaye
ham Thahar jAye.n jahA.N usako shahar kahate hai.n
ho raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
Ghazal #90
Chitra Singh
Day before yesterday I gave you a popular ghazal of Jagjit Singh for the 1982 movie Saath Saath starring Farooq Sheikh and Deepti Naval: Tumako dekha to yeh khayal aaya.
Now I give you one by Chitra Singh for the same movie. This too has Javed Akhtar’s lyrics and Kuldeep Singh’s music. Chitra, of course, never sang in a concert on her own. She was so much in love with her second husband Jagjit Singh that after his death on 10th Oct 2011, she lost all interest in singing and became a recluse. Of course, the couple only sang sad, tragic numbers after they lost their son Vivek in a road accident at the age of 20.
Anyway, enjoy one of her most popular ghazals: Kyon zindagi ki raah mein majboor ho gaye….
kyo.n zindagii kii raah me.n majabuur ho gae
itane hue kariib ki ham duur ho gae
aisaa nahii.n ki hamako koii bhii khushii nahii.n
lekin ye zindagii to koI zindagii nahii.n
kyo.n isake faisale hame.n ma.nzuur ho gae,
itane hue …
paayaa tumhe.n to hamako lagaa tumako kho diyaa
ham dil pe roe aur ye dil ham pe ro diyaa
palako.n se Kvaab kyo.n gire kyo.n chuur ho gae,
itane hue …
https://www.youtube.com/watch?v=JyXSPgFaioM
Ghazal #91
Suresh Wadkar
Talking about the gentleman actor Farooq Sheikh, takes me to another contemporary singer Suresh Wadkar who too has sung some fine ghazals in addition to scores of songs from his debut in Krodhi in 1981. His ghazal in concert with Bhupinder shall be put up by me later (picturised on Sayyeed Jafri and Naseeruddin Shah).
(Pic courtesy: chiloka.com)
At the present juncture I want to give you this ghazal penned by someone who wrote all of Umrao Jaan’s ghazals: Shahryar. It has Jaidev’s music. The name of this 1978 movie is Gaman.
siine me.n jalan aa.Nkho.n me.n tuufaan saa kyo.n hai
is shahar me.n har shaKs pareshaan saa kyo.n hai
dil hai to dha.Dakane kaa bahaanaa koI Dhuu.NDhe
patthar kii tarah behis-o-bejaan saa kyo.n hai
tanahaaI kii ye kaun sii ma.nzil hai rafiiqo
taa-hadd-e-nazar ek bayaabaan saa kyo.n hai
kyaa koI naI baat nazar aatii hai ham me.n
aaInaa hame.n dekh ke hairaan saa kyo.n hai
Ghazal #92
Jagjit Singh and Chitra Singh
Keeping the last nine ghazals (from the Top 100 Ghazals in Hindi Movies) for the three days leading to the death anniversary of the greatest poet and lyricist of all times: Shakeel Badayuni. And then, on 20th April, after we finish with the current theme, we shall have a full day of tribute to Shakeel.
I have already introduced Jagjit and Chitra Singh to you. Let me introduce Sudarshan Faakir, the lyricist to you. He was born in Ferozepur in Punjab in 1934.
(Pic courtesy: alchetron.com)
NCC cadets and officers know him very well since the NCC song (the best song of all the uniformed services!) Ham sab bhartiya hain was penned by him.
Beghum Akhtar and Jagjit and Chitra sang some of his ghazals.
Here is the most famous one for the 1987 movie Aaj; the one immortalised by the couple. It not just fills all of us with nostalgia about childhood but also wets the eyes of most of us.
(Pic courtesy: musicmylifelyrics.blogspot.com)
Please enjoy: Ye daulat bhi le lo, ye shohrat bhi le lo…
ye daulat bhii le lo, ye shoharat bhii le lo
bhale chhiin lo mujhase merii javaanii
magar mujhako lautaa do bachapan kaa saavan
vo kaagaz kii kashtii, vo baarish kaa paanii
–Jagjit–
muhalle kii sabase nishaanii puraanii
vo budhiyaa jise bachche kahate the naanii
vo naanii kii baaton mein pariyon kaa deraa
vo chahare kii jhuriryon mein sadiyon kaa pheraa
bhulaae nahiin bhuul sakataa hai koi
vo chhotii sii raaten vo lambii kahaanii
–Chitra–
kadii dhuup mein apane ghar se nikalanaa
vo chidiyaa vo bulabul vo titalii pakadanaa
vo gudiyaa kii shaadii mein ladanaa jhagadanaa
vo jhuulon se giranaa vo gir ke sambhalanaa
vo piital ke chhallon ke pyaare se tohafe
vo tuutii hui chuudiyon kii nishaanii
–Jagjit–
kabhii ret ke unche tiilon pe jaanaa
gharaunde banaanaa banaake mitaanaa
vo maasuum chahat kii tasviir apanii
vo kvaabon khilaunon kii jaagiir apanii
na duniyaa kaa gam thaa na rishton ke bandhan
badii khuubasuurat thii vo zindagaanii
Ghazal #94
Bhupinder and Asha Bhosle
Bhupinder and Asha Bhosle again (as earlier in Aitbaar: Kisi nazar ko tera intezzar aaj bhi hai). This time on a ghazal by Nida Fazli.
Nida Fazli is an Urdu poet who was born in Delhi to a Kashmiri family on 12th Oct 1938. During the partition, his parents decided to go to Pakistan but he stayed in India. Besides being awarded the Sahitya Akademi award in 1998, the government of India honoured him by conferring the award of Padma Shri on him.
(Pic courtesy: radioandmusic.com)
This is from the 1981 movie Ahista Ahista. Such poetry when it would have Khaiyyam’s music, comes alive gently.
Please enjoy: Kabhi kisi ko mukammal jahan nahin milata….
kabhii kisii ko mukammal jahaa.N nahii.n milataa
kahii.n zamiin to kahii.n aasamaan nahii.n milataa
jise bhii dekhiye vo apane aap me.n gum hai
zubaa.N milii hai magar hamazubaa.N nahii.n milataa
kabhii …
% (sung to a somewhat different tune)
bujhaa sakaa hai bhalaa kaun vaqt ke shole
ye aisii aag hai jisame dhuaa.N nahii.n milataa
kabhii …
% (saving the best one for the end)
tere jahaa.N me.n aisaa nahii.n ki pyaar na ho
jahaa.N ummiid ho isakii vahaa.N nahii.n milataa
kabhii …
https://www.youtube.com/watch?v=k82SZZaWgtU
Ghazal #95
Mohammad Rafi
God of Songs, Greatest Singer in Indian Cinema, Greatest Ghazal, Bhajan, Sad Songs Singer; well, these are some of the epithets that come to your mind when you think of Mohammad Rafi.
His mellifluous voice was so well suited for Ghazals that even the songs that he sang came out as Ghazals.
In any case, those were the days of great lyricists and they all excelled in Ghazals and Mohammad Rafi sang them with excellence.
Let me begin with Hasrat Jaipuri‘s since it was his birth anniversary three days back. Predictably, the music was by Shankar Jaikishen and the name of this 1965 movie was Aarzoo.
Some of the best Ghazals of Mohammad Rafi in the Hindi movies are picturised on Rajendra Kumar and so is this except that he is disguised as an old man. I cannot give the best picturised on him and the best of Mohammad Rafi: Mere mehboob tujhe…
A scene from the 1965 movie Arzoo starring the Mere Mehboob pair Rajendra Kumar and Sadhana
Please enjoy: Chhalake teri aankhon se sharaab aur ziyaadah….
chhalake terii aa.Nkho.n se sharaab aur ziyaadaa – 3
khilate rahe.n ho.nTho.n ke gulaab aur ziyaadaa – 2
kyaa baat hai jaane terii mahafil me.n sitamagar – 3
dha.Dake hai dil-e-khaanaa-kharaab aur ziyaadaa – 2
is dil me.n abhii aur bhii zaKmo.n kii jagah hai – 3
abaruu kii kaTaarii ko do aab aur ziyaadaa
tuu ishq ke tUfaan ko baa.Nho.n me.n jaka.D le – 2
allaah kare zor-e-shabaab aur ziyaadaa
khilate rahe hoTho.n ke gulaab aur ziyaadaa
https://www.youtube.com/watch?v=M2Ihu_yoixs
Ghazal #96
Mohammad Rafi
If you were a woman and Mohammad Rafi was to sing this to you on a full moon night, what would you do, even if you were invalid and in bed? Well, you would want to see him even on a wheel chair!
That’s exactly what Nanda did for Sunil Dutt in the 1963 movie Aaj Aur Kal.
It is a beautiful ghazal penned by Sahir Ludhianvi with equally enchanting music by Ravi.
Caution: Do not watch the last part of the video!
Please enjoy: Itani haseen itani jawan rat kyaa kare….
saa.nso.n me.n ghul rahii hai kisii saa.ns kii mahak – 2
daaman ko chhuu rahaa hai koI haath kyaa kare.n – 2
itanI hasiin itanI javaa.n raat kyaa kare.n
shaayad tumhaare aane se ye bhed khul sake – 2
hairaan hai.n ki aaj naI baat kyA kar.n – 2
itanI hasiin itanI javaa.n raat kyaa kare.n
Ghazal #97
Shakeel Badayuni Mohammad Rafi
To talk about Mohammad Rafi without talking about Shakeel Badayuni is as impossible as to talk about Chandini without thinking of Chand.
That means, with just two days to go for the death anniversary of the greatest poet and lyricist in the Hindi movies: Shakeel Badayuni, it is slowly getting to be time to restart talking about him!
This is not an ordinary ghazal; it is the best ghazal to describe the beauty of a woman on a full moon night. As Shakeel himself said (and no one can say things better than him!):
Yaa zindagi ke saaz pe chhedi hui ghazal!
Only Shakeel could do it!
The same Mohammad Rafi and Ravi who created magic in Sahir’s ghazal: Itani haseen itani jawan raat, crossed all boundaries of excellence in this because the lyricist was Shakeel!
As I mentioned several times (countless times), Shakeel means ‘Handsome’, ‘Good Looking’……as if you had any dount!!
Please enjoy the title ghazal song of Guru Dutt’s 1960 movie Chaudhvinh ka chaand ho…..
chaudahavii.n kaa chaa.Nd ho, yaa aafataab ho
jo bhii ho tum khudaa ki qasam, laajavaab ho
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
Ghazal #98
Shakeel Badayuni and Mohammad Rafi
Two of the brightest stars in the sky! Decades after they are gone, the world of songs, ghazals, geet and poetry is as alive as when they were there. Yes, Beghum Akhtar was Shakeel’s voice in non-Hindi films ghazals; but, when it came to movies, the voices of Mohammad Rafi and Lata Mangeshkar sang his finest ghazals.
I have given quite a few of them to you. In the end there is only Yaad! I would have given Mili Khaak mein mohabbat; but that was put up by Evani Leela yesterday.
Here is one on Ravi’s music from the 1964 movie Door Ki Awaz starring Joy Mukherjee and Saira Bano.
Please enjoy: Kyaa younhi rooth ke jaane ko mohabbat ki thi….
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
Ghazal #99
Shakeel Badayuni, Naushad, Lata, Dilip Kumar and Madhubala
Shakeel Badayuni formed a quartet with Naushad, Mohammad Rafi and Dilip Kumar to create the finest songs in Hindi movies. However, as I have mentioned several times earlier, Lata Mangeshkar came equal to the task and sang some of his very good ghazals.
Lata Mangeshkar with Mohammad Rafi and Shakeel Badayuni (Pic courtesy: rckapoor.wordpress.com)
This one was deleted from the colour version of Mughal-e-Azam but I have selected it here because the lyrics of this have real life between Madhubala and Dilip Kumar mirror the reel life!
Without much ado, please enjoy: Hamen kaash tumase mohabbat naa hoti……
hame.n kaash tum se muhabbat na hotii
kahaanii hamaarii haqiikat na hotii
na dil tum ko dete na majabuur hote
na duniyaa na duniyaa ke dastuur hote
qayaamat se pahale qayaamat na hotii
hamii.n ba.Dh gaye ishq me.n had se aage
zamaane ne Thokar lagaayii to jaage
agar mar bhii jaate to hairat na hotii
tumhii.n phuu.Nk dete nasheman hamaaraa
muhabbat pe ahasaan hotaa tumhaaraa
zamaane se koi shikaayat na hotii
https://www.youtube.com/watch?v=BvNKAZtGyas
Ghazal #100
Shakeel Badayuni, Naushad Ali, Mohammad Rafi and Dilip Kumar
Shakeel Badayuni, Naushad, Rafi, and Dilip Kumar….the last time they were together….their 1968 movies Sunghursh and Aadmi were the last time the quartet was together. Aadmi had a famous ghazal that I have already given you: Kaisi haseen aaj baharon ki raat hai. So, I end four weeks of Ghazals in Hindi movies with this one from Sughursh.
Relive the magic!
It is picturised on Dilip Kumar and Vyjayanthimala.
Please enjoy: Ishq deewana husn bhi ghayal dono taraf ik dard-e-jigar hai….
ishq diivaanaa husn bhii ghaayal dono.n taraf ik dard-e-jigar hai
dil kii ta.Dap kaa haal na puuchho jitanii idhar hai utanii udhar hai
ishq diivaanaa husn bhii …
apane fasaane dil ke taraane yaa tum samajho yaa ham jaane.n
tumako hamaare dil kaa pataa hai hamako tumhaare dil kii Kabar hai
ishq diivaanaa husn bhii …
bikharii zulfe.n aa.Nchal Dhalakaa lab pe tabassum halkaa-halkaa
pyaar me.n ham to kho_e hai.n lekin aaj tumhe.n bhii hosh kidhar hai
dil kii ta.Dap kaa …
chaa.Nd-sitaare shoK nazaare sab hai.n tumhaare husn ke ghaayal
husn ko rakhanaa apane bachaa ke dekho tumhii.n par sabakii nazar hai
ishq diivaanaa husn bhii …
There then, in six parts, I have given you my selection of 100 ghazals in Hindi movies. I started with my favourite Shakeel Badayuni and ended with him.
It is quite possible that you would have a list of your own favourites. You may mention to me in the comments below if I have missed out on anything. But, only remember this: these are not the best ghazals of all fora; these are the best in Hindi movies only.
Let me say good-bye to you at this stage: Alvida, Shabba Khair, Khuda Hafez.
As I brought out in the introduction of ‘A Hundred Ghazals In Hindi Movies – Part I’, ‘A Hundred Ghazals In Hindi Movies – Part II’, ‘A Hundred Ghazals in Hindi Movies – Part III’, and ‘A Hundred Ghazals In Hindi Movies – Part IV’, the ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in ancient Arabic poem in Arabia long before the birth of Islam. The term Ghazal is of North African and Middle Eastern origin. Its root term in Arabic is “gh-zl” and is derived from the Arabian panegyric qasida.
The ghazal spread into South Asia in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of the Indian sub-continent.
I gave you 18 Ghazals in Part I starting with Shakeel Badayuni‘s Na milata gham to barbaadi ke afsaane kahan jaate, to Rajinder Krishan‘s Jahan Ara ghazal sung by Talat Mahmood: Phir wohi shaam wohi gham wohi tanhaayi hai. In between I packed ghazals by Kaifi Azmi, Sahir Ludhianvi, Bahadur Shah Zafar, Muztar Khairabadi, Hasrat Mohani, Hasrat Jaipuri, Jaan Nisar Akhtar, Majrooh Sultanpuri, and Farooq Qaiser.
I followed it up with another 18 Ghazals in Part II starting with Mohammad Rafi singing Sahir Ludhianvi‘s ghazal Tum ek baar mohabbat ka imtehaan to do for the 1960 movie Babur, to Lata Mangeshkar singing Jaan Nisar Akhtar‘s Aap youn faaslon se guzarte rahe for the 1977 movie Shankar Hussain. In between I gave you ghazals sung by Mubarak Begum, and ghazals of Mirza Ghalib, Raja Mehdi Ali Khan, Majrooh Sultanpuri, Rajinder Krishan, Gulzar, Bashar Nawaz and Mir Taqi Mir.
I followed the second part with another 16 Ghazals in Part III, starting with Talat Mehmood singing Sardar Jafri’sShaam-e-gham ki kasam, aaj gamgeen hain ham, Aa bhi jaa, aa bhi jaa, aaj mere sanam…. modified by Majrooh Sultanpuri for the 1953 movie Footpath and ending with Lata Mangeshkar singing Sahir Ludhianvi’s Jurm-e-ulfat pe hamen log saza dete hain, Kaise nadaan hain sholon ko hawa dete hain… for the 1963 movie Taj Mahal. In between I gave you three more ghazals by Talat Mehmood, one sung together by Mohammad Rafi and Mahendra Kapoor, a ghazal of Hassan Kamal, a few of Majrooh sultanpuri, one of Anand Bakshi and a few for which the great music director Roshan composed music.
In Part IV, I gave you 17 Ghazals, starting with Mahendra Kapoor singing Qamar Jalalabadi’s most famous ghazal: Rafta rafta woh hamare dil ke armaan ho gaye for the 1966 movie ‘Hum Kahan Jaa Rahe Hain’ to Shahryar‘s 1981 movie Umrao Jaan‘s ghazal sung by Asha Bhosle: Ye kyaa jagah hai dosto, ye kaun sa dyaar hai. In between, I gave you ghazals by SH Bihari, Shakeel Badayuni, Hasrat Jaipuri, Naqsh Lyallpuri, and Shahryar‘s other ghazals.
Lets resume our journey into the fascinating world of Ghazals.
Ghazal # 71
Noor Jehan
She was born as Allah Wasai on 21 Sep 1926 in Kasur, Punjab
now in Pakistan). She was one of the gretatest and most influential singers of her times and earned the honorific title of Mallika-e-Tarunnam (Queen of Melody). Even though Lata Mangeshakr later emerged as a very versatile singer, Lata would have given anything to have the range of singing that Noor Jehan naturally possessed. She learnt singing under Ustad Bade Ghulam Ali Khan, himself a genius.
Malika-e-Tarannum Noor Jahan (Pic courtesy: pics.urduwire.com)
Lets start with her rendition of Faiz Ahmed Faiz’s famous ghazal that is still regarded as the best rendition ever by Noor Jehan (next only to Awaaz de kahan hai). Her singing style was unmatched.
The ghazal appeared in the 1940 movie Qaidi. Music was composed by Rashid Atre.
Please enjoy: Mujhase pehli si mohabbat mere mehboob naa maang….
mujh se pahalii sii mohabbat, mere mahabuub, na maa.Ng – 4
mai.nne samajhaa thaa ke tuu hai to daraKshaa.n hai hayaat
teraa Gam hai to Gam-e-dahar kaa jhaga.Daa kyaa hai
terii suurat se hai aalam me.n bahaaro.n ko sabaat
terii aa.Nkho.n ke sivaa duniyaa me.n rakhaa kyaa hai – 2
tuu jo mil jaae to taqadiir nigo.n ho jaae
yuu.N na thaa, mai.nne faqat chaahaa thaa yuu.N ho jaae
% aur bhii dukh hai.n zamaane me.n mohabbat ke sivaa
% raahate.n aur bhii hai.n vasl kii raahat ke sivaa
mujh se pahalii sii mohabbat, mere mahabuub, na maa.Ng
anaginat sadiyo.n ke taariik bahimaanaa talism
resh-o-aThalas-o-kamaKaab-o-baazaar me.n jism
Kaak me.n lita.De hue Kuun me.n nahalaae hue
% jism nikale hue amaraaz ke tanavvuro.n se
% piip bahatii huii galate hue naasuuro.n se
lauT jaatii hai idhar ko bhii nazar kyaa kiije
ab bhii dilakash hai teraa husn, maGar kyaa kiije – 2
aur bhii dukh hai.n zamaane me.n mohabbat ke sivaa
raahate.n aur bhii hai.n vasl kii raahat ke sivaa
mujh se pahalii sii mohabbat, mere mahabuub, na maa.Ng
https://www.youtube.com/watch?v=Tpd6C_9uFRY
Ghazal # 72
Noor Jehan
Since in 1947, she decided to join Pakistan, in order that her ghazals should qualify for Hindi Movies (the current theme of Lyrical), I have to put up her ghazals before partition (though it is a fact that her ghazals sung in Pakistan are also gems).
Here is her most famous one from the 1946 movie Anmol Ghadi in which she acted together with Suraiya and Surendra. It has Naushad’s music. Surendra joins in the second stanza.
(Poster courtesy: en.wikipedia.org)
The gahazal is considered by many as the ultimate standard in ghazal singing.
Please enjoy: Awaaz de kahan hai, duniya meri jawan hai…
aavaaz de kahaa.N hai duniyaa merI javaa.N hai
aabaad mere dil me.n ummiid kaa jahaa.N hai
duniyaa merI javaa.N hai …
aa raat jaa rahI hai
yuu.n jaise chaa.Ndanii kI
baaraat jaa rahI hai
chalane ko ab falak se
taaro.n kaa kaaravaa.N hai
aise me.n tU kahaa.N hai
duniyaa merI javaa.N hai …
kismat pe chhaa rahI hai
kyo.n raat kii siyaahii
vIrA.N hai merI nii.nde.n
taaro.n se le gavaahii
barabaad mai.n yahaa.N huu.N
aabaad tU kahaa.N hai
bedard aasamaa.N hai …
aavaaz de kahaa.N hai …
Ghazal # 73
Suraiya
It was only later that the honorific title of Mallika-e-Tarunnam was given to Noor Jehan. The original Melody Queen was Suraiya or Suraiya Jamaal Sheikh born on 15th June 1929 in Gujaranwala in Punjab (now in Pakistan).
She continued to stay in India and her love affair with Dev Anand almost ended in their marriage.
Dev Anand and Suraiya in happy times (Pic courtesy: www.pinkvilla.com)
She has acted in many movies that she has sung songs for.
Her most famous ghazal has been penned by Kaifi Azmi and has Ghulam Mohammad’s music (he gave music for Pakeezah). It has been sung for the 1961 movie Shama.
Please enjoy: Dhadakte dil ki tamanna ho mera pyaar ho tum….
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(mujhe qaraar nahii.n) – 2
(jab se beqaraar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(khilaao phuul kisii ke kisii chaman men raho) – 2
jo dil kii raah se (guzarii hai vo bahaar ho tum) – 2
(zah-e-nasiib ataa kii jo dard kii sauGaat) – 2
vo Gam hasiin hai jis (Gam ke zimmedaar ho tum) -2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
cha.Daauu.N phuul yaa aa.Nsuu tumhaare qadamo.n me.n
merii vafaao.n ke (ulfat kii yaadagaar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
https://www.youtube.com/watch?v=M64silP33xY
Ghazal # 74
Gulzar
Sampooran Singh Kalra was born on 18th Aug 1934 in Jhelum district (now in Pakistan). He started his career as a lyricist at the age of 29 and is the most versatile personality in Hindi movies having tried his hand at direction, story and dialogue writing. He assumed the pen name Gulzar (Rose Garden) and is known widely by that name.
Gulzar (Pic courtesy: www.indiatvnews.com)
He has written some very fine ghazals in the Hindi movies.
Lets start with his ghazal duet sung by Kishore Kumar and Lata Mangeshkar for the 1978 movie Ghar starring Vinod Mehra and Rekha (it is nice to observe the chemistry between them). Music has been composed by RD Burman.
lataa: aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
aap se bhii khuubasuurat aapake a.ndaaz hai.n
aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
aap kii baato.n me.n phir koI sharaarat to nahii.n – 2
bevajah taarif karanaa aap kii aadat to nahii.n
aap kii badamaashiyo.n ke ye naye a.ndaaz hai.n
kishor: aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
lataa: aap se bhii khuubasuurat aapake a.ndaaz hai.n
aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
https://www.youtube.com/watch?v=NbqCWwlNKrA
Ghazal # 75
Gulzar
Here is another of Gulzar’s ghazals composed by RD Burman. This is for the 1987 movie Ijaazat starring Naseeruddin Shah, Anuradha Payel and Rekha. The singer is Asha Bhosle.
Naseeruddin Shah and Rekha in the 1988 movie Ijaazat. The scene is of the railway waiting room wherein the separated couple accidentally meet and discover the truth of their lives without each other. The story was based on a Bengali story Jatugriha by Subodh Ghosh
Please enjoy: Mera kuchh samaan tumhaare paas padha hai….
meraa kuchh saamaan tumhaare paas pa.Daa hai – 2
o o o ! saavan ke kuchh bhiige bhiige din rakhe hai.n
aur mere ek khat me.n lipaTii raat pa.Dii hai
vo raat bhulaa do, meraa vo saamaan lauTaa do – 2
meraa kuchh saamaan tumhaare paas pa.Daa hai – 2
patajha.D hai kuchh … hai naa ?
o ! patajha.D me.n kuchh patto.n ke girane kii aahaT
kaano.n me.n ek baar pahan ke lauT aaI thii
patajha.D kii vo shaakh abhii tak kaa.np rahii hai
vo shaakh giraa do, meraa vo saamaan lauTaa do – 2
ek akelii chhatarii me.n jab aadhe aadhe bhiig rahe the – 2
aadhe suukhe aadhe giile, sukhaa to mai.n le aayii thii
giilaa man shaayad bistar ke paas pa.Daa ho !
vo bhijavaa do, meraa vo saamaan lauTaa do
ek sau solaa chaa.nd ki raate.n ek tumhaare kaa.ndhe kaa til – 2
giilii me.nhadii ki khushabuu, jhuTh-muuTh ke shikave kuchh
jhuuTh-muuTh ke vaade sab yaad karaa duu.N
sab bhijavaa do, meraa vo saamaan lauTaa do – 2
ek ijaazat de do bas, jab isako dafanaauu.Ngii
mai.n bhii vahii.n so jaauu.ngii
mai.n bhii vahii.n so jaauu.ngii
Ghazal #76
Qamar Jalalabadi
Sorry for the three days break necessiated by my being very busy. I return to tell you about another great poet and lyricist Qamar Jalalabadi. You know him best as the lyricist of the songs of the 1958 movie Howrah Bridge starring Ashok Kumar and Madhubala that included the iconic song ‘Aaiye mehrabaan‘ and the best Hindi song with whistling: ‘Dekh kar teri nazar‘.
He was born in Jalalabad near Amritsar in 1919 as Om Prakash Bhandari. He started writing Urdu poetry at the age of seven. In the year 1940 he cane to Poona to try his hand at being lyricist in Hindi movies. His songs in 1942 movie Zamindar were well received especially the one sung by Shamshad Beghum: Duniya mein ghareebon ko aaraam nahin milata.
He shot to fame in 1958 with Howrah Bridge. In addition to the two songs that I have given you above, Mera naam chin chin choo became super hit.
His song for the 1954 movie Pehali Tarikh: Aaj pehali tarikh hai was played by Radio Ceylon on the first of every month for decades.
He wrote some fine ghazals. His most famous ghazal: Ghazab kiya tere waade pe aitbaar kiya was sung as a non-filmy ghazal by Mohammad Rafi and hence I cannot give you here.
However, the same ghazal was sung by Rajkumari for the 1954 movie Waris starring Talat Mehmood and Suraiyya on Anil Biswas’ s music.
(Pic courtesy: www.indianetzone.com)
Please enjoy: Ghazab kiya tere waade pe aitbaar kiya…..
sautan ghar na jaa o more saiyaa.N -2
sautan ghar na jaa bairan ghar na jaa o more saiyaa.N
sautan ghar na jaa o more saiyaa.N
Kabar na thii ke hame.n ashqabaar kar doge
hamaarii Kushiyaa.N kisii par nisaar kar doge
to.D ke meraa pyaar kaa sapanaa -2
na jaa pa.Duu.N mai.n tore pa_iyaa.N o more saiyaa.N -2
sautan ghar na jaa bairan ghar na jaa o more saiyaa.N
https://www.youtube.com/watch?v=6HP0yR9GmXk
Ghazal #77
Qamar Jalalabadi
In the first post of today I gave you a write-up about this great poet and lyricist who very actively participated in mushairas as a shayar.
Amongst the popular sings he wrote are: Chhaliya mera naam, Ik pardesi mera dil le gaya, Phir tumhaari yaad aayi hai sanam, and Main soya akhiyan meeche.
I have already given you his best ghazal: Ghazab kiya tere waade pe aitbaar kiya.
Here is his ghazal for the 1967 Manoj Kumar movie Upkaar. Even though I am not a fan of Manoj Kumar but Mukesh sung it so well on Kalyanji Ananji’s music.
Please enjoy: Deewaano se ye mat poochho deewaano pe kya guzri hai…
diivaano.n se ye mat puuchho diivaano.n pe kyaa guzarii hai
haa.N unake dilo.n se ye puuchho, aramaano.n pe kyaa guzarii hai
diivaano.n se ye mat puuchho …
auro.n ko pilaate rahate hai.n
aur Kud pyaase rah jaate hai.n
ye piine vaale kyaa jaane
paimaano.n pe kyaa guzarii hai
diivaano.n se ye mat puuchho …
maalik ne banaayaa inasaa.N ko
inasaan muhabbat kar baiThaa
vo uupar baiThaa kyaa jaane
inasaano.n pe kyaa guzarii hai
diivaano.n se ye mat puuchho …
Ghazal #78
Qamar Jalalabadi
This must rank amongst his best ghazals not only because of the beauty of its lyrics but also because Mohamnad Rafi has sung this so well. I am reminded of it because I just gave you a ghazal composed by Kalyanji Anandji. This is another one composed by him.
It is from the 1966 movie Preet Na Jaane Reet starring Shammi Kapoor with B Saroja Devi.
Please enjoy: Main bewafa nahin hoon tere pyaar ki kasam….
mai.n bevafaa nahii.n huu.N tere pyaar kii qasam
ikaraar jo kiyaa hai usii ikaraar kii qasam
mai.n bevafaa nahii.n …
maanaa hamaare pyaar kaa aalam badal gayaa
apane hii dil kii aag se kaashaanaa jal gayaa
dil phir bhii hai vo hii tere diidaar kii qasam
mai.n bevafaa nahii.n …
ulfat ke phuul gir ga_e qismat kii dhuul me.n
Kushbuu hai tere saa.Ns kii har ek phuul me.n
is pyaar ke luTe hu_e gulazaar kii qasam
mai.n bevafaa nahii.n …
https://www.youtube.com/watch?v=9dzzdeeCsLQ
Ghazal #79
Hemant Kumar
“This is too much” you are bound to tell me, “How can Hemant Kumar, an exponent of Rabindra Sangeet, be associated with Ghazals? He would be as far away from Ghazals as Ludhiana is from London”.
I would then point out that when he as a Music Director would pair with the ace poet and lyricist Shakeel Badayuni whose death-anniversary falls in 20th April, even Hemant da would have no choice but to compose the songs as ghazals.
To the best of my knowledge Hemant da has sung only one ghazal though he composed music for three. At the end of it, I would ask a cognoscenti like you to tell me if I am correct.
The ghazal is from 1963 movie Bin Baadal Barsaat (one of three movies in which Shakeel paired with Hemant da) starring Biswajit and Asha Parekh.
ArazUo.n ke diye, Aj raushan kIjiye
Ae hai.n milane ko ham, zi.ndagI ke parade liye (?)
kyA hasI.n rAt kyA muhUrat hai, zi.ndagI kitanI …
yU.N na ab sharamAiye, yU.N na ab ghabarAiye
phUl ke ghU.NghaT se ab, chA.NdanI barasAiye
chA.NdanI rAt kyA zarUrat hai, zi.ndagI kitanI …
https://www.youtube.com/watch?v=QeT3KJp5AxI
Ghazal #80
Hemant Kumar
Now that the surprise at Hemant da singing a ghazal is over, let me give you another composed by him.
This too is penned by the great Shakeel Badayuni whose death anniversary falls on 20th April. It has been sung by Lata Mangeshkar. Hemant da has given the kind of music that can be only expexted from Madan Mohan.
This is from the 1962 movie Bees Saal Baad starring Waheeda Rehman and Biswajit.
Please enjoy: Aye mohabbat meri duniya mein tera kaam na tha…
ai mohabbat merii duniyaa me.n teraa kaam na thaa
tuu naa aa_ii thii to Gam kaa bhii kahii.n naam na thaa
ai mohabbat merii duniyaa …
jaane kyuu.N aaj hai shikavaa mujhe duniyaa bhar se
isase pahale to kisii par ko_ii ilzaam na thaa
ai mohabbat merii duniyaa …
merii qismat ki mujhe ashq hii piine ko mile
mere hisse me.n mohabbat kaa ko_ii jaam na thaa
ai mohabbat merii duniyaa …
dene vaale mujhe kyo.n tuune mohabbat de dii
kyaa mujhe ishq se pahale ko_ii aaraam na thaa
ai mohabbat merii duniyaa …
https://www.youtube.com/watch?v=jPf9T1O8aEI
Ghazal #80
Hemant Kumar
The third surprise ghazal composed by Hemant Kumar was penned by Kaifi Azmi. It appears that when lyricists like Shakeel and Kaifi Azmi wrote, the music directors didn’t have any choice but to compose them into ghazals!
This is from the 1965 movie Faraar and is picturised on Shabnam and Anil Chatterjee. Lata has sung this.
(Poster courtesy: www.lyricsbogie.com)
Please enjoy: Dil-e-nadaan ko sambhalun to chale jaayiyega….
dil-e-naadaa.N ko sa.Nbhaaluu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to chale jaaiyegaa
abhii raaho.n me.n a.ndheraa hii a.ndheraa hogaa
aur a.ndhere me.n chhupaa ko_ii luTeraa hogaa
har taraf diip jalaa luu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to …
jaan pahachaan mulaaqaat hu_ii Kuub hu_aa
merii duniyaa me.n na_ii baat hu_ii Kuub hu_aa
baat se baat banaa luu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to …
rok luu.N aap ko dil me.n nahii.n aramaa.N aise
meri duniyaa me.n kahaa.N aate hai.n mehamaa.N aise
apanii duniyaa ko sajaa luu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to …
https://www.youtube.com/watch?v=kbYhqSGAoF4
Ghazal #82
Mahendra Kapoor
He was born on 9th Jan 1934 in Amritsar. His hero was Mohammad Rafi. He worshipped him whilst he learnt classical music under classical singers like Pt. Hussanlal, Pt. Jagannath Bua, Ustad Niaz Ahmed Khan, Ustad Abdul Rehman Khan and Pt.Tulsidaas Sharma. He debuted in V Shantaram’s 1958 movie Navrang. From then onwards, until his death in Mumbai on 27th Sep 2008, he sang some 25000 songs in various languages.
His silky smooth voice was very well suited for ghazals and he sang quite a few of them.
I have already given you a famous ghazal of his enacted by Shashi Kapoor for the 1961 movie Dharmaputra: Bhool sakta hai bhala kaun woh pyaari aankhen.
Many of his ghazals have been penned by Sahir Ludhianvi. This one too is penned by Sahir. It has Ravi’s music and it is from the 1965 movie Kaajal.
(Poster courtesy: ravepad.com)
Please enjoy: Aap ke paas jo aayega pighal jaayega….
aap ke bhiige hue jisam se aa.Nch aatii hai
dil ko garmaatii hai, jazbaat ko bha.Dakaatii hai
aap ke paas jo aaegaa, pighal jaaegaa
is haraarat se jo ulajhegaa, vo jal jaaegaa
aap kaa husn vo shabanam hai jo sholo.n me.n pale
garm khushbuo.n me.n tapate hue ra.Ngo.n me.n Dhale
kisakaa dil hai jo sambhaale se sambhal jaaegaa
ho.nTh hai.n yaa kisii shaayar kii du_aao.n kaa javaab
zulf hai.n yaa kisii saavan ke talabagaar kaa Kvaab
aise jalavo.n ko jo dekhegaa machal jaaegaa
is kadar husn zamaane me.n na dekhaa na sunaa
usakaa kyaa kahanaa jise aapane hamaraaz chunaa
usakii taqadiir kaa iinaam badal jaaegaa
https://www.youtube.com/watch?v=9ZFKIVimkNk
Ghazal #83
Mahendra Kapoor
Did he sing any of Shakeel Badayuni? Yes, of course he did. This one is from the 1965 movie Zindagi Aur Maut and it has C Ramchandra’s music.
It also happens to be one of his best.
Please enjoy: Dil laga kar ham yeh samajhe zindagi kyaa cheez hai…
dil lagaakar ham ye samajhe, zi.ndagii kyaa chiiz hai
ishq kahate.n hai.n kise aur, aashiqii kyaa chiiz hai
haay ye ruKasaar ke shole, ye baahe.n marmarii
aapase milakar ye do baate.n, samajh me.n aa ga_ii.n
dhuup kisakaa naam hai aur chaa.Ndanii kyaa chiiz hai
aapakii shoKii ne kyaa-kyaa, ruup dikhalaa_e hame.n
aapakii aa.Nkho.n ne kyaa-kyaa, jaam pilavaa_e hame.n
hosh kho baiThe to jaanaa, beKudii kyaa chiiz hai
aapakii raaho.n me.n jabase hamane rakhaa hai qadam -2
hamako ye mahasuus hotaa hai ki hai.n ma.nzil pe ham
koii kyaa jaane mohabbat kii khushii kyaa chiiz hai
Ghazal #84
Mahendra Kapoor
I end with a ghazal of his for the 1982 movie Nikaah for which I have already given you a ghazal each by Ghulam Ali and Slama Agha.
This too has been penned by Hasan Kamaal and this has Ravi’s music.
Please enjoy: Beete huye lamhon ki kasak saath to hogi…
abhii alavidaa mat kaho dosto.n
na jaane phir kahaa.N mulaaqaat ho, kyo.nki
biite hue lamho.n kii kasak saath to hogii
Kvaabo.n me.n hii ho chaahe mulaaqaat to hogii
ye pyaar ye Duubii huii ra.Ngiin fizaae.n
ye chahare ye nazaare ye javaa.N rut ye havaae.n
ham jaae.n kahii.n inakii mahak saath to hogii
biite hue lamho.n kii …
phuulo.n kii tarah dil me.n basaae hue rakhanaa
yaado.n ke chiraaGo.n ko jalaae hue rakhanaa
lambaa hai safar is me.n kahii.n raat to hogii
biite hue lamho.n kii …
ye saath guzaare hue lamhaat kii daulat
jazbaat kii daulat ye Kayaalaat kii daulat
kuchh paas na ho paas ye saugaat to hogii
biite hue lamho.n kii …
That brings us to the end of Part V of A Hundred Ghazals in Hindi Movies. We have had a total of 84 ghazals so far and in the Part VI, the last part, we are left with only 16 ghazals.
Please let me know in the comments below if some ghazal of yours should appear in the Top 100. I shall try to accommodate in the last part. Only, please remember that these are not the best ghazals in all fora; these are only considered the best that appeared in Hindi movies.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I attempted a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
I completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16, Part III from 17 Jul to 23 Jul and Part IV from 24 Jul to 30 Jul. There were still three days left and I wanted to make it a total of 100 songs in 31 days. Hence, I covered those three days in Part V, giving you ten songs on the final day of the Countdown. Those of you who read all the five parts would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. In Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya). In Part IV, I covered songs from 1962 Guru Dutt movie Sahib Bibi Aur Ghulam (Koi door se awaaz de chale aao) to 1963 movie Bin Baadal Barsaat (Jab jaag uthe armaan). And finally, in Part V, I covered songs from 1963 movie Bin Baadal Barsaat (Ik baar zara phir kah do sharma ke mujhe deewana) to 1965 movie Zindagi Aur Maut (Dil laga ke ham ye samajhe zindagi kyaa cheez hai).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part V, I have covered three more of them making it 31 Lyricists from Shailendra to SH Bihari:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja.
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
30. Asad Bhopali with Woh jab yaad aaye.
31. SH Bihari with Teri yaad ka deepak jalata hai.
Hence, it would be easy to see that even after all the five parts, I still have 13 movies and 35 songs (that I had originally selected) to go until his last: the 1969 movie Beti.
Hence, here I am in Part VI, the Final Part, to cover those 35 songs.
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #101
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday (02 Aug 16) in Countdown to His Birth Centenary)
Yesterday, the final day of the countdown, saw the 100th song being a song from the 1965 Nisar Ahmad Ansari movie Zindagi Aur Maut that starred Bela Bose, Nilofar, Pradeep Kumar, and Johnny Walker.
I also mentioned that in his filmy career of 18 years, it was the first of the two times that he paired with C Ramchandra.
His next movie was the 1965 movie Bedaag, an R Bhattacharya movie starring Manoj Kumar, Nanda and Shashikala. It had the following songs:
01 Zindagi Ke Mod Par Jo Mohammed Rafi
02 Maine Ai Jaan-E-Wafa Tumase Mohabbat Ki Hai Mohammed Rafi, Suman Kalyanpur
03 Aankho Aankho Me Naa Janey Kya Asha Bhosle, Mohammed Rafi
04 Haye Re Mai To Prem Diwana Manna Dey, Manoj Kumar
05 Sachhi Tumhari Preet Ho Ram Mohammed Rafi
06 Nikolasa Mere Sanam Jhum Le Zara Sa Asha Bhosle
07 Bedhadak Dalo Rang Dalo Dalo Asha Bhosle
All songs were composed by Roshan.
(Poster courtesy: ravepad.com)
Please enjoy Mohammad Rafi sing: Zindagi ke mod par jo koi raasta mila, teri gali se jaa mila….
zindagii ke mo.D par jo ko_ii raastaa milaa
terii galii se jaa milaa -2
aaj khaate hai.n Thokare.n shahar me.n zindagii ke ham -2
tujhase chale the duur-duur Gam kii sharaab pii ke ham -2
terii taraf bahak ga_e -2
aisaa hame.n nashaa milaa
teraa Kyaal chho.D ke ba.Dh ga_ii.n aur ulajhane.n
tere hii naam kii sadaa detii hai dil kii dha.Dakane.n -2
ab ye hii sochate hai.n ham ruuTh ke tujhase kyaa milaa -2
tujhase ko_ii garaz nahii.n phir bhii hai terii aarazuu
dil ne tujhe bhulaa diyaa phir bhii hai dil me.n tuu hii tuu -2
tujhase bichha.D ga_e to ab -2
teraa hame.n pataa milaa -2
terii galii se jaa …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #102
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
OP Ralhan’s 1965 movie Phool Aur Patthar was the next movie for which Shakeel Badayuni penned the songs.
This movie was a milestone in the career of Dharmendra. His debut movie was the 1960 movie Dil Bhi Tera Ham Bhi Tere. He worked, thereafter, in such movies as Soorat Aur Seerat (1962), Bandini (1963), Dil Ne Phir Yaad Kiya (1966) and Dulhan Ek Raat Ki (1967) (all with Nutan), and in Anpadh (1962), Pooja Ke Phool (1964), Baharen Phir Bhi Aayengi (all with Mala Sinha), and in Akashdeep with Nanda, with Saira Banu in Shaadi and Ayee Milan Ki Bela (1964) and with Meena Kumari in Main Bhi Ladki Hoon (1964), Kaajal (1965), and Poornima (1965).
With this movie, that is, Phool Aur Patthar, Dharmendra emerged as an actor to reckon with. Indeed, he got his first Filmfare Best Actor nomination for this movie.
The film had the following songs, all penned by Shakeel:
1.”Sheeshe Se Pee Ya” Asha Bhosle Picturized on Shashikala
2.”Sun Le Pukar” Asha Bhosle
3.”Zindagi Mein Pyar Karna” Asha Bhosle Picturized on Shashikala
4.”Mere Dil Ke Andar” Mohammad Rafi This song is a qawwali.
5.”Layi Hai Hazaron Rang” Asha Bhosle Future item queen Laxmi Chhaya is one of the dancers featured in this song.
6.”Tum Kaun? Mamul” Mohammad Rafi
If you recall, when I covered the 1961 movie Ganga Jamuna, I had given in the list of songs a courtesan song: Tora man badha paapi saanwariya re. A beautiful mujra on that song was performed by the cabaret queen Helen. However, I had not given that song that time as I was running out of time.
Here, at least, I am giving you a courtesan song, performed by Shashikala. Phool Aur Patthar was the tenth movie in which Shakeel paired with Ravi after the 1960 movie Ghunghat.
Please enjoy: Sheeshe se pi ya paimaane se pi…..
(shiishe se pii, yaa paimaane se pii
yaa merii aa.Nkho.n ke maiKaane se pii
par pii diivaane, Kushii se jii diivaane) -2
shiishe se pii, yaa paimaane se pii
(husn kha.Daa hai terii raaho.n me.n
Daal de baahe.n zaraa baaho.n me.n) -2
raat suhaanii hai, bahakii javaanii
pii le nigaaho.n hii nigaaho.n me.n
(jaan le aa.Nkho.n ke ishaaro.n ko
luuT le duniyaa kii bahaaro.n ko) -2
mai.n huu.N sanam terii
tujhako qasam merii
chhe.D le tuu bhii dil ke taaro.n ko
(dekh ye gha.Dii phir naa aayegii
zulfo.n kii ghaTaa phir naa chhaayegii
baat samajh merii
kal ye umar terii
mausam kii tarah biit jaayegii
https://www.youtube.com/watch?v=k6TuMP0ynOE
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #103
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
Was Shakeel a natural lyricist for Bhajans? I would think so if you recollect the number of extremely popular bhajans that he penned.
This bhajan is a cry for help by Meena Kumar as Shanti. She doesn’t want the love of her life: Dharmendra as Shaka to die after having been severely beaten up when he wants to abandon his life as a criminal and return to goodness. Shanti owes a lot to Shaka since he, as a criminal, having a heart of gold, takes care of her when he had entered her house to burgle and found that her relatives had left her there alone to die of plague.
Having given credit to Shakeel for this bhajan, we need to now appreciate Asha Bhosle as a singer. I gave you the first song of the movie, Sheeshe se pi, a nautch-girl number sung so sexily by her. And here in this bhajan she brings out the pathos of a woman for her husband.
Lastly, I am sure, you would have noticed that Ravi was a music director who mastered emotions of extreme pain and despondency in his notes beautifully (we are yet to come to his masterly songs in Do Badan) and this is one of those songs.
Please enjoy: Sun le pukaar aayi…..
diyaa naa bujhe mere ghar kaa
merii taqadiir ke maalik
sun le pukaar aa_ii aaj tere dvaar -2
leke aa.Nsu_o.n kii dhaar mere saa.Nvare -2
mai.n to ek bhiikh maa.Nguu.N tose phailaa ke haath re
sun le pukaar …
binatii karuu.N mai.n tose jag ke khivaiyaa -2
Duub na jaa_e merii aashaa kii naiyaa -2
kisako dikhaa_uu.N jaa ke dard mai.n apanaa
ko_ii nahii.n hai meraa ( kR^iShN kanhaiyaa ) -2
sun le pukaar …
maine prabhu aaj tak kuchh nahii.n maa.Ngaa -2
aaj to daan de-de apanii dayaa ke
badale me.n chaahe merii jaan bhii le-le
bachaa le sahaaraa daataa ( is dukhiyaa kaa ) -2
sun le pukaar …
https://www.youtube.com/watch?v=EcjAoTFV-q8
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #104
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
In the last song, we were just talking about Do Badan and the very next movie of Shakeel is Do Badan (1966 movie)!
Do you recall Raj Khosla? Yes, of course you do. He started his career as Assistant to Guru Dutt in the 1954 Dev Anand, Geeta Bali starrer Milap and then got a chance to direct Guru Dutt’s next movie, a crime-thriller, C.I.D. (1956), the debut movie of Waheeda Rehman (wherein she was a prostitute since Guru Dutt wanted her to learn that role for his 1957 movie Pyaasa). He did a triology of crime-thrillers with actress Sadhana: Woh Kaun Thi, Mera Saaya, and Anita.
(Pic courtesy: www.apnironaq.com)
More than anything else, he achieved fame for the picturisation of songs in the movies. All those who saw any of his movies would recall that; eg, Lag jaayo gale ke phir yeh in Woh Kaun Thi.
As for as songs of Do Badan are concerned, Raj Khosla got his hands full since between Shakeel and Ravi, they produced the best songs in this movie. Here is the list:
1. Jab Chali Thandi Hawa Asha Bhosle
2. Bhari Duniya Mein Akhir Dil Mohammad Rafi
3. Raha Gardishon Mein Hardum Mohammad Rafi
4. Naseeb Mein Jiske Jo Mohammad Rafi
5. Lo Aa Gayi Unki Yaad Lata Mangeshkar
6. Mat Jayio Naukariya Chhorh Ke Asha Bhosle
7. Raha Gardishon Mein (Reprise) Mohammad Rafi
8. Lo Aa Gayi unki Yaad (Reprise) Lata Mangeshkar
Do Badan had the same story as 1951 Nitin Bose movie Deedar, which had songs by Shakeel and Naushad. Manoj Kumar, the hero of the movie, took Raj Khosla to watch Deedar starring Dilip Kumar, Nargis and Nimmi and suggested to make a remake of the movie starring him! The only thing that can be said about Manoj Kumar is that his high ambition contrasted with the lowness of his acting. In this movie though, his acting was passable; Shakeel and Ravi and Raj Khosla made this awful actor too passable!
Lets start with the first song; a song sung by Asha Bhosle for Asha Parekh. She has gone for an outing with her friends and she is missing her lover (she must be really desperate to miss someone of the calibre of Manoj Kumar! Anyway, such is love!)
Please enjoy: Jab chali thandi hawa…..
jab chali thadi hawa jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aaye
jab chali thadi havaa jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aaye
zindagi ki daastaa chaahe kitani ho hasi
bin tumhaare kuchh nahi bin tumhaare kuchh nahi
kya maza aata sanam aaj bhule se kahi
tum bhi aa jate yahi tum bhi aajaate yahi
ye bahaare ye fizaa dekhakar o dilarubaa
jaane kyaa dil ko huaa tum yaad aaye
jab chali thadi havaa jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aayei
ye nazare ye samaa aur phir itne javan
haye re ye mastiyaan haye re ye mastiyan
aisa lagata hai mujhe jaise tum nazadik ho
is chaman se jaan-e-jaa is chaman se jaan-e-jaa
sun ke usaki sadaa dil dhadakataa hai mera
aaj pahale se sivaa tum yaad aaye
jab chali thadi havaa, jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aaye
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #105
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
We have just started taking up the songs of 1966 Raj Khosla movie Do Badan starring Manoj Kumar, Asha Bhosle and Simi Grewal, the movie being a remake of 1951 movie Deedar starring Dilip Kumar, Nargis and Nimmi. Shakeel Badayuni was common for both the movies!
In this movie, Mohammad Rafi ended up singing some of his best Shakeel Badayuni songs for Manoj Kumar who didn’t know A of acting. Anyway, that didn’t take away the intensity of the songs.
This was composed by Ravi in Raag Bhairavi, Tal Kaherava.
Please enjoy a beauty of a song both for its lyics and composition: Bhari duniya mein aakhir dil ko behlaane kahan jaayen…..
bharii duniyaa me.n aaKir dil ko samajhaane kahaa.N jaae.n
muhabbat ho ga_ii jinako vo diivaane kahaa.N jaae.n
lage hai.n shammaa par pahare zamaane kii nigaaho.n ke
jinhe.n jalane kii hasarat hai vo paravaane kahaa.N jaae.n
sunaanaa bhii jinhe.n mushkil chhupaanaa bhii jinhe.n mushkil
zaraa tuu hii bataa ai dil vo afasaane kahaa.N jaae.n
https://www.youtube.com/watch?v=o2MYdf1zQ2Q
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #106
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
One thing remarkable about Shakeel and Rafi was that they made and sang songs for anyone at all. So, if they could make songs for comedians like Johnny Walker, there was absolutely no harm in making songs for a joker like Manoj Kumar too.
Following in the footsteps of the great Naushad Ali, Ravi composed the next song in Raag Darbari Kanada (Recall Naushad’s song in this Raag from Mughal-e-Azam: Muhabbat ki jhooti kahani pe roye in the same Tal and I had mentioned that Tansen from Akbar’s Darbar had brought this Raag from the South and Naushad having selected this Raag to express Anarkali’s feeling of despair in the reign of Akbar was irony indeed). Tal is Kaherava. And the despondency too is comparable to Anarkali’s.
Please enjoy Rafi sing: Raha gardishon mein hardam mere ishq ka sitaara…..
(I hope, ladies and gentlemen, you know the meaning of the word: Gardish. It means Revolution, Rotation, Wandering about in misfortune)
rahaa gardisho.n me.n haradam mere ishq kaa sitaaraa
kabhii Dagamagaayii kashtii, kabhii luT gayaa kinaaraa
koii dil kaa khel dekhe, ki muhabbato.n kii baazii
vo qadam qadam pe jiite, mai.n qadam qadam pe haaraa
ye hamaarii badanasiibii jo nahii.n to aur kyaa hai
ki usii ke ho gaye ham, jo na ho sakaa hamaaraa
pa.De jab Gamo.n ke paale, rahe miTake miTanevaale
jise maut bhii na puuchhaa, use zi.ndagii ne maaraa
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #107
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
If you think that the last two songs of Mohammad Rafi for the 1966 Raj Khosla movie: Bhari duniya mein aakhir dil ko behlaane kahan jaayen, and Raha gardishon mein hardam mere ishq ka sitaara, brought the house down due to the excellence of their lyrics by Shakeel and composition by Ravi, then wait for the next song; a song about the acceptance of the fate by the hero, in this case (sadly) Manoj Kumar.
Mohammad Rafi, once again sang it with his usual passion.
Please enjoy: Naseeb mein jisake jo likha tha….
nasiib me.n jisake jo likhaa thaa
vo terii mahafil me.n kaam aayaa
kisii ke hisse me.n pyaas aaii
kisii ke hisse me.n jaam aayaa
mai.n ik fasaanaa huu.N bekasii kaa
ye haal hai merii zi.ndagii kaa
na husn hii mujhako raas aayaa
na ishq hii mere kaam aayaa
nasiib me.n …
badal ga_ii.n terii ma.nzile.n bhii
bichha.D gayaa mai.n bhii kaaravaa.n se
terii muhabbat ke raaste me.n
na jaane ye kyaa makaam aayaa
nasiib me.n …
tujhe bhulaane ki koshishe.n bhii
tamaam naakaam ho ga_ii hai.n
kisii ne zikr-e-vafaa kiyaa jab
zubaa.N pe teraa hii naam aayaa
nasiib me.n …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #108
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
After watching the sad songs of Shakeel sung by Rafi (made sadder still if one has to watch Manoj Kumar lip-sync them), we come to a song of extreme despondency (sung by Lata Mangeshkar for Asha Parekh; making it one movie in which Asha Bhosle (with her Jab chali thandi hawa) and her sister Lata, both sang for Asha Parekh)
Ravi composed it in Raag Asavari, a raag of the morning signifying here teo things: one, she cannot go to sleep even in the wee hours of the morning, thinking of him; and two, she is hoping for the ‘morning’ in her love when things would become brighter from the dark despondency that hangs around her).
Lying on the bed, Asha didn’t have much to act on and yet she has brought out superb histrionics (in sharp comparison to the other ‘badan’ in the movie: Do Badan).
Please enjoy: Lo aa gayi unaki yaad, woh nahin aaye….
lo aa gayii unakii yaad, vo nahii.n aaye
dil unako dhuundta hai, Gam ke si.ngaar kar ke
aa.Nkhe.n bhii thak gayii hai.n, ab i.ntazaar kar ke
ik aas rah gayii hai, vo bhii na TuuT jaaye
lo aa gayii unakii yaad …
ruuThii hai.n aaj ham se, tanahaa_iyaa.N hamaarii
vo bhii na paaye shaayad, parachhaa_iyaa.N hamaarii
ba.Dhate hii jaa rahii hai.n, maayuusiyo.n ke saaye
lo aa gayii unakii yaad …
lau tharatharaa rahii hai, ab shamm-e-muhabbat kii
uja.Dii huii muhabbat, mahamaa.N hai do gha.Dii kii
mar kar hii ab mile.nge, jii kar to mil na paaye
lo aa gayii unakii yaad …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #109
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
And now we come to the last 1966 movie for Shakeel: Dil Diya Dard Liya; a movie directed by AR Kardar or Abdul Rashid Kardar, who directed the first movie in which Shakeel penned his songs: the 1947 movie Dard with the evergreen Uma Devi number: Afsaana likh rahi hoon.
The movie’s story was based on Emily Brontë’s novel Wuthering Heights; I had read the novel before I joined the Navy in 1973 and saw the movie only this year on my computer.
The movie starred Dilip Kumar, a prince who was lost as an infant in a ship-wreck and found by a poor fisherman who passes him on to a landlord. When this prince grows up (Dilip Kumar as Shankar), he is mercillesly ill-treated by the landlord’s son (Pran as Ramesh) and is in love with the landlord’s daughter and Ramesh’s sister (Waheeda Rehman as Roopa).
One day he is mercillesly beaten again by Ramesh and dropped from the high walls of a fort where Shankar and Roopa used to have their trysts; and left as dead. Sea of course was kinder to him this time. He is picked up by another fisherman and this time recognised as a prince by the faithful prime minister of the now dead king of Belapur.
And now, to take the story to Wuthering Heights, Shankar returns as the king of Belapur and finds that his beloved Roopa has planned to marry Rehman as Satish.
Wuthering Heights was all about the irony of the situation and Shakeel has been knighted by me as the King of Irony. Hence, as we go along, you will find many songs in which Shakeel has brilliantly excelled.
Of course, in this movie, he is back with his mentor Naushad Ali, their 22nd movie together.
Following is the list of songs from the movie:
1. “Koi Saagar Dil Ko Behlata Nahin” Shakeel Badayuni Mohammed Rafi 03:35
2. “Phir Teri Kahani Yaad Aayi” Shakeel Badayuni Lata Mangeshkar 03:30
3. “Saawan Aaye Ya Na Aaye” Shakeel Badayuni Mohammed Rafi, Asha Bhonsle 03:53
4. “Dilruba Maine Tere Pyar Mein” Shakeel Badayuni Mohammed Rafi 04:06
5. “Guzren Hain Aaj Ishq Mein” Shakeel Badayuni Mohammed Rafi 03:49
6. “Dil Harnewale Aur Bhi Hai” Shakeel Badayuni Asha Bhonsle 05:23
7. “Haay Rasiya Tu Bada Bedardi” Shakeel Badayuni Asha Bhonsle
8. “‘Kya Range Mehfil Hai Dildaram O Jane Yaram” Shakeel Badayuni Lata Mangeshkar 03:44
First, lets take a song of Shankar and Roopa in their happy days at the same fort: Rani Roopmati’s palace in Mandu, near Indore. You cannot, of course, fall from there into the sea but then movies are always make-believe.
This song I have given you once before on Lyrical when I took up Raag Sarang (this is in primary form of Sarang called Brindavani Sarang).
The song and its picturisation and the acting of Dilip Kumar and Waheeda Rehman (both Living Legends of Hindi cinema) immediately warms the cockles of one’s heart.
Please enjoy in Raag Brindavani Sarang, a song sung by Asha Bhosle and Mohammad Rafi: Saawan aaye ya na aaye…..
aa: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
ra: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
do: saawan aaye
ra: taar mile.n jab dil se dil ke
wohii samay man-bhaawan hai
do: wohii samay man-bhaawan bhaawan hai
saawan aaye
aa: jabase piyaa tuu naino.n me.n aayaa
prem ke ra.ng me.n rach gaii kaayaa
ra: aa.a
aa: aa.a
ra: baago.n me.n ban me.n niil gagan me.n
sabame.n hai tere ruup kii chhaayaa
aa: tuu hai mere sa.ng me.n haradam
Kushii kii aawan-aawan hai
do: Kushii kii aawan-aawan aawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan aaye
##sargam##
ra: akhiyaa.N majiire man ikataaraa
iname.n baaje naam tihaaraa
aa: aa.a
ha.Nsate-gaate jiiwan biite
a.nt na ho ye giit hamaaraa
ra: mausam aayaa sukh paawan kaa
dukho.n kii jaawan-jaawan hai
do: dukho.n kii jaawan-jaawan jaawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan aaye
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #110
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
As we end tonight, here is the second of the six songs the 1966 AR Kardar movie Dil Diya Dard Liya that we should be taking up. Whilst the excellence of the songs of Do Badan can actually be contrasted with those of this movie, one must heave a sigh of relief that one can watch some superb acting in this movie as compared to pedestrian acting in the previous one.
The next song is about Shankar (Dilip Kumar) having returned as King of Belapur and finding his beloved Roopa (Waheeda Rehman) walking arm in arm with Satish (Rehman). He takes to drinking, much to the ecstasy of Ramesh (Pran) since a drunk king is well suited to squander his money on such luxuries that ramesh can provide.
In this song, however, Dilip Kumar brings out that no wine/liquor can amuse him anymore. The lyrics by the greatest lyricist in the world are crafted to perfection; viz: Main koi patthar nahin insaan hoon, kaise kehdoon gham se ghabraata nahin…
Naushad Ali, the pioneer of having brought songs into the movies. which were based on classical raagas, composed it in little known Raag called Janasamohani, Tal Dadra. Dil Diya Dard Liya songs are amongst the best sung by Mohammad Rafi and this one is particularly beautiful.
Please enjoy: Koi saagar dil ko behlaata nahin….
koii saagar dil ko bahalaataa nahii.n – 2
bekhudii me.n bhii qaraar aataa nahii.n, koI saagar …
kal to sab the kaaravaa.N ke saath saath – 2
aaj koI raah dikhalaataa nahii.n
koI saagar …
zi.ndagii ke aa_ine ko to.D do – 2
isame.n ab kuchh bhii nazar aataa nahii.n
koI saagar …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #111
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Yesterday, we started taking up songs of the 1966 AR Kardar movie Dil Diya Dard Liya starring Dilip Kumar as Shankar, Waheeda Rehman as Roopa, Pran as Ramesh and Rehman as Satish.
This was the seventh movie Shakeel did with Abdul Rashid Kardar, with whom he had done his first movie – the 1947 Dard. His sixth movie with Kardar was the 1953 movie Dil-e-Nadaan. Hence, he was back with AR Kardar after 14 years.
This also happened to be the last movie that he did with him. The songs of the movie are still remembered as some of the best penned by Shakeel, composed by Naushad and sung by Mohammad Rafi.
We took up just two songs yesterday: the happy song, Sawan aaye ya na aaye, and Koi Sagar dil ko behlata nahin.
When Shankar had been dropped from the height of Rani Roopmati palace, by the henchmen of Ramesh (Pran) and he had been revived as the King of Belapur, Roopa (Waheeda) had been patiently waiting for him. Indeed, one reason why she had decided to tie up with Satish (Rehman) was to stop the wagging tongues of people as she was forced to stay in his house due to her poor situation after her brother Ramesh (Pran) had squandered all of their father’s money on wine and women.
This song, sung by Lata Mangeshkar was in those days of intezaar for her love to return.
The mukhada of this song gave rise to the title of a latter day movie.
jalate hai.n chiraago.n kii suurat
har shaam terii ham yaado.n me.n
jab subah ko shabanam rotii hai
kho jaate hai.n ham fariyaado.n me.n – 2
jab dil ne koI aavaaz sunii
jab dil ne koI aavaaz sunii, teraa hii taraanaa yaad aayaa
phir terii kahaanii yaad aaI …
shaayad kabhii milanaa ho jaae
baiThe.n hai.n isii aramaan me.n ham
tuune to kinaare paa hii liye
ulajhe hai.n magar tuufaan me.n ham
ai jaan-e-vafaa phir aaj hame.n
ai jaan-e-vafaa phir aaj hame.n,
pichhalaa vo zamaanaa yaad aayaa
phir terii kahaanii yaad aaI …
https://www.youtube.com/watch?v=4zsjnE7CZmQ
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #112
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
All my boyhood memories of excellent, powerful, heart-touching lyrics with that last song and with other songs of the movie.
Shankar (Dilip Kumar) after seeing Roopa (Waheeda Rehman), his beloved, walking arm in arm with Satish (Rehman) is not just devastated but full of feelings of vengeful regret.
These are reflected superbly in the title song of the movie sung by Mohammad Rafi for Dilip Kumar. Anyone can guess that such a song would be composed in the raag of the evening, Raag Kalyan and that’s exactly what Naushad did. Tal was Kaherava.
Please enjoy: Dilruba maine tere pyaar mein kyaa kyaa na kiya, dil diya dard liya….
dilarubaa maine tere pyaar me.n kyaa-kyaa naa kiyaa
dil diyaa dard liyaa -2
kabhii phuulo.n me.n guzaarii kabhii kaa.NTo.n pe jiyaa
dil diyaa dard liyaa -2
zindagii aaj bhii hai bekhudii aaj bhii hai
pyaar kahate hai.n jise vo Kushii aaj bhii hai
maine din-raat mohabbat kaa terii jaam piyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
kyaa kahuu.N tere li_e maine aa.Nsuu bhii pi_e
kabhii Kaamosh rahaa kabhii shikave bhii ki_e
kar liyaa chaaq garebaa.n kabhii daaman ko siyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
pyaar kii aan hai tuu dil kaa aramaan hai tuu
kaun duniyaa se Dare jab nigehabaan hai tuu
apanii kashtii ko sahaare pe tere chho.D diyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #113
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
The hallmark of a genius is that he is good at all kinds of songs. We have seen earlier even a pop penned by him Ding dong ding lala sung by Geeta Dutt. We have seen children’s songs that he wrote, bhajans, songs of joy, songs of sadness, and songs of mujra.
The second last song from this movie that I am going to give you is a mujra song: Haay haay rasiya tu bada bedardi to depict the profligacy of Pran. Predictably, it has been sung by Asha Bhosle.
Naushad, the pioneer and master of Raaga based songs, composed in Raag Pilu, Tal Dadra.
batiyaa.N jhuuThii torii ( nainaa chhal se bhare ) -2
kohuu naa priit kare tore sa.ng raam kare
tore sa.ng haa haa haa haa raam kare
lobhii torii nazare.n ho lobhii torii nazare.n
lobhii torii nazare.n ho torii nazare.n hai.n khoTii torii marajii
ho rasiyaa tuu ba.Daa …
jiyaa ke bain piyaa kachhahuu jaane nahii.n -2
kachhahuu jaane nahii.n
zulmii moraa kahaa haay zulmii moraa kahaa ekahuu maane nahii.n
kare manamaanii ho kare manamaanii dikhaa_e Kudagarjii
ho rasiyaa tuu ba.Daa …
kaahe kaa maan kare kaahe ko Dhaa_e julam
( priit kii haay pa.De ) -2 to pe o bairii balam
jaa re nahii.n maanuu.Ngii ( jaa re nahii.n maanuu.N ) -2
ho jaa re nahii.n maanuu.Ngii saiyyaa.N torii marajii
ho rasiyaa tuu ba.Daa …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #114
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Up to now, it would have occurred to you that each one of the 1966 movie Dil Diya Dard Liya has been not just a masterpiece but also composed by Naushad in a raaga like the 1952 Baiju Bawra songs. Also, you would have noticed another quality that the lyrics and the notes stay with you long after you have finished listening to the song. How many others had this quality?
Sadly, that brings us to the last song of the movie that I selected for you: Guzre hain aaj ishq mein; the song with an intent to seek revenge for having been betrayed in love.
Once again, by now, knowing Naushad, you can predict the raag. Yes indeed, it is Raag Darbari Kanada, Tal Dadra, which suits Dilip as the king of Belapur. As a king, he uses the pronoun Hum rather than Main of the common man.
This song is immediately after he sees his beloved Waheeda Rehman walking arm in arm with Pran!
Please enjoy: Guzre hain aaj ishq mein hum us mukaam se….
guzare hai.n aaj ishq me.n ham us maqaam se
nafarat sii ho ga_ii hai muhabbat ke naam se
hamako na ye gumaan thaa, o sa.ngadil sanam
raah-e-vafaa se tere bahak jaae.nge qadam
chhalakegaa zahar bhii terii aa.Nkho.n ke jaam se
o bevafaa teraa bhii yuu.N hii TuuT jaae dil
tuu bhii ta.Dap-ta.Dap ke pukaare haay dil
teraa bhii saamanaa ho kabhii, Gam kii shaam se
ham vo nahii.n jo pyaar me.n rokar guzaar de.n
parachhaaI.n bhii ho terii to Thokar se maar de.n
vaaqif hai.n ham bhii Kuub har ek i.ntaqaam se
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #115
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
His next movie was another Nisar Ahamad Ansari movie (earlier I gave a song from his 1965 movie Zindagi Aur Maut composed by C Ramchandra: Dil laga kar ham ye samajhe).
I am not giving you the song that I had selected of the 1967 movie Wahan Ke Log since this song: Ham tumase mohabbat karke sanam duniya ka fasaana bhool gaye was sung by Mukesh and I gave it to you in the same tribute on Mukesh’s Birth Anniversary on 22 Jul.
That brings us to the 52nd movie of Shakeel Badayuni, a movie whose story was based on Alexandre Dumas’s story: The Corsican Brothers. Tapi Chanakya, the director, called it Ram Aur Shyam with Dilip Kumar acting both the roles. Originally, Vyjayanthimala and Mumtaz were cast to do the roles that were eventually done by Waheeda Rehman and Mumtaz.
(Poster courtesy: www.hindilinks4u.to)
The story based on twins was repeated in several Hindi movies: Seeta Aur Geeta, Chaalbaaz, Krishan Kanhaiya to name a few.
This was the 23rd movie in which Shakeel paired with Naushad Ali. Have a look at the songs of the movie:
1.”Aaj Ki Raat Mere” – Mohammad Rafi
2.”Aaj Sakhi Re Piya More Ghar” – Lata
3. “Aayee Hai Bahar Mite Zulmo” – Mohammad Rafi & Chorus
4. “Dheere Dheere Bol Koi Sun Lega” – Asha Bhosle, Mahendra Kapoor
5. “Main Hoon Saqi Tu Hai Sharabi” – Lata, Mohammad Rafi
6. “Maine Kab Tujh Se Kaha Tha” – Lata Mangeshkar
7. “O Balam Tere Pyar Ki Thandi Aa” – Mohammad Rafi & Asha
I love the first song of the movie not just for its lyrics but also because it has been composed in Raag Pahadi, Tal Kaherava. Also, the era of Mohammad Rafi, is the most nostalgical era for most lovers of Hindi songs.
Please enjoy: Aaj ki raat mere dil ki salaami le le….
ye raat jaise dulhan ban gaI hai chiraago.n se
karu.ngaa ujaalaa mai.n dil ke daaGo.n se
aaj kii raat mere, dil kii salaamii le le
dil kii salaamii le le
kal terii bazm se diivaanaa chalaa jaaegaa
shammaa rahe jaaegii paravaanaa chalaa jaaegaa
terii mahafil tere jalave ho.n mubaarak tujhako
terii ulfat se nahii.n aaj bhii inakaar mujhe
teraa may-khaanaa salaamat rahe ai jaan-e-vafaa
muskuraakar tuu zaraa dekh le ik baar mujhe
phir tere pyaar kaa mastaanaa chalaa jaaegaa
maine chaahaa ki bataa duu.N mai.n haqiiqat apanii
tuune lekin na meraa raaz-e-muhabbat samajhaa
merii ulajhan mere haalaat yahaa.N tak pahu.nche
terii aa.Nkho.n ne mere pyaar ko nafarat samajhaa
ab terii raah se begaanaa chalaa jaaegaa
tuu meraa saath na de raah-e-muhabbat me.n sanam
chalate-chalate mai.n kisii raah pe mu.D jaauu.ngaa
kahakashaa.n chaa.nd sitaare tere chuume.nge qadam
tere raste kii mai.n ek dhuul huu.N u.D jaauu.ngaa
saath mere meraa afasaanaa chalaa jaaegaa
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #116
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
This story of Ram (Dilip Kumar) with all his property getting routinely whipped by his cunning brother-in-law Gajendra (Pran) until Ram gets replaced by the street smart, and tough Shyam (Dilip Kumar) became a common story in Hindi films. And then Shyam, in the role of Ram teaches a lesson to Gajendra (Pran) and all those who earlier attacked the docile Ram.
The story calls for certain comicality of role play, which Dilip Kumar, though being a tragedy king, did so superbly that he won the Filmfare Best Actor award that year (all other awards went that year to Upkaar but mercifully Manoj Kumar was spared the mortification of winning Best Actor award with his diastrous acting).
The next song is a happy Dilip Kumar song, Shyam role acting his twin brother Ram.
Please enjoy: Aayi hain baharen mite zulmo sitam….
rafii: ab na ho.nge majabuurii ke is ghar me.n afasaane
koras: ab naa ho.nge majabuurii ke is ghar me.n afasaane
rafii: pyaar ke ra.ng me.n ra.ng jaaye.nge sab apane begaane
koras: pyaar ke ra.ng me.n ra.ng jaaye.nge sab apane begaane
rafii: ho ho ho
sab ke din phir jaaye.nge
ma.nzil apanii paaye.nge
jiivan ke taraane milake gaaye.nge haradam
rafii + koras + #male# koras:
ho
aa_ii hai.n bahaare.n miTe zulm-o-sitam
pyaar kaa zamaanaa aaya duur hue Gam
rafii + #male# koras:
raam kii liilaa ra.ng laa_ii
koras: a-haa haa
rafii + #male# koras:
shaam ne ba.nsii bajaa_ii
koras: a-haa haa-haa
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #117
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Lets us now take up one of the two delightful duets from the movie. This has been sung by Lata for Waheeda Rehman and Mohammad Rafi for Dilip Kumar.
It crossed various boundaries of popularity during those days.
Please enjoy: Main hoon saaqi, tu hai shraabi….
la : mai.n huu.N saaqii tuu hai sharaabii-sharaabii -2
ra : tuune aa.Nkho.n se pilaa_ii vo nashaa hai ke duhaa_ii
har taraf dil ke chaman me.n phuul khile hai.n gulaabii-gulaabii
la : mai.n huu.N saaqii …
ishq me.n jiinaa sa.mbhal ke dil kaa paimaanaa naa chhalake
bahakii-bahakii terii nazare.n Kvaab dikhalaatii hai.n kal ke -2
ra : terii mahafil me.n o saaqii ham chale aa_e nashe me.n
ab to bas ye hai tamannaa umr kaT jaa_e nashe me.n -2
la : ishq hai terii savaalii -2
husn hai meraa javaabii-javaabii
ra : tuu hai saaqii mai.n huu.N sharaabii-sharaabii
mai.n terii duniyaa me.n aa ke rah gayaa khud ko bhulaa ke
kyaa ho anjaam naa jaane hosh ulfat me.n ga.nvaa ke -2
la : bekhudii ke ye taraane yuu.N hii gaa_e jaa diivaane
ishq ra.ng laa_egaa apanaa aa ga_e ab vo zamaane -2
ra : terii mastaanii ye baate.n
do : aa aa
terii mastaanii ye baate.n dil pe laa_e.N naa Karaabii-Karaabii
la : mai.n huu.N saaqii …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #118
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
The last song from the 1967 movie ram Aur Shyam is also a duet; but, between the other pair: that is Dilip Kumar as Ram and Mumtaz. What a challenge it must have been for Dilip Kumar to paly two diametrically opposite roles?
This too is as popular today as it was 50 years ago.
Please enjoy: O balam teri pyaar ki thandi aag mein jalate jalate….
aa : o baalam tere pyaar kii Tha.nDii aag me.n jalate-jalate -2
mai.n to haar ga_ii re -4
ra : luuT liyaa dil tuune meraa raah me.n chalate-chalate -2
nainaa maar ga_ii re -4
aa : mai.n huu.N baavariyaa terii saa.Nvariyaa dil se jaanaa naa
ra : aaj milii ho jaise akelii kal bhii chalii aanaa
aa : chandaa aur suuraj kii tarah roz nikalate-Dhalate
mai.n to haar ga_ii re -2
ra : luuT liyaa dil …
aa : baalam tere …
ra : Daal ke jaaduu ruup kaa tuune dil meraa chhiinaa
aa : priitam tuune priit jagaa dii chhe.D ke man biinaa
ra : naino.n me.n bhar ke pyaar kaa kajaraa akhiyaa.N malate-malate
nainaa maar ga_ii re -2
aa : baalam tere …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #119
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Seven movies and seventeen songs to go now!
His next movie, the 1967 movie Palki was once again with Naushad Ali, their 24th movie together, out of 53; making it approximately half the movies that he did with his mentor.
Palki was directed by Mahesh Kaul and SU Sunny and had the jubilee hero Rajendra Kumar as Naseem Baig acting opposite living-legend Waheeda Rehman as Mehroo.
(Poster courtesy: www.hindilinks4u.to)
Naseem was a poet in the movie and hence one can expect some great lyrics in the songs of the movie. Here is the list:
1. Dil-E-Betaab Ko Sine Se Lagana Hoga
Suman Kalyanpur, Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman
2. Kal Raat Zindagi Se Mulakaat Ho Gayi
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman, Rehman
3. Dil Ki Kashti Bhanwar Mein
Lata Mangeshkar Naushad Shakeel Badayuni
4. Jaane Vaale Teraa Khuda Haafij
Lata Mangeshkar Naushad Shakeel Badayuni
5. Sadka Utariye Ke Na Lage Kahi Nazar, Chehre Se Apne Aaj To Parda Uthayiye – II
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman, Rehman
6. Main Idhar Jaau Ya Udhar Jaau
Mohammed Rafi, Manna Dey, Asha Bhosle Naushad Shakeel Badayuni Johny Whiskey, Rehman, Waheeda Rehman, Rajendra Kumar
7. Aye Shehar-e-lucknow Tujhe
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar
8. Mere Ghar Se Pyar Ki Palki
Lata Mangeshkar, Mohammed Rafi, Manna Dey Naushad Shakeel Badayuni
9. Chehre Se Apne Aaj To Parda Uthayiye
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman
10. Mere Ghar Se Pyar Ki Palki (male)
Manna Dey Naushad Shakeel Badayuni Rajendra Kumar
I have selected three for you. The first one has been sung beautifully by Mohammad Rafi for Rajendra Kumar as Naseem Baig singing it to Rehman as Nawab Mirza for Waheeda Rehman as Mehroo or Mehrusia, Sultan’s (Johnny Walker’s) sister. It has the lehza of the old time Lucknow.
Lets listen to the best of this movie and my favourite (they don’t make songs like this anymore): Kal raat zindagi se mulakaat ho gayi….
kal raat zindagii se mulaaqaat ho ga_ii
lab tharatharaa rahe the magar baat ho ga_ii
kal raat zindagii …
ek husn saamane thaa qayaamat ke ruup me.n
ek Kvaab jalvaagar thaa haqiiqat ke ruup me.n
cheharaa vahii gulaab kii ra.ngat li_e hu_e
nazare.n vahii payaam-e-muhabbat li_e hu_e
zulfe.n vahii ki jaise dhu.Ndhalakaa ho shaam kaa
aa.Nkhe.n vahii jin aa.Nkho.n pe dhokhaa ho jaam kaa
kuchh der ko tasallii-e-jazbaat ho ga_ii
lab tharatharaa rahe …
dekhaa use to daaman-e-ruKsaar nam bhii thaa
vallaah usake dil ko kuchh ehasaas-e-Gam bhii thaa
the usakii hasarato.n ke Kazaane luTe hu_e
lab par ta.Dap rahe the fasaane ghuTe hu_e
kaa.NTe chubhe hu_e the sisakatii uma.ng me.n
Duubii hu_ii thii phir bhii vo vafaa_o ke ra.ng me.n
dam bhar ko Katm gardish-e-haalaat ho ga_ii
lab tharatharaa rahe …
e merii ruuh-e-ishq merii jaan-e-shaayarii
dil maanataa nahii.n ki tuu mujhase bichha.D ga_ii
maayuusiyaa.N hai.n phir bhii mere dil ko aas hai
mahasuus ho rahaa hai ke tuu mere paas hai
samajhaa_uu.N kis tarah se dil-e-beqaraar ko
vaapas kahaa.N se laa_uu.N mai.n guzarii bahaar ko
majabuur dil ke saath ba.Dii ghaat ho ga_ii
lab tharatharaa rahe …
https://www.youtube.com/watch?v=u3a0TCdSUj4
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #120
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
And the last song for the day, with just two more days and 15 songs to go.
It is a qawwali sung by Mohammad Rafi, Manna Dey and Asha Bhosle.
Please enjoy the ever popular: Main idhar jaaun ya udhar jaayun….
bhari mehfil me chheda hai
kisi ne dil ke taro ko
mubarak ho ye jashn bekarari bekararo ko
hajaro shamme jalkar
dil ko kar deti hai diwana
aur unake bich me ghir kar
yehi kehta hai parwana
main idhar jaau ya udhar jau
main idhar jaau ya udhar jau
badi mushkil me hu ab kidhar jau
badi mushkil me hu ab kidhar jau
mai idhar jaau ya udhar jau
aaj aankho me utar aaya hai
koi tasbir-e-muhabbat bankar
aaj chilman se najar aaya hai
ek afsana hakikat bankar
jindagi mil gayi mujhko lekin
aaj bhi usse badi duri hai
aaj bhi usse badi duri hai
josh kehta hai pakad le daman
hosh kehta hai ki majburi hai
hosh kehta hai ki majburi hai
udhar hai sabar ki manjil
idhar betab yeh dil hai junun-e-shauk me
ye faisala karna bhi mushkil hai
mai idhar jau ya udhar jau
khank bankar hi kyu na bikhar jau
khank bankar hi kyu na bikhar jau
mai idhar jau ya udhar jau
https://www.youtube.com/watch?v=ys7DuVThytA
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #121
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
We were taking up the songs of the 1967 movie Palki, a Mahesh Kaul, SU Sunny movie starring Rajendra Kumar and Waheeda Rehman, together with Rehman and Johnny Walker.
Out of three songs that I intended to give you from the movie, I gave you two yesterday: Kal raat zindagi se mulakaat ho gayi and a qawwali Main idhar jaayun ya udhar jaayun.
Both the song and the qawwali have the lehza of Lucknow and that’s because of the story:
“Naseem (Rajenfra Kumar) lives a poor lifestyle with his widowed mom in Lucknow, India. He is well-known for his poems, and gets invited to a contest hosted by Nawab Naseemuddin (Rehman) who has offered a reward of Rs.5000/- to the winner. Naseem does win this award, but is humiliated as his coat his torn. As a result he refuses to accept the prize money. His to-be brother-in-law Sultan (Johnny Walker), in order to hasten his sister, Mehrunisa’s (Waheeda Rehman’s) marriage to Naseem concocts a plan in which Naseem finds the reward buried in his yard. As a result, Naseem and Mehrunisa get married, but on the very night both find out Sultan’s trick, and postpone the marriage nuptials until such time they are able to return every Paisa to the Nawab. Naseem re-locates to Bombay. Shortly thereafter his money-orders start arriving and within a few years the amount to be returned is almost accumulated. Then the family receive news that there was an explosion in the shipyards where Naseem works, about 300 people are killed, and Naseem is believed to be dead in a fire that lasts for 3 days. A devastated Mehrunisa loses her mind, while Naseem’s mom decides to go on Haj. But Naseem is still alive at Bombay Hospital. When he recovers he returns to Lucknow and is told by Sultan that Mehrunisa has passed away. He goes to pray at her grave-side and this is where he sees a ghost-like apparition resembling Mehrunisa. The question remains did Naseem really see his wife’s ghost or was his tortured mind playing tricks on him?”
This song that I am going to give you now should take you back to the era when a man and woman would talk and sing to each other with adab and elegance. It has been sung by Mohammad Rafi and Suman Kalyanpur for the lead actors.
Besides the adab or tehzeeb, you would enjoy the make-do ‘telephone’ and the sharaarat in Waheeda’s eyes.
Please enjoy: Dil-e-betaab ko seene se lagaana hoga…..
r : dil-e-betaab ko siine se lagaanaa hogaa
aaj pardaa hai to kal saamane aanaa hogaa
s : aapako pyaar kaa dastuur nibhaanaa hogaa
dil jhukaayaa hai to sar ko bhii jhukaanaa hogaa
r : apanii suurat ko tu ai jaan-e-vafaa yuu.N na chhupaa
garmii-e-husn se jal jaaye na aa.Nchal teraa
lag ga_ii aag to mujh ko hii bujhaanaa hogaa
aaj pardaa hai to …
s : aaj aalam hai vo dil kaa ki bataaye na bane
paas aaye na bane duur bhii jaaye na bane
mai.N huu.N madhosh mujhe hosh me.n laanaa hogaa
dil jhukaayaa hai to …
s : aap to itane qariib aa gaye allaah, taubaa!
r : kyaa kare.n aap se Takaraa gaye, taubaa, taubaa
s : ishq in baato.n se rusvaa-e-zamaanaa hogaa
r : aaj parda hai to …
https://www.youtube.com/watch?v=ftwSvlEgUcs
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #122
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Six movies to go until the 1969 movie Beti with just 12 more songs. I am not going to give you Beti’s Mukesh song on Sonik Omi’s composition: Ye kyaa kiya re duniyawaale since I already gave that to you on the Birth Anniversary of Mukesh on 22nd July.
Lets start with the 1967 movie Noor Jehan, directed by M Sadiq, the second movie of M Sadiq for which Shakeel penned the songs, after the 1954 movie Shabaab starring Bharat Bhushan and Nutan, with the ever-enchanting song Chandan ka palna resham ki dori.
The movie starred Pradeep Kumar and Meena Kumari, Johnny Walker, Lalita Pawar, Sheikh Mukhtar and Helen.
(Pic courtesy: bombayfilm.blpogspot.com)
This was the second and the last movie Shakeel did with Roshan after the 1965 movie Bedaag.
The movie had the following songs:
1. Aa gayaa lab pe afasaanaa\-e\-aashiqii
2. Aap jabase qariib aa_e hai.n
3. Mohabbat ho ga_ii hai mere meharabaa.N ko
4. Raat kii mahafil suunii suunii
5. Sharaabii\-sharaabii ye saawan ka mausam
6. Vo mohabbat vo wafaa_e.N kis tarah ham bhuul jaa_e.N
The first one is a beautiful duet between Mohammad Rafi and Asha Bhosle singing for Pradeep Kumar and Meena Kumari.
As in the last movie Palki, the Urdu tehzeeb of addressing between a man and woman is very much present here too. The lyrics are out of this world; especiallu ‘Ham khud apne nahin paraaye hain’!
Please enjoy: Aap jab se kareeb aaye hain….
ra : aap jab se qariib aa_e hai.n
pyaar ke ra.ng dil pe chhaa_e hai.n
jalavaa-e-yaar hai nigaaho.n me.n
phuul bikhare hu_e hai.n raaho.n me.n
duur tak zindagii ke saa_e hai.n
aap jab se qariib …
aa : dil ne halkii sii choT khaa_ii hai
zindagii ab samajh me.n aa_ii hai
ham khud apane nahii.n paraa_e hai.n
aap jab se qariib …
ra : aapase apane dil ko haar ke ham
is qadar Kush hai.n aap hii kii qasam
jaise duniyaa ko jiit laa_e hai.n
aap jab se qariib …
aa : khair ho ishq ke fasaane kii
lag na jaa_e nazar zamaane kii
had se aage qadam ba.Dhaa_e hai.n
aap jab se qariib …
https://www.youtube.com/watch?v=O3yjjserZMU
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #123
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just twelve more songs to go now and soon I am going to be assailed by withdrawal symptoms!
This would rank amongst the best songs sung by Suman Kalyanpur. It is in Raag Malhar, Raag Gaur Malhar to be exact and yes, it is about sawan. Tal is Jhaptal.
The picturisation of the song and the histrionics of Meena Kumari are both superb.
Please enjoy: Sharaabi sharaabi ye sawan ka mausam….
sharaabii-sharaabii ye saawan kaa mausam
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii-sharaabii …
suhaanii-suhaanii ye koyal kii kuuke.n
uThaatii hai.n siine me.n rah-rah ke huuke.n
chhalakatii hai mastii ghane baadalo.n se
ulajhatii hai.n nazare.n hasii.N aa.Nchalo.n se
ye pura_nuur ma.nzar
ye pura_nuur ma.nzar ye ra.ngiin aalam
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii sharaabii …
gulaabii-gulaabii ye phuulo.n ke chehare
ye rimajhim ke motii ye buu.Ndo.n ke sehare
kuchh aisii bahaar aa ga_ii hai chaman me.n
ke dil kho gayaa hai isii a.njuman me.n
ye mahakii nashiilii
ye mahakii nashiilii havaao.n kaa paracham
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii sharaabii …
ye mausam salonaa ajab Gul khilaa_e
uma.nge.n ubhaare ummiide.n jagaa_e
vo betaabiyaa.N dil se Takaraa rahii.n hai.n
ke raato.n kii nii.nde.n u.Dii jaa rahii.n hai.n
ye sahar-e-jawaanii
ye sahar-e-jawaanii ye Kvaabo.n kaa aalam
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii sharaabii …
https://www.youtube.com/watch?v=UmjOSy_EbxU
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #124
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just eleven more songs to go now.
Jab “aakhri” lafz lab pe aata hai Shakeel ke liye, Aisa lagta hai saans ruk si jaati hai, Dil bekasi se maayus ho uthata hai, Zubaan na jaane kyun ladhkhadaati hai, Shayari o naghmagari aur bhi bahut suni hai lekin, Shakeel ki hai jo hardam yaad aati hai.
You can imagine what must be happeninbg with me as we near the end! With a heavy heart I have to tell you this is the last from the movie Noor Jahan that I am giving you.
And, it is the best! It has been sung by Lata Mangeshkar.
Please enjoy: Raat ki mehfil sooni sooni…..
raat kii mahafil suunii suunii
aa.Nkhe.n puranam dil naakaam
sahame sahame aramaano.n kaa
honaa hii thaa ye a.njaam …
bhuul gaye the apanii hastii
ishq-o-vafaa ke josh me.n ham
sab kuchh khokar bebas hokar
ab aaye hai.n hosh me.n ham
pyaase rah gaye dil ke armaan
chhuuTaa saaqii TuuTaa jaam
honaa hii thaa ye a.njaam …
sar ko jahaa.N Takaraaye jaake
aisii ko_ii diivaar nahii.n
haaye rii qismat ham duniyaa me.n
pyaar ke bhii haqadaar nahii.n
dil hotaa jo apane bas me.n
lete na ham pyaar kaa naam
honaa hii thaa ye a.njaam …
raat ki mahafill suunii suunii …
https://www.youtube.com/watch?v=6LORrizj2Tc
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #125
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just ten more songs to go now.
The 1967 SS Balan movie Aurat had Rajesh Khanna and Padmini in the lead roles, besides Feroze Khan, Pran.
(Poster courtesy: en.wikipedia.org)
This movie is a remake of 1966 Tamil movie Chitthi (meaning ‘step-mother’) played by Padmini in the lead role and R. Muthuraman as her younger brother. It is one of the first significant on screen roles for Rajesh Khanna, then a new comer to screen.
The movie had the following songs penned by Shakeel Badayuni and composed by Ravi, the 12th and the last movie in which they were together:
1 “Humein Tumse Mohabbat Hai” Asha Bhosle
2 “Meri Gaadi Undan Khatola” Mohammed Rafi
3 “Nari Jeevan” Lata Mangeshkar
4 “Nari Jeevan -v2” Lata Mangeshkar
5 “Nindiya Ki Nagri” Lata Mangeshkar
6 “Shola Ulfat Ka” Mohd Rafi, Asha Bhosle
7 “Yeh Kaun Hai” Asha Bhosle, Mahendra Kapoor
Lets listen to the first song picturised on Nazima. The best part is that in order to express her love for Rajesh Khanna, she isn’t singing but plays a record!
Please enjoy: Hamen tumase muhabbat hai magar ham keh nahin sakate……
hame tumse mohabbat hai
magar hum kah nahi sakte
hame tumse mohabbat hai
magar hum kah nahi sakte
juba par ek hakikat hai
magar hum kah nahi sakte
hame tumse mohabbat hai
kabhi hasrat kabhi arman
kabhi dhadkan kabhi uljhan
ajab is dil ki halat hai
magar hum keh nahi sakte
hame tumse mohabbat hai
hamara hale dil sunne ko
tum bechain baithe ho
hamara hale dil sunne ko
tum bechain baithe ho
hame kahne ki fursat hai
magar hum kah nahi sakte
hame tumse mohabbat hai
https://www.youtube.com/watch?v=diXQSGo8fzI
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #126
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just nine more songs to go now from four movies.
We enter the year 1968 and the year had three movies for which Shakeel wrote the songs: Sunghursh, Baazi and Aadmi.
Sunghursh was a movie directed by Harnam Singh Rawail. Now who was Harnam? Forgotten so soon? He was the one who directed 1963 movie Mere Mehboob.
What a coincidence that we have come to this movie today, one week after the death of Mahasweta Devi, since the movie is based on a short story Layli Asmaner Ayna in Bengali written by her. The story is about vendetta within a thuggee cult in Varanasi. The film stars Dilip Kumar, Vyjayanthimala, Sanjeev Kumar, Balraj Sahni, Jayant, Deven Verma, Durga Khote and Iftekhar.
Since I have written a lot about the Best Hindi songs having the quartet of Shakeel, Naushad, Rafi and Dilip Kumar together, this was the second last movie of them being together.
Here is the list of songs in the movie:
1. “Chhedo Na Dil Ki Baat” Lata Mangeshkar 03:43
2. “Ishq Diwana” Mohammad Rafi 03:59
3. “Tasveer-E-Mohabbat” Asha Bhosle 04:15
4. “Mere Paas Aao Nazar To Milao” Lata Mangeshkar 03:36
5. “Mere Pairon Mein Ghunghroo” Mohammad Rafi 04:53
6. “Agar Yeh Husn Mera” Lata Mangeshkar 04:55
7. “Jab Dil Se Dil” Mohammad Rafi 04:20
I have decided to give you three of these.
Lets start with this dancing number of Dilip Kumar that would remind you of the Gunga Jamuna dance he did seven years ago: Nain lad jai hai to.
Like with Nain kad jai hai to, it has been sung by Mohammad Rafi.
Please enjoy: Mere pairon mein ghungru bandha de to phir meri chaal dekh le….
dil paayaa alabelaa mai.n ne
tabiiyat merii ra.ngiilii
haay
aaj khushii me.n mai.n ne bha_iyya
tho.Dii sii bha.ng pii lii
mere pairo.n me.n, haay, mere pairo.n me.n ghu.Ngharuu ba.ndhaa de
to phir merii chaal dekh le
zaraa jam ke bha_iyyaa
mohe laalii chunar, mohe laalii chunariyaa o.Dhaa de
to phir merii chaal dekh le
mere pairo.n me.n …
kyaa chaal hai torii?
zaraa jhuum le gorii
a-haa, vaah
haale Dole kisii kii nathanii
jhuume kisii kaa juhmakaa
har paarii dil thaam le apanaa
aisaa lagaa_uu.N Thumakaa
kaise bhalaa?
aise Di.ng ka TikaT phur.r ka TikaT aa
jab ho kisii kii byaah sagaa_ii
merii javaanii le a.nga.Daa_ii
koii merii bhii shaadii karaa de
to phir merii chaal dekh le
mere pairo.n me.n …
koii ghuu.NghaT vaali mere
dil pe chalaaye chhuriyaa.N
koii naino.n vaalii chho.De
naino.n se phuljha.Diyaa.N
ruup hai laakho.n aur ik dil hai
aape me.n rahanaa bhii mushkil hai
koii akhiyo.n se daaruu pilaa de
to phir merii chaal dekh le
zaraa nain milaa ke
zaraa dil lagaa ke!
ek najar se dil bharamaaye
duujii se le jaaye
tiikhii najar tuu aisii maare
jo dekhe luT jaaye
saarii duniyaa tujhape diivaanii
mai.n bhii to dekhuu.N terii javaanii
zaraa mukha.De se ghu.NghaTaa haTaa de
to phir merii chaal dekh le
mohe laalii chunar …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #127
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just eight more songs to go now from four movies.
Lets take the next song from the 1968 movie Sunghursh, a song that Naushad composed in Raag Bhairavi.
The lyrics are as exquisite as the composition of the pair who made the hit movie Gunga Jamuna seven years before: Dilip Kumar and Vyjayanthimala.
Lata Mangeshkar sang it.
Please enjoy: Mere paas aao nazar to milaao…..
mere paas ao nazar to milao
mere paas ao nazar to milao
in ankho me tumko jawani milegi
mere paas ao nazar to milao
suno to zara dhadkane mere dil ki
inhi me tumhari kahani milegi
mere paas ao nazar to milao
mere thartharate huye in labo par
tumhara hi koyi tarana milega
meri bahki nazro me
meri bahki nazro me khoyi huyi si
tumhari hi koyi nishani milegi
mere paas ao nazar to milao
suno to zara dhadkane mere dil ki
inhi me tumhari kahani milegi
mere paas ao nazar to milao
chalo aaj tumko
chalo aaj tumko gale se laga lu
tumhare liye har qasam tod dalu
kare jo sitam ha
kare jo sitam vo haseen aur honge
yaha husn ki meharbani milegi
mere paas ao nazar to milao
muhabbat ki baho me akar to dekho
kaleje pe mujhko lagakar to dekho
machalta sisakta
machalta sisakta hua dil milega
tadapti huyi zindgani milegi
mere paas ao nazar to milao
suno to zara dhadkane mere dil ki
inhi me tumhari kahani milegi
mere paas ao nazar to milao
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #128
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just seven more songs to go now from four movies.
I hate to use the word ‘last’ pertaining to anything to do with Shakeel Badayuni. However, here is the last song that I have planned to give you from the 1968 movie Sunghursh.
Sunghursh had only solo numbers as you must have seen in the list that I gave you in the beginning. This has been sung by Mohammad Rafi.
Please enjoy: Ishq deewana husn bhi ghayal….
ishq divana husn bhi ghayal
ishq divana husn bhi ghayal
donon taraf ik dard-e-jigar hai
dil ki tadap ka hal na puuchho
dil ki tadap ka hal na puuchho
jitani idhar hai utani udhar hai, ishq divana
apane fasane dil ke tarane
ya tum samajho ya ham jane
tumako hamare dil ka pata hai
hamako tumhare dil ki kabar hai
ishq divana husn bhi ghayal, ishq divana
bikhari zulfe anchal dhalaka
lab pe tabassu halka halka
pyar me ham to khoye hai lekin
aaj tumhe bhi hosh kidhar hai
dil ki tadap ka hal na puchho
dil ki tadap ka hal na puchho
jitani idhar hai utani udhar hai, ishq divana
chand-sitare shok nazare
lutna le sab ruup tumare
husn ko rakhana sabse bacha ke
dekho tumhin pe sabaki nazar hai
ishq divana husn bhi ghayal
ishq divana husn bhi ghayal
dono taraf ik dard-e-jigar hai
dil ki tadap ka hal na puuchho
dil ki tadap ka hal na puuchho
jitani idhar hai utani udhar hai, ishq divana
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #129
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just six more songs to go now from three movies: Baazi, Aadmi and Beti, other than the 1969 movie Beti Mukesh song that I have already given you on Mukesh’s birth anniversary on 22nd Jul.
Baazi was a unique movie in that for the first and the last time Kalyanji Anandji paired with Shakeel Badayuni.
It was a movie directed by Moni Bhattacharya and starred Dharmendra, Waheeda Rehman, Mehmood, Johnny Walker, Helen, Keshto Mukherjee and Chand Usmani.
It had the following songs:
1 “Dil Toota Roye Naina” Asha Bhosle
2 “Ek Anar Do Bimar” Manna Dey
3 “Main Hasina Nazneena” Lata Mangeshkar, Asha Bhosle
4 “Aa Mere Gale Lag Ja” Lata Mangeshkar
5 “Pyar Ki Baaten Hamko Na Samjhao” Asha Bhosle
I have kept this song especially for you since it has the two sisters: Lata Mangeshkar and Asha Bhosle singing for the dancing duo on stage: Waheeda Rehman and Helen, in competition with each other.
Please enjoy: Main haseena nazneena koi mujhasa nahin….
mai hasina naznena mai hasina naznena
koi mujhsa nahi koi mujhsa nahi nahi
mai samina mah jabina mai samina mah jabina
mujhme kya kya nahi mujhme kya kya nahi nahi
mai kayamat ki pahchan hu ek biijli or tufan hu
mai mohabbat hu iman hu ek ashik ka arman hu
jo mere paas aye sukune dil paye
fir jaye na wo kahi kahi mai hasina naznena
koi mujhsa nahi koi mujhsa nahi nahi
mai hasu to chaman bhi khile pyar ki jindagi bhi mile
mai jalu to patanga jale maut mere kahe par chale
nigaho se mai khelu are jisko bhi mai dekhu
wo jaan dede wahi wahi mai samina mah jabina
mujhme kya kya nahi mujhme kya kya nahi nahi
pyar ki mai hu ek dasta mere dam se hai dunia jawa
mai nahi to bahare kaha mere bas me hai sara jaha
mai hu shola mai hu shabnam
mai hu nagma mai hu sargam
haar chuke hai mere aage ye chand or sitare
ye asma ye zami mai hasina mai shamina
koi mujhsa nahi mujhme kya kya nahi nahi
mai hasina mai shamina koi mujhsa nahi
mujhme kya kya nahi nahi
https://www.youtube.com/watch?v=aaz75nazARM
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #130
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just five more songs to go now from last two movies: Aadmi and Beti, other than the 1969 movie Beti Mukesh song that I have already given you on Mukesh’s birth anniversary on 22nd Jul.
Aadmi 1968 was the last time in the history of Hindi cinema when we saw the best quartet in movies together: Shakeel Badayuni as lyricist, Naushad as Music Director, Mohammad Rafi as Singer and Dilip Kumar as Actor.
The film stars Dilip Kumar, Waheeda Rehman, Manoj Kumar, Simi Garewal and Pran; and was directed by A Bhimsingh.
(Poster courtesy: en.wikipedia.org)
Ladies and gentlemen, do you remember that last scene in the 1975 movie Sholay when Sanjeev Kumar as Thakur tells Amjad Khan as Gabbar Singh: Tere liye to mere pair hi bahut hain.
Well, Aadmi had Dilip Kumar on the wheel-chair and he acted so superbly that the bozo Manoj Kumar would have wanted to be in a coffin.
The movie had the following songs:
1.Aaj purani raahon se – Mohammad Rafi
2. Kal ke sapne aaj bhi – Lata Mangeshkar
3. Kaisi Haseen Aaj – Mohammad Rafi and Talat Mahmood
4. Kaari badariya – Lata
5. Mein tooti hui ek naiya – Mohammad Rafi
6. Na aadmi ka koi bharsa – Mohammad Rafi
I have decided to give you four songs from the movie. Lets take the first song and then we shall have remaining three tomorrow.
Please enjoy: Aaj puraani raahin se koi mujhe awaaz na de….
aaj puraanii raaho.n se, koI mujhe aavaaz na de
dard me.n Duube giit na de, gam kaa sisakataa saaz na de
biite dino.n kii yaad thii jiname.n, mai.n vo taraane bhuul chukaa
aaj na_ii ma.nzil hai merii, kal ke Thikaane bhuul chukaa
na vo dil na sanam, na vo diin-dharam
ab duur huu.N saare gunaaho.n se
jiivan badalaa duniyaa badalii, man ko anokhaa GYaan milaa
aaj mujhe apane hii dil me.n, ek nayaa inasaan milaa
pahu.Nchaa huu.N vahaa.N, nahii.n duur jahaa.N, bhagavaan kii nek nigaaho.n se
TuuT chuke sab pyaar ke ba.ndhan, aaj koii za.njiir nahii.n
shiishaa-e-dil me.n aramaano.n kii, aaj koii tasviir nahii.n
ab shaad huu.N mai.n, aazaad huu.N mai.n, kuchh kaam nahii.n hai aaho.n se
https://www.youtube.com/watch?v=Rdl7qIzxnNc
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #131
(Continuing Chronologically for the last day (Fourth Day) after Reaching the Mark of 100 in Countdown to His Birth Centenary)
We had taken up just one song of the 1968 A Bhimsingh movie Aadmi starring Dilip Kumar, Manoj Kumar and Waheeda Rehman; the movie being the 26th movie of Shakeel pairing with his mentor Naushad Ali.
By the time Shakeel was diagnosed with tuberculosis, and he was put up in a sanatorium in Panchgani, Naushad started paying him ten times the fees for his songs so as to help him get over his situation.
Shakeel succumbed to TB on 20th April 1970. This was therefore the last movie in which Shakeel, Naushad, Rafi and Dilip Kumar were together, the quartet who made the best songs in Hindi movies.
We took up Aadmi’s Aaj puraani raahon se koi mujhe awaaz na de.
Aadmi was a remake of Tamil film Alayamani starring Sivaji Ganesan. The story:
“Rajesh (Dilip Kumar) is orphaned at a very young age and comes from a very wealthy and noble family, but is very insecure. His childhood sweetheart Meena tragically dies and Rajesh substitutes her with a doll. When he finds that another young boy has touched the doll, he starts a fight with him, and ends up murdering him. Years later, Rajesh, now a grown man, still has the doll in his closet and he has now fallen in love with a woman named Meena (Waheeda Rehman). He becomes engaged to her after the approval of his best friend, Dr. Shekhar (Manoj Kumar). However, Rajesh and Meena have an automobile accident, in which Rajesh becomes paralysed and uses a wheelchair. It is then that Rajesh finds out that Shekhar and Meena are having an affair. His old murderous and possessive hatred surfaces again and his best friend Shekhar’s life is in danger”
Here is a song that both the friends sing for the same woman: Waheeda Rehman as Meena; Rafi for Dilip Kumar and Talat Mehmood for Manoj Kumar.
Please enjoy: Kaisi haseen aaj baharon ki raat hai….
ra: kaisii hasiin aaj bahaaro.n kii raat hai
ek chaa.Nd aasamaa.n pe hai ek mere saath hai
ma : dene vale tuu ne to koii kamii na kii
ab kis ko kyaa milaa ye muqaddar kii baat hai
ra : chhaaya hai husn-o-ishq pe ek ra.ng-e-beKudii
aate hai.n zi.ndagii me.n ye aalam kabhii kabhii
har Gham bhuul jaao khuushii kii baaraat hai
ek chaa.Nd aasamaa.n pe hai ek mere saath hai
ma : aaii hai vo bahaar ki naGame ubal pa.De
aisii khuushii hai ki aa.Nsuu nikal pa.De
ho.nTho.n pe hai.n duaae.n magar dil pe haath hai
ab kis ko kyaa milaa ye muqaddar kii baat hai
ra : mastii simaT ke pyaar ke gulashan me.n aa gaii
ma : merii khuushii bhii aap ke daaman me.n aa gaii
bha.Nvaraa kalii se duur nahii.n saath saath hai
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #132
(Continuing Chronologically for the last day (Fourth Day) after Reaching the Mark of 100 in Countdown to His Birth Centenary)
In his previous film Sunghursh in the same year, Naushad Ali received the criticism that though he had tried to compose the songs as suited for the Avadh region wherein Banares, the venue of the movie was, he hadn’t done as much justice to the songs as he normally did.
He made up in a huge manner in Aadmi and was back to his usual excellence.
The third song of the movie is a solo by Lata Mangeshkar singing for Waheeda Rehman.
Please enjoy: kal ke sapane aaj bhi aana….
kal ke sapane aaj bhii aanaa
priitam ko bhii saath me.n laanaa
kal ke sapane …
aaj bhii din hai madhur suhaanaa baaj rahii hai man kii baa.Nsuriyaa
naino.n ke taT pe prem ke path pe lauT ke ab to aajaa saa.Nvariyaa
mai.n bhii sunaa_uu.N dil kaa taraanaa -2
kal ke sapane …
jhuumate baadal gaate jharane aaj kisii ko Dhuu.NDh rahe hai.n
mai.n to ye jaanuu.N saare nazaare sajanaa tumako Dhuu.NDh rahe hai.n
aaj mujhe bhii daras dikhaanaa -2
kal ke sapane …
merii nagariyaa aa more rasiyaa Dagar-Dagar mai.n a.Nkhiyaa.N bichhaa_uu.N
dil me.n biThaa ke nain milaa ke janam-janam kii pyaas bujhaa_uu.N
tohe sikhaa_uu.N priit nibhaanaa -2
kal ke sapane …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #133
(Continuing Chronologically for the last day (Fourth Day) after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Last song of the movie Aadmi is last of an era of Shakeel, Naushad, Rafi and Dilip Kumar.
After Na milata gham to barbaadi ke afsane kahan jaate of 1954 movie Amar, this is the most ironical song penned by Shakeel. Therefore, after all these years, he didn’t leave irony. Nor did irony leave him.
In his most famous ghazal sung by Begum Akhtar, it is this irony that gave vent to the famous couplet:
“Jab hua zikr zamaane mein mohabbat ka, Shakeel,
Mujhako apne dil-e-nakaam pe rona aaya”.
As if his own life was reflected in this last song he portrayed similar irony when he wrote:
“Na aadmi ka koi bharosa, na dosti ka koi thikaana,
Wafa ka badla hai bewafai, ajanb zamaana hai ye zamaana”.
teri mohabbat pe shak nahi hai
teri wafao ko maanta hu
magar tujhe kiski aarju hai
main ye hakikat bhi jaanta hu
na aadami ka koyi bharosa
na dosti ka koyi thikana
wafaa kaa badalaa hain bewafayi
ajab jamana hain yeh jamana
na aadami ka koyi bharosa
naa husn me ab woh dilakashee hai
naa ishk me ab woh jindagi hai
jidhar nigaahe uthake dekho
sitam hain dhokhaa hain berukhi hai
badal gaye jindagee ke nagame
bikhar gayaa pyaar kaa tarana
badal gaye jindagee ke nagame
bikhar gayaa pyaar kaa tarana
na aadami ka koyi bharosa
dawa ka badale me jeher de do
utaar do mere dil me khanjar
lahu se sincha tha jis chaman ko
uge hain shole ussi ke andar
mere hee ghar ke charaag ne khud
jala diya mera aashiyana
mere hee ghar ke charaag ne khud
jala diya mera aashiyana
na aadami ka koyi bharosa
na dosti ka koyi thikana
wafaa kaa badalaa hain bewafayi
ajab jamana hain yeh jamana
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #134 Last movie, Last song
He gave songs for Aurat, he wrote songs for Aadmi. He wrote songs for Mother India, he wrote for Beti!
Beti, 1969 was directed by Harmesh Malhotra and was the first and the only movie in which his lyrics were composed into songs by Sonik-Omi.
The movie starred Nanda as Sudha Verma who wanted to be ideal daughter or Beti for her parents Kishore Sahu (Mr. Verma) and Kamini Kaushal (Mrs. Verma). Unfortunately, her mother passes away and her father remarries Kamla (Shyama) who has no interest in the welfare of her daughter who has started loving Dr Rajesh (Sanjay Khan).
(Poster courtesy: www.dmasti.pk)
The movie had the following songs:
1. Aaja Nindiya Suhani
2. Hasin Zulfo Ka Rang De Do
3. Shyam Dhun Lagi Hari Nam Dhun Lagi
4. Lehnga Manga De Mere Babu
5. Yeh Kya Kiya Re Duniyawale
6. Ek Mithi Nazar Phul Barsa Gayi
7. Mere Mehboob Tu Mujhako
We took up Mukesh’s Ye kya kiya re duniyawale on his birth anniversary on 22 July. A similar song in the movie has been sung by Rafi too. I didn’t give you the title song of Mere Mehboob.
But, here is another mere mehboob song.
Please enjoy: Mere mehboob tu mujhako na bana aur deewana….
mera karar hai tu meri jindagi hi tu hai
na koi gair hu mai na ajnabi hi tu hai
mere mahbub tu mujhko na bana or diwana
mere mahbub tu mujhko na bana or diwana
tu wahi meri shama hai mai wahi tera parwana
mere mahbub tu mujhko
pyar ka rishta koi na jane mai samjhu ya tu pahchane
pyar ka rishta koi na jane mai samjhu ya tu pahchane
humne gujari thi bahare kabhi milke
yad karo wo jamana mere mahbub tu mujhko
na bana or diwana mere mahbub tu mujhko
dekh wo meri pichli wafaye aankho se teri chalki jaye
dekh wo meri pichli wafaye aankho se teri chalki jaye
khel nahi hai rok lena dil ka tufan ye bhi na tune jana
mere mahbub tu mujhko na bana or diwana
mere mahbub tu mujhko
pyar me apne mujhko yaki hai
manu mai kaise tu wo nahi hai
pyar me apne mujhko yaki hai
manu mai kaise tu wo nahi hai
meri hi yade hai chupaye dil ye tera lakh bane anjana
mere mahbub tu mujhko na bana or diwana
tu wahi meri shama hai mai wahi tera parwana
mere mahbub tu mujhko
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #135 Epilogue
It has been five weeks since I started this tribute to Shakeel Badayuni for his Birth Centenary on 03 August.
Now in the end, I feel similar to sitting on the sea-shore, watching and listening to sea-waves splashing against rocks; and then suddenly it becomes quite. Suddenly you find that the rocks are still there but the sea has receded. But, still, somewhere, you hear the sea hitting the rocks, you still sea the frothing water rise and fall, you still hear the crescendo as one wave after the other rises and falls.
That’s Shakeel for me.
As long as his songs, his ghazals and nazms are there, I can hear the sea again and again and again. It is quiet now; but, I know it would rise again!
Some of you who are avid fans of Shakeel Badayuni, like I am, would have noticed that I left out an early important movie in his career. It wasn’t oversight; it was deliberate. It was to end with a song that he wrote about his and every living person’s insignificance in this world. It has some of the best lines that he ever wrote.
Ah, now, you would know, how clever I have been in keeping this song to the end!
It is a song from the 1948 movie Mela, directed by SU Sunny and starring Dilip Kumar, Nargis, Jeevan, and Rehman.
It had his mentor Naushad’s music and the following songs:
1 “Ye Zindagi Ke Mele, Duniyaa Men Kam Na Honge” Mohammed Rafi
2 “Gaye Ja Geet Milan Ke Tu Apni Lagan Ke” Mukesh
3 “Phir Aah Dil Se Nikli, Shaayad Woh Ja Rahe Hain” Zohrabai Ambalewali
4 “Dharti Ko Aakash Pukaare” Mukesh, Shamshad Begum
5 “Mera Dil Todne Wale Mere Dil Ki Dua Lena” Mukesh, Shamshad Begum
6 “Aayi Sawan Ritu Aayi Sajan Mora Dole Hai Man” Mukesh, Shamshad Begum
7 “Main Bhanwra Tu Hai Phool” Mukesh, Shamshad Begum
8 “Mohan Ki Muraliya Baaje” Shamshad Begum
9 “Dharti Ko Aakash Pukare” Shamshad Begum
10 “Taqdeer Bani Ban Kar Bigadi” Shamshad Begum
11 “Pardes Balam Tum Jaaoge” Shamshad Begum
12 “Garibo Par Jo Hoti Hai” Shamshad Begum
I have to end with that era, ladies and gentlemen, and not with the era when he was about to die.
In 1948, Mohammad Rafi hadn’t come in with Shakeel in any big manner. Indeed, Dulari was an year away with Suhaani raat dhal chuki. Most of Shakeel’s songs for male voice used to be sung by Mukesh. Rafi sang this one when the credits of the movie appeared in the beginning and it was picturised on a wandering minstrel and not on any highly recognised actor.
The world shall go on without us after we are gone; just as it did without Shakeel himself.
Naushad composed it in Raag Bhairavi, Tal Dadra.
As the sea recedes and the waters no longer hit the rocks, please enjoy: Yeh zindagi ke mele, duniya mein kam na honge, afsos hum na honge…..
(ye zi.ndagii ke mele – 2), duniyaa me.n kam na ho.nge
afasos ham na ho.nge
ik din pa.Degaa jaanaa, kyaa vaqt, kyaa zamaanaa
koii na saath degaa, sab kuchh yahii.n rahegaa
jaae.nge ham akele, ye zi.ndagii …
duniyaa hai mauj-e-dariyaa, qatare kii zi.ndagii kyaa
paanii me.n mil ke paanii, a.njaam ye ke paanii
dam bhar ko saa.ns le le, ye zi.ndagii …
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I attempted a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
I completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16, Part III from 17 Jul to 23 Jul and Part IV from 24 Jul to 30 Jul. Those of you who read all the four parts would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. In Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya). And finally, in Part IV, I covered songs from 1962 Guru Dutt movie Sahib Bibi Aur Ghulam (Koi door se awaaz de chale aao) to 1963 movie Bin Baadal Barsaat (Jab jaag uthe armaan).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part IV, I have covered seven more of them:
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi ham mile the.
Hence, it would be easy to see that even with all the four parts, I only reached until 30th Jul and hence had three days of Countdown still left. Also, I had 18 movies and 53 songs (that I had originally selected) to go until his last: the 1969 movie Beti.
Therefore, I decided to continue for another week making this as the Final Part or Part V of Countdown with a total of 100 Songs in all five parts. I had to, however, have ten songs on the Final Day of Countdown, ie, 31st Day or 02 Aug 16.
The 35 songs after that would be covered in Part VI though not as part of Countdown but as part of Centenary celebrations for four days.
Day #29 of 31
Song #85
Ladies and gentlemen, I couldn’t put up yesterday since we had a power breakdown that was rectified only by lunch time today. I still have 18 of his movies to go with 53 songs that I had originally selected. Hence, after the countdown until 02 Aug, from his birth anniversary, we shall probably have to continue for another two parts! I had, in between, decided to increase the number of songs everyday but that has not been possible since I couldn’t spare that kind of time.
On day #28 (actually day before yesterday), I gave you two songs from his 1963 movie Bin Baadal Barsaat starring Biswajeet and Asha Parekh. On that night, I actually saw the movie with the magic of Jab jaag uthe armaan, and Zindagi kitani khobsurat hai.
Today, lets take up the third song that I had selected for you: Ik baar zara phir keh do sharma ke mujhe deewaana.
It is a duet between Hemant Kumar and Lata Mangeshkar singing for Biwajeet and Asha Parekh. Composition is that of Hemant Kumar.
Please enjoy: Ik baar zara phir keh do sharma ke mujhe deewana….
he: ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: dil lekar raho duur huzuur na hamase
karo itanaa Guruur na hamase
la: o sajanaa, meraa haar si.ngaar tumhii.n ho
meraa dam hai tumhaare hii dam se
he: tum shamaa ho to mai.n huu.N parvaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: suno dilbar ye jo diip khushii kaa jalaa hai
meraa pyaar isii me.n Dhalaa hai
la: meraa dil bhii piyaa leke tumhaaraa sahaaraa
na_ii raah pe aaj chalaa hai
he: di_aa tumhii.n ne ummiido.n ko Thikaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: tum chaaho to mai.n to.Dake laa duu.N sitaare
ki ho tum mujhe jaan se pyaare
la: kyaa maa.Nguu.N jab mil ga_e tum mujhe sajanaa
mai.n to aa ga_ii bas me.n tumhaare
he: meraa dil hai tumhaaraa nazaraanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
As we come to the next movie of Shakeel, and I have selected as many as five songs of the movie for you, you are bound to ask me: “Is it Dilip Kumar and Vyjayanthimala’s Leader?” I can only answer with a firm: Yes indeed it is.
This was his 21st movie with the music director and his mentor Naushad Ali. The story was written by Dilip Jain. The movie was produced by Sashadhar Mukherjee and directed by Ram Mukherjee.
(Pic courtesy: learningandcreativity.com)
The movie had the following songs:
1 “Apni Azadi Ko Hum” Mohammed Rafi 4:38
2 “Dayya Re Dayya” Asha Bhosle 7:12
3 “Ek Shahenshah Ne Banwa Ke” Mohammed Rafi, Lata Mangeshkar 5:16
4 “Hameen Se Muhabbat” Mohammed Rafi 3:21
5 “Mujhe Duniya Walo” Mohammad Rafi 4:25
6 “Tere Husn Ki Kya Tarif Karun” Mohammed Rafi, Lata Mangeshkar 4:42
7 “Aaj Hai Pyar Ka Faisla” Lata Mangeshkar 3:30
8 “Aaj Kal Shauqe Deedar Hai” Mohammed Rafi, Asha Bhonsle 4:16
Let’s take one of the most popular patriotic songs of our era. This was sung by Mohammad Rafi. Various other artisetes have performed this song in the last 52 years.
Leader was one of the first few movies that exposed the politician-criminal nexus.
Please enjoy: Apni azaadi ko ham hargiz mitaa sakate nahin….
apanii aazaadii ko ham haragiz miTaa sakate nahii.n
sar kaTaa sakate hai.n lekin sar jhukaa sakate nahii.n
hamane sadiyo.n me.n ye aazaadii kii nemat paaii hai
saika.Do.n qurabaaniyaa.N dekar ye daulat paaii hai
muskaraakar khaaii hai.n siino.n pe apane goliyaa.N
kitane viiraano.n se guzare hai.n to jannat paaii hai
Kaak me.n ham apanii izzat ko milaa sakate nahii.n
kyaa chalegii zulm kii ahale vafaa ke saamane
jaa nahii.n sakataa koii sholaa havaa ke saamane
laakh fauje.n le ke aaii aman kaa dushman koii
ruk nahii.n sakataa hamaarii ekataa ke saamane
ham vo patthar hai.n jise dushman hilaa sakate nahii.n
vaqt kii aazaadii ke ham saath chalate jaae.nge
har qadam par zi.ndagii kaa ruK badalate jaae.nge
gar vatan me.n bhii milegaa koI gaddaar-e-vatan
apanii taaqat se ham usakaa sar kuchalate jaae.nge
ek dhokhaa khaa chuke hai.n aur khaa sakate nahii.n
Day #29 of 31
Song #87
The last song for Day #29:
The 1964 movie Leader got Dilip Kumar yet another Filmfare Best Actor award. You can make out why. On one hand he had this super joshila patriotic song: Apni azaadi ko ham hargiz mita sakte nahin. One the other hand, he had this naughty (deliberately so) sharaabi song!
The best part is that the most versatile Mohammad Rafi sang this too with equal ease, on Naushad’s composition.
Please enjoy: Mujhe duniyawaalo shraabi na samajho….
(mujhe duniyaa vaalo.n, sharaabii na samajho
mai.n piitaa nahii.n huu.N, pilaayii gayii hai ) – 2
jahaa.N bekhudii me.n kadam la.Dakha.Daaye
vahii raah mujhako dikhaayii gayii hai
mujhe duniyaa vaalo.n sharaabii na samajho
mai.n piitaa nahii.n huu.N pilaayii gayii hai
nashe me huu.N lekin mujhe ye khabar hai
ke is zindagii me.n sabhii pii rahe.n hai
kisii ko mile hai.n chhalakate piyaale
kisiiko nazar se pilAyii gayii hai
mujhe duniyaa vaalo.n …
zamaane ke yaaro.n, chalan hai.n niraale
yahaa.N tan hai.n ujale, magar dil hai.n kaale
ye duniyaa hai duniyaa yahan mAr Dar ke
dilo.n kii kharaabii chhupaayii gayii hai
mujhe duniyaa vaalo.n …
https://www.youtube.com/watch?v=kAgcmS4sir0
Appreciating Good Lyrics Song #29
Last three days of the countdown and I have to select, from the remaining ones, the best three. In this process, ladies and gentlemen, if I miss out any of your favourites, please forgive me.
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-eight days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
Today we take up our 29th Lyricist Khumar Barabankwi‘s creation.
I had to keep, for the last three days, some of the best. And, you will agree with me that Khumar is amongst the best with such delightful songs as: Bhula nahin dena ji bhula nahin dena, Dil ki mehfil saji hai chale aayiye, Saaj ho tum awaaz hoon main, and his famous ghazal that Hariharan sang as late as in 1994: Mujhe phir wohi yaad aane lage hain, jinhe bhholne mein zamaane lage hain!
First of all, Barabanki, the place of birth of Muhammad Haider Khan, who later took up the takahllus of Khumar (Intoxicated; from the Arabic word for wine=khum), is less than 300 kms from Badayun in Uttar Pradesh, the birthplace of Shakeel! This is roughly the distance between Delhi and Chandigarh.
Khumar was born there on 20 Sep 1919, three years after Shakeel.
Unlike Shakeel (Handsome), who had only a distant uncle who was interested in poetry, Khumar had a whole family: His father Dr. Ghulam Haider wrote salams and marsiyas under pen name ‘Bahar’. “His uncle ‘Qaraar Barabnkvi’ was a well-known poet of Barabanki who guided Khumar in young age and did Islah (Corrections) to his poetry. His brother Kazim Haider ‘Nigar’ who died in early age was also a poet”.
Jigar Moradabadi, who inspired Majrooh Sultanpuri too, inspired Khumar in mushairas.
His first movie was also an AR Kardar movie with Music Director Naushad: the 1946 movie Shahjehan with KL Saigal in the title role. By now you recall that Shakeel’s was AR kardar’s 1947 movie Dard with Naushad with the most beautiful song: Afsaana likh rahi hoon.
Khumar too penned a Tasveer song that became super hit. Whereas, Shakeel wrote the 1952 movie Deewana song sung by Mohammad Rafi (I have already given you that): Tasveer banaata hoon teri khoon-e-jigar se; Khumar wrote an equally beautiful number for the 1955 movie Baradari that was composed not by Naushad but by Nashad!
At this juncture, you are bound to ask me if I live by music and songs to know these details. Well, I live by Shakeel’s songs and I also know, by comparison, matching lyrics. My adoration is, therefore, not mere fancy.
There is one more why I should like this Tasveer song too quite a lot and for those who have been following me, here is the hint: It has something in common with Shakeel’s Chaudhvin ka chand ho, Suhaani raat dhal chuki, and Tanvir Naqvi’s Awaaz de kahan hai (that I gave you day before yesterday).
Okay, that was easy to guess; thank you for being in sync with me. These were all composed in the Raag of my home-station (in the hills): Raag Pahadi. This one, though is in Tal Kaherava.
bedard muhabbat kA, itanaa saa hai afasaanaa – 2
nazaro.n se milii nazare.n, mai.n ho gayaa dIvaanaa
ab dil ke bahalane kii, tadabIr nahii.n banatI, tasaviir nahii.n banatI
tasaviir banaata huu.N …
dam bhar ke liye merI, duniyA me.n chale aao – 2
tarasii huI aa.Nkho.n ko, phir shakl dikhaa jaao
mujhase to merI biga.Dii, takadIr nahii.n banatI, tasaviir nahii.n banatI
tasaviir banaata huu.N …
https://www.youtube.com/watch?v=0OwjFboPjSc
Day #30 of 31
Song #88
Last two days of the countdown to the Birth Centenary of Shakeel Badauni. It is literally an august month in which someone as Shakeel (handsome) as him should be born. They say ‘Handsom is that who handsome does’. In his case he wrote handsomely.
Likhane waalon ne bahut likhe dil ke kalaam, Ham to phir bhi rahe Shakeel ke ghulaam, Woh dard ke afsaane sunaate rahe, Ham sunte rahe aur karte rahe jhuk ke salaam.
The 1964 movie Leader, however, had no “dard ke afsaane” since it was a rebellious movie. However, it had a song that was of a genre’ for which Shakeel got two of his Filmfare awards; that is, to describe the beauty of the woman.
This was as popular, if not more, as the other Husn songs; though a little bit on the naughty side, in keeping with the image of Dilip Kumar in the movie.
Being a duet, it has been sung by Mohammad Rafi and Lata Mangeshkar. Naushad composed it in the evening Raaga: Kalyan, Tal Kaherava.
Please enjoy the ever popular: Tere husn ki kyaa tareef karun, kuchh kehte huye bhi darta hoon…..
lataa: mere dil me.n kasak sI hotI hai, mere dil me.n
mere dil me.n kasak sI hotI hai
tere raah se jab mai.n guzaratii huu.N
is baat se ye nA samajh lenaa
kii mai.n tujhase mohabbat karatii huu.N
rafii: (terI baat me giito.n kii saragam
terI chaal me paayal kii chham chham ) – 2
koI dekh le tujhako ek najar – 2
mar jaae.n terI aa.Nkho.n kasam
mai.n bhI huu.N ajab ik dIvaanaa
marataa huu.N nA aahe.n bharataa huu.N
kahii.n bhuul se tU nA samajh baiThe
kii mai.n tujhase mohabbat karataa huu.N
dono: aa…
lataa: (mere saamane jab tU AtA hai
jii dhak se meraa ho jaataa hai ) – 2
letii hai tamannaa a.nga.Daayii – 2
dil jaane kahaa.N kho jaataa hai
mahasuus ye hotA hai mujhako
jaise mai.n terA dam bharatii huu.N
is baat se ye nA samajh lenaa
kii mai.n tujhase mohabbat karatii huu.N
rafii: tere husn kii kyA taariif karuu.n
kuchh kahate hue bhI Darataa huu.N
kahii.n bhuul se tU nA samajh baiThe
kii mai.n tujhase mohabbat karataa huu.N
https://www.youtube.com/watch?v=_UL0b6PMJJA
Day #30 of 31
Song #89
So far, you would have noticed, that the 1964 movie Leader songs happen to be full of zest, as was the case with Shakeel’s 1960 movie Kohinoor that was devised to give a happy break to the “tragedy king” Dilip Kumar since he had gone into depression doing all the lugubrious roles.
In Leader, Dilip Kumar was a lawyer who had taken to publishing a newspaper. Vyjayanthimala was a princess that he had started loving. She joined him in exposing the criminal-politician nexus. But, he himself was accused of murdering a political leader in the run-up to the general elections.
This song is Dilip Kumar’s response to the anger of Vyjayanthimala and also became very popular. Once again, Mohammad Rafi sang it.
Please enjoy: Hamin se mohabbat, hamin se ladaayi, are maar daala duhaai duhaai….
hamii.n se muhabbat hamii.n se la.Daa_ii
are maar Daalaa duhaa_ii duhaa_ii
abhii naasamajh ho uThaao na Kha.njar – 2
kahii.n mu.D na jaaye tumhaarii kalaa_ii
sitam aaj mujh par jo tum Dhaa rahii ho ho
ba.Dii Khuubasuurat nazar aa rahii ho
ye jii chaahataa hai ke Khud jaan de duu.N -2
muhabbat me.n aaye na tum par buraa_ii
hame.n husn kii har adaa hai gavaaraa
hasiino.n kaa Gussaa bhii lagataa hai pyaaraa
udhar tum ne tiir-e-nazar dil pe maaraa – 2
idhar hamane bhii jaan par choT khaa_ii
% I may be wrong about this last line
karo Khuun tum yuu.N na mere jigar kaa
bas ik vaar kaafii hai tirchhii nazar kaa
yahii pyaar ko aazamaane ke din hai.n – 2
kiye jaao ham se yuu.N hii bevafaa_ii
Day #30 of 31
Song #90
And now for the last (the fifth one that I had promised) song of the 1964 movie Leader starring Dilip Kumar and Vyjayanthimala, the 21st movie in which Shakeel Badayuni paired with Naushad Ali.
I have always shown this song for the contrasting styles of Shakeel Badayuni and Sahir Ludhianvi. Sahir’s focus of poetry was the social inequities of that era and hence Taj Mahal was a symbol of the inequities between an emperor and the poor people. Hence he wrote:
“Ek Shahenshah ne banwa ke haseen Taj Mahal, Ham gareebon ki mohabbat ka udhaya hai mazaak”
The same Taj Mahal, to Shakeel, was a symbol of Love.
Mohammad Rafi and Lata Mangeshkar sang this song together for Dilip Kumar and Vyjayanthimala when they visit the Taj Mahal.
Naushad, the master of compositions in Raagas, based it on Raag Lalit, Tal Dadra.
Please enjoy: Ek shahenshah ne banwa ke haseen Taj Mahal, Saari duniya ko mohabbat ki neeshani di hai…
ek shahanshaah ne banavaa ke hasI.n taajamahal
saarii duniyaa ko muhabbat kii nishaanii dii hai
isake saaye me sadaa pyaar ke charche ho.nge
khatm jo ho naa sakegii vo kahaanii dii hai
ek shahanshaah ne banavaake …
taaj vo shammaa hai ulfat ke sanam khaane kii
jisake paravaano me mufalis bhii zaradaar bhii hai
sa.ng-e-maramar me samaae hue khvaabo.n kii qasam
marahale pyaar ke aasaan bhii dush{}vaar bhii hai.n
dil ko ek josh iraado.n ko javaanii dii hai
ek shahanshaah ne banavaake …
taaj ik zindaa tasavvur hai kisii shaayar kaa
isaka afasaanaa hakiikat ke sivaa kuchh bhii nahii
isake aagosh me aakar ye gumaa.n hotaa hai
zindagii jaise muhabbat ke sivaa kuchh bhii nahii
taaj ne pyaar kii maujo.n ko ra_vaanii dii hai
ek shahanshaah ne banavaake …
ye hasI.n raat ye mahakii huii puranUr fazaa
ho ijaazat to ye dil ishq kaa izahaar kare
ishq insaan ko insaan banaa detaa hai
kisakii himmat hai muhabbat se jo inakaar kare
aaj takadIr ne ye raat suhaanii dii hai
ek shahanshaah ne banavaake …
https://www.youtube.com/watch?v=TehJFYrDFJw
Appreciating Good Lyrics Song #30
Last two days of the countdown and you would be surprised that if a lyricist of the calibre of Khumar Barabankwi came up on the third last day and today I have someone of the high calibre of Asad Bhopali, who would be there on the last day?
Have faith in my planning please.
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-nine days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Woh jab yaad aaye bahut yaad aaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
Today we take up our 30th and 2nd last Lyricist Asad Bhopali’s creation.
Asad Bhopali was born as Asadullah Khan on 10th Jul 1921 (5 years after Shakeel), in Bhopal. Just four days back I gave you the contribution of Arzoo Lucknowi and that poet and lyricist was indirectly responsible for getting Asad in the movies. Well, what happened was that Arzoo migrated to Pakistan after writing just two songs of the 1949 movie Duniya and the makers of the movie: Fazli Brothers were looking for a new Lyricist. This is somewhat similar to how C Ramchandra came in to compose the songs of the 1953 movie Anarkali after its original composer Vasanth Prakash died after recording just one Geeta Dutt song: Aa jaane wafa.
After having taken the first step to become a lyricist in 1949 movie Duniya, Asad established himself with the 1951 BR Chopra movie Afsana.
He went on to write such beautiful numbers as:
1. Zindagi bhar gham judaai ka mujhe tadpaayega in 1957 movie Miss Bombay, a composition of hansraj Behl sung beautifully by Mohammad Rafi.
2. Main khushnaseeb hoon mujhako kisi ka pyaar mila in 1962 movie Tower House starring Ajit and Shakeela; a composition of Ravi sung by Mukesh.
3. Sau baar janam lenge, sau baar fanaa honge in 1963 movie Ustaadon Ke Ustaad starring Pradeep Kumar and Shakeela, a composition of Ravi sung by Rafi.
4. Ajnabee tum jaane pehchaane se lagate ho in 1965 movie Hum Sab Ustaad Hain, a composition of Laxmikant Pyarelal sung as a duet by Lata Mangeshkar and Kishore Kumar.
5. Ham tumase judaa hoke mar jaayege ro ro ke in 1965 movie Ek Sapera Ek Lutera starring Feroze Khan; a composition of Usha Khanna sung by Rafi.
You would also recall his having penned the songs of the 1989 movie Maine Pyaar Kiya with such songs as Dil deewana bin sajna ke maane na; and Kabootar jaa jaa jaa.
For its lyrical excellence and matching lyrics with Shakeel Badayuni, lets take up the very first song that comes to one’s mind when one thinks of Asad Bhopali.
This all-time super-hit song is from the 1963 movie Parasmani starring Geetanjali and Mahipal and sung for them by Lata Mangeshkar and Mohammad Rafi. Laxmikant Pyarelal composed it in Raag Kalyan, Tal Kaherava.
Please enjoy: Woh jab yaad aaye bahut yaad aaye….
vo jab yaad aae bahut yaad aae
Gam-e-zi.ndagii ke a.ndhere me.n hamane
chiraag-e-muhabbat jalaae bujhaae
aahaTe.n jaag uThii.n raaste ha.ns diye
thaamakar dil uThe ham kisii ke liye
ka_ii baar aisaa bhii dhokhaa huaa hai
chale aa rahe hai.n vo nazare.n jhukaae
dil sulagane lagaa ashq bahane lage
jaane kyaa-kyaa hame.n log kahane lage
magar rote-rote ha.nsii aa ga_ii hai
Kayaalo.n me.n aake vo jab muskuraae
vo judaa kyaa hue zi.ndagii kho ga_ii
shammaa jalatii rahii roshanii kho ga_ii
bahut koshishe.n kii.n magar dil na bahalaa
ka_ii saaz chhe.De ka_ii giit gaae
Day #31 of 31
Song #91
And finally the last day of the countdown. Tonight, I shall be posting a total of ten songs (still maintaining the chronological order) so as to make it a hundred before Shakeel’s birth centenary only a few hours away now.
His next movie in 1964 Kaise Kahoon was a unique one in that for the first time since 1947 movie Dard (his first one), for the first time in his 42 movies until then, he paired with Sachin Dev Burman.
The movie had seven songs as below:
1. Dil kaa dard niraalaa
2. Haule\-haule jiyaa Dole
3. Kaise kahuu.N tujhase jiyaa kii mai.n batiyaa.N
4. Man se chi.ntaa kii ghaTaa duur ho jaa
5. Manamohan man me.n ho tumhii.n
6. Tum hame.n pyaar karo yaa na karo
7. Kisi ki mohabbat mein.
We shall be taking up two of these.
The first one, Manmohan man mein ho tumhin, was composed by SD Burman in Raag Adana, Tal Tintal. The bhajan once again reflects the mastery of Shakeel over this genre’ of music.
Mohammad Rafi, Sudha Malhotra and SD Batish have sung this.
Please enjoy: Manmoham man mein ho tumhin….
shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …
SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~
Day #31 of 31
Song #92
The 1964 movie Kaise Kahoon was directed by Atma Ram and starred Biswajeet with Nanda.
We shall take up another song from the movie; a song that reflects the same kind of irony that was there in Amar’s Na milata gham to barbaadi ke afsaane kahan jaate. Indeed, the reason that I ahave labelled him the King of Irony is only for these kind of songs.
As with the Amar song, this too has been sung by Lata Mangeshkar, exactly ten years after the Amar song.
Please enjoy: Tum hamen pyaar karo yaa na karo, ham tumhen pyaar kiye jaayenge…..
tum hame.n pyaar karo yaa na karo
ham tumhe.n pyaar ki_e jaa_e.Nge
chaahe qismat me.n Kushii ho ke na ho
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
ham nahii.n vo jo Gam-e-ishq se ghabaraa jaa_e.N
ho ke maayuus zubaa.N par ko_ii shikavaa laa_e.N
chaahe kitanaa hii ba.Dhe dard-e-jigar
apane ho.nTho.n ko si_e jaa_e.Nge
tum hame.n pyaar …
tum salaamat ho to ham chain bhii paa hii le.nge
kisii suurat se lagii dil kii bujhaa hii le.nge
pyaar kaa jaam mile yaa na mile
ham to aa.Nsuu bhii pi_e jaa_e.Nge
tum hame.n pyaar …
to.D dii aas to phir itanaa hii ehasaan karo
dil me.n rahanaa jo na chaaho to nazar hii me.n raho
Thes lagatii jo hai dil par to lage
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
Day #31 of 31
Song #93
We progress to the 1964 movie Door Ki Awaz in which Shakeel Badayuni was back with Ravi, the 9th movie of the pair together (they would do three more: Phool Aur Patthar, Do Badan, and Aurat; but those I shall take up after tomorrow).
The movie had the following songs; a most successful movie as far as songs were concerned:
1.”Husn Se Chand Bhi Sharmaya Hai ” – Mohammed Rafi
2. “Ek Musafir Ko Dunia Me Kya Chahiye ” – Mohammed Rafi
3. “Hum Bhi Agar Bachche Hote, Happy Birthday To You” – Asha Bhosle, Mohammed Rafi, Manna Dey
4. “Muqaddar Aajamaanaa Chaahataa Hoon” – Mohammed Rafi
5. “Banaa Ke Meraa Muqaddar, Kyaa Yun Hi Ruth Ke” – Mohammed Rafi
6. “Dil Mera Aaj Kho Gaya Hai Kahin “- Mohammed Rafi
7. “Tut Gayi Mere Man Ki Muraliya ” – Asha Bhosle
8. “Mohe Tirchhi Najariya Na Maro” – Asha Bhosle
9. “Haathon Men Haath Honthon Pe Afasaane Pyaar Ke ” – Asha Bhosle, Mohammed Rafi
We shall be taking up as many as five of these songs; it is easy to guess which of these five!
Since two of the songs of Husn with Ravi got Shakeel two consecutive Filmfare awards: Chaudhvinh ka Chand, and Husn waale tera jawaab nahin, it was hoped that this too may fetch another. It didn’t but it is still a beautiful song on beauty of a female.
Please enjoy Mohammad Rafi sing: Husn se chand bhi sharmaaya hai…
( husn se chaa.Nd bhii sharamaayaa hai
terii suurat ne gazab Dhaayaa hai ) -2
haay in pyaar me.n Duubii hu_ii aa.Nkho.n kii qasam
aadamii kyaa hai farishto.n ke bahak jaa_e.N qadam
bin pi_e mujhape nashaa chhaayaa hai
terii suurat ne …
jab se paayaa hai tujhe hosh nahii.n hai mujhako
yaa to ye sach hai ki dekh rahaa huu.N tujhako
yaa ko_ii Kvaab nazar aayaa hai
terii suurat ne …
muskaraa_e.N jo tere lab to bahaare.n aa_ii.n
khil ga_e phuul pa.Dii terii jahaa.N parachhaa_ii.n
tuune gulashan meraa mahakaayaa hai
terii suurat ne …
Day #31 of 31
Song #94
The 1964 movie Door Ki Awaz was directed by Devendra Goel and starred Joy Mukherjee, Saira Bano, Pran, Johnny Walker and Om Prakash.
Lets take up the third song from the movie. It is a children’s song and just like Shakeel’s Dadi amma, dadi amma maan jaayo; and Nanha munna rahi hoon, it is the evergreen birthday song.
Please enjoy Mohammad Rafi, Asha Bhosle and Manna Dey sing: Ham bhi agar bachche hote….
ham bhii agar bachche hote -2
naam hamaaraa hotaa gabaluu babaluu
khaane ko milate laDDuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
ko_ii laataa gu.Diyaa, moTar, rel
to ko_ii laataa phirakii, laTTuu
ko_ii chaabii kaa TaTTuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( kitanii pyaarii hotii hai ye bholii sii umar
na naukarii kii chintaa na roTii kii phikar ) -2
nanhe-munne hote ham to dete sau hukum
piichhe-piichhe ##papa-mummy## banake naukar
##chocolate, biscuit, toffee## khaate aur piite dudduu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( kaise-kaise naKare karate gharawaalo.n se ham
pal me.n ha.Nsate pal me.n rote karate naak me.n dam ) -2
akka.D-bakka.D lukka-chhupii kabhii chhu_aa-chhuu
karate din bhar hallaa-gullaa da.ngaa aur udham
aur kabhii zid par a.D jaate jaise a.Diyal TaTTuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( ab to ye hai haal ke jab se biitaa bachapan
maa.N se jhaga.Daa baap se Takkar biiwii se anaban ) -2
kolhuu ke ham bail bane hai.n dhobii ke gadhe
duniyaa bhar ke DaNDe sar pe khaaye.n danaadan
bachapan apanaa hotaa to na karate Dhe.Nchuu-Dhe.Nchuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
https://www.youtube.com/watch?v=EM9pkTUQgvk
Day #31 of 31
Song #95
As promised, the fifth song of the day is the third song from the 1964 movie Door Ki Awaz. Johnny Walker was given a number of super hit songs by Op Nayyar such as Ai dil hai mushkil jeena yahan. SD Burman gave him the famous Sar jo tera chakraaye in 1957 movie Pyaasa.
Here in Door Ki Awaz, Ravi gave him two super hit songs: Ham bhi bachche hote that we listened to just now and this train song that is so funny. It was very popular during our times.
This was sung by Mohammad Rafi.
Hats off to both Shakeel and Rafi for such comical songs too, whilst their forte’ was serious and sad songs; the hallmark of geniuses.
Please enjoy: Ik mussafir ko duniya mein kyaa chahiye….
ik musaafir ko duniyaa me.n kyaa chaahi_e
sirf tho.Dii sii dil me.n jagah chaahi_e
baiTh jaa_uu.N
o moTe laalaa tuune kiyaa hai kaisaa chhal
##Ticket## teraa ##single## magar tuu ##double## -2
khisak zaraa pyaare sarak zaraa pyaare -2
aisii ##body## me.n dil bhii ba.Daa chaahi_e
ik musaafir ko …
o lambii daa.Dhii vaale tuu gussaa mat kar
hame.n bhii jagah de-de zaraa Kudaa se Dar
khisak zaraa pyaare sarak zaraa pyaare -2
teraa ##photo## na teraa pataa chaahi_e
ik musaafir ko …
ham par bhii kar do zaraa inaayat kii nazar
Kushii se kaT jaa_e hamaaraa bhii safar
khisak zaraa pyaare sarak zaraa pyaare -2
yuu.N kisii kaa na dil to.Danaa chaahi_e
ik musaafir ko …
https://www.youtube.com/watch?v=W6ZW2vcdF7Y
Day #31 of 31
Song #96
We have two more songs to go from the 1964 Devendra Goel movie Door Ki Awaz starring Joy Mukherjee, Saira Bano, Pran, Om Prakash and Johnnie Walker.
Imagine the dictates of the movie script that Shakeel had to pen funny and children’s songs and he did that with ease.
This one is light-hearted and naughty romance between Joy Mukherjee and Saira Bano. It has been sung by Mohammad Rafi.
Please enjoy: Dil mera aaj kho gaya hai kahin, aap ke paanv ke neeche to nahin?
dil meraa aaj kho gayaa hai kahii.n
aapake paa.Nv ke niiche to nahii.n
yuu.N nazar pher ke mat jaa_i_e ruki_e to zaraa
aapako merii qasam Thahari_e suni_e to zaraa
hai jahaa.N aap meraa dil hai vahii.n
aapake paa.Nv ke …
kis tarah dil kii mai.n tauhiin ga.nvaaraa kar luu.N
aapakii bholii nigaaho.n pe bharosaa kar luu.N
dil churaataa nahii.n hai kaun kahii.n
aapake paa.Nv ke …
dil churaayaa ho to pahaluu me.n chhupaa_e rakhi_e
zindagii bhar mujhe diivaanaa banaa_e rakhi_e
lekin ek baar dilaa diiji_e yaqii.n
aapake paa.Nv ke …
https://www.youtube.com/watch?v=Ehel_F2AJbg
Day #31 of 31
Song #97
Four songs of 1964 movie Door Ki Awaz so far and all funny, comical and light-hearted. At this juncture you are bound to ask me wasn’t there a single song in the movie that was sad and hence in sync with the skill of Shakeel?
Well, indeed, there was one and Mohammad Rafi sang it so well that it was an instant super-hit.
Please enjoy: Kyaa younhi rooth ke jaane ko mohabbat ki thi….
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
Day #31 of 31
Song #98
Last three songs to complete the 100 songs for the hundredth birth anniversary of the greatest poety and lyricist: Shakeel from a small town of Badayun in West UP.
That would leave us some thirty songs or so that I have selected for you until his last movie, the 1969 movie Beti. We shall take up these in the four days after the centenary so as to complete five weeks of the tribute in totality. Still to come will be songs of, for example, Do Badan, Dil Diya Dard Liya, Palki, Noorjehan, Sughursh and Aadmi.
Have patience. I shall not leave you before we have completed all.
Lets take his 45th movie, a S Khalil movie titled Benazir, the second and the last movie in which SD Burman paired with him.
The movie had the following songs:
1. Gam nahin gar zindagi veeran hai Asha Bhonsle
2. Main shola main barkha Lata Mangeshkar, Mohd. Rafi
3. Mil ja re jane jana Lata Mangeshkar
4. Dil mein ek jane tamanna ne Mohd. Rafi
5. Alvida jaane wafa meri manzil aa Lata Mangeshkar
6. Baharon ki mehfil suhani rahegi Lata Mangeshkar
7. Husn ki baharen liye aaye they sanam Lata Mangeshkar
8. Mubarak hai woh dil jisko kisi se Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar
9. Ya gafoor rahim ya allah
You would have noticed that Shakeel was back in this movie with sad songs that he was best at.
Lets take up the first song. It is said that Meena Kumari wasn’t an accomplished dancer like Vyjayanthimala, Asha Parekh and others. However, what she wanted to convey through dancing, she always did, backed by superb histrionics.
She did it in this song sung by Asha Bhosle on a composition by SD Burman.
Please enjoy: Gham nahin gar zindagi veeran hai….
miinaa kumaarii
hame.n apanaa ilaaz-e-dard-e-dil karanaa bhii aataa hai
ham aise jiine waale hai.n jinhe.n maranaa bhii aataa hai
Gam nahii.n
( Gam nahii.n gar zi.ndagii viiraan hai
ishq par ye jaan bhii qurbaan hai ) -2
Gam nahii.n gar zi.ndagii viiraan hai
hamane sab kuchh kho ke sab kuchh paa liyaa -2
apane dil ko har tarah har tarah samajhaa liyaa
ab ko_ii hasarat hai naa aramaan hai -2
Gam nahii.n gar zi.ndagii viiraan hai
ishq par ye jaan bhii qurbaan hai
Gam nahii.n gar zi.ndagii viiraan hai
chand aa.Nsuu pyaar kii daulat nahii.n -2
ro ke jiine me.n ko_ii ko_ii lazzat nahii.n
ha.Ns ke mar jaanaa wafaa kii shaan hai
ishq par ye jaan bhii qurbaan hai
https://www.youtube.com/watch?v=4gQdpw78-9A
Day #31 of 31
Song #99
The second song of the 1964 movie Benazir that I have selected for you has been sung by Mohammad Rafi.
As the second last song for the countdown to his birth centenary, it is a show case song of his lyrical excellence.
Also, brief though the appearances of Shashi Kapoor and Tanuja in the movie, they both did very well indeed. Shashi always has done a good job acting on good poetry, eg, in Kanyadaan (Hasrat Jaipuri’s): Meri zindagi mein aate to ye aur baat hoti; and in Dharamputra: Bhool sakata hai bhala kaun tumhaari aankhen? (Sahir’s).
Please enjoy this happy Shakeel song: Dil mein ek jaane tamanna ne jagah paayi hai…..
aaj shiishe me.n baar-baar unhe.n dil kii suurat dikhaa_ii detii hai
apanii suurat nazar nahii.n aatii merii suurat dikhaa_ii detii hai
dil me.n ek jaan-e-tamannaa ne jagah paa_ii hai
aaj gulashan me.n nahii.n ghar me.n bahaar aa_ii hai
aa gayaa aa gayaa mere tasavvur me.n ko_ii paradaanashiin -2
aaj har chiiz nazar aatii hai mujhako hasii.n
kyaa karuu.N mai.n ba.Dii dilakash merii tanhaa_ii hai
aaj gulashan me.n nahii.n …
bahakii-bahakii nashaa-e-husn me.n kho_ii-kho_ii
jaise Kyaalo.n kii ra.ngiin rubaa_ii ko_ii
dil ke shiishe me.n parii ban ke utar aa_ii hai
aaj gulashan me.n nahii.n …
husn ke saamane izahaar-e-vafaa hai mushkil -2
kaash chhup kar hii vo sun le meraa naalaa-e-dil
jisane pyaar kii ma.nzil mujhe dikhalaa_ii hai
aaj gulashan me.n nahii.n …
https://www.youtube.com/watch?v=lh5DSQSIHjw
Day #31 of 31
Song #100
The hundredth song for the hundredth birth anniversary of Shakeel Badayuni – my all time favourite poet and lyricist. His songs, ghazals and nazams strike the right chords with me and make me wistfully recall that era when good lyrics ruled the movies. Indeed, some movies became super-hits only on the strength of their songs.
His 46th movie was a Nisar Ahmad Ansari movie called Zindagi Aur Maut, in which, for the first time, he paired with Music Director C Ramchandra of Anarkali fame.
The 1965 movie Zindagi Aur Maut was a low budget movie; a spy thriller. It starred Bela Bose, Nilofar, Pradeep Kumar, and Johnny Walker.
There is a song in the movie that is the perfect song to end this 100 songs tribute. It is a happy song too!
It was sung by Mahendra Kapoor and also by Asha Bhosle.
Please enjoy: Dil laga kar ham ye samajhe zindagi kyaa cheez hai…
dil lagaakar ham ye samajhe, zi.ndagii kyaa chiiz hai
ishq kahate.n hai.n kise aur, aashiqii kyaa chiiz hai
haay ye ruKasaar ke shole, ye baahe.n marmarii
aapase milakar ye do baate.n, samajh me.n aa ga_ii.n
dhuup kisakaa naam hai aur chaa.Ndanii kyaa chiiz hai
aapakii shoKii ne kyaa-kyaa, ruup dikhalaa_e hame.n
aapakii aa.Nkho.n ne kyaa-kyaa, jaam pilavaa_e hame.n
hosh kho baiThe to jaanaa, beKudii kyaa chiiz hai
aapakii raaho.n me.n jabase hamane rakhaa hai qadam -2
hamako ye mahasuus hotaa hai ki hai.n ma.nzil pe ham
koii kyaa jaane mohabbat kii khushii kyaa chiiz hai
Appreciating Good Lyrics Song #31
No looking down but let me see how many of you have been able to guess the last lyricist in the countdown so as to make the last day special? Please write in the comments below if you were indeed able to guess.
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja.
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
30. Asad Bhopali with Woh jab yaad aaye.
Today we take up our 31st and last Lyricist SH Bihari‘s creation, the most under-rated of all Lyricists in the Hindi film industry.
Shamshul Huda Bihari (SH Bihari) was born in 1922 in the district of Ara in Bihar and died on 25 Feb 1987 of a heart attack. He graduated from Presidency College in Calcutta.
In 1947, he moved to Bombay from Calcutta and took up writing lyrics for Hindi songs in the movies. In the late fifties and sixties, his work, particularly his partnership with composer OP Nayyar and the singer Asha Bhosle was exceptionally popular.
His debut in Hindi movies was with the 1954 movie Shart, wherein two of his songs are my all time favourites: Naa yeh chand hoga naa sitaare rahenge; and Dekho woh chand chhupake karta hai kyaa ishaare. These are particularly dear to me since they have been sung by my favourite singer Hemant Kumar.
Some of his other popular songs are (not in any order):
1. Aap youn hi agar hamase milate rahe (Mohammad Rafi, Asha Bhosle singing on the composition of OP Nayyar in 1962 movie Ek Musafir Ek Haseena)
2. Chain se hamako kabhi aap ne jeene na diya (Asha Bhosle singing on OP Nayyar’s composition in 1973 movie Praan Jaaye Par Vachan Na Jaaye)
3. Yeh hansta hua karvaan zindagi ka na poochho chala hai kidhar (Ek Jhalak, 1956)
4.bahut shukriya badi mehrbaani meri zindagi mein huzoor aap aaye (Ek Musafir Ek Haseena, 1962)
5.Taarif karoon kya uski jisne tujhe banaya (Kashmir Ki Kali, 1964)
6. Zara haule haule chalo more saajna ham bhi peechhe hain tumhaare (Sawan Ki Ghata, 1966)
7.Yyehi woh jagah hai yehi woh fiza hai jahaan par (Yeh Raat Phir Na Aayegi, 1966)
8. Kajra mohabbatwaala ankhiyon mein aisa daala kajre ne le lee meri jaan (Kismat, 1968)
9. Laakhon hain yahan dilwale.
10. Mera pyaar woh hai ke.
I can go on and on since SH Bihari actually wrote some of the most romantically fresh numbers in the movies.
Matching lyrics with Shakeel Badayuni? I can think of several even though sad and deep numbers wasn’t his forte in comparison to ever-green romantic songs.
In comparison to his Phir thes lagi dil mein phir yaad ne tadpaaya, Raaton ko chori chori bole mera kangana, Ham pe ilzaam ye kyun hai ke mohabbat ki hai, and Woh hanske mile hamase ham pyaar samajh baithe; I have selected a very early song of his.
It is from the 1954 movie Gawaiyya. It has been composed by Ram Ganguly and it happens to be my favourite SH Bihari sad song.
It has been sung by Surendra. Later, Talat Mehmood too sang it.
Please enjoy: Teri yaad ka deepak jalata hai din raat mere veerane mein…..
terii yaad kaa diipak jalataa hai din raat mere viiraane me.n
vo paagalapan jo pahale thaa ab bhii hai tere diivaane me.n
din raat meraa Gam ba.Dhataa gayaa par terii muhabbat kam na huii
jo lutf ta.Dapane me.n paayaa vo baat kahaa.N mar jaane me.n
ik aag sulagatii rahatii hai har vaqt meraa dil jalataa hai
hai shauq magar kuchh aur abhii jalane kaa tere paravaane me.n
Ladies and gentlemen, with this I complete 31 days of Countdown to the Birth Centenary of Shakeel Badayuni who was born on 03 Aug 1916 in the small town of Badayun in UP.
I completed the countdown in five parts and I have still not finished with his songs. From more than 750 songs that he penned, I selected 135 to give you and we still have 35 songs to go until his last movie: the 1969 movie Beti.
These I shall cover in Part VI.
I hope you liked my selection so far including one each of 31 of his contemporary lyricists in a feature called ‘Appreciating Good Lyrics’.
Please remain with me for the last 35 songs in Part VI.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
We have completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16 and Part III from 17 Jul to 23 Jul. Those of you who read the three parts so far would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. Finally, in Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part III, I have covered seven more of them:
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
With this, we are ready to move into Part IV, covering the fourth week of the countdown, from day 22 to day 28. Before we do, here is my own adoration:
Dil pe chot khaana mohabbat ka ek andaaz hai,
Chot khaa ke likhana yeh Shakeel ki awaaz hai,
Waise to kayi aur nagmaagar huyen hain lekin,
Shakeel ki saalgirah haseen shayari ka agaaz hai.
Day #22 of 31
Song #64
In chronological order, with a few exceptions, we had taken up the songs of Shakeel Badayuni from 1947 to the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam that had songs written by Shakeel and composed by Hemant Kumar.
The movie starred Meena Kumari as Chhoti Bahu, Guru Dutt as Atulya Chakraborty ‘Bhootnath’, Rehman as Chhote Sarkar, Waheeda Rehman as Jaba and Nazir Hussain as Subinay Babu (Jaba’s father).
The movie was about the rot in West Bengal’s feudal society.
We have already taken up three songs from the movie: Saaqiya aaj mujhe neend nahin aayegi, Piya aiso jiya mein samayi gaiyo re, and Na jaayo sainya chhuda ke bainya. The first one was picturised on the courtesan Minoo Mumtaz with Rehman and his cronies viewing the dance, the second one on Meena Kumari and the third one on Meena Kumari and her husband Rehman.
A scene from the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam
The next one has haunting tune. It displays the agony of a young married Meena Kumari for her husband Rehman whilst she is alone in the haveli and he is out enjoying the company of courtesans. It has been sung equally hauntingly by Geeta Dutt.
(raat raat bhar i.ntazaar hai
dil dard se beqaraar hai ) – 2
saajan itanaa to naa ta.Dapaao, chale aao
chale aao – 3
koI duur …
(aas to.Dake mukh mo.Dake
kyaa paaoge saath chho.Dake ) – 2
mere man ko ab yuu.N naa itanaa tarasaao
chale aao – 3
koI duur …
Day #22 of 31
Song #64
We are continuing with the songs of the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam.
So far all the songs that we have taken up are on Sahib and Bibi, that is on Rehman and Meena Kumari.
Now, lets take up songs on Ghulam and his love: Guru Dutt and Waheeda Rehman, the contrast being all the more sharp as they had simple life as compared to the feudal lords.
This has been sung by Asha Bhosle for Waheeda Rehman singing for the naivete of Guru Dutt.
Please enjoy: Bhanvara bada nadaan haay….
bha.Nvaraa ba.Daa naadaan haay
bagiyan kaa mehamaan haay
phir bhii jaane na jaane na jaane na
kaliyan kii musakaan haay
bha.Nvaraa ba.Daa naadaan …
kabhii u.D jaaye kabhii ma.nDaraaye
bhed jiyaa ke khole na
saamane aaye nain milaaye
mukh dekhe kuchh bole na, vo mukh dekhe kuchh bole na
bha.Nvaraa ba.Daa naadaan haay …
akhiyo.n me.n rajake chale bach bachake
jaise ho koii begaanaa
rahe sa.Ng dil ke mile nahii.n milake
banake rahe vo anjaanaa, ho banake rahe vo anjaanaa
bha.Nvaraa ba.Daa naadaan haay …
koii jab roke koii jab Toke
gun gun karataa bhaage re
na kuchh puuchhe na kuchh buujhe
kaisaa anaa.Dii laage re, vo kaisaa anaa.Dii laage re
bha.Nvaraa ba.Daa …
https://www.youtube.com/watch?v=DHyRikMZXqw
Day #22 of 31
Song #66
Guru Dutt as Bhootnath and Waheeda Rehman as Jaba were shown in the movie as innocent and shy couple in contrast to Meena Kumari as Chhoti Bahu of the haveli longing for her husband Rehman as Chhote Sarkar.
This song depicts that Waheeda was unable to bring out her feelings for a shy and naive Guru Dutt and hence had to do without it.
Please enjoy: Meri baat rahi meri man mein……
merii baat rahii mere man me.n
kuchh kah na sakii ulajhan me.n
mere sapane adhuure, hue nahii.n puure
aag lagii jiivan me.n
merii baat rahii mere man me.n …
o rasiyaa, man basiyaa
rag rag me.n ho tum hii samaaye
mere nainaa kare bainaa
meraa dard na tum sun paaye
jiyaa moraa pyaasaa rahaa saavan me.n
merii baat rahii mere man me.n …
kuchh kahate, kuchh sunate
kyo.n chale gaye dil ko masal ke
merii duniyaa huii suunii
bujhaa aas kaa diipak jal ke
chhaayaa re andheraa merii akhiyan me.n
merii baat rahii mere man me.n …
tum aao ki na aao
piyaa yaad tumhaarii mere sa.ng hai
tumhe kaise ye bataa_uu.N
merii priit kaa niraalaa ek ra.ng hai
laagaa ho ye nehaa jaise bachapan me.n
merii baat rahii mere man me.n …
https://www.youtube.com/watch?v=yH90122MXws
Appreciating Good Lyrics Song #22
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-one days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
Today we take up our 22nd Lyricist Pandit Sudarshan‘s creation.
Pandit Sudarshan with his wife (Pic courtesy: beetehuedin.blogspot.com)
Not many people know about Pandit Sudarshan but when I say that his was the first song that was recorded when playback singing was introduced in Hindi films, then you would want to know more about him.
I have, several times mentioned, that the so called Hindi movies had dialogues and songs in Urdu those days even though the likes of Munshi Premchand and Pandit Sudarshan tried their hand at writing in Hindi. The reason that the Urdu writers succeeeded more eminently in Hindi films was because the Hindi writers made it too literary and didn’t connect as well with the masses as the Urdu writers did; both Hindi and Urdu being indigenous languages of India.
Pt. Sudarshan’s short novel Haar Ki Jeet was much talked about when I was in school and used to be compared with Munshi Premchand’s writings.
Pandit Sudarshan was born as Badrinath Sharma in Silakot (now in Pakistan) in 1896, the second child of a rich family of six children. After completing his graduation from Silakot, he started writing for a magazine in Lahore called ‘Hazaar Dastaan’.
By the way, he started his own newspaper in Urdu which grabbed extensive circulation.
In 1932 he shifted to Calcutta, the that time heart of Hindi film industry and within two years wrote his first movie story Ramayan that starred Prithviraj Kapoor. Sudarshan also directed the movie.
Pandit Sudarshan joined the company ‘New Theatres’ which had such artistes on its rolls as Pankaj Mullick, KC Dey and Kidar Sharma. There was no playback singing during those days and artistes used to sing their own songs.
As you probably know by now, in 1935, New Theatres introduced playback singing in their movie Dhoop Chhaon with the song: ‘Main khush hona chaahun, khush ho naa sakun’. You are also probably aware of this, since I had mentioned it in my Incredible Nostalgia songs that all the ten songs of the movie, including this, were composed by RC Boral and sung by Parul Ghosh, Suprova Sarkar, and Harimati.
Matching lyrics of this pioneer of playback singing lyricist? Well, I would recall his 1941 movie Sikandar’s song. This too starred Prithviraj Kapoor in the title role. It was composed by Rafiq Ghaznavi and Mir Saheb and sung by Khan Mastana and chorus.
So, in a way, together with this tribute to my most favourite Shakeel Badayuni on his forthcoming Birth Anniversary on 03 Aug, I also seem to be covering the history of playback singing lyric-writing in India!
Please enjoy: Zindagi hai pyaar se, pyaar se bitaaye jaa….
zi.ndagii hai pyaar se, pyaar me.n bitaaye jaa
husn ke huzuur pe apanaa dil luTaaye jaa
apanaa sar jhukaaye jaa
zi.ndagii hai ek raat, pyaar us me.n hai chiraaG
ye chiraaG jitanii der jal sake jalaaye jaa
raushanii luTaaye jaa
zi.ndagii hai ek baaG, pyaar is me.n hai bahaar
us me.n aa.Nkh kaa Kumaar Daal kar milaaye jaa
shauq se pilaaye jaa
zi.ndagii hai ek ju_aa, duur se dekhataa hai kyaa
aage ba.Dh kar apanii jaan, daav par lagaaye jaa
ha.Nsake maat khaaye jaa
zi.ndagii junuun hai junuun se nibhaaye jaa
tu apane azm ko Kudaa-e-zindagii banaaye jaa
aasmaa.N pe chhaaye jaa
husn hai shabaab hai, vaqt laajavaab hai
mai.n bhii chehachahaa uThuu.N, tuu bhii chehachahaaye jaa
bansarii bajaaye jaa
https://www.youtube.com/watch?v=jztnRh5J2as
Day #23 of 31
Song #67
In 1962, after Sahib Bibi Aur Ghulam, for which Hemant Kumar composed the music, Shakeel Badayuni penned songs for Hemant Kumar’s own production Bees Saal Baad. Hemant da also composed the songs.
The film’s story was an adaptation of the 1951 Bengali thriller Jighansa, which itself was based on Arthur Conan Doyle’s The Hound of Baskervilles. The movie, in its credits, acknowledges that.
(Poster courtesy: webmallindia.com)
Bees Saal Baad got its name from the events after twenty years of a lustful Thakur in a village raping a young girl, who kills herself. Gradually, the Thakur and his siblings are killed as if by a spirit. In the end is the denouement.
The movie’s song Kahin deep jale kahin dil got for Shakeel his third and last Filmfare award for Best Lyricist. It got for Lata too another Filmfare Award for Best Female Playback Singer.
Here is the list of songs that Shakeel penned for the movie and which Hemant Kumar composed:
1. “Bekarar Karke Hume” – Hemant Kumar
2. “Kahin Deep Jale Kahin” – Lata Mangeshkar
3. “Sapne Suhane” – Lata Mangeshkar
4. “Yeh Mohabbat Mein” – Lata Mangeshkar
5. “Zara Nazaron Se Kah Do Ji” – Hemant Kumar
6. “Ai mohabbat meri duniya mein tera kaam na tha” – Lata
Beqraar karke hamen youn na jaayiye is amongst the most popular songs of Shakeel. For me, it is triple joy since it has not only been composed by Hemant Kumar but also sung by him; my favourites all the way.
(beqaraar karake hame.n yuu.N na jaaiye
aapako hamaarii kasam lauT aaiye ) – 2
dekhiye vo kaalii kaalii badaliyaa.N
zulf kii ghaTaa churaa na le kahii.n
chorii chorii aake shokh bijaliyaa.N
aapakii adaa churaa na le kahii.n
yuu.N qadam akele na aage ba.Dhaaiye
aapako hamaarii…
(dekhiye gulaab kii vo Daaliyaa.N
ba.Dhake chuum le na aap ke qadam ) – 2
khoe khoe bha.Nvare bhii hai.n baaG me.n
koii aapako banaa na le sanam
bahakii bahakii nazaro.n se khud ko bachaaiye
aapako hamaarii…
zindagii ke raaste ajiib hai.n
iname.n is tarah chalaa na kiijiye
khair hai isii me.n aapakii huzuur
apanaa koii saathii Dhuu.NDh liijiye
sunake dil kii baat naa muskuraaiye
aapako hamaarii…
Day #23 of 31
Song #68
We were taking up the songs of Shakeel’s 1962 movie Bees Saal Baad, a movie produced by the Singer-Music Director Hemant Kumar and directed by Biren Nag in his directorial debut.
We took up the popular Hemant Kumar song on his own music Beqraar karke hamen youn na jayiye, which is as popular today, as it was 54 years ago.
Lets now take up the song for which Shakeel Badayuni received his third and last Best Lyricist Filmfare Award.
The song appears to be played in the movie mysteriously when Biswajeet goes hunting for the mmystery series killer. It finally comes out that it is sung by Waheeda Rehman, Manmohan Krishan’s daughter in the movie. She and Biswajeet had started loving each other and the song was meant to keep him going the harm’s way.
As I have already told you, Lata Mangeshkar received Filmfare Best Female Playback Singer award for the song that year.
Hemant Kumar composed it in Raag Shivaranjani and in Tal Kaherava.
Please enjoy: Kahin deep jale kahin dil…..
kahii.n diip jale kahii.n dil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
meraa giit tere dil kii pukaar hai
jahaa.N mai.n huu.N vahii.n teraa pyaar hai
meraa dil hai terii mahafil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
naa mai.n sapanaa huu.N naa ko_ii raaz huu.N
ek dard bharii aavaaz huu.N
piyaa der na kar, aa mil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
dushman hai.n hazaaro.n yahaa.N jaan ke
zaraa milanaa nazar pahachaan ke
ka_ii ruup me.n hai.n qaatil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
https://www.youtube.com/watch?v=cEKyWum3IDc
Day #23 of 31
Song #69
This song is picturised on a young Waheeda Rehman as Radha in the movie. Waheeda is a living legend. However, when she was a young girl, for example in Guru Dutt’s movie C.I.D. (Kahin pe nigaahen kahin pe nishaana) or with Dev Anand in Kala Bazaar (Sach huye sapane tere) or in Guru Dutt’s 12 O’ Clock (Kaisa jaadu balam tune daara), she was the very epitome of innocence and ‘ladakpan’.
This song in the movie is about ‘ladakpan’ and Shakeel has done full justice to the feelings of a girl coming of age.
The song is played as a background music in 1963 Jyoti Swaroop movie Bin Baadal Barsaat, for which too Hemant Kumar composed the music.
Please enjoy: Sapane suhaane ladakpan ke….
(sapane suhaane la.Dakapan ke
mere naino.n me.n Dole bahaar ban ke ) – 2
jab chhaae ghaTaa matavaalii, mere dil pe chalaae aarii
ghabaraaye akele manavaa, mai.n leke javaanii haarii
kaise kaTe.n din ulajhan ke
koI laade zamaane vo bachapan ke
sapane suhaane …
jab duur papiihaa bole, dil khaaye meraa hichakole
mai.n laaj me.n mar-mar jaauu.N, jab phuul pe bha.nvaraa Dole
chhe.De pavaniyaa taraane jab man ke
mujhe bhaaye na ra.ng ye jiivan ke
sapane suhaane …
https://www.youtube.com/watch?v=ByDc8LfkwNk
Appreciating Good Lyrics Song #23
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 23rd Lyricist PL Santoshi‘s creation.PL Santoshi was born as Pyarelal Shrivastava on 07 Aug 1916, just four days after Shakeel, but in Jabalpur, Madhya Pradesh.
(Pic courtesy: apnaarchive.wordpress.com)
He was a celebrated writer-director during 1950s and 60s starting with Guru Dutt and his friend Dev Anand starrer Hum Ek Hain in 1946. He tried his hand at various movies such as 1947 Shehnai, 1948 Khidki, 1950 Sargam, 1952 Shin Shinaki Boobla Boo, 1953v Baba Ek Chor, 1955 Sabase Bada Rupaiya, 1957 Hum Panchhi Ek Daal Ke and Garma Garam and 1959 Pehli Raat. Except for the 1947 Shehnai, all failed at the box-office until he made the 1960 Bharat Bhushan and Madhubala starrer Barsaat Ki Raat.
PL Santoshi also wrote songs in films starting with the 1940 movie Pagla, that is six years before he took up directing. This was followed by songs in Akela (1941), Station Master (1942), Hum Ek Hain (1946), Sangram (1950),Saudagar (1951), Ghayal (1951), Anhoni (1952), Chalis Baba Ek Chor ( 1954), Dulhan (1958), and Holiday In Bombay (1963).
He also tried his hand at screenplay/dialogue writer. He expired on 7 September 1978, in Bombay.
His son Rajkumar Santoshi is a director of Hindi movies.
One of the songs that he wrote is a favourite of mine. It is duet between my favourite singer Hemant Kumar with Lata Mangeshkar. Kalyanji Anandji composed it for the 1958 movie Post Box No. 999.
Please enjoy: O neend na mujhako aaye…..
he: o nii.nd na mujh ko aae,
dil mera ghabaraae
chup ke chup ke, koii aa ke,
soyaa pyaar jagaae
la: o nii.nd …
he: soyaa huaa sa.Nsaar hai,
soyaa huaa sa.Nsaar
mai.n jaaguu.N yahaa.N,
tuu jaage vahaa.N,
ek dil me.n dard dabaae
do: o nii.nd …
la: ek biich me.n diivaar hai,
ek biich me.n diivaar
mai.n ta.Dapuu.N yahaa.N,
tuu ta.Dape vahaa.N,
haay chain jiyaa ko nahii.n aae
do: o nii.nd …
he: mai.n huu.N yahaa.N beqaraar
tuu hai vahaa.N beqaraar
mai.n gaauu.N yahaa.N
tuu gaaye vahaa.N
dil ko dil bahalaae
do: o nii.nd …
Day #24 of 31
Song #70
We have taken up three songs of the 1962 Hemant Kumar movie Bees Saal Baad directed by Biren Nag. We have also seen, as with Khamoshi that songs of Hemant Kumar’s own production are very good indeed, besides having that little bit of enigma that makes us listen to them over and over again.
We take up one more song from the movie before moving on.
Shakeel is known for his sad songs and so far we have taken up a romantic number in Beqraar karke hamen youn na jaayiye, a mystery song in Kahin deep jale kahin dil and a girlhood song Sapne suhaane ladakpan ke.
Here is the sad song picturised on Waheeda Rehman, sung by Lata Mangeshkar.
This song brings out the best of Shakeel: Gham and Irony.
Please enjoy: Aye mohabbat meri duniya mein tera kaam na tha….
ai mohabbat merii duniyaa me.n teraa kaam na thaa
tuu naa aa_ii thii to Gam kaa bhii kahii.n naam na thaa
ai mohabbat merii duniyaa …
jaane kyuu.N aaj hai shikavaa mujhe duniyaa bhar se
isase pahale to kisii par ko_ii ilzaam na thaa
ai mohabbat merii duniyaa …
merii qismat ki mujhe ashq hii piine ko mile
mere hisse me.n mohabbat kaa ko_ii jaam na thaa
ai mohabbat merii duniyaa …
dene vaale mujhe kyo.n tuune mohabbat de dii
kyaa mujhe ishq se pahale ko_ii aaraam na thaa
ai mohabbat merii duniyaa …
https://www.youtube.com/watch?v=jPf9T1O8aEI
Day #24 of 31
Song #71
In the year 1963 Shakeel Badayuni penned lyrics for the songs of seven movies including Mere Mehboob. I know what you are thinking of and you are right; there is no way that I can give you just three songs a day in the next seven days left with us to complete the countdown and cover all his movies up to the 1969 movie Beti, his last. Hence, this is what I am going to do:
I am going to increase the number of songs per day.
Lets take up the first movie Nartaki of 1963, his fourth one with music director Ravi and third one with director Nitin Bose after 1951 movie Deedar and 1961 movie Ganga Jamuna.
A scene from the movie Nartaki starring Nanda and Sunil Dutt
The movie starred Nanda and Sunil Dutt and Bimal Roy did the editing of the film.
The movie had the following songs:
1 “Zindagi Ke Safar Men Akele Thay Ham” Mohammed Rafi
2 “Hum Tumse Mohabbat Kar Baithe” Mahendra Kapoor
3 “Zindagi Ki Uljhanon Ko Bhool Kar” Asha Bhosle
4 “Aaj Duniya Badi Suhani Hai” Asha Bhosle
5 “Insaan Mohabbat Mein” Asha Bhosle
6 “Agar Koi Humko Sahara Na Dega” Usha Mangeshkar
7 “Tumne Ankho Se Pee Ho To” Asha Bhosle
8 “Pucho Koi Sawal Bacho Pucho Koi Sawal” Usha Khanna, Usha Mangeshkar, Kamal Barot, Mohammed Rafi
The first song sung by Mohammad Rafi was a gem. Anyone knowing me would know that songs in a boat of this nature are ‘fantasy songs’ for me. The other one is also picturised on Sunil Dutt, but with Madhubala (not a Shakeel song: Chand sa mukhada kyun shartmaaya).
Please enjoy: Zindagi ke safar mein akele the ham, mil gaye tum to dil ko sahaara mila….
zi.ndagii ke safar me.n, akele the ham
mil gae tum to dil ko sahaaraa milaa
aa gae ik nae raaste par qadam
jab tumhaarii nazar kaa ishaaraa milaa
ab zamaane kaa Dar hai na duniyaa kaa Gam
apanii taqadiir par naaz karate hai.n ham
aaj aa.Nkho.n ko jalave tumhaare mile
aaj haatho.n ko daaman tumhaaraa milaa
Day #24 of 31
Song #72
Old timers like me would be full of nostalgia when you see the next song of the 1963 movie Nartaki directed by Nitin Bose. Nanda herself brought out in an interview with a journalist, “It was Nitin Bose who extracted the best from me as an actress in Nartaki. He followed Satyajit Ray’s style of realistic film making and advised me to use the least amount of makeup”.
And this in a movie in which she was the Nartaki (courtesan dancer), who has dreamt of better life through literacy.
Anyway, here is her famous dance and song as a tawaif. It was very popular during our days and you would recall the mastery of Shakeel over the lyrics.
Please enjoy Asha Bhosle sing (try to follow the dialogue between Sunil Dutt and Nanda before the song): Zindagi ki uljhano ko bhool kar, aaj masti mein guzaaren raat bhar, subah jab hogi to dekha jaayega….
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
aaj saki bhi hai or mahfil bhi hai
aaj saki bhi hai or mahfil bhi hai
aaj nagma bghi hai saze dil bhi hai
aaj nagma bghi hai saze dil bhi hai
zindagi me bekhudi bhi shamil hai
rat aayi aisi laut kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
aaj dil ka rang bhi mastana hai
aaj dil ka rang bhi mastana hai
chhalka chhalka hosh ka paymana hai
chhalka chhalka hosh ka paymana hai
har hakikat aaj ek fasana hai
muskurakar dil ki har ek chot par
aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
jeet lo ulfat ki bazi har ke jeet lo ulfat ki bazi har ke
hai maje inkar me ikarar ke hai maje inkar me ikarar ke
jhum lo dam bhar nashe me pyar ke
har game dunia se hoke bekhabar
aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
https://www.youtube.com/watch?v=Ptn6uxK6m7E
Appreciating Good Lyrics Song #24
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 24th Lyricist Farooq Qaiser‘s creation.Farooq Qaiser or Faruk Kaiser (not to be confused with the Pakistani lyricist of the same name) was born on my birthday, 6th June, in 1918, two years after Shakeel Badayuni.
(Pic courtesy: en.wikipedia.com)
His education was in Bombay and he developed a taste for creative writing. Faruk’s love for poetry and his friendship with neighbour Kamran Khan (father of Farah Khan and Sajid Khan) were instrumental in his developing an enthusiasm for the creative works of Hindi Cinema. While Kamran Khan produced and acted in films, Faruk was introduced into the Hindi films as an assistant director. He went on to direct several movies until he found his niche as a lyricist.
Until his death on 20 Nov 1987, he wrote approximately 400 songs for over 100 movies.
As far as matching lyrics to Shakeel Badayuni are concerned, Farooq’s lyrics for the song Saari saari raat teri yaad sataaye are not only iconic but the first song that comes to mind when you think of him (the other being his 1963 movie Shikaari song: Chaman ke phool bhi tujhako gulaab kehate hain).
Saari saari raat teri yaad sataye is from the 1958 movie Aji Bas Shukriya that starred Geeta Bali with Suresh. The song was sung by Lata Mangeshkar and was really very popular during our days.
Roshan composed the song on a Punjabi dhun.
Please enjoy the ever popular: Saari saari raat teri yaad sataye…..
(priit lagaa ke hue tum to paraaye
pyaas jiyaa ki kaun bujhaaye)-2
kaun bujhaaye koii ye samajhaaye re
nii.nd naa aaye
saarii saarii raat terii yaad sataaye
https://www.youtube.com/watch?v=tQaLUtuI8Xw
Day #25 of 31
Song #73
In the next movie, the 1963 Nisar Ahmad Ansari movie Mulzim, Shakeel once again paired with Ravi, his fifth movie with him. The movie starred Pradeep Kumar with Shakila and Helen and had the following songs:
1. “Deewana Keh Ke Aaj Mujhe Phir Pukariye” – Mohammed Rafi
2. “Sang Sang Rahenge Tumhare O Huzur (Sad)” – Mohammed Rafi
3. “Kuwa Paas Tu Phir Bhi Pyasa (Jai Bolo Badri Vishal Ki )” – Mohammed Rafi
4. “Aate Hi Jawani Ka Mausam” – Asha Bhosle
5. “Ishq Walo Pe Zamane Ki Nazar” – Mohammed Rafi
6. “Main Bajewala Bawa Na Bhut Na Koi Chalava” – Mohammed Rafi
7. “Sang Sang Rahenge Tumhare O Huzur (Happy)” – Mohammed Rafi, Asha Bhosle
The song ‘Sang sang rahenge tumhaare’ from 1963 movie Mulzim starring Pradep Kumar and Shakeela
The first song became very popular and is one of my favourites. It was composed by Ravi in Raag Gara, Tal Dadra.
Please enjoy: Deewana keh ke aaj mujhe phir pukariye….
diivaanaa kah ke aaj mujhe phir pukaari_e
haazir huu.N ko_ii tiir-e-nazar dil pe maari_e
diiwaanaa kah ke …
lag jaa_e aapako naa kisii kii nazar kahii.n -2
ghar jaa ke apane husn kaa sadakaa utaari_e
haazir huu.N ko_ii …
zulfe.n sa.Nvaarane se banegii na ko_ii baat -2
uThi_e kisii gariib kii qismat sa.Nvaari_e
haazir huu.N ko_ii …
ik baar kar hii diiji_e is dil kaa faisalaa -2
rah-rah ke yuu.N nigaah kaa Ka.nzar naa maari_e
haazir huu.N ko_ii …
https://www.youtube.com/watch?v=f3d1mQ9zkik
Day #25 of 31
Song #74
And that brings me to Shakeel’s 36th movie in Hindi films: the 1963 Harnam Singh Rawail produced and directed movie Mere Mehboob that starred Rajendra Kumar, Sadhana, Nimmi, Ashok Kumar, Pran, Johnny Walker and Ameeta.
(Pic courtesy: www.hindilyrics.net)
Please do remember that the title song of the movie is too dear to me to be put up anywhere by me. I donot think that there is any matching song in the Hindi movies though the title song of Barsaat Ki Raat, penned by Sahir Ludhianvi comes close to its lyrical excellence. Perhaps a day will come when I can actually put up the song.
Here is the list of the songs of the movie:
1. “Mere Mehboob Tujhe” Mohammad Rafi 8:12
2. “Tere Pyar Mein Dildar” Lata Mangeshkar 3:03
3. “E – Husn Jara Jaag” Mohammad Rafi 3:31
4. “Mere Mehboob Mein Kya Nahin” Lata Mangeshkar and Asha Bhosle 4:11
5. “Tumse Izhar – E -Haal Kar Baithe” Mohammad Rafi 3:28
6. “Janeman Ek Nazar Dekh Le” Lata Mangeshkar and Asha Bhosle 3:37
7. “Yaad Mein Teri” Lata Mangeshkar and Mohammad Rafi 4:27
8. “Allah Bachaye Naujawano Se” Lata Mangeshkar 4:27
9. “Mere Mehboob Tujhe (Female)” Lata Mangeshkar 4:45
And of course, Shakeel was back with Naushad in this movie; the 19th movie that they did together.
Lets begin with a song which is counted amongst the best of Yaad songs, sung by Mohammad Rafi and Lata Mangeshkar.
Please enjoy: Yaad mein teri jaag jaag ke ham…..
yaad me.n terI jaag-jaag ke ham
raat bhar karavaTe.n badalate hai.n
har gha.Dii dil me.n terI ulfat ke
dhiime dhiime chiraaG jalate hai.n
jabase tUne nigaah pherii hai
din hai suunaa to raat a.ndherii hai
chaa.Nd bhI ab najar nahii.n AtA
ab sitaare bhI kam nikalate hai.n
yaad me.n terI jaag-jaag ke ham …
luT gayii vo bahaar kI mahafil
chhuT gayii hamase pyaar kI ma.nzil
zi.ndagii kI udaas rAho.n me.n
terI yaado.n ke sAth chalate hai.n
yaad me.n terI jaag-jaag ke ham …
tujhako paakar hame.n bahaar milii
tujhase chhuTakar magar ye baat khulii
baaGabaan hii chaman ke phuulo.n ko
apane pairo.n se khud masalate hai.n
yaad me.n terI jaag-jaag ke ham …
kyA kahe.n tujhase kyuu.n huii duurii
ham samajhate hai.n apanii majabuurii
tujhako maaluum kyA ke tere liye
dil ke gam aa.Nsuo.n me.n Dhalate hai.n
yaad me.n terI jaag-jaag ke ham …
Day #25 of 31
Song #75
Mere Mehboob was one of those rare movies shot on the campus of Aligarh Muslim University. Whilst studying in this university Anwar Hussain played by Rajendra Kumar falls in love with Husna Begum, played by Sadhana. Of course he doesn’t know her as Husna at that time because, as per Muslim tradition, she is veiled. It is only when Anwar seeks a job from Nawab Buland Akhtar Changezi played by Ashok Kumar and the latter asks him to teach his sister Husna that he realises that she is the veiled woman he is in love with.
There are various twists in the story after that, of course.
Please enjoy Mohammad Rafi sing: Aye husn zara jaag tujhe ishq jagaaye…..
ai husn zaraa jaag tujhe ishk jagaaye
badale merii takadIr jo tU hosh me.n aaye (2)
ye pyaara ke nagame ye muhabbat ke taraane
tujhako ba.De aramaan se laayaa huu.N sunaane
ummId mere dil kii kahii.n TUT na jaaye
ye husn …
saaz-e-dile khaamosh me.n ek soj jagaa de
tU bhii merii Avaaz me.n Avaaz milaa de
aayaa huu.N tere dar pe ba.Dii aas lagaaye
ye husn …
ai shammaa tU aajaa zaraa chilamanase nikalake
hasarat hai ki rahaa jaa_uu.n terii aag me.n jalake
paravaanaa vo kyaa tujhape jo miTakar naa dikhaa de
ye husn …
https://www.youtube.com/watch?v=pnFYfKahhdY
Appreciating Good Lyrics Song #25
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 25th Lyricist Naqsh Lyalpuri‘s creation.Naqsh Layalpuri was born as Jaswant Rai Sharma on 24 Feb 1928 in Layalpur (now in Pakistan). Son of an engineer, he refused to follow in the footsteps of his dad and went to Lahore to study literature. He started participating in mushairas. After independence and partition he moved to Lucknow with family. Later he moved to Mumbai in 1951 to seek career in films and settled there as a lyricist. He wrote lyrics of the songs of many films including Chetna (1970), Dil Ki Rahen (1973), Call Girl (1974), Khandaan (1979). He also wrote more than 350 songs for 40 Punjabi films.
Naqsh Lyalpuri with Lata Mangeshkar (Pic courtesy: www.thehindu.com)
Although only 12 years younger to Shakeel, Naqsh bloomed late with songs like Rasme-e-ulfat ko nibhaayen to nibhaayen kaise and Maana teri nazar mein tera pyaar ham nahin that he wrote after the death of Shakeel.
However, here is one from 1970 movie Chetna that starred Rehana Sultana starring with Anil Dhawan. I recall, the film posters of this movie with Rehana’s naked legs replacing the A in Chetna. It was also to indicate that the movie was for adults only.
Sapan Jagmohan composed this song and Mukesh sang it.
Please enjoy: Main to har mod par tujhako doonga sada….
mai.n to har mo.D par tujhako duu.Ngaa sadaa
merii aavaaz ko dard ke saaz ko tuu sune naa sune
mai.n to har mo.D …
mujhe dekhakar kah rahe hai.n sabhii mohabbat kaa haasil hai diivaanagii -2
pyaar kii raah me.n phuul bhii the magar maine kaa.NTe chune
mai.n to har mo.D …
jahaa.N dil jhukaa thaa vahii.n sar jhukaa mujhe ko_ii sajado.n se rokegaa kyaa -2
kaash TuuTe.n naa vo aarazuu ne merii Kvaab jo hai.n bune
mai.n to har mo.D …
merii zindagii me.n yahii Gam rahaa teraa saath bhii to bahut kam rahaa -2
dil ne saathii mere terii chaahat me.n the Kvaab kyaa-kyaa bune
mai.n to har mo.D …
tere gesu_o.n kaa vo saayaa kahaa.N vo baa.Nho.n kaa terii sahaaraa kahaa.N
ab vo aa.Nchal kahaa.N merii palako.n se jo bhiige motii chune
mai.n to har mo.D …
https://www.youtube.com/watch?v=7Kh5Ssc3uyI
Day #26 of 31 Song #76
We had taken up two songs of the 1963 movie Mere Mehboob, a movie directed by Harnam Singh Rawal and starring Rajendra Kumar and Sadhana. This was the 19th movie, out of 36, in which Shakeel was with Naushad.
This song was sung by both the sisters: Lata and Asha singing for Sadhana and Ameeta respectively. It has the tune of a qawwali. However, both the actresses dance on it.
Please enjoy: Mere mehboob mein kyaa nahin, woh to laakhon mein hain ik haseen……
la: mere mahabuub me.n kyA nahii.n kyA nahii.n
mere mahabuub me.n kyA nahii.n
vo to laakho.n me.n hai ek hasii.n
vo to laakho.n me.n hai ek hasii.n, ek hasii.n
aa: mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
bholii suurat adA naazanii.n
bholii suurat adA naazanii.n, naazanii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
la: aa .a .a
meraa mahabuub ek chaa.Nd hai
husn apanA nikhaare hue
aa: o .a .a
la: aasamaan kA farishtaa hai vo
ruup insaan kA dhare hue
aa: o .a .a
la: rashk-e-jannat hai vo mahazabii.n
rashk-e-jannat hai vo mahazabii.n, mahazabii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
aa: aa .a .a
maah ho anjum ho yA kaikashaa.n
sabase pyaaraa hai meraa sanam
la: aa .a .a
aa: usake jalavo.n me.n hai vo asar
hosh u.D jaaye allaah qasam
la: aa .a .a
aa: dekhale gar use tU kahii.n
dekhale gar use tU kahii.n, tU kahii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
la: meraa mahabuub hai jaaneman
karavaa kadamaah ruuh gulabadan
aa: meraa dilavar hai aisA javaan
ho bahaaro.n me.n jaise chaman
la: usakii chaalo.n me.n aisI lachak
jaise phuulo.n ki Daalii hile
aa: usakii aavaaz me.n vo khanak
jaise shiishe se shiishaa mile
usake a.ndaaz hai dilanashii.n
dono: bholii suurat adA naazanii.n, naazanii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
aa: tere afasaano.n me.n merI jaan
hai jhalak merI afasaano.n ki
la: daastaane.n hai milatii huii.n
allaah ham dono paravaano.n
dono: paravaano.n kii
dono: ek hii shamaa ho nA kahii.n
vo to laakho.n me.n hai ek hasii.n, ek hasii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
https://www.youtube.com/watch?v=32PEkUnjbIM
Day #26 of 31 Song #77
I am taking up just one more song from Mere Mehboob before moving on to the next movie. This has been sung by Mohammad Rafi. This is from those days when it wasn’t the done thing to mention to your beloved about your love. Indeed, in many songs of that era, one would go about it very indirectly, such as “Mujhe tumase mohabbat hai magar main keh nahin sakta” or “Mohabbat jo karte hain woh, mohabbat jataate nahin; dhadakane apne dil ki kabhi kisi ko sunaate nehin”.
Here, Rajendra Kumar blames it on bekhudi (intoxication) for having expressed his feelings.
Please enjoy Mohammad Rafi sing: Unase izhaar-e-haal kar baithe…
aaj furakat kA khvaab TuuT gayaa
mil gaye tum hijaab TuuT gayaa
tum se izahaar-e-haal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kho gaye husn kI bahaaro.n me.n
kah diyaa raaz-e-dil ishaaro.n me.n
kaam ham bemisaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kitane majabuur ho gaye dil se
soche samajhe bagair qaatil se
zindagii kA savaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
ye adaae.n ye shokhiyaa.n taubaa
bas khudaa hii khudaa hai us dil kA
jo tumhaaraa khayaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
https://www.youtube.com/watch?v=-fmYt9Qa_BA
Day #26 of 31 Song #78
After Mere Mehboob, Shakeel’s 20th movie with Naushad, the next movie in which he wrote songs was the 1963 movie Kaun Apna Kaun Praya with Waheeda Rehman in the lead role. This was the 6th movie that he did with Ravi, after he started with Ghunghat in 1960.
(Poster courtesy: www.youtube.com)
This movie had only six songs as follows:
1 “Zaraa Sun Hasinaa Ai Naazanin” Mohammed Rafi
2 “Kaun Apna Kaun Paraya” Mohammed Rafi
3 “Aashiq Hu Apne Pyar Ke Johar Dikhaunga” Mohammed Rafi
4 “Zindagi Bhar Yahi Ikrar Kiye Jayenge” Mohammed Rafi, Asha Bhosle
5 “Aaya Bahar Ka Zamana” Asha Bhosle
6 “Allah Kare Mai Bhi Dulhan Ban Jau” Asha Bhosle, Shamshad Begum
Lets listen to Mohammad Rafi singing Zara sun haseena ai nazneen. This has been composed by Ravi in the same Raag Pahadi in which he composed the title song of Chaudhvin Ka Chand. The Chaudhvin Ka Chand song was in Tal Kaherava whereas Zara sun is in Rupak Tal.
Please enjoy: Zara sun haseena ai naaznin….
zaraa sun hasiinaa ai naazanii.n
meraa dil tujh hii pe nisaar hai
tere dam se hii mere dilarubaa
merii zi.ndagii me.n bahaar hai
hu_ii jab se mujh pe terii nazar
mai.n huu.N apane aap se beKabar
hu_aa jab se dil me.n teraa guzar
mujhe chain hai na qaraar hai
tere husn se jo sa.Nvar ga_ii
vo fizaa_e.n mujhako aziiz hai.n
terii zulf se jo lipaT ga_ii.n
mujhe un havaa_o.n se pyaar hai
ye hasiin phuulo.n kii Daaliyaa.N
tujhe de rahii hai salaamiyaa.N
mujhe kyo.n na rashq ho ai sanam
tere saath fasl-e-bahaar hai
Appreciating Good Lyrics Song #26
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 26th Lyricist Arzoo Lucknowi‘s creation.
(Pic courtesy: urduyouthforum.org)
Arzoo Lucknowi was amongst the pioneer lyricists of the Hindi film industry that originated in Calcutta in the 1930s before shifting to Bombay in 1942. He was on the films scene much before Shakeel Badayuni and his contemporaries Sahir and Majrooh arrived. He wrote for the Hindi cinema’s first superstars KL Saigal (eg, Karun kya aas niras bhayi in 1939 movie Dushman) and Kanan Devi (Street Singer 1938).
“Syed Anwar Hussain ‘Arzoo Lakhnavi’ (1873-1951) was an outstanding representative of ‘Dabistan-e-Lakhnau’ or the Lucknow School of Urdu poetry. However while retaining the tradition’s motifs and focus, he chose a straighter style over its intricate flourishes, and use only Urdu without recourse to Arabic or Persian – despite his considerable knowledge of both.”
In his film career, he was as versatile. If in Saigal’s “Street Singer”, he could pen “Jeevan been madhur na baaje jhoote padh gaye taar/Bigde kaath se kaam bane kya megh baje na malhaar”, he could also compose ghazal “Sukoon dil ko mayassar gul-o-samar mein nahi/Jo aashiyaan mein hai apne vah bagh bhar men nahi”.
He has some 25000 ghazals credited to him.
Lets look at the lyrical excellence of the 1939 movie Dushman’s song picturised on its lead cast: KL Saigal and also sung by him. It is a composition of Pankaj Mullick.
Please enjoy: Karun kyaa aas niraas bhaii…..
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
deeya bujhe phir se jal jaye
raat andheri jaye din aaye
deeya bujhe phir se jal jaye
raat andheri jaye din aaye
mitthi aas hai jyot akhiyan ki
mitthi aas hai jyot akhiyan ki
samjh gayi to gayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
jab na kisi ne raah sujhai
dil se ek aawaz ye aayi
jab na kisi ne raah sujhai
dil se ek aawaz ye aayi
himmat baandh sambhal badh aage
rok nahi hai koi
himmat baandh sambhal badh aage
rok nahi hai koi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
karna hoga khun ka pani
dena hogi har kurbani
himmat hai itni to samjh le
himmat hai itni to samjh le
aas bandhegi nayi
aas bandhegi nayi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
https://www.youtube.com/watch?v=hZNOexCr-AA
Day #27 of 31
Song #79
The next movie of Shakeel was the 1963 movie Grihasti, which was the 7th movie that he did with the Music Director Ravi, with whom he received two out of three of his Filmfare Best Lyricist Awards.
(Poster courtesy: en.wikipedia.com)
The movie was directed by Kishore Sahu, the same Kishore Sahu who was the archaelogist Marco in Dev Anand’s Guide, who neglected his wife Rosie (Waheeda Rehman) until Raju Guide (Dev Anand) ‘guided’ her to become a dancer and his beloved. Kishore Sahu directed the movie for SS Vasan of Gemini Studios, the makers of family dramas.
Here is the list of songs of the movie:
1 Jaane Teri Nazaron Ne Lata Mangeshkar, Mohammed Rafi
2 Aaj Mili Ek Ladki Mohammed Rafi
3 Jeevan Jyot Jale Asha Bhosle
4 Ja Ja Re Ja Deewane Ja Mohammed Rafi, Asha Bhosle
5 Wo Aurat Hai Jo Insano Ki Mohammed Rafi
6 Zara Dekh Sanam Lata Mangeshkar
7 Payal Khul Khul Jaaye Ram Mohammed Rafi, Asha Bhosle
8 Ding Dong Ding Lalla Geeta Dutt
9 Khile Hai Sakhi Aaj Phulwa Asha Bhosle, Lata Mangeshkar, Usha Mangeshkar
Asha Bhosle‘s rendition of the song “Jeevan Jyot Jale” won her the “Mian Tansen Award”. The song was cited as the best song of 1963 out of the 544 songs released that year from a total of 77 films.
The song is picturised on Rajshree and Nirupa Roy.
Ravi composed the song in Raag Sohani, and Tal Tintal.
Please enjoy the marvel of a song: Jeevan jyot jale….
jivan jyot jale
jivan jyot jale
kou na jane kab nikse din
kou na jane kab nikse din
aur kab raat dhale
aur kab raat dhale
jivan jyot jale
jivan jyot jale
bhor bhye to man muskaye
bhor bhye to man muskaye
sanjh bhye to neer bahaye
ek pal maan kare sansari
ek pal maan kare sansari
ek pal hath male
ek pal hath male
jivan jyot jale
jivan jyot jale
man mala me daar wo moti
man mala me daar wo moti
aa aa aa
man mala me daar wo moti
jisme jali ho prem ki jyoti
uski naiya paar hai jag me
uski naiya paar hai jag me
ja ke kaaj bhale
ja ke kaaj bhale
jivan jyot jale
jivan jyot jale
jyot jale
jyot jale
https://www.youtube.com/watch?v=UemDW8KonE8
Day #27 of 31
Song #80
First of all, if you marveled at the mastery of Shakeel over the lyrics of Jeevan Jyot Jale, a classical song, it would come as a surprise to see him pen a pop song!
This song was another song of 1963 movie Grihasti that became veru popular. It was sung by Geeta Dutt.
Please enjoy: Dong dong ding dong ding lala….
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras ghole
sang sang dole koi bhanwara
ding dong ding dong ding lala
koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras gole
sang sang dole koi bhanwara
ding dong ding dong ding lala
chori chori bagiya me aane laga vo
bholi bhali kali mai to batiyo me aa gayi
mera na raha ye dil mera
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras gole
sang sang dole koi bhnwara
ding dong ding dong ding lala
https://www.youtube.com/watch?v=nxmC4J1KPbU
Day #27 of 31
Song #81
With that we come to the next movie, the 1963 OP Ralhan movie Gehraa Daag, which was a crime thriller starring Rajendra Kumar, Mala Sinha, Madan Puri (almost a must for crime thrillers), Usha Kiron and Laita Pawar.
Since this too had Ravi’s music, it became the eighth movie since 1960 movie Ghunghat in which Shakeel paired with Ravi.
The movie had the following songs:
1. “Aaj Udta Hua Ek Panchhi Zindagi Bhar Me Aaya Phir Naye Mastiya Sath Le Chal” – Mohammed Rafi
2. “Tumhe Pake Hamne Jahan Pa Liya Hai” – Asha Bhosle, Mohammed Rafi
3. “Bhagvan Ik Kusur Kee Itanee Badee Saja” – Mohammed Rafi
4. “Kaise Kahoon Main Baat Jiya Ki Sanwariya Pyar Me Tere Ho Gayi Mai Toh Bawariya” – Asha Bhosle
5. “Main Teri Hui Re Balma” – Asha Bhosle
6. “Subah Ka Bhoola” – Asha Bhosle
Please enjoy: Tumhen paa ke ham ne jahan paa liya hai…..
aa : tumhe.n paa ke hamane jahaa.N paa liyaa hai -2
zamii.n to zamii.n aasamaa.N paa liyaa hai
ra : tumhe.n paa ke …
aa : miTaa na sakegii jise ab Kizaa.N bhii
jalaa na sake.ngii ab bijaliyaa.N bhii
mohabbat kaa vo aashiyaa.N paa liyaa hai
tumhe.n paa ke …
ra : zamaane ke Gam pyaar me.n Dhal ga_e hai.n -2
ummiido.n ke laakho.n di_e jal ga_e hai.n -2
ke jabase tumhe.n meharabaa.N paa liyaa hai
tumhe.n paa ke …
aa : jahaa.N se mohabbat kii raahe.n milii hai.n
ra : vahii.n se merii gardishe.n tham ga_ii hai.n
do : na bichha.De.nge ham kaaravaa.N paa liyaa hai
tumhe.n paa ke …
Appreciating Good Lyrics Song #27
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 27th Lyricist Tanvir Naqvi‘s creation.He was born on 6th February 1919 in Lahore. His real name was Syed Khursheed Ali and he was a lyricist who had carved out a niche for himself in the cine world from the early 40s right till his death in 1972.
(Pic courtesy: www.dailymotion.com)
He was much sought after as a songwriter. After partition, Tanvir Naqvi migrated to Pakistan and for over 15 years remained one of the leading lyricist of Urdu and Punjabi films. He died on November 1, 1972 in Lahore.
As far as matching lyrics to Shakeel Badayuni are concerned, there must be a large gap between you and I if you have to ask as to which of his songs I am going to put up!
In any case, even with the Raag of the song you would have guessed the song: Raag Pahadi and Tal Dadra.
As if it is still left for me to tell you, it is from the 1946 Anmol Ghadi starring Noorjahan (who is also the singer of the song with Surendra), Suraiyaa and Suresh.
Please enjoy the best of Tanvir Naqvi: Awaaz de kahan hai…..
aavaaz de kahaa.N hai duniyaa merI javaa.N hai
aabaad mere dil me.n ummiid kaa jahaa.N hai
duniyaa merI javaa.N hai …
aa raat jaa rahI hai
yuu.n jaise chaa.Ndanii kI
baaraat jaa rahI hai
chalane ko ab falak se
taaro.n kaa kaaravaa.N hai
aise me.n tU kahaa.N hai
duniyaa merI javaa.N hai …
kismat pe chhaa rahI hai
kyo.n raat kii siyaahii
vIrA.N hai merI nii.nde.n
taaro.n se le gavaahii
barabaad mai.n yahaa.N huu.N
aabaad tU kahaa.N hai
bedard aasamaa.N hai …
aavaaz de kahaa.N hai …
Day #28 of 31
Song #82
In yesterday’s songs, we had taken up a song from the 1963 OP Ralhan movie Gehra Daag starring Rajendra Kumar and Mala Sinha.
The storyline of this crime thriller:
“Shanker (Rejendra Kumar) lives a poor lifestyle along with his elder sister, Usha (Usha Kiran), and a younger sister, Asha Mumtaz), in a town called Baksar. Both he and Usha attend the same college. One day a student, Ram (Ram Mohan), attempts to molest Usha, Shanker intervenes, arguments lead to fisticuffs, and Ram ends up getting killed. Shanker is arrested, tried in Court, and sentenced to 14 years in jail. While there he gets the news that Usha has married Ramesh (Madan Puri), and has given birth to two sons, Tinku and Chimpu. Due to his good behavior, he gets discharged after 10 years, returns home and on the way there rescues an elderly woman (Lalita Pawar), who had fallen from the boat, meets her daughter, Shobha (Mala Sinha), and both fall in love. Upon arrival at home, he is given a warm welcome by everyone, and this is when Shanker finds out that Usha has told everyone that he was employed in Africa for 10 years. Ramesh picks an eligible young man for Asha to get married to but on the day of the marriage, the Prosecuting Attorney recognizes Shanker.”
He cannot obliterate the Gehra Daag (dark Stain) from his life; can he?
This song from the movie is signature Shakeel all the way.
Please enjoy: Bhagwan ik qusuur ki itani badhi sazaa……
bhagavaan ik qusuur kii itanii ba.Dii sazaa
duniyaa terii yahii hai to duniyaa se mai.n chalaa
bhagavaan ik qusuur …
duniyaa ke zaalimo.n ne chalaa_ii.n vo aa.Ndhiyaa.N
saare chiraaG bujh ga_e mai.n dekhataa rahaa
duniyaa terii yahii hai …
mai.n ye samajh rahaa thaa mere daaG dhul ga_e
hogaa kuchh aur Kuun-e-jigar ye pataa na thaa
duniyaa terii yahii hai …
mujh saa badanasiib na hogaa jahaan me.n
jo bhii milaa usii ne gunahagaar hii kahaa
duniyaa terii yahii hai …
Day #28 of 31
Song #83
That brings us to the 41st of Shakeel Badayuni’s movies (out of a total of 59) and the third one with Hemant Kumar since the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam.
The 1963 movie Bin Baadal Barsaat was directed by Jyoti Swaroop and happened to be last movie in which Shakeel paired with Hemant.
Its story:
“Seventy years ago the wealthy Thakur of Neelamghat had an affair with a gypsy girl, and then married another woman. The gypsy girl’s dad placed a curse on the entire Thakur family that whenever a male marries, his wife will die in mysterious circumstances after an year. The curse has come true over the years, and none of the Thakurs have escaped it’s wrath. The latest Thakur, Prabhat (Biswajeet) has now come to settle in Neelamghat, and is attracted to the local doctor’s daughter, Sandhya Gupta (Asha Parekh). When Dr. Gupta proposes marriage, Prabhat tells them about the gypsy curse, and both father and daughter scoff at this. They quickly change their minds one night, when they find Prabhat dressed as a groom, getting ready to marry a reincarnated gypsy girl.”
Some likeness there to another movie for which Shakeel wrote lyrics and Hemant da composed the songs: Bees Saal Baad also starring Biswajeet (Hindi movies makers never got rid of a story until they had extracted the last drop of juice from it!)
The film had as good songs as Bees Saal Baad:
1. Zindagi Kitni Khubsurat Hai, Aiye Apki Zarurat Hai
2. Ik Baar Zaraa Phir Kah Do, Mujhe Sharmaake Tum Divaanaa
3. Jab Jaag Uthe Aramaan, To Kaise Nind Aaye
4. Zindagi Kitni Khubsurat Hai, Aiye Apki Zarurat Hai (by Lata)
5. Mariz-e-ishq Hu Aye Janeman
6. Khushi Bhi Mili Humko
7. Dil Me Teri Yaad Sanam
8. Bin Badal Barsaat Na Hogi
Please enjoy this classic from Hemant Kumar on his own music: Zindagi kitani khoobsurat hai....
ArazUo.n ke diye, Aj raushan kIjiye
Ae hai.n milane ko ham, zi.ndagI bhar ke liye
kyA hasI.n rAt kyA muhUrat hai, zi.ndagI kitanI …
yU.N na ab sharamAiye, yU.N na ab ghabarAiye
phUl ke ghU.NghaT se ab, chA.NdanI barasAiye
chA.NdanI rAt kyA zarUrat hai, zi.ndagI kitanI …
https://www.youtube.com/watch?v=RfuSTwwBrZg
Day #28 of 31
Song #84
Here is a second song from the 1963 movie Bin Badal Barsaat and this is everyone’s favourite. Hemant Kumar sang this on his own music.
The picturisation, the music and the lyrics are simply exquisite. Dev Anand and Hema Malini copied this picturisation in their Pal bhar ke liye koi hamen pyaar kar le from the 1970 movie Johnny Mera Naam.
Please enjoy: Jab jaag uthe armaan to kaise neend aaye….
jab jaag uThe aramaa.n to kaise nii.nd aae
ho ghar me.n hasii.n mehamaa.n to kaise nii.nd aae, nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
(ye raat ye dil kii dha.Dakan ye ba.Dhatii huii betaabii
ik jaam kii khaatir jaise bechain ho koii sharaabii ) – (2)
sholo.n me.n girii ho jaan to kaise nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
(nazadiik bahut hai ma.nzil phir bhii hai Gazab kii duurii
ai dil ye tuu hii batalaa de ye kaun sii hai majabuurii ) – (2)
jab soch me.n ho inasaa.n to kaise nii.nd aae
ho ghar me.n hasii.n mehamaa.n to kaise nii.nd aaye, nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
https://www.youtube.com/watch?v=dtXj_AbLKPM
Appreciating Good Lyrics Song #28
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-seven days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
Today we take up our 28th Lyricist Gulshan Bawra‘s creation.
(Pic courtesy: timesofindia.indiatimes.com)
He was born Gulshan Kumar Mehta on 12 Apr 1937 in Sheikhupura, near Lahore (now in Pakistan). He was only ten when he saw his father and his cousin’s family massacred during the Partition riots. His elder sister brought him to Jaipur and thereafter he went to Delhi for further education.
He came to Bombay in 1955 to write for Hindi films.
Kalyanji (-Anandji), then on his own as Kalyanji Virji Shah, gave him his first opening in Chandrasena (1959) in the song ‘Main kya jaanu kahan laage yeh saawan matwala re’ sung by Lata Mangeshkar.
Since then, in his 42 years old career, he has written 240 songs for 42 movies and had also acted. His two songs: Upkaar song: Mere desh ki dharti; and Zanjeer song: Yaari hai imaan mera, got him two Filmfare awards.
Matching lyrics with Shakeel? I can think of at least two: Chand ko kyaa maaluum chahata hai use koi chakore from 1966 movie Lal Bangla, a song sung by Mukesh; and Aapse hamako bichhade huye ek zamaana beet gaya, sung by poor man’s Mukesh: Manhar with poor man’s Lata Mangeshkar: Suman Kalyanpur for the 1969 movie Vishwas.
However, the song that I am going to give is one of his earliest successes and dear to me as having been sung by my favourite Hemant Kumar. The name of this 1959 movie is Satta Bazaar. And of course you already know the song, a duet between Hemant da and Lata Mangeshgkar on the music and composition of Kalyanji Anandji.
Please enjoy: Tumhen yaad hoga kabhi ham mile the….
he: (tumhe.n yaad hogaa kabhii ham mile the ) -2
muhabbat kii raaho.n me.n mil ke chale the
la: bhuulaa do muhabbat me.n ham tum mile the
sapanaa hii samajho ke mil ke chale the …
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
We have completed Part I of this Countdown from 03 Jul to 09 Jul 16 and Part II from 10 Jul to 16 Jul 16. Those of you who read the two parts so far would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part II, I have covered seven more of them:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
With this, we are ready to move into Part III, covering the third week of the countdown, from day 15 to 21. Before we do, here is my own adoration:
Shakeel ke naghmon ki kabhi yaad mujhe nahin aati,
Yaad unaki aati hai jinhen hum bhool jaate hain;
Yahan to har sehar hoti hai unaki shaayari se,
Har shaam unake geeton ko hum dohraate hain.
Day #15 of 31
Song #43
Alright, ladies and gentlemen, we are at the halfway mark today in a month long countdown to the Birth Centenary of Shakeel Badayuni.
I have already told you that the year 1960 was a very successful year for Shakeel Badayuni. We have already taken up songs from two of his movies: Mughal-e-Azam and Kohinoor with Music Director Naushad Ali with whom he had done 17 of his 26 movies till then, eight with Ghulam Mohammad and one each with Khursheed Anwar and Sardar Malik.
With the next movie, the 1960 movie Ghunghat started a relationship with a music director who was not just my namesake but who took Shakeel’s songs to a new height. Eventually, Shakeel would do as many as 12 movies with him. Indeed, in the same year, in Chaudhvinh Ka Chand, with music composed by Ravi, Shakeel Badayuni finally got his first Filmfare Award after 13 years of writing songs in the movies.
Music Director Ravi Shankar Sharma, a discovery of my favourite Hemant Kumar (Pic courtesy: alchetron.com)
Ghunghat was a movie that was produced for Gemini Studios and directed by Ramanand Sagar. The film starred Bharat Bhushan, Leela Chitnis, Pradeep Kumar, Bina Rai, Asha Parekh, Helen, Rajendranath, Rehman and Agha.
It had a total of ten songs:
1.”Laage Na More Jiya” – Lata Mangeshkar
2.”More Chham Chham Baaje Payeliya” – Lata Mangeshkar
3.”Meri Pat Rakho Girdhari” – Lata Mangeshkar
4.”Do Nain Mile” – Asha Bhosle & Mahendra Kapoor
5.”Ye Zindagi Ka Mausam” – Asha Bhosle & Mohammed Rafi
6.”Haye Re Insaan” – Mohammed Rafi
7.”Dil Na Kahin Lagana” – Asha Bhosle
8.”Gori Ghunghat Mein” – Asha Bhosle
9.”Kya Kya Dikhati Hai” – Asha Bhosle & Mahendra Kapoor
10.”Pyari Sakhi Saj Dhajke” – Asha Bhosle
Mori chham chham baaje payaliya was composed by Ravi in Raag Bhairavi, Taal Kaherava and became an instant hit.
( ba.Dii muddat me.n dil ke sahaare mile
aaj Duube hu_o.n ko kinaare mile ) -2
kabhii muskraa_e man kabhii sharamaa_e man
kabhii naino.n kii chhalake gaagariyaa
morii chham-chham …
( chaa.Nd-taaro.n ke gahane pahanaa do mujhe
ko_ii aa ke dulhaniyaa banaa do mujhe ) -2
nahii.n bas me.n jiyaa kaisaa jaaduu kiyaa
piyaa aaj hu_ii re mai.n to baavariyaa
morii chham-chham …
Day #15 of 31
Song #44
Bina Rai received the Filmfare Best Acrtress award for her performance in the 1960 movie Ghunghat.
This one though is picturised on Asha Parekh. Ghunghat was only her third movie as a lead actress, the first one being Dil Deke Dekho in 1959 when she, at the age of 16 years, was rejected by Vijay Bhatt for Goonj Uthi Shehnai in favour of Ameeta. Her second movie was Hum Hindustani.
I like this song both for its lyrical and musical excellence. Of course, the singing by Lata Mangeshkar is exquisite.
Both Asha Parekh and Dharmendra started their acting career as adults at around the same year and both were at home with serious as well as light-hearted romantic roles.
Please enjoy: Laage na mora jiya, sajana nahin aaye….
laage na moraa jiyaa, sajanaa nahii.n aaye, haay
laage na moraa jiyaa …
dekh liye piyA tere irAde, jhUTh nikale jA tere vAde
ta.Dapat-ta.Dapat yAd me.n terI, nain nIr bhar Ae, hAy
laage na moraa jiyaa …
tUne merI sudh bisarAI, bedardI tohe lAj na AI
bhUl gae kyA o harajAI, jAke des parAe, hAy
laage na moraa jiyaa …
https://www.youtube.com/watch?v=uSbGRwd3LyA
Day #15 of 31
Song #45
Ravi gave a new direction to the lyrics of Shakeel Badayuni; filled them with more intense pathos, romance and what Ravi was good at: notes that depict pain caused by love.
Here is one song from the movie, sung by Mohammad Rafi that was almost done in Naushad style, though. The best part is that the song, sung by Mohammad Rafi, displays feelings of both male and female protagonists.
Mohd Rafi with Shakeel and Ravi
I like the lyrics of this.
Please enjoy: Haay re insaan ki majbooriyan….
haay re insaan kii majabuuriyaa.N -2
paas rah kar bhii hai.n kitanii ( duuriyaa.N ) -2
haay re insaan kii …
kuchh a.Ndhere me.n nazar aataa nahii.n
ko_ii taaraa raah dikhalaataa nahii.n
jaane ummiido.n kii ma.nzil hai kahaa.N -2
haay re insaan kii …
shamaa ke a.njaam kii kisako Kabar
Katm hogii yaa jalegii raat bhar
jaane ye sholaa banegii yaa dhu_aa.N -2
haay re insaan kii …
Appreciating Good Lyrics Song #15
As you are aware, I started these posts two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last two weeks:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
Today we take up pur 15th Lyricist Anjaan‘s creation.
Anjaan was born as Lalji Pandey on 24th Oct 1929 in Varanasi (UP). The other day I mentioned about the ranking of Lyricists in number of songs and brought out that Sameer has written more than 4000 songs. Sameer is Anjaan’s son.
Anjaan famously wrote in Bhojpuri dialect and hence his songs appealed to the masses.
He started his films career with 1953 movie Prince of Golconda and then established himself with Guru Dutt’s Baharen Phir Bhi Aayengi and GP Sippy’s Bandhan.
Anjaan (standing) with the team of Baharen Phir Bhi Aayengi: OP Nayyar, Shahid Lateef (Director) and Guru Dutt (Producer) (pic courtesy: apnaarchive.wordpress.com)
Songs of Amitabh Bachchan starrer Muqaddar Ka Sikandar including Saathi re tere bina bhi kyaa jeena and Don, including Khaike paan Banaras waala made him a household name.
To give you matching lyrics with Shakeel Badayuni, I give you this Mukesh gem from the 1965 movie Purnima that starred Dharmendra with Meena Kumari.
Kalyanji Anandji composed it in Raag Darbari Kanada and Tal Jhaptal.
Please enjoy: Tumhen zindagi ke ujaale mubarak andhere hamen aaj raas aa gaye hain….
tumhe.n zindagii ke ujaale mubaarak
a.ndhere hame.n aaj raas aa ga_e hai.n
tumhe.n paa ke ham Kud se duur ho ga_e the
tumhe.n chho.Dakar apane paas aa ga_e hai.n
tumhe.n zindagii ke …
tumhaarii vafaa se shiqaayat nahii.n hai
nibhaanaa to ko_ii ravaayat nahii.n hai
jahaa.N tak qadam aaa sake aa ga_e hai.n
a.ndhere hame.n aaj …
chaman se chale hai.n ye ilzaam lekar
bahut jii li_e ham teraa naam lekar
muraado.n kii ma.nzil se duur aa ga_e hai.n
a.ndhere hame.n aaj …
https://www.youtube.com/watch?v=4Iq_pfISaEc
Day #16 of 31
Song #46
And that brings us squarely to his 1960 movie Chaudhvin Ka Chand that won him his first Filmfare Award for Best Lyricist for the title song of the movie. Mohammad Rafi won the Best Male Playback Singer Award for the same song.
After Guru Dutt made his autobiographical movie Kaagaz Ke Phool and it flopped on the box-office (years later many feel now that the movie was a classic and the only reason it flopped was because it was far ahead of its times), SD Burman, who had cautioned Guru Dutt not to make Kaagaz Ke Phool fell apart with him.
Guru Dutt, therefore, took Ravi as the Music Director and because of the new relationship that my namesake had with Shakeel, the latter too came as a bonus. Guru Dutt reaped the fruits of this in that not only it turned out to be a most popular movie, its songs became all time hits. Have a look at the list:
01. Chaudhvin Ka Chand Ho Mohammad Rafi
02. Mili Khak Main Mohabbat Mohammad Rafi
03. Yeh Luckhnow ki Sar-Zameen Mohammad Rafi
04. Mera Yaar Bana Hai Dulha Mohammad Rafi
05. Badle Badle Mere Sarkar Nazar Aatein Hain Lata Mangeshkar
06. Baalam Se Milan Hoga Geeta Dutt
07. Bedardi Mere Sayyan, Shabnam Hain Kabhi Sholay Asha Bhosle
08. Sharma Ke Agar Yun Pardanashin Shamshad Begum, Asha Bhosle
09. Dil Ki Kahani Rang Lai Hai Asha Bhosle
10. Yeh Duneeya Gol Hai Mohammad Rafi
Lets take up the title song, the best song ever made on the husn of a woman; the winner of two Filmfare Awards. It is in my favourite Raaga Pahadi and Tal Kaherava.
Please enjoy: Chaudhvin ka chand ho ya aftaab ho….
chaudahavii.n kaa chaa.Nd ho, yaa aafataab ho
jo bhii ho tum khudaa ki qasam, laajavaab ho
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
https://www.youtube.com/watch?v=5ZUR92B-UzE
Day #16 of 31
Song #47
The 1960 Guru Dutt movie Chaudhvin Ka Chand had screenplay by Abrar Alvi who wrote Pyasa too. The movie was a triangular love affair between Aslam (Guru Dutt), Nawab (Rehman) and Jameela (Waheeda Rehman). The city of Lucknow, the city of Nawabs and culture provided backdrop to this love traingle.
Lets take up this second song from the movie and once again you are spellbound by Shakeel’s lyrical excellence. It has been sung by Lata Mangeshkar.
Shakeel was a great one at songs depicting love having gone sour. Here is one of his best in this genre’.
Please enjoy: Badale badale mere sarkaar nazar aate hain….
badale badale mere sarakaar nazar aate hai.n -2
ghar kii barabaadii ke aasaar nazar aate hai.n
badale badale mere sarakaar nazar aate hai.n
badale badale
Duube rahate the mere pyaar me.n jo shaam-o-sahar -2
mere chehare se na haTatii thii kabhii jinakii nazar
merii suurat se vo bezaar nazar aate hai.n -2
ghar kii barabaadii ke …
vo jo badale to zamaane kii hawaa bhii badalii -2
dil kii Kushiyaa.N bhii ga_ii.n ghar kii fazaa bhii badalii
suune suune dar-o-diiwaar nazar aate hai.N -2
ghar kii barabaadii ke …
mere maalik ne muhabbat kaa chalan chho.D diyaa -2
kar ke barabaad mere dil kaa chaman chho.D diyaa
phuul bhii ab to mujhe Kaar nazar aate hai.n -2
ghar kii barabaadii ke …
https://www.youtube.com/watch?v=Pjf9ORFDwQA
Day #16 of 31
Song #48
Tonight we are taking up the songs of Guru Dutt’s 1960 movie Chaudhvin Ka Chand, a love triangle between two Rehmans (Waheeda and Rehman) and Guru Dutt.
I hope you enjoyed the perfect lyrics of the last two songs: the title song and Badale badale mere sarkar nazar aate hain. In the second song, she recalls the first song! Viz, mere chehre se na uthati thi nazar!
It is not for nothing that I call Shakeel as the greeatest lyrics. Here he penned the best song ever describing her beauty and when love went sour he contrasted it with her feeling of utter neglect.
Enough mastery over lyrics, you are bound to tell me. Hold on, ladies and gentlemen, there is more. He paid adequate attention to his (Guru Dutt‘s) feelings by coming up with this gem sung by Mohammad Rafi.
Please enjoy: Mili khaak mein mohabbat, jala dil ka ashiyana….
milii Kaak me.n muhabbat, jalaa dil kaa aashiyaanaa
jo thii aaj tak haqiiqat, vahii ban ga_ii fasaanaa
ye bahaar kaisii aaii, jo fizaa.n bhii saath laaii
mai.n kahaa.N rahuu.N chaman me.n, meraa luT gayaa Thikaanaa
mujhe raastaa dikhaakar, mere kaaravaa.n ko luuTaa
idhar aa gale lagaa luu.N, tujhe garadish-e-zamaanaa
https://www.youtube.com/watch?v=7zoUoixvRMg
Appreciating Good Lyrics Song #16
As you are aware, I started these posts two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up pur 16th Lyricist Anand Bakshi‘s creation.Anand Bakshi was 14 years younger to Shakeel Badayuni. Day after tomorrow on the 21st Jul is his Birth Anniversary. He was born on this day in 1930 as Bakhshi Anand Prakash Vaid in Rawalpindi (now in Pakistan).
Anand Bakshi at his home (Pic courtesy: www.thequint.com)
Immediately after the Partition and Independence of India, when he was 17 years old, his family migrated to Poona. They shifted to Meerut and finally called Delhi their home.
He came to Bombay to write and sing and soon realised that writing lyrics was his calling. His first break was in the 1958 Brij Mohan movie Bhala Aadmi starring Bhagwan Dada.
He gradually emerged as one the second most versatile lyricists that the Hindi film industry had seen (He wrote 3441 songs, after 4073 songs of Sameer) particularly in partnerships with Laxmikant Pyarelal, Kalyanji Anandji and RD Burman.
He died on 30th Mar 2002 of bacterial infection after a cardiac surgery. He was survived by his wife Kamla Mohan Bakshi, his daughter Suman Datt (married), sons Rajesh Bakshi, Rakesh Bakshi, and daughter Kavita Bali (married). His grandson Aditya Datt is a film director. His son Rakesh Anand Bakshi is author of Directors’ Diaries – The Road To Their First Film. I was privileged to meet him during the Shankar Jaikishan Music Foundation Meet at Mumbai on the 19th June 16.
Although real success came his way with Kalyanji Anandji in 1962 movie Mehndi Lagi Mere Haath Mein, I am giving you his song of three years later, for the 1965 movie Himalay Ki God Mein starring Mala Sinha and Manoj Kumar. Mukesh sang the song and it became a cult song.
Please enjoy: Chand si mehbooba ho meri kab….
chaa.Nd sii mahabuubaa ho merii kab aisaa mai.nne sochaa thaa
haa.N tum bilakul vaisii ho jaisaa mai.nne sochaa thaa
naa rasme.n hai.n naa kasame.n hai.n
naa shikave hai.n naa vaade hai.n
ik sUrat bholii bhaalii hai
do nainaa siidhe saade hai.n – 2
aisaa hii ruup khayaalo.n me.n thaa
jaisaa mai.nne sochaa thaa, haa.N …
merii khushiyaa.N hii naa baa.NTe
mere Gam bhii sahanaa chaahe
dekhe naa khvaab vo mahalo.n ke
mere dil me.n rahanaa chaahe
is duniyaa me.n kaun thaa aisaa
jaisaa mai.nne sochaa thaa, haa.N …
Day #17 of 31
Song #49
We have so far completed 13 years of Shakeel Badayuni’s career after he gave his first song for the 1947 AR Kardar movie Dard: Afsaana likh rahi hoon.
We have nine years to go for his last movie Beti in 1969.
We have just seen that in 1960, for the first time after 13 years, he paired with the music director Ravi in Ghunghat. In the same year, for the movie Chaudhvin Ka Chand, he finally received his first Filmfare Award for the song for which Rafi received his Best Playback Singer award: the title song: Chaudhvin Ka Chand.
Completing his hat-trick in 1961 with Music Director Ravi was SS Vasan’s movie Gharana. SS Vasan, or Subramaniam Srinivasan was, as you already know, the founder of the famous Gemini Studios that specialised in making family-drama movies. The movie starred Rajendra Kumar, Raaj Kumar and Asha Parekh.
A scene from the 1961 movie Gharana (Pic courtesy: www.zoom4india.com)
The film had nine songs as under:
1. “Dadi Amma” – Asha Bhosle & Kamal Barot
2. “Husn Wale Tera Jawaab Nahin” – Mohammed Rafi
3. “Jai Raghunandan” – Mohammed Rafi & Asha Bhonsle
4. “Jabse Tumhe Dekha Hai” – Mohammed Rafi & Asha Bhosle
5. “Ye Zindagi Ki Uljhane” – Asha Bhonsle
6. “Ye Duniya Usi Ki” – Asha Bhosle
7. “Ho Gai Re” – Mohammed Rafi & Asha Bhosle
8. “Na Dekho Humein Ghurke” – Mohammed Rafi & Asha Bhosle
9. “Mere Banne Ki Baat Na Puchho” – Shamshad Begum & Asha Bhosle
Shakeel Badayuni received his second consecutive year Filmfare Award for the same subject: describing the husn (beauty) of a woman. The song Husn waale tera jawab nahin had also Rafi nominated for the Filmfare Award but he won it for the Sasural song: Teri pyaari pyaari surat ko (Shankar Jaikishan and Hasrat Jaipuri).
tuu hai aisii kalii jo gulashan me.n
saath apane bahaar laayii ho
tuu hai aisii kiraN jo raat Dhale
chaa.Ndanii me.n nahaa ke aayii ho
ye teraa nuur ye tere jalave
jis tarah chaa.Nd ho sitaaro.n me.n
husn vaale …
terI aa.Nkho.n me.n aisii mastii hai
jaise chhalake hue ho.n paimaane
tere ho.nTho.n pe vo khaamoshii hai
jaise bikhare hue ho.n afasaane
terii zulfo.n kii aisii ra.ngat hai
jaise kaalii ghaTaa bahaaro.n me.n
husn vaale …
terii suurat jo dekh le shaayar
apane shero.n me.n taazagii bhar le
ek musavvir jo tujh ko paa jaae
apane Kvaabo.n me.n zi.ndagii bhar le
naGamaagar Dhuu.NDh le agar tujh ko
dard bhar le vo dil ke taaro.n me.n
husn vaale teraa javaab nahii.n …
https://www.youtube.com/watch?v=1Pn81ApIsfs
Day #17 of 31
Song #50
The 1961 movie Gharana also marked a first for Shakeel Badayuni; he wrote a children’s song that became a super hit.
The song is a song by the grand-children to appease their Dadi (grand-mother) Shanta (Lalita Pawar) who has been running the Gharana with total and tyrannical control.
Asha Bhosle and Kamal Barot sang this song and decades after seeing the movie with my parents, I can still not forget its setting. Full marks to Lalita Pawar too for her histrionics.
Please enjoy: Dadi amma dadi amma maan jaayo….
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
chhoTii-chhoTii baato.n pe na biga.Daa karo -2
Gussaa ho to ThaNDaa paanii pii liyaa karo
khaalii-piilii apanaa kalejaa na jalaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
daadii tumhe.n ham to manaa ke rahe.nge -2
khaanaa apane haatho.n se khilaa ke rahe.nge
chaahe hame.n maaro chaahe hame.n dhamakaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
kaho to tumhaarii ham champii kar de.n -2
piyo to tumhaare liye hukkaa bhar de.n
ha.Nsii na chhupaa_o zaraa aa.Nkhe.n to milaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
hamase jo bhuul hu_ii maaf karo maa.N -2
gale lag jaa_o dil saaf karo maa.N
achchhii sii kahaanii ko_ii hamako sunaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
https://www.youtube.com/watch?v=ueJRRmVCBiI
Day #17 of 31
Song #51
How could someone who had mastery over the Urdu write so well in Hindi? But, that’s Shakeel Badayuni for you. We saw the bhajan of 1952 movie Baiju Bawra in pure Hindi: Man tadpat Hari darshan ko aaj.
This one from 1961 movie Gharana became equally iconic bhajan.
Mohammad Rafi who has sung the best bhajans in Hindi, sung this one too, however, with Asha Bhosle.
Asha Bhosle with Mohammad Rafi (Pic courtesy: proaudience.com)
Please enjoy: Jay Raghunandan, Jay Siyaram….
jay raghunandan jay siyaaraam
he dukhabha.njan tumhe.n praNaam
bhraat-bhraat ko he parameshvar sneh tumhii.n sikhalaate
nar-naarii ko he parameshvar sneh tumhii.n sikhalaate
o naiyaa ke khevanahaare japuu.N mai.n tumharo naam
jay raghunandan …
tum hii dayaa ke saagar prabhu jii tum hii paalanahaare
chain tumhii.n se paa_e bekal manavaa saa.Njh-sakaare
jo bhii tumhaarii aas lagaa_e bane usii ke kaam
jay raghunandan …
Appreciating Good Lyrics Song #17
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up pur 17th Lyricist Prem Dhawan‘s creation.Prem Dhawan was some seven years younger to Shakeel Badayuni; born on 13th July in Ambala (now in Haryana). After schooling, he did his college tenure from Ambala. He was actively engaged in the activities of the CPI (Communist Party of India).
Lyricist and Music Director Prem Dhawan (Pic courtesy: www.patrika.com)
In Bombay, he joined the Indian People’s Theatre Association as part of CPI activities. He learnt classical music under Pandit Ravi Shankar. At the age of 23 years, in 1946, he got his first break as a lyricist with Khwaja Ahmad Abbas’s movie Dharti Ke Lal.
His most well remembered contribution both as Lyricist and Music Director was in 1965 Manoj Kumar starrer Shaheed. He won the National Best Lyricist Award for the songs of the 1971 movie Nanak Dukhiya Sab Sansaar.
The 1951 movie Taraana starred the lovers in real and reel life: Dilip Kumar and Madhubala for the first time. And guess what? The songs of this Ram Daryani movie were neither penned by Shakeel nor composed by Naushad.
I saw the movie last year on my computer and the movie was popular, as most movies of those times, for its songs. DN Madhok (a tribute to him I have already given two days back) and Prem Dhawan divided the songs between themselves, with Prem Dhawan actually writing the best song of the movie.
All were composed by Anil Biswas. Here is the list:
1 Nain Miley, Nain Huwe Bawre Lata Mangeshkar, Talat Mehmood Prem Dhawan
2 Bol Papihe Bol Lata Mangeshkar, Sandhya Mukherjee Prem Dhawan
3 Mohse Rooth Gayo Mora Savariya Lata Mangeshkar D. N. Madhok
4 Yun Chhup Chhup Ke Mera Aana Lata Mangeshkar D. N. Madhok
5 Beimaan Tohre Nainwa Lata Mangeshkar D. N. Madhok
6 Seene Mein Sulagte Hain Armaan Lata Mangeshkar, Talat Mehmood Prem Dhawan
7 Wapas Le Le Yeh Jawani Lata Mangeshkar
8 Ek Main Hoon Ek Meri Talat Mehmood
9 Woh Din Kahan Gaye Bata Lata Mangeshkar D. N. Madhok
The movie’s story was almost the same as Udan Khatola’s in that the aircraft carrying Dilip Kumar crashes near Madhubala’s village! Of course Dilip Kumar and Nimmi of Udan Khatola could never match the spontaneous chemistry between Dilip Kumar and Madhubala.
Please enjoy not just a matching song to Shakeel’s but one of the best of Prem Dhawan as Lyricist sung by Lata Mangeshkar and Talat Mehmood: Seene mein sulgate hain armaan….
talat: sIne me.n sulagate hai.n aramaa.n
aa.Nkho.n me.n udaasI chhaaI hai
ye aaj terI duniyaa se hame.n
taqadIr kahaa.N le aaI hai
sIne me.n sulagate hai.n aramaa.n
latA: kuchh aa.Nkh me.n aa.NsU baakI hai.n
jo mere Gam ke saathI hai.n – 2
ab dil hai.n naa dil ke aramaa.n hai.n – 2
bas mai.n hU.N merI tanhaaI hai
sIne me.n sulagate hai.n aramaa.n
talat: na tujhase gilaa koI hamako
nA koI shikaayat duniyaa se
do chaar kadam jab manzil thii – 2
qismat ne Thokar khaaI hai
sIne me.n sulagate hai.n aramaa.n
lata: kuchh aisI aag lagI man me.n
jIne bhI naa de marane bhI naa de …
chup hU.N to kalejaa jalataa hai – 2
bolU.N to terii rusavaaI hai
both: sIne me.n sulagate hai.n aramaa.n
https://www.youtube.com/watch?v=GMlTeyN3zo4
Day #18 of 31
Song #52
After the 1960 movie with Naushad, Shakeel did three movies in a row with Ravi: Ghunghat, Chaudhvin Ka Chand and Gharana and picked up two Best Lyricist awards. One for the title song of 1960 movie Chaudhvin Ka Chand and the other (on the same subject of describing the beauty of the beloved) ‘Husn waale tera jawaab nahin for the 1961 movie Gharana.
In the next movie of the same year, the 1961 movie Ganga Jamuna he was back with Naushad and I rank its songs higher than the songs he wrote for Ravi. However, such are the idiosyncracies of Hindi film industry that neither Naushad nor Shakeel were even nominated for the awards. It is similar to Ghulam Mohammad having been ignored for Pakeezah songs and music.
Shakeel Badayuni with Naushad
I would think that Shakeel, having shown his mettle in Urdu and Hindi, in this movie tried Bhojpuri and succeeded to a great extent (nain la.D jai.nhe to manavaa me.n kasak hoibe karii) and that itself was worthy of giving him the Best Lyricist award rather than for both Urdu songs with Ravi.
Even Insaaf ki dagar pe, later rated as #1 patriotic song by MSN, has all-time best lyrics.
Have a look at the list of songs of this movie:
1 Dagabaaz Tori Batiyan Lata Mangeshkar
2 Dhoondo Dhoondo Re Sajna Lata Mangeshkar
3 Do Hanson Ka Joda Lata Mangeshkar
4 Jhanan Ghoongar Baje Lata Mangeshkar
5 Naina Lad Jaihen Mohammed Rafi
6 O Chhalia Re Chhalia Mohammed Rafi, Asha Bhosle
7 Tora Man Bada Papi Asha Bhonsle
8 Insaaf Ki Dagar Pe Hemant Kumar
9 Naina Lad Jaihen (Revival) Mohammed Rafi
Lets listen to Nain lad jai hain to put together by Shakeel, Naushad, Mohammad Rafi and Dilip Kumar:
nain la.D jai.nhe to manavaa me.n kasak hoibe karii
prem kaa chhuTi hai paTaakhaa to dhamak hoibe karii
nain la.D jai.nhe …
ruup ko manamaa basaibaa to buraa kaa ho_ii hai
tohuu se priit lagaibaa to buraa kaa ho_ii hai
prem kii nagarii ma kuchh hamaraa bhii haq hoibe karii
nain la.D jai.nhe …
ho_ii gavaa man maa more tichh.rii najar kaa hallaa
gorii ko dekhe binaa ni.ndiyaa na aavai hamakaa
phaa.Ns lagii hai to karejavaa ma khaTak hoibe karii
nain la.D jai.nhe …
aa.Nkh mil gayii hai sajaniyaa se to naachan lagii hai
pyaar kii miiThii gajal manavaa bhii gaavan lagii hai
jhaa.Njh bajii hai to kamariyaa ma lachak hoibe karii
nain la.D jai.nhe …
nainaa jab la.Dii hai to bhaiyyaa man me.n kasak hoibe karii
thaik thaik tik thaa
hoy hoy hoy!
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
kaisaa jaaduu Daar ke re, kaisaa Tonaa Daar ke
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
Day #18 of 31
Song #53
You just witnessed a perfect Bhojpuri song from the 1961 movie Ganga Jamuna that must have impressed you with the mastery that Naushad had over folk based songs. Anyway, the picturisation by the director Nitin Bose and superb dancing by Dilip Kumar in his own production added to the charm of the song.
The movie, as I said, Dilip Kumar’s own production, pitted his brother Nasir Khan as a police officer against him (Dilip Kumar), a common villager turned dacoit due to the atrocities of the feudal lords.
The next song is an all time favourite of mine on several counts. Firstly, its lyrics are exquisite and beautifully worded to express the feelings of Vyjayanthimala as a simple village girl Dhanno who has spent a carnal night with her love Dilip Kumar as Gungaram or Gunga in his dacoit’s den in the forest. Secondly, it is one of the best songs in Raag Pilu (Tal Dadra) though the Raag used to be a favourite of OP Nayyar. Thirdly, the Hindi film industry hasn’t seen a dancer of the calibre of Vyjayanthimala (she is simply grace personified in motion and she seems to enjoy dancing as much as we enjoy watching her).
Please enjoy: Dhoondo dhoondo re saajna more kaan ka baala…
DhU.nDho DhU.nDho re saajanaa DhU.nDho re saajanaa
more kaan kaa baalaa, ho
DhU.nDho DhU.nDho re saajanaa DhU.nDho re saajanaa
more kaan kaa baalaa
moraa baalaa chandaa kaa jaise haalaa re – 2
jaame.n laale laale haa.N,
jaame.n laale laale motiyan kii laTake maalaa, ho DhU.nDho …
mai.n soii thii, apanii aTaravaa
Thagavaa ne Daakaa Daalaa
luT ga_I nindiyaa, gir gaI bi.ndiyaa
kaano.n se khul gayaa baalaa, balam
moraa baalaa chandaa …
baalaa moraa baalepan kaa
ho ga_I re jaa kii chorii
o chhailaa toraa manavaa mailaa
laagii najariyaa torii, balam
morA baalaa chandaa …
baalaa moraa sejiyaa pe gir gayaa
DhU.nDhe re more nainaa
naa jaanuu.N piyaa
tuune churaay liyaa
da_iyyaa re kal kii rainaa, balam
morA baalaa chandaa …
Day #18 of 31
Song #54
The last song tonight from the movie Ganga Jamuna shouldn’t be a surprise to you at all. I have written about this song and the idealism of our education system at one time, for example here:
A village school teacher (the same Abhi Bhattacharya who was there with Kavi Pradeep in his Jagriti songs that are so inspirational) is teaching the village children in an open air school (which was the norm those days) and he is telling them to follow the path of righteousness and justice so as to emerge leaders of India in future.
MSN portal in 2011 adjudged it as the #1 patriotic song of India.
For me there is even greater enchantment with this song since my favourite singer Hemant Kumar has sung it.
Please enjoy: Insaaf ki dagar pe bachcho dikhao chal ke….
insaaf kii Dagar pe, bachcho.n dikhaao chal ke
ye desh hai tumhaaraa, netaa tumhii.n ho kal ke
duniyaa ke ra.nj sahanaa aur kuchh na mu.Nh se kahanaa
sachchaaiyo.n ke bal pe aage ko ba.Dhate rahanaa
rakh doge ek din tum sa.nsaar ko badal ke
insaaf kii …
apane ho.n yaa paraae sabake liye ho nyaay
dekho kadam tumhaaraa haragiz na Dagamagaae
raste ba.De kaThin hai.n chalanaa sambhal-sambhal ke
insaaf kii …
insaaniyat ke sar par izzat kaa taaj rakhanaa
tan man bhii bhe.nT dekar bhaarat kii laaj rakhanaa
jiivan nayaa milegaa a.ntim chitaa me.n jal ke,
insaaf kii …
Appreciating Good Lyrics Song #18
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up pur 18th Lyricist Neeraj‘s creation. Neeraj is still amongst us and we pray to God for his health and long life.Why so many lyricists, you may ask me? The fact is that just between two singers Lata Mangeshkar and Mohammad Rafi, we can count songs in excess of 30000. Now you can count other singers such as Mukesh, Hemant Kumar, Asha Bhosle et al and you will come to know that a number of lyricists were indeed required to write those songs.
Gopaldas Saxena ‘Neeraj’ was born in the village of Puravali near Mahewa of Etawah in Uttar Pradesh, India on 4 January 1924.
Lyricist Neeraj
He wrote under the pen name “Neeraj” and made a name for himself by using Hindi in his lyrics as compared to most others who wrote in Hindustani/Urdu. However, Hindustani/Urdu was still the language of the ‘Hindi’ film industry and hence even Neeraj wrote in that language many of his songs.
There was an era when he was highly popular such as when he wrote Phoolon ke rang se for the 1970 movie Prem Pujari. But, after the death of those that he worked with such as SD Burman and Shankar Jaikishan, he gave up on writing lyrics.
Matching lyrics with Shakeel?
Well, his songs for the 1965 movie Nai Umr Ki Nai Fasal were very good indeed such as:
Dekahti hi raho aaj darpan na tum.
Karvaan guzr gaya gubaar dekhate rahe.
Swapan jhade phool se, meet chubhe shool se.
Isako bhi apnaata chal.
And of course, this one, that happens to be his masterpiece as far as lyrics are concerned.
This was sung by Mohammad Rafi and Asha Bhosle for Rajeev and Tanuja respectively, and composed by Roshan.
Please enjoy: Aaj ki raat badi shokh badi natkhat hai, aaj to tere bina neend nahin aayegi….
Rafi solo
aaj kii raat ba.Dii shokh ba.Dii naTakhaT hai
aaj to tere binaa nii.nd na aayegii
ab to tere hii yahaa.N aane kaa ye mausam hai
ab tabiiyat na Kayaalo.n se bahal paayegii
dekh vo chhat pe utar aayii hai saavan kii ghaTaa
de rahii dvaar pe aavaaz kha.Dii puravaaii
bijalii rah rah ke pahaa.D.n pe chamak uThatii hai
suunii aa.Nkho.n me.n koii Kvaab le jyo.n a.nga.Daaii
kaise samajhaa_uu.N?
kaise samajhaa_uu.N ki is vaqt kaa matalab kyaa hai
dil kii hai baat
ho dil kii hai baat na ho.nTho.n se kahii jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
ye bhaTakate hue jugunuu ye diye aavaaraa
bhiigate pe.Do.n pe bujh-bujh ke chamak uThate hai.n
tere aa.Nchal me.n Take salame.n sitaare jaise
mujh se milane ko binaa baat damak uThate hai.n
saaraa aalam
saaraa aalam hai giraftaar tere husn me.n jab
mujhase hii kaise
ho, mujhase hii kaise ye barasaat sahii jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
raat raanii kii ye bhiinii sii nashiilii khushabuu
aa rahii hai ke jo chhan chhan ke ghanii Daalo.n se
aisaa lagataa hai kisii DhiiTh jhakhore se lipaT
khel aayii hai tere ulajhe hue baalo.n se
aur bezaar
aur bezaar na kar, mere ta.Dapate dil ko
aisii ra.ngiin
ho, aisii ra.ngiin Gazal raat na phir gaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
% Asha – Rafi Duet
aa: aaj kii raat ba.Dii shokh ba.Dii naTakhaT hai
aaj to tere binaa nii.nd nahii.n aayegii
ab to tere hii yahaa.N aane kaa ye mausam hai
ab tabiiyat na Kayaalo.n se bahal paayegii
haay paanii kii ye rimajhim ye khuledaar phuhaar
aise nas nas me.n terii chaah jagaa jaatii hai
jaise pi.njare me.n kisii qaid pa.De pa.nchhii ko
apanii aazaad u.Daano.n kii yaad aatii hai
ab to aa jaao
ab to aa jaao mere maa.Ng ke sinduur suhaag
saa.Ns terii hai
saa.Ns terii hai tere naam pe miT jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
aisii hii raat to vo thii ki terii nazaro.n ne
mujhe pahanaayaa thaa jab pyaar ke kapa.Do.n kaa libaas
aur us raat bhii aisii hii sharaabii thii fizaa
jab terii baaho.n me.n mahakii thii merii saa.Ns-o-adaa (?)
aur ab aisii
aur ab aisii javaa.N rut me.n akelii mai.n huu.N
aa jaa varanaa
aa jaa varanaa ye shamaa kaa.Np ke bujh jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
ra: par Thahar vo jo vahaa.N
par Thahar vo jo vahaa.N leTe hai.n fuT_paatho.n par
laash bhii jinake kafan tak na yahaa.N paatii hai
aur vo jho.npa.De chhat bhii na hai sar par jin ke
chhaate chhappar hii jahaa.N zi.ndagii so jaatii hai
pahale in sab ke liye
pahale in sab ke liye ek imaarat ga.Dh luu.N
phir terii maa.Ng
phir terii maa.Ng sitaaro.n se bharii jaayegii
aa: aaj to tere binaa nii.nd nahii.n aayegii …
Day #19 of 31
Song #55
Yesterday, I was giving you songs of 1961 movie Ganga Jamuna and I am sure that you would have wanted me to give you all the songs. “You gave only Nain lad jai hai, Dhoondo dhoondo re sajana, and Insaaf ki dagar pe”, you are bound to ask me, “What about, “Dagabaaz tori batiyan na maanu re, Tora man bada paapi sanwariya re, and Do hanso ka joda?”
Please remember that Shakeel wrote over 700 songs; 761 to be exact and at best in this tribute I can give you only about a hundred or so.
Anyway, it appears to me, that closer to the Birth Centenary, I shall have to increase the number of songs per day.
For the time being, I do not know how I am going to manage this, but, here is, a fourth song from the movie. After this, please, no more!
Naushad composed it in Raag Bhairavi, in Tal Hinch, which made a sad song with high tempo (something that Shankar Jaikishan excelled at).
Please enjoy: Do hanso ka joda bichhud gayo re….
do hanso ka joda bichhad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
do hanso ka joda bichhad gayo re
gajab bhayo rama, julam bhayo re
mora sukh chain bhi, jivan bhi mora chhin liya
papi sansar ne sajan bhi mora chhin liya
piya bin tadape jiya, ratiya bitau kaise
biraha ki agani ko asvan se bujau kaise
jiya mora mushkil me pad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
raat ki aas gayi, din ka sahara bhi gaya
mora suraj bhi gaya, mora sitara bhi gaya
prit kar ke kabhi pritam se na bichhade koyi
jaisi ujadi hu mai, aise bhi na ujade koyi
bana khel mora bigad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
jite ji chhod ungi saiyya na dagariya tori
bit jayegi yuhi sari umariya mori
naino se hoti rahegi yuhi barsat balam
yaad me roti rahungi teri dinaraat balam
nagar more man ka ujad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
do hanso ka joda bichhad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
https://www.youtube.com/watch?v=qSbMdrP5xbI
Day #19 of 31
Song #56
Ladies and gentlemen,
This is really too much: thinking about you, I am unable to progress as planned and end up giving more songs than I have planned to give!
Anyway, after five years of making the 1957 movie Mother India, in 1962, Mehboob Khan made a sequel to it called Son of India. He took relatively lesser known stars Kamaljith, Simi Garewal, Jayant and Kumkum in the lead roles. However, as far as the songs were concerned he retained the team of Shakeel Badayuni and Naushad.
The movie had nine songs in all. All gems as follows:
1. “Aaj Chhedo Mohabbat Ki” Lata Mangeshkar
2. “Aaj Ki Taaza Khabar” Shanti Mathur
4. “Dil Todne Wale” Lata Mangeshkar, Mohammed Rafi
5. “Diya Na Bujhe Ri Aaj” Lata Mangeshkar, Chorus
6. “Insan Tha Pehle Bandar” Shanti Mathur
7. “Mujhe Huzoor Tum Se” Geeta Dutt
8. “Nanha Munna Rahi Hoon” Shanti Mathur, Chorus
9. “Zindagi Aaj Mere Naam” Mohammed Rafi
So far we have seen that Shakeel wrote the best songs on beauty of a beloved: Chaudhvin ka Chand and Husn waale tera jawaab nahin; he wrote the best patriotic song: Insaaf ki dagar pe bachcho dikhaayo chal ke; he wrote the best folk songs as in, for example, Baiju Bawra and Gunga Jamuna. Now, it is time to see his best children’s song (even better than Dadi amma dadi amma maan jaayo).
This song was sung by Shanti Mathur and chorus and picturised on Master Sajid, the adopted son of Mehboob Khan, the director of the movie (if you recall, he starred in Mother India too).
Please enjoy: Nanha munha raahi hoon, desh ka sipaahi hoon….
nanhaa munnaa raahii huu.N, desh kaa sipaahii huu.N
bolo mere sa.ng, jay hi.nd, jay hi.nd, jay hi.nd …
raste pe chaluu.ngaa na Dar-Dar ke
chaahe mujhe jiinaa pa.De mar-mar ke
ma.nzil se pahale naa luu.ngaa kahii.n dam
aage hii aage ba.Dhaau.ngaa kadam
daahine baae.n daahine baae.n, tham! nanhaa …
dhuup me.n pasiinaa bahaau.ngaa jahaa.N
hare-bhare khet laharaae.nge vahaa.N
dharatii pe faake na paae.nge janam
aage hii aage …
nayaa hai zamaanaa merii na_ii hai Dagar
desh ko banaau.ngaa mashiino.n kaa nagar
bhaarat kisii se na rahegaa kam
aage hii aage …
ba.Daa ho ke desh kaa sitaaraa banuu.ngaa
duniyaa kii aa.Nkho.n kaa taaraa banuu.ngaa
rakhuu.Ngaa uu.nchaa tira.ngaa haradam
aage hii aage …
shaa.nti ki nagarii hai meraa ye vatan
sabako sikhaauu.ngaa pyaar kaa chalan
duniyaa me.n girane na duu.ngaa kahii.n bam
aage hii aage …
https://www.youtube.com/watch?v=rszFSH6z4Us
Day #19 of 31
Song #57
Last year I was the Chief Guest at a Christian run school in Vashi. And guess what, 53 years after Nanha munha raahi hoon was first sung, it is still popular in schools, irrespective of language, creed, religion and region.
To end today, I give you this vintage Shakeel song from the same movie; this is so typical of him: sorrow, ruefulness, irony all rolled in one.
This was composed by Naushad in Raag Jaijaivanti, a raag originally composed by the ninth guru of the Sikhs: Guru Teg Bahadur (the gurus, like all gurus in India, who were absobed in intellectualism (that’s how Bharat got its name: Bha: Intellect and Rat: Absorbed in) but upon whom war was imposed by the mughals and hence they had to become ‘Bahadur’ and finally ‘Singh’).
This was sung by Mohammad Rafi.
Please enjoy: Zindagi aaj mere naam se sharmaati hai….
zindagii aaj mere naam se sharamaatii hai
apane haalaat pe mujhe khud hii ha.Nsii aatii hai
zindagii aaj mere …
ek Gam chain se jiine nahii.n detaa mujhako -2
ek ulajhan hai jo aksar mujhe ta.Dapaatii hai
zindagii aaj mere …
is tarah chho.D ke nikalaa huu.N mai.n apanii ma.nzil
jaise hasarat ko_ii siine se nikal jaatii hai
zindagii aaj mere …
raah chalate hu_e kuchh soch ke ruk jaataa huu.N -2
har qadam par ko_ii bhuulii hu_ii yaad aatii hai
zindagii aaj mere …
Appreciating Good Lyrics Song #19
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 19th Lyricist Bharat Vyas‘s creation.Today (22 Jul) also happens to be the Birth Anniversary of the singer Mukesh Chand Mathur and as luck would have it, and I haven’t planned it (I am a great liar!), Bharat Vyas’s most iconic song also happens to be one of the best sung by Mukesh. In my boyhood days I used to listen to it in my dad’s parties and I used to imagine the scene as depicted in the beautiful lyrics penned by Bharat Vyas.
Bharat Vyas was born on 18th Dec 1923 in a small town of Churu in Bikaner district of Rajasthan. He graduated in commerce stream in Calcutta and then shifted to Bombay. The first movie for which he penned songs was the 1943 movie Duhaai. Duhaai had the following songs:
1. Aao Sajan Aao Sajan
Shanta Apte, Prakash Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
2. Ab Hovega Byah Tumhara Ho
Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
3. Ab Mast Jawani Aayi
Noor Jehan Rafiq Ghaznavi, Pannalal Ghosh, Shanti
Kumar Bharat Vyas
4.Bade Bewafa Hai Mard In Pe Bhul Hai Marna
Noor Jehan Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
5.Kyu Shor Kar Rahe Ho
Shanta Apte Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
6. Maan Gayi Mai
Shanta Apte, Rafiq Ghaznavi Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
7. Mai Piya Se Milne Ko Jaa Rahi Hu
Shanta Apte Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
8. Mat Chhedo Hame Girdhari
Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
9. Mohe Neend Na Aaye
Shanta Apte, Rafiq Ghaznavi Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
The 1961 movie Saranga, a Dhirubhai Desai movie, starred Jayshree Gadkar in the title role with Sudesh Kumar. It had two excellent songs of Mukesh. Have a look at the list:
1 Haan Diwana Hoon Mukesh 04:04
2 Saranga Teri Yaad Mein (Mukesh) Mukesh 05:06
3 Saranga Teri Yaad Mein (Rafi) Mohammad Rafi 01:05
4 Piya Kaise Miloon Mohammad Rafi, Lata Mangeshkar 05:41
5 Likh De Piya Ka Naam Suman Kalyanpur 04:06
6 Aa Aaja Mere Saathi Mohammad Rafi, Asha Bhosle 02:29
7 Koi Ghar Aayega Lata Mangeshkar, Chorus 03:28
8 Lagi Tumse Lagan Mukesh, Lata Mangeshkar 03:42
9 Na Ja Mere Saath Mohammad Rafi, Chorus 03:46
10 Daiya Re Daiya Ek Lata Mangeshkar, Chorus 03:40
11 Chali Re Chali Main Asha Bhosle 04:49
12 Haan Diwana (Revival) Mukesh 04:24
13 Saranga Teri (Revival) Mukesh 05:11
All the songs were composed by Sardar Malik.
Please enjoy the iconic song of both Bharat Vyas and Mukesh: Saranga teri yaad mein…..
saara.ngaa terI yaad me.n nain hue bechain
madhur tumhaare milan binaa
din kaTate nahii.n rain, ho~
saara.ngaa terI yaad me.n …
vo ambuvaa kA jhuulanaa, vo pIpal kii chhaa.Nv
ghuu.NghaT me.n jab chaa.Nd thA, meha.ndii lagI thI paa.nv
ho, (aaj uja.Dake rah gayaa – 2)
vo sapano.n kA gaa.Nv, ho …
saara.ngaa terI yaad me.n …
sa.ng tumhaare do gha.Dii, bIt gaye jo pal
jal bharake mere nain me.n, aaj hue ojhal
ho, (sukh leke duHkh de gayii.n -2)
do akhiyA.N cha.nchal, ho …
saara.ngaa terI yaad me.n …
Day #20 of 31
Song #58
We are going to go off track a bit today (22 Jul) only because it happens to be the Birth Anniversary of the legendary singer Mukesh and I would like to give you Shakeel’s songs sung by Mukesh.
(Pic courtesy: www.saavn.com)
In one of the earliest movies of Shakeel, indeed in his second movie after the 1947 movie Dard in which all songs were sung by females only, the 1948 movie Anokhi Ada, that is, I had mentioned that Mohammad Rafi hadn’t yet started singing Shakeel’s songs. I had given you a Mukesh song from the movie: Kabhi dil se dil takraata to hoga.
Here is a second Mukesh song from the movie. The uniqueness of this song is that both Shakeel and Mukesh excelled in depicting gham (sorrows) in their songs and yet here is a happy song for both of them!
It has been composed by Naushad.
Please enjoy: Manzil ki dhun mein jhumate gaate chale chalo…
(do din kii zi.ndagii me.n ko_ii kyuu.N uThaaye Gam
ko_ii kyuu.N uThaaye Gam) – 2
naGme.n Kushii ke sab ko sunaate chale chalo – 2
bichha.De …
(insaaniyat to pyaar mohabbat kaa naam hai
mohabbat kaa naam hai) – 2
insaaniyat kii shaan ba.Dhaate chalo chalo
bichha.De hue …
(aazaad zi.ndagii hai to barbaad kyuu.N rahe
barbaad kyuu.N rahe) – 2
barbaadiyo.n se dil ko bachaate chale chalo – 2
bichha.De hue …
ma.nzil …
Day #20 of 31
Song #59
Now, I am jumping several years to give you a Mukesh song of Shakeel Badayuni. It is from one of the last movies of Shakeel: the 1967 movie Wahan Ke Log.
The title is the same as the Awara song sung by Mukesh on the lyrics of Hasrat Jaipuri and music of Shankar Jaikishan.
This one is not picturised on Raj Kapoor but on Pradeep Kumar, who acted in the movie opposite Tanuja.
It is rare for Shakeel Badayuni to have his lyrics composed by C Ramchandra. However, this one was.
Please enjoy: Ham tujhase mohabbat karke sanam duniya ka fasaana bhool gaye….
hum tujhse mohabbat ka rke sanam
dunia ka fasana bhul gaye
hum tujhse mohabbat kar ke sanam
dunia ka fasana bhul gaye
aankho se teri ek jam piya
aankho se teri ek jam piya
phir hosh me aana bhul gaye
hum tujhse mohabbat kar ke sanam
jab dekh li teri mast najar
jab dekh li teri mast najar
maykhane ka rashta chhod diya
julfo pe teri jab aankh padi
sawan ka jamana bhul gaye
aankho se teri ek jam piya
aankho se teri ek jam piya
phir hosh me aana bhul gaye
hum tujhse mohabbat kar ke sanam
aye husn teri ulfat ne hame
aye husn teri ulfat ne hame
pahucha diya aisi manjil pe
kadmo me tere ek sajda kiya
phir sar ko uthana bhul gaye
aankho se teri ek jam piya
aankho se teri ek jam piya
phir hosh me aana bhul gaye
hum tujhse mohabbat ka rke sanam
Day #20 of 31
Song #60
The 1969 movie Beti was the last movie whose songs were penned by Shakeel Badayuni. It had a Mukesh number: Ye kya kiya re duniyawaale.
Once again, rare for Shakeel Badayuni, that the songs of the movie were composed by Sonik Omi (the uncle nephew team; of which Omi we lost recently).
Here is a complete list of songs from the movie:
2. Hasin Zulfo Ka Rang De Do Mohammed Rafi
3. Shyam Dhun Lagi Hari Nam Dhun Lagi Lata Mangeshkar
4. Lehnga Manga De Mere Babu Asha Bhosle, Lata Mangeshkar
5. Yeh Kya Kiya Re Duniyawale Mukesh
6. Ek Mithi Nazar Phul Barsa Gayi Mohammed Rafi, Asha Bhosle
Please enjoy: Yeh kya kiya re duniyawale…..
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
o re bedardi o harajayi, dekh li maine teri kudayi
o re bedardi o harajayi, dekh li maine teri kudayi
pehle hi meraa dil ghayal tha
aur bhi uss par chot lagayi
tune rulake mujhe dar dar phira ke mujhe
kab ke yeh araman nikale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
subah kaa suraj rat ke tare, ban gaye sab ke sab angare
subah kaa suraj rat ke tare, ban gaye sab ke sab angare
aas ke bandhan tod ke tune
chhin liye sabhi sang sahare
mere lahu ki kasam aur bhi kar le sitam
aag too dil ki bujhale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
https://www.youtube.com/watch?v=AFUCWGqpNtY
Appreciating Good Lyrics Song #20
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up pur 20th Lyricist Gulzar‘s creation.Gulzar is the DN Madhok and Kidar Sharma of the modern day. He is a lyricist, director, producer, story and screen play and dialogue writer and of course a poet of eminence.
He was born as Sampooran Singh Kalra in Jhelum district (now in Pakistan) on 18th Aug 1934.
He made a mark in the Hindi movies with his very first song in Bimal Roy’s Bandini for the music director SD Burman: Mera gora rang lai le, mujhe shyam rang dai de.
He has received the Best Lyricist Flimfare Award for a record 11 times and in 2013 he received the highest award: the Dadasaheb Phalke award.
He is married to the actress Rakhee and they have a daughter Meghna.
He has dozens or even hundreds of songs with matching lyrics to Shakeel Badayuni even though he was born a good 18 years after Shakeel.
His songs of the 1969 Hemant Kumar production Khamoshi are my favourite since these have Hemant da’s composition and also one of them have his voice.
Here is the list:
01. Tum pukar lo.. tumhaara intezaar hai: Hemant Kumar
02. Woh Shaam Kuch ajeeb thi.. yeh shaam bhi ajeeb hai : Kishore Kumar
03. Humne dekhee hai un aankhon ki mehekti khushboo: Lata Mangeshkar
04. Aaj Ki Raat Charagon- Aarti Mukherjee
05. Dost Kahan Koi Tumsa: Manna Dey
Please enjoy: Tum pukaar lo, tumhaara intzaar hai….
tum pukaar lo, tumhaaraa intazaar hai,
tum pukaar lo
Kvaab chun rahii hai raat, beqaraar hai
tumhaaraa intazaar hai, tum pukaar lo
ho.nTh pe liye hue dil kii baat ham
jaagate rahe.nge aur kitanii raat ham
muqtasar sii baat hai tum se pyaar hai
tumhaaraa intazaar hai, tum pukaar lo
dil bahal to jaayegaa is Kayaal se
haal mil gayaa tumhaaraa apane haal se
raat ye qaraar kii beqaraar hai
tumhaaraa intazaar hai, tum pukaar lo
https://www.youtube.com/watch?v=Iiobymr_yq4
Day #21 of 31 Song #61
This is a post of 23 July since I was away to Nagpur.
In the chronological order, starting from his 1947 movie Dard, we had reached the 1962 Mehboob Khan movie Son of India. Until then, Shakeel had done 19 movies with Naushad, 08 with Ghulam Mohammad, one each with Khursheed Anwar and Sardar Malik, and three with Ravi that got him two Filmfare Best Lyricist awards.
And now another great composer entered his life and got him another Best Lyricist award, his last. The music director was my favourite: Hemant Kumar and the name of the movie was Sahib Bibi Aur Ghulam.
This 1962 movie was produced by Guru Dutt (Best Movie) and directed by his favourite story-writer Abrar Alvi (he received Best Direction Filmfare Award) It was based on Bimal Mitra’s Bengali story Sahib Bibi Gholam and starred Meena Kumari (who received Bset Actress award for the movie), Rehman, Guru Dutt and Waheeda Rehman.
Fifty-four years later, the songs of the movie are as fresh as when they were first sung. Here is the list:
1.”Sakiya Aaj Mujhe Neend Nahin Aayegi” Asha Bhosle Minoo Mumtaz
2. “Meri Jaan O Meri Jaan” Asha Bhosle Bimla Kumari, Rehman
3. “Piya Aiso Jiya Mein Samaaye Gayo Re” Geeta Dutt Meena Kumari
4. “Na Jao Saiyan Chhudaake Baiyan” Geeta Dutt Meena Kumari, Rehman
5. “Koi Door Se Aawaaz De Chale Aao” Geeta Dutt Meena Kumari, Guru Dutt
6. “Bhanwara Bada Naadaan” Asha Bhosle Guru Dutt, Waheeda Rehman
7. “Meri Baat Rahi Mere Man Mein” Asha Bhosle Waheeda Rehman
8. “Sahil ki Taraf Kashti Le Chal” Hemant Kumar Meena Kumari, Guru Dutt.
You will agree with me that each one is a veritable gem.
Lets start with Saakiya aaj mujhe neend nahin aayegi, the song that depicts the feudalism of West Bengal and the done thing by the Choudharies to visit the courtesans neglecting their wives.
The song has been sung by Asha Bhosle and picturised on Minoo Mumtaz.
saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai
aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai
ko : saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai
aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
aa : aa
saaqii hai aur shaam bhii
ulfat kaa jaam bhii
ho
taqadiir hai usii kii
jo le inase kaam bhii
ra.ng-e-mahafil hai raat bhar ke liye
ko : ra.ng-e-mahafil hai raat bhar ke liye
aa : sochanaa kyaa abhii sahar ke liye
ko : sochanaa kyaa abhii sahar ke liye
aa : ra.ng-e-mahafil hai raat bhar ke liye
sochanaa kyaa abhii sahar ke liye
teraa jalawaa ho terii suurat ho
aur kyaa chaahiye nazar ke liye -2
aaj suurat terii beparadaa nazar aayegii
ko : sunaa hai terii mahafil me.n ratajagaa hai
saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
aa : aa
mohabbat me.n jo miT jaataa hai
wo kuchh kah nahii.n sakataa
haa.N
ye wo kuuchaa hai jisame.n
dil salaamat rah nahii.n sakataa
kisakii duniyaa yahaa.N tabaah nahii.n
ko : kisakii duniyaa yahaa.N tabaah nahii.n
aa : kaun hai jisake lab pe aah nahii.n
ko : kaun hai jisake lab pe aah nahii.n
aa : kisakii duniyaa yahaa.N tabaah nahii.n
kaun hai jisake lab pe aah nahii.n
husn par dil zaruur aayegaa
isase bachane kii ko_ii raah nahii.n -2
zindagii aaj nazar milate hii luT jaayegii
ko : sunaa hai terii mahafil me.n ratajagaa hai
aa : o o o
ko : saaqiyaa aaj mujhe nii.nd nahii.n aayegii
aa : aa aa aa
ko : aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
Day #21 of 31
Song #62
I hope you liked the last song that Hemant Kumar had composed on the lyrics of Shakeel, in Raag Bhairavi, Tal Kaherava.
Sahib Bibi Aur Ghulam’s songs are amongst the best of Shakeel and the only reason that he didn’t get his third consecutive Filmfare Award for the songs of this movie was that he got the Best Lyricist award for Kahin deep jale kahin dil of Bees Saal Baad, his next movie.
The next song is a sad song in the context of the movie. Meena Kumari dresses up for her husband Rehman, only to be told that he is going to spend the evening with the courtesan.
(piyaa aiso jiyaa me.n samaay gayo re
ki mai.n tan man kii sudh budh gavaa.N baiThii ) – 2
har aahaT pe samajhii vo aay gayo re
jhaT ghuu.NghaT me.n mukha.Daa chhupaa baiThii
piyaa aiso jiyaa me.n samaay gayo re …
(more a.nganaa me.n jab puravayyaa chalii
more dvaare kii khul gaI kivaa.Diyaa.n ) – 2
o daiyaa! dvaare kii khul gaI kivaa.Diyaa.n
maine jaanaa ki aa gaye saa.nvariyaa more – 2
jhaT phuulan kii sejiyaa pe jaa baiThii
piyaa aiso jiyaa me.n samaay gayo re …
(maine si.nduur se maa.Ng apanii bharii
ruup saiyaa.N ke kaaraN sajaayaa ) – 2
o maine saiyaa.N ke kaaraN sajaayaa
is dar se kisii kii nazar na lage – 2
jhaT nainan me.n kajaraa lagaa baiThii
piyaa aiso jiyaa me.n samaay gayo re …
Day #21 of 31
Song #63
This is the last post of 23 July which I couldn’t post since I was away to Nagpur.
I have given you two songs from the 1962 Guru Dutt production Sahib Bibi Aur Ghulam which has music by Hemant Kumar on Shakeel Badayuni’s lyrics.
Hemant Kumar and Shakeel Badayuni, the pair that gave us remarkably good songs in Sahib Bibi Aur Ghulam, Bees Saal Baad and Bin Baadal Barsaat
The third song is the song about Meena Kumari‘s attempt to keep her husband Rehman at home since he would have otherwise gone to the courtesan. She even takes to drinking so as to convey to him that she was ready to do what a courtesan would do for him. In that context, it is another poignant song; if not the most poignant song in the movie. I am sure her acting in the song would have played a large role in getting her the Filmfare Best Actress award of that year.
This too was sung by Geeta Dutt for Meena Kumari and composed by Hemant da in Raag Pilu, Tal Kaherava.
Please enjoy: Na jaayo sainyan chhuda ke bainya….
na jaao sai.nyaa chhu.Daa ke bai.nyaa
qasam tumhaari mai.n ro pa.Duu.Ngii, ro pa.Duu.Ngii
machal rahaa hai suhaag meraa
jo tum na ho to, mai.n kyaa karuu.Ngii, kyaa karuu.Ngii
ye bikharii zulfe.n ye ghulataa kajaraa
ye mahakii chunarii ye man kii madiraa
ye sab tumhaare liye hai priitam
mai.n aaj tum ko na jaane duu.Ngii, jaane na duu.Ngi
mai.n tumharii daasii janam kii pyaasii
tumhi.n ho meraa {shh}R^i.ngaar priitam
tumhaarii raste kii dhuul le kar
mai.n maa.Ng apanii sadaa bharuu.Ngii, sadaa bharuu.Ngii
jo mujh se akhiyaa.N churaa rahe ho
to merii itanii araj bhii sun lo
piyaa ye merii araj bhii sun lo
tumhaarii qadamo.n me.n aa gayii huu.N
yahii.n jiyuu.Ngii yahii.n maruu.Ngii, yahii.n maruu.Ngii
Appreciating Good Lyrics Song #21
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20 Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
Today we take up our 21st lyricist: Pt. Narendra Sharma‘s creation.
Pandit Narendra Sharma was born on 28th Feb 1913 in Jahangirpur near Khurja (now in Gautam Buddha Nagar district) Uttar Pradesh. He did his undergraduate program and M.A in English Literature at Allahabad University. “Lata Mangeshkar the legendary singer use to call him as father while she was called as daughter. In a documentary on Lata Mangeshkar produced and directed by Nasreen Munni Kabir for Britain’s Channel 4 the legendary singer has confessed that she learnt a lot from pandithji and could negotiate many difficulties of life based on his advice”.
He achieved considerable fame for writing the title song of 1979 Raj Kapoor movie Satyam Shivam Sundaram. The song was nominated for Filmfare Best Lyricist Award.
For the matching lyrics to Shakeel’s, we are going to take up a song from his 1952 movie Aandhiayan.
The movie was written and directed by Chetan Anand. The movie was based on actual incidents in Amritsar. The movie starred Dev Anand, Nimmi and Kalpana Kartik. The music was composed by Ali Akbar Khan with Jaidev assisting him.
Following is a list of the songs:
1. “Woh Chand Nahin Hai Dil Hai” Hemant Kumar, Asha Bhosle 3:19
2. “Dil Ka Khazana Khol Diya” Asha Bhosle 3:10
3. “Hai Kahin Par Shaadmani” Lata Mangeshkar 03:11
4. “Main Mubarakbaad Dene Aai Hoon” Surinder Kaur 03:10
Lets take up the one sung by Hemant Kumar and Asha Bhosle: Woh chand nahin hai, dil hai kisi deewaane ka….
he: vo chaa.Nd
vo chaa.Nd nahii.n hai
dil hai kisii diivaane kaa
(aakash jise kahatii duniyaa) – 2
vo naam hai ik viiraane kaa …
(diivaane ke dil kii hii tarah) – 2
vo raato.n jalataa rahataa hai
is nii.nd kii maaTii nagarii me
vo kuchh na kisii se kahataa hai
(hai us me shamaa kii bechainii) – 2
aur pyaar bhii hai paravaane kaa …
he: jab se pahaluu se gayaa hai dil
kisii pahaluu nii.nd nahii.n aatii
aa: (jo suurat dil men samayii hai) -2
(vo suurat dil se nahii.n jaatii ) -2
aao aa.Nchal patalaa jaa_o
kyaa raat hai dil me samaane kaa
kyaa raat
https://www.youtube.com/watch?v=9dzvG6XF5gw
With that we come to the end of the third week of Countdown to the Birth Centenary of Shakeel Badayuni.
Please await the Part IV with the fourth week of the Countdown.
Secondly, why do I have to write posts about this colony? It is simply because after retirement from the Indian Navy in end Feb 2010 I made this colony my home for the rest of my life and whatever happens here affects me in a huge manner.
Thirdly, why this queer title of the post: ‘Hell In The JVDE (Kharghar) – A ‘War’ Movie In The Making!’? Let me explain:
I saw this 1968 World War II film titled Hell In The Pacific (starring Lee Marvin and Toshirō Mifune, the only two actors in the entire film) in the New Empire theatre in South Bombay in a matinée show after I became a commissioned officer in the Indian Navy. The film is a story of two military men, an American pilot and a Japanese navy captain, marooned on an uninhabited Pacific island, who, in order to survive, must accept their differences and work together, despite their two countries being at war.
The film was entirely shot in the Rock Islands of Palau in the north Pacific Ocean, near the Philippines in the Philippine Sea. A curious historical factual coincidence was that somewhere near there, on an island, an American and a Japanese soldiers were actually discovered many years after the war; they kept plotting against each other many years after the World War II ended since on that island they had no means of knowing that the war had been called off.
In real life too, both actors served for their respective countries during the Pacific War. Marvin, who was in the US Marines, was wounded and received the Purple Heart during the Battle of Saipan in 1943. Mifune served in the Imperial Japanese Army Air Service.
And now, perhaps you will understand the title of the post. Retired IAF and IN personnel, despite my best efforts and those of my other well-meaning colleagues, are still at war with one another in JVDE (Kharghar) and they ain’t on a remote island! Who is to tell them that the hostilities have been called off? And that, now, they must work together for the well-being and survival of JVDE (Kharghar).
The following scene from the movie could very well be between the previous MC (Managing Committee of JVDE who were voted out last year) holding by throat the new MC (duly elected) and not allowing it to do its assigned job. What does the previous MC have to gain by it? Well, the same that the British had to gain by their crafty policy of ‘Divide and Rule’.
(Photo courtesy: cinezinekane.com)
Last month, the previous MC guys, in a bid to prove that though they didn’t fight the (re)elections for the MC last year, they were indeed the God’s gift to JVDE during their tenure, called for a calling-attention Special General Body Meeting (SGM) of JVDE. The agenda was only one; which is, that the new MC was doing enormous harm by not following the confrontational and spy versus spy approach of the previous MC, which had successfully made disharmony as the way of life in the Society. It was a sheer wastage of time for all of us since they were hell-bent on proving by rhetoric what is against the commonsense of majority of the members.
I had broken my silence of the last few years during that SGM and reminded these members that the number one issue concerning our Society is to actually restore peace and harmony, trust and camaraderie. I was supported by an unambiguous voice vote. Undeterred, the JVDE rabble-rousers immediately after the SGM, renewed and even doubled their efforts to disrupt normal functioning of the Society. As far as they are concerned, every plan and effort of the new MC has to be somehow countered and opposed. Every issue of JVDE has to be connected with the single-point agenda of the last MC, that is, the so-called Encroachment Issue. So far, they have made all out efforts to link Fire Safety of the buildings and the Land Conveyance Deed to the Encroachment Issue. This has been done so as to justify the five years of their tenure that they dissipated on this non-issue to the exclusion of any other scheme for the welfare of the Society.
Take the case of this rabble-rouser group’s strident opposition to Rain Water Harvesting (RWH) on Terraces of the buildings. They already know that it would actually solve the rampant leakages problems in buildings for which in the five years of their tenure they were able to do nothing. They have already sensed the danger to their relevance as rabble-rousers and hence have started an all out campaign not to let it happen.
Two buildings: Tulip and Daffodil (all buildings in JVDE have been named after flowers not knowing that there are people in the Society forever in love with thorny issues) are due for major repairs and hence the works committees of these buildings had approached the present MC for installation of RWH with twin aims: One, it would result in rain water harvesting, which buildings in Mumbai and Navi Mumbai are increasingly undertaking so as to get over perpetual water shortages. And two, the shed over the terraces would keep the terraces dry and prevent the perpetual leakages the top floors face due to bad design and construction. Have a look at the pictures below and remember that since the original construction of JVDE buildings and until now we have not been able to arrest the leakages in buildings; the number two issue facing the Society (the first being restoration of Peace, Harmony, Trust and Camaraderie), that the previous MC wasn’t able to do a fig about because of focus on only one issue: the so called encroachments.
Of course, there are many other measures to keep the terraces clean and dry, in addition to the above. However, the intransigence of some of the members of the previous MC (they actually want the focus to return to a single point agenda of the so-called encroachments) is keeping the present MC from implementing any of these plans.
Time has therefore come in the society whence most of us (if not all of us) must abandon the earlier path chosen by the previous MC of confrontation, mistrust, hostility and suspicion (and doing nothing else) and think in terms of being participants with the present Managing Committee for the well-being of the Society.
I am, by no means suggesting (since some of the rabble-rousers are adept at twisting every word of others) that there should be no opposition to the ideas and plans of the Managing Committee. We should debate and discuss, in civilized fashion, all significant issues of the Society. However, we should shun the highly disruptive approach adopted by some of these people who have vested interests in ensuring peace, harmony and well-being don’t ever return to JVDE.
Let us all join hands in ensuring that ‘Hell In The JVDE (Kharghar) – A ‘War’ Movie In The Making!‘ is stopped here and now and bring home to the handful of rabble-rousers that their disruptive methods are not appreciated and won’t succeed.
P.S. Please do feel free to give your comments below. When the comments on my last article were published, the rabble-rousers had this to say to me: “All favourable comments to your article are by those who have encroached upon common-spaces in the buildings”. However, I publish all comments, whether favourable to me or not, except when comments become rhetoric and even longer than the article itself!
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
We have completed Part I of this Countdown from 03 Jul to 09 Jul 16. Those of you who read Part I would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part I, I have covered seven of them:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with Aansu bhari hain ye jeevan ki raahen.
With this, we are ready to move into Part II, covering the second week of the countdown. Before we do, here is my own adoration:
Shakeel geeton aur ghazalon ke umdha fankaar the, Gham se unaka rishta tha, gham ke khareeddaar the,
Husn aur ishq pe likhana unaki khaasiyat hi nahin,
Lagata tha jaise mohabbat karne waalon ke raazdaar the.
Day #8 of 31
Song #22
In the 1954 movie Shabab, Shakeel Badayuni was back with Naushad and I have already given you (earlier in Part I) the Hemant Kumar Lata Mangeshkar song: Chandan ka palna resham ki dori.
I have so far given you only one song per movie except for Baiju Bawra, for which I gave you three: O duniya ke rakhwaale, Man tadpat Hari darshan ko aaj, and Tu Ganga ki mauj main Jamina ka dhaara.
I am tempted to give you another song of Shabab too.
This is another favourite and very nostalgic. Mohammad Rafi has sung for Bharat Bhushan.
Please enjoy: Aaye na baalam waada kar ke…..
aaye na baalam vaadaa kar ke
aaye na baalam vaadaa kar ke
thak gaye nainaa dhiiraj dhar ke
aaye na baalam …
chhup gayaa chandaa luT gayii jyoti
taare ban gaye jhuuThe motii
pa.D gaye phiike ra.ng najar ke
aaye na baalam …
aao ki tum bin aa.Nkho.n me.n dam hai
raat hai lambii jiivan kam hai
dekh luu.N tum ko mai.n jii bhar ke
aaye na baalam …
Day #8 of 31
Song #23
By 1954, Ghulam Mohammad had emerged as a Music Director on his own. Hence when Sohrab Modi made his biographical movie Mirza Ghalib on the life of the poet Ghalib, he took Ghulam Mohammad as the Music Director.
(Pic courtesy: www.youtube.com)
The movie starred Bharat Bhushan as Ghalib, Suraiyya as his courtesan beloved Moti Bai and Nigar Sultana as his wife. Naturally, almost all songs were penned by Ghalib himself.
However, there was still one that was penned by Shakeel!
It was sung by Shamshad Begum and chorus.
(Pic courtesy: indianexpress.com)
Please enjoy: Chali pii ke nagar….
sha : chalii pii ke nagar
ab kaahe kaa Dar
more baa.Nke
ho more baa.Nke balam kotawaal -2
ko : chalii pii ke nagar ab kaahe kaa Dar
more baa.Nke
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
sha : apane piyaa kii
ko : apane piyaa kii
sha : mai.n paTaraanii
maaruu.N najariyaa dil hove chhalanii
ko : maaruu.N najariyaa dil hove chhalanii
sha : meha.ndii se hathelii hai laal
ho
ko : meha.ndii se hathelii hai laal
more
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
sha : ban ke dulhaniyaa mai.n itaraa_uu.N
ko : ban ke dulhaniyaa mai.n itaraa_uu.N
sha : ab na kisii se aa.Nkh milaa_uu.N
ko : ab na kisii se aa.Nkh milaa_uu.N
sha : mohe dekhe ye kisakii majaal
ho
ko : mohe dekhe ye kisakii majaal
more
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
sha : ghar me.n balam ke
ko : ghar me.n balam ke
sha : raaj karuu.Ngii
saas-nanad se mai.n naa Daruu.Ngii
ko : saas-nanad se mai.n naa Daruu.Ngii
sha : devaraa ko me.n duu.Ndii nikaal
ho
ko : devaraa ko me.n duu.Ndii nikaal
more
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
ko : chalii pii ke nagar ab kaahe kaa Dar
more baa.Nke
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
https://www.youtube.com/watch?v=NH7ZBvNnHuE
Day #8 of 31
Song #24
In the next movie of 1954, Chor Bazar, Sardar Malik composed Shakeel’s lyrics into songs.
What a story the movie had! Finally, after all the intrigue, there was happy ending!
Prince Murad is the infant, heir-apparent of the state of Sherkand in the Persian Gulf. His uncle, the wily Mustafa hires the greedy (but not evil) Om Prakash (Yusuf Ustad) to kill the child and bring him proof of the killing.
Yusuf develops cold feet to kill an infant and hence runs away with him to a neighbouring state. Prince Murad is thus brought up as a highly accomplished thief Shimoo, who grows up as Shammi Kapoor. Sumitra Devi plays the role of Princess Gulnaar, Mustafa’s daughter. When Shimoo goes to rob the palace, he falls in love with her. Though she was engaged to Marrakesh Prince Haider, finally Shimoo wins and Mustafa’s deceit is revealed.
Shimoo is then reinstated as the King of Sherkand: Murad.
Here are the songs of the movie:
1. Chalataa Rahe Ye Kaaravaan Lata Mangeshkar
2. Tere Dar Pe Aaya Hun Fariyad Ley Kar Talat Mahmood
3. Ye Duniya Ke Mele Magar Hum Akele Shamshad Begum
4. Qismat Men, Dar Dar Ki Thokaren Hain Lata Mangeshkar
5. Taro Ki Palki Me Aayi Jawani Shamshad Begum
Please enjoy Lata Mangeshkar sing: Hui ye ham se naadaani teri mehfil mein jaa baithe….
huii ye ham se naadaanii terii mahafil me.n jaa baiThe
zamiin kii khaaq hokar aasamaan se dil lagaa baiThe
Kabar kyaa thii gulistaan-e-muhabbat me.n bhi khatare.n hai.n
jahaa.N giratii hai bijalii ham usii Daalii pe jaa baiThe
huaa khuun-e-tamannaa isakaa shiqavaa kya kare.n tumase
na kuchh sochaa na kuchh samajhaa jigar par tiir khaa baiThe
na kyo.n a.njaam-e-ulfat dekh kar aa.Nsu nikal aaye
jahaa.N ko luuTane vaale khud apanaa ghar luTaa baiThe
https://www.youtube.com/watch?v=zDDnd94TJhg
Appreciating Good Lyrics Song #8
As you are aware, I started these posts a week ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last seven days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
Tonight we take up our eighth lyricst, Qamar Jalalabadi‘s creation.
Qamar Jalalabadi was born as Om Prakash Bhandari in 1919 in the town of Jalalabad near Amritsar in Punjab. He started writing poetry at the age of seven. He was given the pen-name of Qamar which means moon. Since, it was routine those days for writers to name themselves after the towns they hailed from, he became known as Qamar Jalalabadi. After schooling from Amritsar, he became a journalist for Lahore based newspapers like Daily Milap, Daily Pratap, and Nirala.
In early 1940s, he came to Poona to write lyrics for songs in Hindi movies. His first film was Zamindar in 1942 and his first song, just like Shakeel’s for Dard, became famous. The song: “Duniya mein gareebon ko aaraam nahin milata” was sung by Shamshad Begum.
Subsequently, Jalalabadi relocated to Bombay, and worked there as a lyricist for nearly four decades.
All old timers know him for the song “Khush hai zamaana aaj pehli tareek hai” which was aired from Radio Ceylon for several years on the first of every month.
Matching lyrics to Shakeel?
Well, as I know there are several. But, in case of all lyricists, I have tried to give their early songs first.
This is from the 1955 movie Adl-e-Jahangir (Justice of Jahangir). This historical film was the debut directorial attempt by the famous director GP Sippy.
“The story involved a quasi historical episode from Emperor Jehangir’s reign where his sense of justice is brought into question when his wife, the Empress Noor Jehan is implicated by Rami, a washer woman, in the killing of her husband (aacidentally by an arrow when Noor Jahan goes hunting).”
The movie starred Pradeep Kumar and Meena Kumari and this song became quite famous. It was sung by both Talat Mehmood and Lata.
The composer was Husnlal-Bhagatram.
Please enjoy: Ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N….
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
naa to mil ke gaye naa hii chho.Daa nishaa.N
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
naa vo lay aaj rahii naa vo mahamil rahaa
paas ma.nzil pe aake luTaa kaaravaa.N ho luTaa kaaravaa.n
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
ye sitaare nahii.n Gam ke aa.NsU hai.n ye
ro rahaa hai mere haal par aasamaa.n haal par aasamaa.n
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
tumase milake hii mastii me.n khoye the ham
aa.Nkhe.n khulii.n to uja.Daa huaa thaa jahaa.N ab mai.n jaauu.N kahaa.N
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
hai zamii.n ke daaye nahii.n teraa nishaa.N
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
tujhe Dhuu.NDhU.n kahaa.N, tujhe Dhuu.NDhU.n kahaa.N…
Day #9 of 31
Song #25
Now that I have started going chronologically with Shakeel’s songs in Hindi movies, if you recall yesterday we concluded the day with the 1954 movie Chor Bazaar song.
Today, we take up his 1954 movie Amar.
This song has been mentioned by me as one of the best of Shakeel. It is because of songs like this that I dubbed him the King of Irony.
There is no better way to bring home your situation than to use Irony. And, as luck would have it, tonight itself I am arriving at the 1954 movie Amar, yet another Mehboob Khan movie in which Shakeel and Naushad gave their best songs.
(Pic courtesy: www.youtube.com)
“A prosperous, well-respected lawyer (Dilip Kumar as Amarnath), in love with and engaged to an educated, socially conscious young woman (Madhubala), succumbs to a weak moment and rapes a poor local village milkmaid (Nimmi). The rest of the story deals with the aftermath of this tragic event, with all the inevitable undercurrents of guilt, penitence and pervasive heartbreak that stem from it.”
Each word, each line by Shakeel can be weighed in gold. I keep thinking how well he could write irony?
Chalo achha huaa apano mein koi gair to nikala,
Agar hote sabhi apane to begaane kahan jaate?
Please enjoy: Na milata gham to barbaadi ke afsaane kahan jaate….
ho, tamannaa luT ga_ii phir bhii tere dam se mohabbat hai
mubaarak Gair ko Kushiyaa.N mujhe, Gam se mohabbat hai
na milataa Gam to barabaadii ke afasaane kahaa.N jaate
agar duniyaa chaman hotii, to viiraane kahaa.N jaate
chalo achchhaa huaa apano.n me.n koii Gair to nikalaa
jii, koii Gair to nikalaa
agar hote sabhii apane, to begaane kahaa.N jaate
du_aae.n do mohabbat hamane miTakar tumako sikhalaadii
mohabbat tumako sikhalaadii
na jalate shamaa me.n to parvaane kahaa.N jaate
tumhii.n ne Gam kii daulat dii ba.Daa ahasaan farmaayaa,
ba.Daa ahasaan farmaayaa
zamaane bhar ke aage haath phailaane kahaa.N jaate
https://www.youtube.com/watch?v=0BKLe-L6Dtg
Day #9 of 31
Song #26
The 1954 movie Amar had the following songs:
1. “Ek baat kahoon mere piya sun le agar tu” – Asha Bhosle
2. “Oodi oodi chhayi ghata jiya lehraaye” – Lata Mangeshkar and chorus
3. “Umangon ko sakhi pee ki nagariya kaise le jaaoon” – Lata Mangeshkar and chorus
4. “Jaanewaale se mulaaqaat na hone paayi” – Lata Mangeshkar
5. “Tere sadqe balam na kar koyi gham” – Lata Mangeshkar
6. “Khaamosh hai khewanhaar mera, naiya meri doobi jaati hai” – Lata Mangeshkar
7. “Na shiqwa hai koi” – Lata Mangeshkar
8. “Insaaf ka mandir hai yeh bhagwan ka ghar hai” – Mohammad Rafi and chorus
9. “Radha Ke Pyare”- Asha Bhosle
10. “Na Milta Gham To Barbadi Ke Afsane Kahan Jaate” – Lata Mangeshkar
And, just now I gave you the last in the list Na milta gham.
We shall take up one more song: Insaaf ka mandir hai ye Bhagwan ka ghar hai. It was composed by Naushad in Raag Bhairavi in Tal Dadra.
I have often quoted this song by Mohammad Rafi as a song which is exemplary in inter-religious respect: that is, it is a Hindi bhajan and a number of Muslims have contributed towards its making. These are:
1. Shakeel Badayuni as lyricist.
2. Naushad Ali as music director.
3. Mehboob Khan as producer and director.
4. Dilip Kumar as hero.
5. Madhubala as heroine.
6. Mohammad Rafi as singer.
Please enjoy in Raag Bhairavi: Insaaf ka mandir hai ye bhagwan ka ghar hai….
During casting
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
ra: kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
Casting ends here
Part 2
Dilip and Madhubaalaa go to temple
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
hai.n paa.Nv tere phir bhii tuu aane se hai majabuur
aane se hai majabuur
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
insaaf kaa mandir hai ye bhagavaan kaa ghar hai
dukh de ke jo dukhiyo.n se na insaaf karegaa
bhagavaan bhii usako na kabhii maaf karegaa
ye soch le -2
ye soch le har baat kii daataa ko Kabar hai
daataa ko Kabar hai
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
Part 3:
At the end
ra: maayuus na ho haar ke taqadiir kii baazii
pyaaraa hai vo Gam jisame.n ho bhagavaan bhii raazii
dukh dard mile
dukh dard mile jisame.n wohii pyaar amar he
wohii pyaar amar he
ye soch le har baat kii daataa ko Kabar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
Day #9 of 31
Song #27
That brings us to the 1955 movie Udan Khatola.
This was another movie in which Shakeel Badayuni paired with Naushad. I have already given you, on Day #3, Song #8 the movie’s short story and the song Hamare dil se naa jaana.
Lets take this gem from Mohammad Rafi that has the despondency about Love that Shakeel was so famous for.
Please enjoy: Muhabbat ki raahon pe chalna sambhal ke…
muhabbat kii raaho.n me.n
chalanaa sambhal ke
yahaa.N jo bhii aayaa
gayaa haath mal ke
na paaii kisii ne muhabbat kii ma.nzil
qadam Dagamagaae, zaraa duur chal ke
hame.n Dhuu.NDhatii hai, bahaaro.n kii duniyaa
kahaa.N aa gae ham, chaman se nikal ke
kahii.n Duub jaae na, hasarat bharaa dil
na yuu.N tiir fe.nko, nishaanaa badal ke
Appreciating Good Lyrics Song #9
As you are aware, I started these posts eight days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last eight days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
Tonight we take up our ninth lyricst, Raja Mehdi Ali Khan‘s creation.
Having been born in 1928 in Jehlum in undivided India, when the partition of India took place, Raja Mehdi Ali Khan and wife Tahira refused to go to Pakistan despite communal riots. His patriotism came to fore in 1948 itself when he wrote the famous number: Watan ki raah mein watan ke naujwaan shahid hon for the movie Shaheed starring Dilip Kumar.
Raja Mehdi Ali Khan paired with the Music Director Madan Mohan to produce some of Lata Mangeshkar’s best numbers. She has acknowledged so.
Raja appears to have done everything at a relatively young age. It is as if he knew that he is going to die young at the age of 37 only on 29 Jul 1966.
When Shakeel gave his first film song in 1947 Dard: Afsana likh rahi hoon, Shakeel was 31 years old. Raja Mehdi Ali Khan was just 18 when he gave his, in his first movie Do Bhai. And what a song it was, sung by Geeta Dutt.
Indeed, Raja Mehdi Ali Khan together with Rajinder Krishan emerged the lyricist of choice for heroines. Some of his best songs are:
1. Aap ki nazaron ne samajha pyaar ke kaabil mujhe.
2. Agar mujhase mohabbat hai mujhe sab apne gham de do.
3. Sapano mein agar mere tum aao to so jaayun.
4. Naaina barse rimjhim rimjhim.
5. Lag jaao gale ke phir ye hasin raat ho na ho.
6. Naino mein badra chhaye.
It is not as if he didn’t write for heroes. Taste some of his best there too:
1. Main nigahen tere chehre se hatayun kaise.
2. Tum bin jeevan kaise beeta poochho mere dil se.
3. Aap youn hi agar hamase milate rahe.
The movie Do Bhai starred Ulhas, Noor Jehan, Kamini Kaushal, Dipak Mukherjee, Ramayan Tiwari, Rajan Haksar and Paro in lead roles. The song was composed by SD Burman and was an instant hit together with Yaad karoge, also sung by Geeta Dutt.
o cho.D ke jaane vaale aa
dil to.D ke jaane vaale aa
aa.Nkhe.n asuvan me.n Duub gayii.n
ha.Nsane kaa zamaanaa biit gayaa
meraa sundar sapanaa biit gayaa
har raat merii divaalii thii
mai.n piyaa kii hone vaalii thii
is jiivan ko ab aag lage, aag lage
is jiivan ko ab aag lage
mujhe cho.Dake jiivan miit gayaa
meraa sundar sapanaa biit gayaa
Day #10 of 31
Song #28
Lets start today with the 1955 movie Sitara that starred Pradeep Kumar and Vyjayanthimala in the lead roles. In this movie, for making the songs, Shakeel Badayuni was with Ghulam Mohammad. So far, since 1947 movie Dard, you would have noticed that Shakeel has stayed firmly with Naushad Ali (13 out of 19 movies) and his disciple Ghulam Mohammad (4 out of 19 movies). The only exceptions have been: Singaar (1949) with Khursheed Anwar and Chor Bazaar (1954) with Sardar Malik.
Here is the list of songs of the movie:
1. Yeh Duniya Ki Rail Musafir Chak Chak Chalti Jaye
2. Masti Me Jhum Jhum Jiya Mera Gaye
3. Nashe Me Jo Daulat Ke Hum Dagmagaye Zamana Ye Samjha Ke
4.Thandi Hawayei Kali Ghataye Are Dil Hai Bekrar
5. Jamunaa Ke Paar Koi Bansi Bajaaye
6. Chanda Dheere Se Aa Aangan Me
7. Tham Ke Dil Main Rah Gayi
Lata Mangeshkar Ghulam Mohammad Shakeel Badayuni
And this one, that has been sung by Lata Mangeshkar.
Please enjoy: Taqdeer ki gardish kyaa kam thi us par ye qayaamat kar baithe?
taqadiir kii gardish kyaa kam thii -2
us par ye qayaamat kar baiThe
betaabii-e-dil jab had se ba.Dhii -2
ghabaraake muhabbat kar baiThe
taqadiir kii gardish kyaa kam thii
(aa.Nkho.n me.n chhalakate hai.n aa.Nsuu
dil chupake chupake rotaa hai) -2
dil chupake chupake rotaa hai
vo baat hamaare bas kii na thii -2
jis baat kii himmat kar baiThe
taqadiir ki gardish kyaa kam thii
(Gam ham ne Kushii se mol liyaa
us par bhii hu_ii ye naadaanii) -2
us par bhii hu_ii ye naadaanii
jab dil kii ummiide.n TuuT ga_ii -2
qismat se shikaayat kar baiThe
taqadiir kii gardish kyaa kam thii -2
us par ye qayaamat kar baiThe
taqadiir kii gardish kyaa kam thii -2
us par ye qayaamat kar baiThe
betaabii-e-dil jab had se ba.Dhii -2
ghabaraake muhabbat kar baiThe
Day #10 of 31
Song #29
Shakeel’s 20th movie in eight years since Dard (1947) was Kundan that was produced and directed by Sohrab Modi who also played the title role of a man who stole a loaf of bread (the movie was based on Victor Hugo’s Les Misérables) and had the police following him throughout the movie.
(Pic courtesy: www.youtube.com)
Nimmi had a dual role in the movie as mother and dughter. Sunil Dutt, Pran, Murad, Ulhas, Baby Naaz, Kumkum, Manorama, and Om Prakash completed the cast.
The songs of the movie were penned by Shakeel and composed by Ghulam Mohammad. Take a look at the list:
1 Naujavano Bharat Ki Taqdir Bana Do Mohammed Rafi
2 Shikayat Kya Karun Donon Taraf Gam Kaa Fasana Hai Lata Mangeshkar
3 Jahan Wale Hamein Duniya Mein Lata Mangeshkar
4 Meri Aankhon Ke Tare Mere Dil Ke Sahare Lata Mangeshkar
5 Yeh Baharon Ke Din, Yeh Suhana Sama Lata Mangeshkar, Mohammed Rafi
6 Matwale O Matwale Naino Ke Teer Lata Mangeshkar, Shamshad Begum
7 Hosh Mein Aao Murakh Bande Manna Dey
8 Meri Jaan Gair Ko Tum Paan Khilaya Mohammed Rafi, Geeta Dutt
9 Aao Hamare Hotal Mein S D Batish, Sudha Malhotra
10 Mera Bhola Balam Mubarak Begum
Lets take up Lata‘s Jahan wale hamein duniya mein since the lyrics are so typically Shakeel whilst bemoaning poverty.
Please enjoy: Jahan waale hamen duniya mein….
( jahaa.N waale hame.n duniyaa me.n
kyo.n paidaa kiyaa tuune ) -2
Gariibii de ke aa.Nkhe.n pher lii.n
ye kyaa kiyaa tuune
jahaa.N waale
( mujhe shiqawaa nahii.n
tuune miTaa dii zindagii merii ) -2
karam se tere Takaraatii
kahaa.N tak mufalisii merii
mere dil kii ummiide.n to.D dii.n
achchhaa kiyaa tuune
jahaa.N waale
( hame.n kyaa ham to mar-mar kar
jiye hai.n aur jii le.nge ) -2
hameshaa Kuun ke aa.Nsuu
piye hai.n aur pii le.nge
zamaane me.n Kud apane naam ko
rusawaa kiyaa tuune
With Shakeel’s last movie of 1955, Hoor-e-Arab, Ghulam Mohammad scored a hat-trick. You would notice that tonight’s all three movies have him as the Music Director.
Hoor-e-Arab was Shakeel’s second movie with the Director Prem Narayan Arora, the first being Chor Bazaar of 1954 whose story had Shammi Kumar becoming a thief from Prince Murad and finally being reinstated as a king in the Gulf country of Sherkand. This also shows the fascination with Arab countries.
Who was PN Arora and why did I take time out to mention him? Well, he is the same man who was married to Helen for 35 years and then threw her out of the house. She had no choice but to marry Saleem Khan, Salman Khan’s father as his second wife!
(Pic courtesy: post.jagran.com)
The movie starred Pradeep Kumar, Chitra, Helen, Om Prakash, Sajjan and Shashikala.
The movie had the following songs:
1. Dar Dar Ki Thokare Hai
2. Mere Dil Me Sanam
3. Zamane Ke Malik Duhayi Hai Teri
4. Sanduk Me Banduk Hai Banduk Me Goli
5. Ae Saaqi-e-mastana Bhar De Mera Paimana
6. Aao Aao Mere Bhai Dekho Laalpari Aayi
7. Chand Ne Pahana Taj, Sitaro Jhum Jhum Kar Nacho
8. Naujawano Meharbano Sun L
9. Taraa Raa Raa Ram Mere Dil Men Sanam
I am going to give you the fourth song: Sanduk mein bandook hai bandook mein goli. It appears like a B-grade song but do not forget that the tale of Hoor-e-Arab is based on the tales of Arabian Nights and must have that element of being suitable for young, children’s minds.
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
majnoo mere khaaloo thhe
aur maamu thhe Farhaad
mere maamu thhe Farhaad
majnoo mere khaaloo thhe
aur maamu thhe Farhaad
mere maamu thhe Farhaad
kabristaan mein mahal banaakar
chhod gaye aulaad
nanhi si meri jaan hai
main hoon badi bholi
nikli hai badi dhoom se
maashooqon ki toli
aa haa
o ho
hahahaaha
nikli hai badi dhoom se
maashooqon ki toli
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
sabzpari
duniya mein aakar doondh rahi gulfaam
apna dhoondh rahi gulfaam
sabzpari
duniya mein aakar doondh rahi gulfaam
apna dhoondh rahi gulfaam
ishq mein tere kaanta ban gayi
muft huyi badnaam
khidki mere dil ki kisi ne bhi nahin kholi
nikli hai badi dhoom se
maashooqon ki toli
haha
o ho ho
hahahah
nikli hai badi dhoom se
maashooqon ki tol
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
Appreciating Good Lyrics Song #10
As you are aware, I started these posts eight days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Tonight we take up the tenth lyricist Indeevar‘s creation. He was born in 1924 as Shyamalal Babu Rai in Dhamna Village of Jhansi district of Uttar Pradesh. He moved to Bombay at the end of 1940s to pursue a professional career as a lyricist.
In a career spanning nearly half a century he wrote 1633 songs for over 300 films.
(Pic courtesy: glamsham.com)
As a contemporary of Shakeel, I have been giving you songs of 50s and 60s, so far.
As far as Indeevar is concerned, I give you a gem from his first movie, the 1951 movie Malhaar.
Here is from The Hindu newspaper dated 29 Mar 2012 in a piece titled ‘Blast From The Past: Malhar (1951):
“Starring Shammi, Arjun, Moti Sagar, Kanhaiyalal
On watching “Malhar”, more than six decades after it was released, one cannot but admire the fundamental laws that govern good cinema, which have stood the test of time, proving that they are inviolate and sacrosanct. Despite the considerable time that has elapsed, “Malhar”, directed by Harish, shows no signs of staleness, at least in certain vital areas. The first of two films to be produced by ace singer, Mukesh (the other being “Anuraag” in 1956) under the banner of Darling Films, it had a young and largely inexperienced cast and crew, for many of whom it was their debut vehicle.
The film is a showpiece of technical brilliance, especially the editing by S. Prabhakar, which is taut and precise, and never allows the narrative to slacken or waver, even in the second half, which, on certain occasions tends to meander. Equally deft is the cinematography by M. Rajaram, considering the equipment available to him.
However, piece-de-resistance of the film is its music score, composed by Roshan, grandfather of Hrithik Roshan, who had made his debut just a year earlier, in 1950. For the current generation of viewers, who, through incessant harping might be deluded into believing that film dynasties do not extend beyond the Bachchans and the Kapoors, this will be a revelation. As will be the trivia that Mukesh was the grandfather of the talented Neil Nitin Mukesh. Or Moti Sagar, who essays an important role, is the father of singer Preeti Sagar.
Each song, led by the remarkable “Bade Armaanon Se Rakha Hai Sanam Teri Qasam, Pyaar Ki Duniya Mein Yeh Pehla Qadam” is a gem. Roshan was undoubtedly helped by the lyricists, debutant Indeevar and Kaif-Irfani- who penned sheer poetry, including “Dil Tujhe diya tha Rakhne ko, Tune Dil ko Jala ke Rakh Kiya” and “Tara Toote Duniya Dekhe”. Lata Mangeshkar and Mukesh, needless to mention, made them immortal in their voice.”
Please enjoy Lata Mangeshkar and Mukesh sing the debut song of Indeevar in the Hindi movies, a song composed by Roshan: Bade armaano se rakha hai balam teri kasam….
ba.De armaano.n se rakhaa hai balam terii kasam
o balam terii kasam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam
judaa na kar sake.nge hamako zamaane ke sitam
ho, zamaane ke sitam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam
le uThaa pyaar bhii a.nga.Daaii hai, dil bhii jahaa.N
ajii, aise me.n li_e jaate ho tum bolo kahaa.N
duur duniyaa kii nigaaho.n se kahii.n jaae.nge ham
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …
terii do aa.Nkho.n me.n dikahte hai.n mujhe dono.n jahaa.N
inhii me.n kho gayaa dil meraa kaho Dhuu.NDhuu.N kahaa.N
chaa.Nd ghaTataa ho ghaTe apanii mohabbat na ho kam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …
merii naiyaa ko kinaare kaa i.ntazaar nahii.n
teraa aa.Nchal ho to patavaar bhii darakaar nahii.n
tere hote hue kyo.n ho mujhe tuufaan kaa Gam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …
Day #11 of 31
Song #31
In the number of songs written, Shakeel Badayuni ranks tenth in Hindi movies; this ranking headed by Sameer with 4073 songs and Anand Bakshi with 3441 songs. Shakeel wrote only one fifth, only 761 songs, nine less than Sahir and less than most of his contemporaries Rajinder Krishan (1423), Anjaan (1208), Bharat Vyas (1173), Hasrat Jaipuri (1130). Even Prem Dhawan, Shailendra and Gulzar are ahead of both Shakeel and Sahir Ludhianvi.
This goes to prove that whilst at one time the number of songs in the movies were more, the number of movies themselves were less. Nowadays, Jawed Akhtar, for example, has already written more than a thousand songs.
Yesterday, we had reached the year 1955 in the career of Shakeel Badayuni that started with the 1947 movie Dard (Afsana likh rahi hoon). I gave you a light-hearted number from the 1955 movie Hoor-e-Arab: Sanduk mein bandook, bandook mein goli sung by Shamshad Begum.
There was no movie with Shakeel’s songs released in the year 1956 and I shall tell you why a little later.
Lets first take the 1957 movie Pak Daman in which Ghulam Mohammad once again composed Shakeel’s lyrics into songs; making it the fourth movie in a row since the 1955 movie Sitaara.
Here is the list of songs for the movie:
1. Khel Khiladi Khele Ja Mauj Kare Dil Vala Dushman Ka Muh Kala
Geeta Dutt
2. Dil Mein Rehte Ho
Shamshad Begum, Mohammed Rafi
3. Bhatke Huye Raahi Tujhe Manzil
Mohammed Rafi, Bande Hasan
4. Jahaan Wale Garibon Ki Tu Hi Bigdi
Asha Bhosle
5. Pyar Ki Chandni Leke Raat Aayegi
Asha Bhosle
6. Sun Dard Bhari Faryad
Asha Bhosle
7. Ek Din Laila Kisko
Mohammed Rafi, Mubarak Begum, Mirza Musharraf, Balbir
8. Mil Mil Ankhiyan Balam Jiya Dhadke
Geeta Dutt
9. Mushaira (1)
Shakeel Badayuni, Mubarak Begum
10. Mushaira (2)
Shakeel Badayuni, Mubarak Begum
Lets listen to the 11th song that became famous: Mubarak Ho Dulha Dulhan Ko Ye Shadi, Mile Dil Se Dil Zindagi Muskura Di sung by Mohammed Rafi:
mubaaraq ho duulhaa-dulhan ko ye shaadii
mile dil se dil zindagii muskaraa dii
ba.Ndhaa sar pe jab chaa.Nd-taaro.n kaa seharaa
ko_ii jal gayaa aur kisii ne du_aa dii
mile dil se dil …
Kudaa is mohabbat ko aabaad rakhe
ki jisane ummiido.n kii duniyaa basaa dii
mile dil se dil …
bhare god yaa-rab khile.n dil kii kaliyaa.N
muraade.n ho.n puurii miTe naamuraadii
mile dil se dil …
Day #11 of 31 Song #32
And now for the reason why so long there had been no Shakeel – Naushad movies. Indeed after the 1955 Udan Khatola, for the next four movies, for two years, Shakeel penned songs for Ghulam Muhammad movies.
The reason was that 1957 iconic Mehboob Khan movie Mother India was in the making. Mehboob Khan had already made the 1952 movie Aan with them and 1954 movie Amar.
Volumes have been written about this movie that nearly won for Mehboob Khan an Oscar for the Best Foreign Film at Academy Awards, whereat it lost to Federico Fellini’s Nights of Cabiria by a single vote.
The title Mother India was inspired by American author Katherine Mayo’s 1927 controversila book of the same name, in which she attacked Indian society, religion and culture.
Nargis, only 26 years old at that time, was chosen by Mehboob Khan to portray Radha, who, in the absence of her husband, struggles to raise her sons and survive against a cunning money-lender amidst many troubles. Despite her hardship, she sets a goddess-like moral example of an ideal Indian woman. Thus the movie was meant to counter Katherine Mayo’s diparaging image of Indian woman in her book.
How right Mehboob Khan was in his choice was proved by Nargis not just being awarded the Filmfare Best Actress award for her role but also she became the first Indian to receive the Best Actress award at the Karlovy Vary International Film Festival.
Now for the curious fact about the 12 songs of the movie by the pair of Shakeel and Naushad. As I said, both together had worked for Mehboob Khan in two movies whereas Naushad alone ahd worked with Mehboob Khan in eight movie.
Initially the songs were not well recieved! However, later critics rated the music and songs amongst the 100 greatest Bollywood (how I hate that title) soundtracks ever.
Mother India is the earliest example of a Hindi film containing Western classical music and Hollywood-style orchestra.
Here is the list of its dozen songs:
1. “Chundariya Katati Jaye” Manna Dey 3:15
2. “Nagari Nagari Dware Dware” Lata Mangeshkar 7:29
3. “Duniya Mein Hum Aaye Hain” Lata Mangeshkar, Meena Mangeshkar, Usha Mangeshkar 3:36
4. “O Gaadiwale” Shamshad Begum, Mohammed Rafi 2:59
5. “Matwala Jiya Dole Piya” Lata Mangeshkar, Mohammed Rafi 3:34
6. “Dukh Bhare Din Beete Re” Shamshad Begum, Mohammed Rafi, Manna Dey, Asha Bhosle 3:09
7. “Holi Aayi Re Kanhai” Shamshad Begum 2:51
8. “Pi Ke Ghar Aaj Pyari Dulhaniya Chali” Shamshad Begum 3:19
9. “Ghunghat Nahin Kholoongi Saiyan” Lata Mangeshkar 3:10
10. “O Mere Lal Aaja” Lata Mangeshkar 3:11
11. “O Janewalo Jao Na” Lata Mangeshkar 2:33
12. “Na Main Bhagwan Hoon” Mohammed Rafi 3:24
Lets take up the iconic Duniya mein ham aaye hain to jeena hi padhega for two reasons: The foremost is that the song is the theme of the movie, the determined image of the Indian woman to fight against adversity and emerge stronger (my own mother has done this after the premature death in an accident of my father in 1984!). The second is that Shakeel’s lyrics bring out the theme of the movie remarkably well. Hats off to him.
The song has been sung by Lata Mangeshkar, Usha Mangeshkar and Meena Mangeshkar.
Please enjoy: Duniya mein ham aaye hain to jeena hi padhega….
duniyaa me.n ham aaye hai.n to jiinaa hii pa.Degaa
jiivan hai agar zahar to piinaa hii pa.Degaa
duniyaa …
gir gir ke musIbat me.n sambhalate hI rahe.nge
jal jAe.n magar Ag pe chalate hI rage.nge
Gam jisane diye hai.n bahI Gam dUr karegA
duniyaa …
aurat hai vahI aurat jise duniyaa kI sharm hai
sa.nsAr me.n bas lAj hI nArI kA dharm hai
zindA hai jo izzat se vahI izzat se maregA
duniyaa …
mAlik hai tere sAth na Dar Gam se tU ye dil
mehanat kare insAn to kyA kAm hai mushkil
jaisA jo karegA yahA.N vaisA hI bharegA
duniyaa …
Day #11 of 31
Song #33
Mother India was, in a way, remake of Mehboob Khan’s 1940 movie Aurat. It has been rated as the most iconic film ever made in India. The inspiration for Mehboob Khan was not just his own movie of 1940, but also the celebrated author Pearl S Buck’s two novels: The Good Earth (1931) and The Mother (1934).
Besides Nargis, the movie starred Sunil Dutt, Rajendra Kumar, and Raaj Kumar.
At this stage, I have to give you this song since it is a favourite of mine. Lata Mangeshkar and Mohammad Rafi have sung this for Nargis and Raaj Kumar in their happy days. This is also the kind of folk songs that Shakeel and Naushad really mastered; you may recall Gunga Jamuna’s Nain ladh jayi hai or Baiju Bawra’s: Door koi gaaye dhun ye sunaaye.
la : matavaalaa jiyaa Dole piyaa jhuume ghaTaa chhaa_e re baadal
ra : karanaa hai to kar pyaar na Dar biitii umar aa_egii naa kal
are paagal -2
ko : matavaalaa jiyaa …
karanaa hai to kar …
la : aramaan bharaa dil hai balam tere havaale
tuu apanaa banaa le are tuu apanaa banaa le
ra : saavan hai javaanii pe lagii dil kii bulaa le
ha.Ns le zaraa gaa le are ha.Ns le zaraa gaa le
la : naache meraa man aaj sajan chhan chhananan bole re paayal
ko : matavaalaa jiyaa …
karanaa hai to kar …
ra : ho dil teraa diivaanaa merii aa.Nkhe.n bhii diivaanii
kuchh de de nishaanii are kuchh de de nishaanii
la : duniyaa ke maze luuT le jiivan hai kahaanii
do din hai javaanii are do din hai javaanii
ra : duniyaa hai ba.Dii jaaduu bharii merii galii saath mere chal
ko : karanaa hai to kar …
matavaalaa jiyaa …
Appreciating Good Lyrics Song #11
Tonight we take up the eleventh lyricist DN Madhok‘s creation.DN Madhok, as most of you would be aware, is from the trio called ‘first generarion of lyricists’ that also included Kavi Pradeep and Kidar Sharma.
He was born on 22 Oct 1902 in Gujranwala (now in Pakistan), nearly 14 years before Shakeel Badayuni. He arrived in Bombay in 1931 and in the very next year wrote lyrics for the songs of Radhey Shyam. He wrote – hold your breath – 29 songs for that film. He also helped in composing songs for the film but wasn’t given credit for it.
(Pic courtesy: www.apnaarchive.wordpress.com)
He was a very versatile personality. In the second year, after Radhey Shyam, he directed three movies, all with English names: Lure of Gold, Flame of Love and Three Warriors.
He continued directing movies, writing screen-plays, dialogues and lyrics; like Gulzar did many decades after him. He wrote lyrics for such movies as Nadi Kinare (1939), Musafir (1940), Pagal (1940), Ummeed (1941), Bansari (1943), Nurse (1943), Bela (1947), Bhakt Surdas (1942), and Tansen (1943).
Now here is something that would interest Shakeel Badayuni fans: Whilst Naushad Ali is credited with bringing Shakeel into the movies, DN Madhok was credited with bringing Naushad into the movies! Whilst Shakeel’s first lyrics were in Naushad’s film, the 1947 movie Dard, Nashad’s first song in the movies was on the lyrics of DN Madhok!
The name of the 1940 movie was Prem Nagar that starred Prof Ramanand and Husna Banu (they sang for themselves). Here are the songs that Naushad composed in his first movie on the lyrics of DN Madhok:
1. Main Kali Baag Ki Tu Bhora Kaala
Husna Banu Naushad D N Madhok Husna Banu
2. Man Ke Taar Hila Jaa More Man Ke Taar
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
3. Mat Bolo Bahaar Ki Batiyaan
Bimla Kumari, Prof. Ramanand Naushad D N Madhok
Bimla Kumari, Prof. Ramanand
4. Tum Bin Chain Na Aaye Sajni
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
5. Ambua Pe Baitha Panchhi Kya Boli Bole
Prof. Ramanand, Husna Banu Naushad D N Madhok Prof. Ramanand, Husna Banu
Lets listen to the second song, if not for anything, but for the fact that Shakeel’s Mother India song: Nagri nagri dwaare dwaare had lyrics similar to it.
Please enjoy: Man ka taar hila jaa more man ka taar hila jaa….
man ke taar hila ja mere man ke taar hila ja
man ke ek taare par bande pritam pritam gaa le
man ke ek taare par bande pritam pritam gaa le
man ke taar baja kar murakh man ke taar baja kar murakh
jivan ka sukh pa le jivan ka sukh pa le
dag mag dole o more sajan dag mag dole o more sajan
naiya paar laga ja naiya paar laga ja
man ke taar hila ja mere man ke taar hila ja
nagri nagri dware dware jhum raha hai pritam pyare
koun nagriya ho more sajan koun nagriya ho more sajan
man ke taar hila ja mere man ke taar hila ja
man ke taar hila ja mere man ke taar hila ja
Day #12 of 31
Song #34
We took up two songs of the 1955 Mehboob Khan movie Mother India yesterday: Duniya mein ham aaye hain to jeena hi padhega, and Matwala jiya dole piya. This was Shakeel’s 23rd movie after a spectacular start in 1947 movie Dard.
Whilst I feel like giving you a number of other songs from the movie since they are all good ones, I shall give you one last one before moving on.
Whilst Khemchand Prakash composed a song in 1940 movie Tansen on Raag Megh Malhar (Tal Tintal), Naushad did the same in 1957 movie Mother India (in Tal Dadra).
Rains brought instant happiness to the farmers and they forgot all their worries. It is another thing that soon they would be back in debt and misery but Raag Malhar was the favourite of the farmers. All of you who must have seen Bimal Roy’s 1953 movie Do Bigha Zameen would recall how Balraj Sahni made Nirupa Roy dance in the rain though they were so poor that they didn’t know from where the next meal was coming from. The song, if you recall was: Hariyala saawan dhol bajaata aaya.
Dukh bhare din beete re bhaiyya ab sukh aayo re is Mother India equivalent song. Mohammad Rafi, Asha Bhonsle, Shamshad Begum, and Manna De have sung this. Pay attention to the line: Sawan ke sang aaye jawani, sawan ke sang jaaye!
When you see the video, do not forget the fact that Nargis, the great actress that she was, was only 26 years old whilst acting in the movie.
Please enjoy in Raag Megh Malhar: Dukh bhare din beete re bhaiyya, ab sukh aayo re….
(duHkh bhare din biite re bhaiyaa ab sukh aayo re
ra.ng jiivan me.n nayaa laayo re) -2
hoy hoy duHkh bhare din biite re bhaiyaa, biite re bhaiyaa
dekh re ghaTaa ghirake aa_ii ras bhar-bhar laa_ii -2
o ghaTaa ghirake aa_ii, ho
chhe.D le gorii man kii biinaa rimajhim rut chhaa_ii -2
o ghaTaa ghirake aa_ii
prem kii gaagar laa_e re baadar bekal moraa jiyaa hoy -2
duHkh bhare din biite re bhaiyaa …
madhur-madhur manavaa gaa_e apane bhii din aa_e -2
o madhur manavaa gaa_e, ho
saavan ke sa.ng aa_e javaanii saavan ke sa.ng jaa_e, o -2
o madhur manavaa gaaye, ho
aaj to jii bhar naach le paagal kal na jaane re kyaa hoye -2
duHkh bhare din biite re bhaiyaa
Day #12 of 31 Song #35
Lets now turn to the 1958 movie Sohni Mahiwal, the second movie (after the 1946 movie by the same name) on the legendary lovers by those names. The movie starred Bharat Bhushan and Nimmi in the title roles.
This was Shakeel’s 14th movie with his mentor Naushad Ali (out of a total of 24 till then). The film had a total of 11 songs and two tunes as follows:
1 Mahiwal’s Call-Music Mohammed Rafi 0:49
2 Title Music Mahendra Kapoor 2:46
3 Panghat Pe Najariya Lad Gayi Lata Mangeshkar 3:43
4 Teri Mehfil Tera Jalva Mohammed Rafi 3:46
5 Tumhare Sang Main Bhi Chaloongi Lata Mangeshkar 3:36
6 Aanewale Ko Aana Hoga Mohammed Rafi, Lata Mangeshkar 4:18
7 Duniya Hai Isika Naam Mohammed Rafi 3:47
8 Ae Mere Malik Mere Parwardigar Lata Mangeshkar 2:31
9 Mera Bichhda Yaar Mila De Mohammed Rafi, Lata Mangeshkar 3:52
10 Id Ka Din Tere Bina Hai Pheeka Lata Mangeshkar, Mohammed Rafi 4:07
11 Aaj Galiyon Mein Teri Aaya Hai Mohammed Rafi 3:46
12 Milti Hai Bheekh Maula Lata Mangeshkar 4:02
13 Chand Chhupa Aur Tare Doobe Mahendra Kapoor 7:34
The song that became iconic in the movie wasn’t sung by Mohammad rafi or Lata Mangeshkar. It was sung by Rafi’s protege Mahendra Kapoor and is still regarded as amongst the best he sang. This is the song about the tragic end of Sohni. She used to cross the river on a pitcher to meet her lover Mahiwal. One day her jealous and cunning sister-in-law followed Sohni and found the secret hiding place where Sohni kept the pitcher. She replaced the pitcher with a kuchcha (unbaked) pitcher. Instead of floating in the water for long, gradually the pitcher dissolved in the water and Sohni drowned. This song recalls that tragic end.
Please enjoy: Chand chhupa aur taare doobe….
chaa.Nd chhupaa aur taare Duube raat Gazab kii aaii
husn chalaa hai ishq se milane zulm kii badalii chhaaii
TuuT pa.Dii hai aa.Ndhii Gam kii, aaj pavan hai paagal
kaa.Np rahii hai dharatii saarii, chiikh rahe hai.n baadal
duniyaa ke tuufaan hazaaro.n, husn kii ik tanahaaii
maut kii naagan aaj kha.Dii hai raah me.n phan phailaaye
ja.Ngal-ja.Ngal naach rahe hai.n shaitaano.n ke saae
aaj Kudaa khaamosh hai jaise bhuul gayaa ho Kudaaii
ghor a.Ndheraa mushkil raahe.n, kadam-kadam pe dhokhe
aaj mohabbat ruk na sakegii, chaahe Kudaa bhii roke
raah-e-vafaa me.n piichhe haTanaa, pyaar kii hai rusvaaii
paar nadii ke yaar kaa Deraa, aaj milan hai teraa
o.Dh le tuu leharo.n kii chunarii baa.Ndh le mauj kaa seharaa
Dole me.n ma.Njhadhaar ke hogii aaj terii vidaaii
Duub ke in uu.Nchii leharo.n me.n naiyyaa paar lagaa le
ulfat ke tuufaan me.n zindaa rahate hai.n marane vaale
jiite-jii sa.nsaar me.n kisane pyaar kii ma.nzil paayii
tere dil ke khuun se hogaa laal chenaab kaa paanii
duniyaa kii taariikh me.n likhii jaayegii yeh qurbaanii
sohanii aur mahivaal ne apanii ishq me.n jaan ga.Nvaayii
## coda : Lata, Rafi ##
hamaare pyaar ke kisse sunaaye jaayenge
yeh giit saare zamaane me.n gaaye jaayenge
ham na ho.nge fasaana hogaa (2)
aane vaale ko aanaa hogaa, jaane vaale ko jaanaa hogaa
https://www.youtube.com/watch?v=p8dEwM52Bww
Day #12 of 31
Song #36
Three movies back, I gave you a song from the 1957 movie Pak Daman that starred Chitra and Sudesh Kumar. The movie was directed by SM Yusuf and it had Ghulam Mohammad’s music. The success of that movie made SM Yusuf to retain the same team for his 1958 movie Maalik. It turned out to be the biggest box-office hit of that year.
Maalik starred Talat Mahmood and Suraiyya in the lead roles.
Ghulam Mohammad composed the following songs on the lyrics of Shakeel:
1. Man Dheere Dheere Gaye Re
Talat Mahmood, Suraiya
2. Ek Chhail Chhabilaa, Alabele Sayyaan Jhulanaa Jhulaa Jaa Re
Shamshad Begum, Suraiya
3. Padhoge Likhoge Banoge Nawab
Asha Bhosle
4. Baharo Ka Zamana
Suraiya
5. Kiya Tha Pyar
Asha Bhosle
6. Teer Nazron Ke Chalaye
Shamshad Begum, Bande Hasan
Lets take up Asha Bhosle’s Padhoge likhoge banoge nawab for the deep nostalgia involved with it.
Please enjoy: Padhoge likhoge banoge nawab….
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab
jo bache kabhi likhte padhte nahi wo ijjat ki sidi pe chadhte nahi
jo bache kabhi likhte padhte nahi wo ijjat ki sidi pe chadhte nahi
yahi din hai padhne ke pad lo kitab
yahi din hai padhne ke pad lo kitab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab
burai ke raste se bach kar chalo burai ke raste se bach kar chalo
kabhi jhut bolo na chori karo kabhi jhut bolo na chori karo
agar mar bhi jao na pina sharab nahi pina sharab
agar mar bhi jao na pina sharab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab
jawa hoke bharat me nehru bano
jawa hoke bharat me nehru bano
tum itne bade hoke bapu bano tum itne bade hoke bapu bano
jawa hoke bharat me nehru bano tum itne bade hoke bapu bano
na ho duniya bhar me tumhara jawab
na ho duniya bhar me tumhara jawab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab
Appreciating Good Lyrics Song #12
As you are aware, I started these posts twelve days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 12th Lyricist Kidar Sharma’s creation. If DN Madhok, our last lyricist here, was called by us a versatile personality, what can we say about Kidar Sharma? He directed a number of movies such as Dil Hi To Hai (His debut directorial attempt in 1939), Aulad (1940), Chitralekha (1941), Armaan (1942), Gauri (1942), Mumtaz Mahal (1944), Dhanna Bhagat (1945), Chand Chakori (1945), Duniya Ek Sarai (1946), Neel Kamal (1947) (he penned the story too and produced the movie), Sohag Raat (1948), Neki Aur Badi (1949) (he acted in it too), Bawre Nain (1950) (as a writer and producer too), Jogan (1950), Gunah (1953), Chora-Chori (1954), Rangeen Raaten (1956) (as producer and lyricist too), Hamari Yaad Aayegi (1961) as lyricist too), Fariyad (1964), and Chitralekha (1964) (as writer too).
He also acted in some from as early as 1935 movie Inquilaab, Dhoop Chhaon (1935), Puharin (1936) and others.
And then of course he wrote lyrics.
He also launched the careers of Geeta Bali, Madhubala, Raj Kapoor, Mala Sinha, Bharat Bhushan and Tanuja.
Kidar Sharma with his wife (Pic courtesy: www.indianetzone.com)
As soon as I think of Kidar Sharma as a lyricist, I start thinking of his 1950 Raj Kapoor and Geeta Bali starrer: Bawre Nain‘s song that is an all time favourite with me.
It was composed by Roshan in Raag Darbari Kanada, tal Kaherava and sung by Mukesh, the singing voice of Raj Kapoor in most of his movies.
Please enjoy: Teri duniya mein dil lagata nahin, waapas bula le…
terii duniyaa me.n dil lagataa nahii.n, vaapas bulaa le
mai.n sajade me.n giraa huu.N, mujhako ai maalik uThaa le
terii duniyaa…
bahaar aaii thii kismat ne magar ye gul khilaayaa
jalaayaa aashiyaa.N saiyyaad ne, par noch Daale
terii duniyaa…
bha.Nvar kaa sar na chakaraae na dil laharo.n kaa Duube
ye kashtii aap kar dii maine tuufaa.n ke havaale
terii duniyaa…
Day #13 of 31
Song #37
In the year 1959, once again, just as it happened in 1956 before Mother India (1957), there was no movie released that had Shakeel Badyuni’s songs. This time, I am sure, it would be easy for you to guess that he was working on one of his greatest songs’ movie: the 1960 K Asif movie Mughal-e-Azam, the grandest movie ever made on the Indian screen until then.
Legend has it that K Asif so desperately wanted Naushad to compose the songs and make the background music for his magnum-opus that he approached Naushad with a suitcase full of money. Naushad reportedly threw him and the suitcase out. “I am an artiste”, he said, “Not a prostitute”. For the next six months they didn’t talk to each other. And then a rapproachment was brought about by their wives.
As far as we are concerned, we are thankful for the rapproachment, since that gave us some of the greatest songs in the Hindi movies:
1. “Mohe Panghat Pe” Lata Mangeshkar and chorus 04:02
2. “Pyar Kiya To Darna Kya” Lata Mangeshkar and chorus 06:21
3. “Mohabbat Ki Jhooti” Lata Mangeshkar 02:40
4. “Humen Kash Tumse Mohabbat” Lata Mangeshkar 03:08
5. “Bekas Pe Karam Keejeye” Lata Mangeshkar 03:52
6. “Teri Mehfil Mein” Lata Mangeshkar, Shamshad Begum and chorus 05:05
7. “Ye Dil Ki Lagi” Lata Mangeshkar 03:50
8. “Ae Ishq Yeh Sab Duniyawale” Lata Mangeshkar 04:17
9. “Khuda Nigehbaan” Lata Mangeshkar 02:52
10. “Ae Mohabbat Zindabad” Mohammed Rafi and chorus 05:03
11. “Prem Jogan Ban Ke” Bade Ghulam Ali Khan 05:03
12. “Shubh Din Aayo Raj Dulara” Bade Ghulam Ali Khan 02:49
At this stage, you are bound to tell me, “Each one is a gem; which ones are you going to keep out?” However, my other blog on the immortal songs of this movie has come to my rescue and I don’t have to share all with you.
Since our last song was done in Raag Darbari Kanada, lets start with that song for several reasons, the foremost being that Mian Tansen was reputed to have brought back this Raag with him from the south into the court of Emperor Akbar. Anarkali (Madhubala) was, afterall, a courtesan, in the same court. Hence by composing it in this Raag, Naushad was secretly sending a message too.
This song was sung by Lata Mangeshkar.
The tal is Kaherava.
Please enjoy: Muhabbat ki jhooti kahani pe roye….
muhabbat kI jhUThI kahAnI pe roye
ba.DI choT khAI (javAnI pe roye – 2)
muhabbat kI jhUThI …
na sochA na samajhA, na dekhA na bhAlA
terI ArazU ne, hame.n mAr DAlA
tere pyAr kI meharabAnI pe roye, roye
muhabbat kI jhUThI …
khabar kyA thI ho.nTho.n ko sInA pa.DegA
muhabbat chhupA ke bhI, jInA pa.DegA
jiye to magar zindagAnI pe roye, roye
muhabbat kI jhUThI …
Day #13 of 31 Song #38
The movie Mughal-e-Azam was released on 05 Aug 1960, just two days after Shakeel Badayuni’s 44th birthday. Here is from Wikipedia about the premiere of the movie:
The premiere of Mughal-e-Azam was held at the then new, 1,100-capacity Maratha Mandir cinema in Mumbai. Mirroring the nature of the film, the cinema’s foyer had been decorated to resemble a Mughal palace, and a 40-foot (12 m) cut-out of Prithviraj Kapoor was erected outside it. The Sheesh Mahal set was transported from the studio to the cinema, where ticket holders could go inside and experience its grandeur. Invitations to the premiere were sent as “royal invites” shaped like scrolls, which were written in Urdu and made to look like the Akbarnama, the official chronicle of the reign of Akbar. The premiere was held amidst great fanfare, with large crowds and an extensive media presence, in addition to hosting much of the film industry, although Dilip Kumar did not attend the event owing to his dispute with Asif. The film’s reels arrived at the premiere cinema atop a decorated elephant, accompanied by the music of bugles and shehnai”
Now that you have seen in the last song (Muhabbat ki jhooti kahani pe roye) how Anarkali was chained by Akbar and thrown into a dungeon for her ‘crime’ of falling in love with Prince Salim, lets go back to the song whence she rebelliously proclaimed in his court that she had nothing to fear in love!
This song was by far the most iconic song of the movie since it had the open rebellion that finally led to Prince Salim take up army against his own father.
The lines: Chhup na sakega ishq hamara, charon taraf hai unaka nazaara, were memorably directed by K Asif in the Jaipur’s Sheesh Mahal in whose glass ceiling, when Akbar looks up he sees the dancing Anarkali rebelliously looking down from hundreds of small mirrors.
Raag Durga was used by Naushad for the composition of this song.
Please enjoy: Pyaar kiya to darna kyaa….
insaan kisii se duniyaa me.n ik baar muhabbat karataa hai
is dard ko lekar jiitaa hai, is dard ko lekar marataa hai
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa koii chorii nahii.n kii pyaar kiyaa…
pyaar kiyaa koii chorii nahii.n kii chhup chhup aahe.n bharanaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa
aaj kahe.nge dil kaa fasaanaa jaan bhii lele chaahe zamaanaa -2
maut vohii jo duniyaa dekhe
maut vohii jo duniyaa dekhe ghuT ghuT kar yuu.N maranaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa
unakii tamannaa dil me.n rahegii, shammaa isii mahafil me.n rahegii hbox{-2}
ishq me.n jiinaa ishq me.n maranaa
ishq me.n jiinaa ishq me.n maranaa aur hame.n ab karanaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa
chhup na sakegaa ishq hamaaraa chaaro.n taraf hai unakaa nazaaraa -2
paradaa nahii.n jab koii khudaa se
paradaa nahii.n jab koii khudaa se ba.ndo.n se paradaa karanaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa koii chorii…
https://www.youtube.com/watch?v=TdOS-0sIW-Y
Day #13 of 31
Song #39
The twelve songs of the movie take up one third of the movie’s playing time. This shows the importance of the songs in movies of that era.
This is the last song that I am taking up from the movie. It was composed by Naushad in Raag Gara, Tal Tintal, Dadra.
Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This is how the ‘historical inaccuracies of Mughal-e-Azam’ were analysed because Thumri is supposed to have been thought of in late 18th century or early 19th century whereas Mughal-e-Azam is supposed to reflect the period of 16th century.
Raga Jaijaiwanti, composed by the 9th Guru of the Sikhs: Guru Teg Bahadur, bears the closest resemblance to Gara. It is supposed to be a Raaga of the night (9 PM to midnight).
The only other thing to be noticed is that even in the court of a Muslim king, with Muslim courtesan and musicians, a song about Krishna was a done thing.
Please enjoy in Raag Gara: Mohe panghat pe Nand Lal chhed gayo re…
mohe panaghaT pe nandalaal chhe.D gayo re
morii naajuk kala_iyaa maro.D gayo re
mohe panaghaT pe …
ka.nkarii mohe maarii, gagariyaa pho.D daarii
morii saa.Dii anaa.Dii bhigoy gayo re
mohe panaghaT pe …
naino.n se jaaduu kiyaa, jiyaraa moh liyaa
moraa ghuu.NghaTaa najariyo se to.D gayo re
mohe panaghaT pe …
https://www.youtube.com/watch?v=H4y8tXUlJjA
Appreciating Good Lyrics Song #13
As you are aware, I started these posts twelve days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 13th Lyricist Kavi Pradeep‘s creation.Kavi Pradeep was born as Ramchandra Narayanji Dwivedi a year and half before Shakeel Badayuni, on the . Before he died on 11 Dec 1998, he had penned some 1700 songs, mostly on his favourite topic: India and patriotism. He was given the title of Rashrakavi (National Poet) and awarded with the highest award: the Dadasaheb Phalke award for his lifelong contribution as a Lyricist.
His song, Aye mere watan ke logo, sung on 27th Jan 1963, immediately after the Sino-Indian War of 1962, sung by Lata Mangeshkar on a composition by C Ramchandra brought tears to the eyes of our then Prime Minister, Pandit Jawahar Lal Nehru and thousands of others who had gathered at Lal Qila Delhi.
Bandhan (1940) was his debut film in which he wrote patriotic songs. Three years later, in 1943, he surprised everyone with his daring under the British when he wrote the song: Door hato ai duniya walo, Hindostan hamara hai.
Kavi Pradeep proves my point regarding good lyrics of songs being the primary things that fans looked forward in movies. Indeed, many fans would repeatedly see movies in which his songs were, in order to hear them over and over again (those were not the days when, unlike today, songs were available for listening all the while).
Shakeel too wrote some great inpirational and patriotic songs such as: Insaan bano (Baiju Bawra), Insaaf ki dagar pe bachcho dikhaao chal ke, ye desh hai hamaara neta tumhin ho kal ke (Ganga Jamuna), and the ever so popular Nanha munha raahi hoon (Son of India).
There are many matching lyrics by Kavi Prasdeep. I give you this one from the 1958 movie Paigham starring Dilip Kumar, Vyjayanthimala, Raaj Kumar and Motilal. It was composed by C Ramchandra and sung by Manna Dey.
Please enjoy: Insaan ka insaan se ho bhaichara, yahi paigham hamaara….
insan ka ho insan se bhaichara
yahi paigam hamara
yahi paigam hamara
naye jagat me huya purana
unch nich ka kissa
sabko mile mehnat ke
mutabik apna apna hissa
sabke liye sukh ka barabar ho bantwara
yahi paigam hamara
yahi paigam hamara
harek mahal se kaho ke
jhopdiyo me diye jalaye
chhoto aur bado me ab
koi phrak na rah jaye
is dharti par ho pyar ka
ghar ghar ujiyara
yahi paigam hamara
yahi paigam hamara
insan ka ho insan se bhaichara
yahi paigam hamara
yahi paigam hamara
Day #14 of 31 Song #40
Mughal-e-Azam was Shakeel’s 26th movie, and 16th with Naushad. By this time, he was already big league but he hadn’t won a Filmfare Award!
He had worked with Naushad (16 movies), Ghulam Mohammad (8) and one each of Khursheed Anwar and Sardar Malik (1949 Singaar and Chor Bazar respectively).
However, 1960 turned out to be a most successful year for him; he received his first Filmfare award for the movie Chaudhvinh Ka Chand. However, before we reach there, there are two other movies in between: Kohinoor and Ghunghat.
Lets take Kohinoor first, produced by Dr. VN Sinha and directed by SU Sunny. This light-hearted movie of love between a prince and a princess of neighbouring kingdoms was devidsed to give a break to the tragedy-king Dilip Kumar from his lugubrious roles that had started affecting him mentally. Similar was the case with Meena Kumari.
You would think that Shakeel with his sad, tragic, despondent songs would be misfit here. No, not the last. He penned light-hearted romantic numbers with equal ease:
1 Madhuban Mein Radhika Nache Re Mohammed Rafi 6:02
2 Dil Mein Baji Pyar Ki Shehnaiyan Lata Mangeshkar 3:27
3 Tan Rang Lo Ji Aaj Man Ranglo Mohammed Rafi, Lata Mangeshkar 3:26
4 Jadugar Qatil Hazir Hai Mera Dil Asha Bhonsle 3:33
5 Zara Man Ki Kewadiya Khol Mohammed Rafi 3:17
6 Chalenge Teer Jab Dil Par Mohammed Rafi, Lata Mangeshkar 3:27
7 Yeh Kya Zindagi Hai Lata Mangeshkar 3:00
8 Dhal Chuki Sham-E-Gham Mohammed Rafi 3:17
9 Do Sitaron Ka Zameen Par Lata Mangeshkar, Mohammed Rafi 3:32
10 Koi Pyar Ki Dekhe Jadugari Mohammed Rafi, Lata Mangeshkar 3:24
And, what can you see about Naushad? Only this that he being the versatile composer that he was composed them equally well.
The first one, above, was done by him in Raag Hamir and Tal Tintal. Many people think of this rare Raag as a derivative of Raag Bilawal. It is sung at night (9 PM to midnihgt).
Please enjoy Mohammad Rafi sing: Madhuban mein Radhika naache re….
madhuban me.n raadhikaa naache re -2
giradhar kii muraliyaa baaje re -2
madhuban me.n…
pag me.n ghu.Ngharuu baa.Ndhake, aa…
pag me.n ghu.Ngharuu baa.Ndhake
ghu.NghaTaa mukh par Daal ke
nainan me.n kajaraa lagaake re
madhuban me.n…
mrida.ng baaje titakitadhuum titakitadhuum taa taa -2
na chaka chuum chuum thaa thay thaa thay
chaka chuum chuum chana na na chuum chuum chana na na
kran taa kran taa kran taa dhaa dhaa dhaa
madhuban me.n raadhikaa naache re
madhuban me.n raadhikaa
nI sA re sA gA re mA gA pA mA
dhA pA nI dhA sA nI re sA
re sA nI dhA pA mA
pA dhA nI sA re sA nI dhA pA mA
pA gA mA
dhA pA gA mA re sA
madhuban me.n raadhikaa naache re
sA sA sA nI dhA pA mA
pA dhA pA gA mA re sA nI re sA
sA sA gA mA dhA dhA nI dhA sA
madhuban me.n raadhikaa naache re
madhuban me.n raadhikaa
o de nA dir dir dhA nI tA dhA re dIm dIm tA nA nA
nA dir dir dhA nI tA dhA re dIm dIm tA nA nA
nA dir dir dhA nI tA dhA re dIm dIm tA nA nA
nA dir dir dhA nI tA dhA re
o de tana dir dir tana dir dir dir dir duum dir dir dir
dhaa titakita tak duum titakita tak
titakita titakita tA dhA nI
nA dir dir dhA nI tA dhA re …
Day #14 of 31
Song #41
“The Koh-i-Noor (Persian for Mountain of Light; also spelled Koh-i-Nûr and Kooh-è Noor) is a large, colourless diamond that was found near Guntur in Andhra Pradesh, India, possibly in the 13th century. It weighed 793 carats (158.6 g) uncut and was first owned by the Kakatiya dynasty. The stone changed hands several times between various feuding factions in South Asia over the next few hundred years, before ending up in the possession of Queen Victoria after the British conquest of the Punjab in 1849.”
And then, in 1960 movie by the same name, we have the quartet that made best songs in Hindi movies: Shakeel Badayuni, Naushad Ali, Mohammad Rafi and Dilip Kumar.
In my own words:
Kohinoor film yaa heere ka naam nahin sirf, Kohinoor heera the Badayuni ke geetkar, Aise shaa’ir bahut kam paida hote hain, Tarashne se pehle hi woh sabase chamakdaar.
This one is a favourite of mine and of many of my friends; and not merely because Naushad composed it in Raag Pahadi, the raag of my home-station, the hills. Tal is Dadra.
It is an enchanting duet between Mohammad Rafi and Lata Mangeshkar.
Please enjoy: Do sitaaron ka zameen par hai milan aaj ki raat….
ra: muskuraataa hai ummiido.n kaa chaman aaj kI raat
la: saarii duniyaa nazar aatii hai dulhan aaj kI raat
dono: do sitaaro.n kA zamii.n par hai milan aaj kI raat
aaj kii raat …
ra: husn vaale terii duniyaa me.n koii aayaa hai
tere diidaar kii hasarat bhii koii laayaa hai
to.D de to.D de parde kaa chalan aaj kI raat
muskuraataa hai ummiido.n kaa chaman aaj kI raat
dono: do sitaaro.n ka zamii.n par …
la: jin se milane kii thii tamannaa vo hii aate hai.n
chaa.Nd taare merii rAho.n me.n bichhe jaate hai.n
chuumataa hai tere kadamo.n ko gagan aaj kI raat
saarii duniyaa nazar aatii hai dulhan aaj kI raat
dono: do sitaaro.n ka zamii.n par …
https://www.youtube.com/watch?v=n9Y0mswuQJE
Day #14 of 31
Song #42
I end with this third song from the movie Kohinoor.
To understand this song, you ought to know the story:
After the passing of Maharaj Dhiraj Rana Chandrabhan of Kailash Nagar, the Senapati, Veer Singh, crowns Rajkumar Dhivendra Pratap Bahadur Chandrabhan (Dilip Kumar) as the next King. Veer’s wife (Leela Chitnis), who has brought up Dhivendra like her own son, Surinder, would like Dhivendra to get married to Rajkumari Chandramukhi of Rajgarh (Meena Kumari). The Maharaja of Rajgarh is pleased to hear of this, and asks his daughter to set forth to Kailash Nagar. On the way there, she is abducted by her very own Senapati (Jeevan) and held captive until she gives her consent to marry him. Dhivendra rescues her, both fall in love, but are captured by Senapati’s men. Dhivendra is gravelly injured but manages to escape and is looked after Rajgarh’s Raj Nartaki, Rajlaxmi (Kumkum), who also falls in love with him. After Dhivendra recuperates, he finds out that Chandramukhi is being against her will at Senapati’s castle, he sets forth to set her free, but is captured in the process. Held in chains, he is blinded by a vengeful Rajlaxmi, and Chandramukhi is given an ultimatum – either wed Senapati or witness the death of Dhivendra.
How far can the Tragedy King go away from tragedy when even in this movie, tragedy chased him?
Please enjoy Mohammad Rafi sing for him: Dhal chuki shaam-e-gham (do I call him ‘King of Irony’ for nothing?):
Dhal chukii shaam-e-Gam muskaraa le sanam
ik na_ii subah duniyaa me.n aane ko hai
pyaar sajane lagaa saaj bajane lagaa
zindagii dil ke taaro.n pe gaane ko hai
Dhal chukii shaam-e-Gam …
aaj paayal bhii hai naGmaa-e-dil bhii hai
ra.ng-e-ulfat bahaaro.n me.n shaamil bhii hai
aa ga_ii hai milan kii suhaanii gha.Dii
vaqt kii taal pe ( naachatii hai Kushii ) -2
ghu.Ngharu_o.n kii sadaa ra.ng laane ko hai
Dhal chukii shaam-e-Gam …
jhuumate aa rahe hai.n zamaane na_e
hasarate.n gaa rahii hai.n taraane na_e
aaj dil kii tamannaa nikal jaa_egii
giit hogaa vahii ( lay badal jaa_egii ) -2
ik nayaa raag qismat sunaane ko hai
Dhal chukii shaam-e-Gam …
https://www.youtube.com/watch?v=1bzh9FyAoPE
Appreciating Good Lyrics Song #14
As you are aware, I started these posts twelve days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last thirteen days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
Today we take up the creation of our 14th Lyricist Pt. Indra Chandra. I have taken this information verbatim from a site called www.anmolfankaar.com since the information given on this forgotten Lyricist by Aditya Pant is the best. In the beginning of the article it says that this article was written for the Guzra Hua Zamana series on Sangeet Ke Sitare, a music group on Facebook.
“It’s a sad reality that among all the contributors that embellish film songs, the lyricists are probably the least remembered (except the musicians and chorus singer, of course). Pt. Indra’s is a classic case in point. One of the most prolific Hindi film lyricists of his time, Pt. Indra had a career spanning three decades during which he wrote more than 875 songs in 128 films. Yet his name is hardly known.
Not much is known about the early life of Pandit Indra Chandra Dadhich. Hailing from Churu district in Rajasthan, Pt. Indra came to Bombay in 1933. He was first hired as a writer and lyricist for Gandharv Cinetone’s Sati Mahananda (1933). He continued to be associated exclusively with them for the first few years and worked on films like Maharani (1934) and Pardesi Saiyan (1935). When Master Vinayak co-founded his company – Huns Chitra – in 1936, he hired Pt. Indra for Chhaya (1936), where he was responsible for translating from the original Marathi. Pt. Indra continued to work for Huns Chitra for the next couple of years, while expanding his association with other film companies like Sagar Movietone and a few others.
It was in 1939 that he got the first opportunity to work with Chandulal Shah’s Ranjit Movietone in Sant Tulsidas. But it wasn’t until 1942, with Dheeraj and Iqraar (Tyaag), that Pt. Indra became a regular lyricist with Ranjit Movietone. By 1950 he had worked in 33 films produced by Ranjit Movietone, his most significant association with any film company. Some of the noteworthy films of this association include Tansen (1944), Dhanna Bhagat (1945), Moorti (1945), Prabhu Ka Ghar (1945), Rajputani (1946), Chheen Le Azadi (1947), Piya Ghar Aaja (1947), Gunsundari (1948) and Jogan (1950). Many years later when Chandulal Shah directed Zameen Ke Taare (1960) he once again called Pt. Indra for his services, although the film was made under the banner of Chandra Movies.
Apart from Ranjit Movietone for whom he produced a bulk of his output, Pt. Indra also did considerable amount of work for Vijay Bhatt’s Prakash Pictures (9 films), Homi Wadia’s Wadia Movietone (8 films), Huns Chitra (7 films) and Sagar Movietone (6 films). Since he had close relations with both, when Ranjit Movietone and Wadia Movietone decided to co-produce Return of Toofan Mail in 1942, Pt. Indra was the obvious choice for the main lyricist.
In 1948, S. S Vasan decided to remake his super hit film Chandralekha in Hindi. The responsibility of writing the lyrics as well as the dialogues fell on Pt. Indra. Thus began another fruitful association for Pt. Indra. He became an in-house lyricist for Gemini Films, writing for all their subsequent Hindi films like Nishaan (1949), Mangala (1950), Sansar (1951), Mr. Sampat (1952), Bahut Din Hue (1954) and Do Dulhe (1955).
Those were the days when artistes were closely tied to film companies, working on a monthly salary. It is, therefore, natural that the music directors Pt. Indra worked with was dependent on the film companies he was associated with. From Govindrao Tembe in his first film to Dhaniram, Jamal Sen and Shivram Krishna in his final films, Pt. Indra worked with around 50 different composers. Yet, a fairly large proportion of his work is with composers who were closely associated with Ranjit Movietone i.e. Bulo C. Rani (21 films), Gyan Dutt (17 films), Khemchand Prakash (12 films) and Hansraj Bahl (11 films). Jogan (1950) with Bulo C. Rani, Geet Govind (1947) with Gyan Dutt, and Tansen (1943) with Khemchand Prakash can be considered as Pt. Indra’s milestone films. While working with Gemini, he got the opportunity to work with prominent composers of South India like S. Rajeshwar Rao, E. Sankara Shastri, B.S Kalla and M. D Parthasarthy. Other prominent composers he worked with include S. N Tripathi (6 films), Anil Biswas (5 films) and Dada Chandekar (4 films).
After his very first film Sati Mahanada, Pt. Indra had several more opportunities to show his mettle as a dialogue writer. Some of the films for which he wrote the story/dialogues include Maharani (1934), Pardesi Saiyan (1935), Chhaya (1936), Sati Pingala (1937), Jwala (1938), Brahmachari (1938), Brandy Ki Botal (1939), Sant Tulsidas (1939), Ghar Ki Rani (1940), Chandralekha (1949), Jalsa (1948) and Bahut Din Hue (1954). Many of these films were dubbed versions/remakes of regional language films.
Pt. Indra also tried his hand at production when he co-produced Sheikh Chilli (1956) with Ramchandra Thakur. He also produced a few Rajasthani films like Babasa Ri Ladli (1961), Nanibai Ko Maayro (1962), Gangaur (1964) and Gopichand Bharthari (1965). He wrote the lyrics for these films as well, as also for other Rajasthani films like Dhani Lugai (1964) and Gogaji Pir (1969). Even in Hindi films he brought in the flavor of Rajasthan whenever an opportunity arose. Songs like ‘mharo chhail bhanwar ro kangasiyo’ (Karwaan 1944), ‘kunwar thane mujro kar kar haari’ (Rajputani 1946) and ‘mora chhail bhanwar ’ (Rajputani 1946) were either completely or partially written in Rajasthani.
A glance at his work reveals that at the beginning of his career, there was a noticeable literary influence in his choice of words both in Hindi and Urdu. For example, ‘saavan ghan barse chaatak kyun tarse’ (Maharani 1934), ‘mansarovar taj chale rajhans’ (Chhaya 1936), ‘yakta ye husn mana farsh-e-zameen pe ho’ (Pardesi Saiyan 1935), ‘mere dil-e-saudai kis waqt haya aayi’ (Pardesi Saiyan, 1935), etc. But largely, the language he used was simple and colloquial as was in vogue in the films of 1930s and 40s. He primarily stuck to the demands of the film rather than overtly and incongruously exhibiting his language skills. However, whenever he had the opportunity, either due to the subject of the film or when he got a free hand from the film makers, he did revert to pure, literary language. A case in point will be his songs from Geet Govind (1947), where he penned songs like ‘viyogini deepshikha se jare’ or ‘chamakat damakat daamini’. He also used the literary device of anupraas alankaar (alliteration) whenever he could as is evident in songs like ‘o mrignayani madhubani menaka’ (Mr. Sampat 1952), ‘kookat koyaliya kunjan mein’ (Bharthari 1944) and ‘maai ri main to madhuban mein’ (Chandalekha 1948). In the last example, which is jointly credited to Pt. Indra & Bharat Vyas, the use of alliteration was not restricted only to the mukhda. The last antara of that song had another lovely usage of alliteration when the singer sings ‘ho gaye naina nihaal nirakh liyo nandlal’.
It is difficult to compartmentalize Pt. Indra’s writing style. He was truly versatile, writing just about every kind of song. However, there are a few recurring motifs that appear in his songs. One cannot call that as something unique to him as those themes were quite prevalent in that era in general, but given his prolificacy those themes appear more often in his work as compared to some other lyricists. One such theme is that of Radha Krishna, either alone or together. This seems to be quite a favorite among most lyric writers till around the 70s. In Pt. Indra’s oeuvre this theme emerges not only in films based on this subject like Geet Govind (1947), where he penned songs like ‘shyam meri bindiya bikhar na jaye’, ‘kit ho nand kumar’, ‘meethi meethi murali shyam bajaye’, or Krishna Kanhaiya (1952) where almost every song referred to Radha and/or Shyam, but also films with varied themes. Some of these examples include ‘bijli chamak gayi shyam’, ‘kunj mein dole akeli aaj raadhika shyam bina’(Maharani 1934), ‘aao jhoola jhoolen kanha’ (Brandy Ki Botal 1939), ‘matwale mere shyam’ (Amrit 1941), ‘radha jhoola jhoole jhulaven ghanshyam’ (Raj Nartaki 1941), ‘madhuban mein radha jhoole hindole’ (Prabhu Ka Ghar 1945) ‘radha paniya bharan kaise jaye’ (Dharti 1946), ‘bol bol gokul ke gwale’ (Gwalan 1946), and many more.
Another recurring character that has been a favorite of poets from time immemorial, and which found its way into Pt. Indra’s work as well, is the moon. I must add that he mostly stuck to the conventional roles of the moon, and I don’t find any innovative invocation of the moon in his work. His moon is fairly comfortable wearing the conventional garb. It becomes a messenger in ‘chanda desh piya ke ja’ (Bharthari 1944) or ‘sheetal chandni khili khili’ (Draupadi 1944), transforms into a close confidante in ‘o sharad poonam ki chandni’ (Gunsundari 1948), is advised not to cast an evil eye in ‘ae chand nazar na lagana’ (Moorti 1945), becomes a playful mate in ‘chanda khele aankh michauli’ (Jogan 1950), is equated to the beloved in ‘chanda chamke neel gagan mein’ (Bahut Din Hue 1954), is used a metaphor for beauty as well as accused of being a thief in ‘chandavadani sundar sajni’ (Man Ka Meet 1950), or simply transforms into an object decorating the mise-en-scene in a romantic song like ‘chanda chamkti raat’ (Do Dulhe 1955). And of course, a mother equating her child to the moon as she sings a lori cannot be far behind, as in ‘pyare more chanda ae mere ladle’ (Mangala 1950).
Pt. Indra also had his share of patriotic or nationalistic songs of various hues and tones. While ‘ajab hindustan ghazab hindustan’ (Pardesi Mehman 1948) was a stinging satirical attack on the state of the nation immediately after independence, ‘hindustan mahan hamara’ (Mr. Sampat 1952) was an expression of pride, yet an utopian and idealistic view. National leaders were invoked in Brandy Ki Botal (1939) with songs like ‘gandhi baba ka aaya raaj’, a song about Gandhi’s call for prohibition, and ‘bharat mata ke rajdulare’, which referenced Jawaharlal Nehru. His words exhorted people to rise and fight for their motherland in songs like ‘veer chalo janani pukare maiya bharati’ (Maharani 1934) and ‘jaag jaag mewar’ (Rajputani 1946).”
In bringing out comparison with Shakeel, I have chosen his song from the 1943 movie Tansen in which KL Saigal played the title role and Khursheed Bano as the love of his life: the shepherdess Tani.
Why this film’s song for comparison, you may ask? I have already given you Shakeel’s song for 1960 movie Mughal-e-Azam: Mohe panghat pe Nandlal chhed gayo re. This song as composed by Naushad was inspired by Kahe Gumaan kare re Gori in Gaara raag from the film Tansen!
Here is the list of songs from Tansen that Pt. Indra Chandra penned:
1. Ghata Ghanaghor Ghor Khursheed Bano
2. Aao Gori Aao Shyama Khursheed Bano
3. Kahe Guman Kare Re Gori Kundan Lal Saigal
4. Rumajhum Rumajhum Chaal Tihaari Kundan Lal Saigal
5. Baag Laga Dun Sajani Kundan Lal Saigal
6. More Balpan Ke Sathi Chhaila Bhul Jaio Na Kundan Lal Saigal, Khursheed Bano
7. Sapt Suran Tin Graam Gaavo Sab Gunijan Kundan Lal Saigal
8. Ho Dukhiya Jiyara Rote Naina Khursheed Bano
9. Ab Raja Baye More Balam Khursheed Bano
10. Binaa Pankh Panchhi Hun Main Kundan Lal Saigal
11. Diya Jalao Kundan Lal Saigal
12. Din Soona Sooraj Bina Kundan Lal Saigal
13. Baraso Re Khursheed Bano
Lets take up this favourite of mine which was composed in Raag Megh Malhar by Khemchand Prakash and sung by KL Saigal.
tum basa.nt ho tum bahaar ho (2)
tum hii giit ho tum pukaar ho (2)
tum koyal tum kuuk hamaarii (2)
giit sunaa madhubayanii
baaG lagaa duu.N sajanii (2)
ra.ng bira.nge phuul khile.nge (2)
ban ke pa.nchhii gale mile.nge (2)
dulhan banakar kaliyaa.n ha.Nsatii (2)
dekh dekh mR^iganayanii
baaG lagaa duu.N sajanii (2)
With that we come to the end of the second week of Countdown to the Birth Centenary of Shakeel Badayuni.
Please await the Part III with the third week of the Countdown.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
I love the date of 03 Aug 1916 when my favourite poet and lyricist Shakeel Badayuni was born in the small town of Badayun in Uttar Pradesh state. That part of the country was milling with all kinds of poets at that time and Shakeel (literally ‘Handsome’) was greatly influenced by this poetical atmosphere.
His father, Mohammed Jamaal Ahmed Sokhta Qadiri, arranged tuition for Shakeel in the prevalent languages of that time: Urdu (a language indigenous to India), Arabic, Persian, and Hindi.
Shakeel appeared to have given his heart to learning these so well that the greatest ghazal (in Urdu) of its times, Aye mohabbat tere anjaam pe rona aaya (sung by Begum Akhtar), and the greatest Hindi bhajan of all times, Man tadpat Hari darshan ko aaj, were both penned by him.
In the Aligarh Muslim University, whereat he received his college education, he frequently took part in mushairas and won.
The first one to sign him for the movies was someone who stayed as his friend, guide and mentor for his life: Naushad Ali. This was for the 1947 AR Kardar movie Dard.
I feel that the name of the movie itself portended the genre’ of songs and ghazals that he excelled at: there was always love, always dard, always gham, and always great deal of irony.
Even if he had written nothing else, other than Aye mohabbat tere anjaam pe rona aaya, he would have obtained adequate glory to be counted amongst the best. But, he wrote and wrote and excelled in all genres of songs, including children’s songs, bhajans, ghazals and songs depicting the beauty of a woman (husn).
Here is my own attempt at why we love his poetry:
Hamen Shakeel ki shayari kyun pasand hai? Dil ke taar baja kar woh chala jaata hai, Phir ham chain o neend apni kho dete hain Guzra hua zamaana hamen yaad aata hai Kyaa rang tha, kyaa noor tha, gham-e-aashiqi thi Woh aalam dil-e-jahan pe chha jaata hai Door kahin Naushad ki mausiqi ki dhun bajti hai Dil khud-ba-khud gaata hai aur sunaata hai Waah Shakeel, mar ke bhi tum zinda hi rahe Har haseen naghma tumhaari Yaad dilaata hai.
Day #1 of 31 Song #1
Let me start with his song (I am initially not going to put up songs in any order; but, the way and the time they impinge on the chords of my heart) that Naushad Ali composed in the Raaga of my home in the hills: Raag Pahadi.
It is also appropriate to start with this Raag since some of Shakeel’s best songs were set in this Raaga such as Chaudhvinh Ka Chand (for which he got his first Filmfare Best Lyricst award in 1961, though with Ravi), Aaj ki raat mere dil ki salaami le le (Ram Aur Shyam), Koi pyaar ki dekhe jaadugari (Kohinoor), and O door ke musaafir (Udan Khatola).
The tal in this song is Kaherava.
Only yesterday, my friend Anand Desai, whilst giving his third post on the musical instruments used in Hindi songs, in our Facebook group Yaad Kiya Dil Ne, wrote about the trumpet. This is what he had to say about the song:
“Accomplished Trumpeters use a blocker called the “Mute” for a subtle and a muzzled effect which allows the player to depict the mood on the screen… examples of this Mute effect are in Awaaz de kahan hai; Suhani raat dhal chuki naa jaane tum kab aaoge).”
And then I saw the video of the live singing of this song, the link to which I am giving here.
Of course, Pahadi is not so much a Raaga as a ‘dhun’. Soundofindia.com describes Raag Pahadi as: “The raga is like a lover, unruffled in union, serene in separation, powerful enough to achieve eternal union, but resigned to the painful parting ordained by destiny.”
This description of Raag is as if describing this most enchanting song put together by Shakeel, Naushad and Rafi.
nazaare .a .a .a apanii mastiyaa.n
dikhaa dikhaa ke so gaye
sitaare .a .a .a apanii raushanii
luTaa luTaa ke so gaye
har ek shammaa jal chukii
naa jaane tum kab aaoge
suhaanii raat Dhal chukii …
ta.Dap rahe hai.n ham yahaa.N – 2
tumhaare i.ntazaar me.n – 2
(khizaa kaa ra.ng, aa chalaa hai
mausam-e-bahaar me.n ) – 2
mausam-e-bahaar me.n
havaa bhii rukh badal chukii .a .a .a
naa jaane tum kab aaoge
suhaanii raat Dhal chukii
naa jaane tum kab aaoge
https://www.youtube.com/watch?v=9nfG4vmyhds
Song #2
He started writing songs for the Hindi movies, as I said, with the 1947 movie Dard when Naushad Ali took him up as the lyricist for the songs of the movie. His very first song became a popular song of those times: Afsana likh rahi hoon.
The movie was directed by Abdul Rashid Kardar and was a movie of Kardar Productions house. Munawwar Sultana was the main lead of the movie and Suraiyya as the second lead.
(Pic courtesy: mio.to)
Some people say that Shakeel was “lucky” to get unprecedented success in his very first movie itself. I, being amongst his biggest fans, am not surprised at all! Shakeel, throughout his life, never seemed to have written with pen and paper. I feel that he wrote from heart directly to our hearts. Here is my own take on that:
Kalam ka kalaam to bahut shaayar likhate the, Shakeel to dil se dilon ke taar milaate the, Waise to duniya mein sukhanwar ki kami naa thi, Shakeel nazaara-e-naghma hu-ba-hu dikhate the.
There were as many as ten songs in the movie Dard:
1 “Afsana Likh Rahi Hoon” Uma Devi
2 “Aaj Machi Hai Dhum” Uma Devi
3 “Yeh Kaun Chala Yeh Kaun Chala” Uma Devi
4 “Betaab Hai Dil Dard-E-Mohabbat Ke Asar Se” Uma Devi, Suraiya
5 “Beech Bhanvar Men Aan Phansa Hai” Suraiya
6 “Dil Dhadke Aankh Meri Phadke” Suraiya
7 “Hum Thay Tumhare Tum Thay Humare” Suraiya
8 “Chale Dil Ki Duniya Barbaad Kar Ke” Suraiya
9 “Yeh Afsana Nahin Zalim Mere Dil Ki Haqeeqat Hai” Shamshad Begum
10 “Ham Dard Kaa Afsana Duniya Ko Suna Denge” Shamshad Begum
Uma Devi, of course, later got recognition as the obese comedy actress Tun Tun. But, here she sang for Shakeel and Naushad.
The lyrics of the song are as if telling the tale (afsaana) of the future life of Shakeel as the lyricist par excellence, if you change from female to male, ie, instead of likh rahin hoon to likh rahan hoon!
jab tuu nahii.n to kuchh bhii nahii.n hai bahaar me.n
nahii.n hai bahaar me.n
jii chaahataa hai muu.Nh bhii
jii chaahataa hai muu.Nh bhii na dekhuu.N bahaar kaa
aa.Nkho.N me.n rang bhar ke tere i.ntazaar kaa
afasaanaa likh rahii huu.N
haasil hai.n yuu.N to mujhako zamaane kii daulate.n
zamaane kii daulate.n
lekin nasiib laa_ii
lekin nasiib laa_ii huu.N ik soGavaar kaa
aa.Nkho.N me.n rang bhar ke tere i.ntazaar kaa
afasaanaa likh rahii huu.N
aajaa ki ab to aa.Nkh me.n aa.Nsuu bhii aa gaye
aa.Nsuu bhii aa gaye
saaGar chhalak uThaa
saaGar chhalak uThaa mere sabr-o-qaraar kaa
aa.Nkho.N me.n rang bhar ke tere i.ntazaar kaa
afasaanaa likh rahii huu.N
Song #3
Nearly two years before Shakeel was born, Akhtari Bai Faizabadi was born in the same state of Uttar Pradesh, not very far from Badayun. It is as if God had intended that if He would put on earth such an eloquent poet and lyricist, the people deserve a heavenly voice to sing those ghazals. Akhtari Bai Faizabadi soon came to be known as Begum Akhtar, the khitaab of Begum signifying that she was known as Mallika-e-Ghazal (Queen of Ghazal).
Shakeel would have deserved nothing less!
Jazbaat ka ghazal taq laana Shakeel ka tha kaam, Tarannum mein use sajaana Begum ka tha payaam, Dard-e-dil ki daastaan ka agaaz to sab ne suna hai, Gaur farmaayiye ishq-e-muhabbat ka anjaam.
I don’t think that you require any more guessing as to what I am leading to.
This is not on the music of Naushad but that of Murli Manohar Swarup.
Please enjoy: Aye mohabbat tere anjaam pe rona aaya…..
Ai mohabbat tere a.njaam pe ronaa aayaa jaane kyuu.N aaj tere naam pe ronaa aayaa
yuu.N to har shaam umiido.n me.n guzar jaatii thii aaj kuchh baat hai jo shaam pe ronaa aayaa
kabhii taqadiir kaa maatam kabhii duniyaa kaa gilaa ma.nzil-e-ishq me.n har gaam pe ronaa aayaa
jab hu_aa zikr zamaane me.n mohabbat kaa ‘Shakeel’ mujhako apane dil-e-naakaam pe ronaa aayaa
Day #2 of 31 Song #4
What an era it was when we used to go to movies whose songs were penned by Shakeel Badayuni, composed by Naushad Ali, sung by Mohammad Rafi and lip-synced by Dilip Kumar; each one of them being the best in their particular fields.
Shakeel Badayuni was elder to Naushad by three years, Dilip Kumar by six years and Mohammad Rafi by eight years.
Those were the days when the success of the movie depended largely on its songs. Whilst Naushad Ali was considered the greatest composer of those times, considerable credit must go to Shakeel for having given the soul to those songs.
As I go along, I shall give you the names of the movies. However, even if you recall just a few of them such as Baiju Bawra, Mother India, Udan Khatola, Mughal-e-Azam, Ganga Jamuna, Leader, Ram Aur Shyam, Dulari, Ghughat, Kohinoor, Son of India, Do Badan and Dil Diya Dard Liya, you would know that you are being transported into a world from where you don’t want to return.
It was common for people to forget all aspects of the movie but remember the lyrics. They might have even forgotten his name but lyrics would still be remembered.
In my Facebook group Yaad Kiya Dil Ne, for example, one of the friends brought out that her favourite ghazal was Aye mohabbat tere anjaam pe rona aaya. However, she remembered it as Begum Akhtar’s ghazal and was surprised when I told her that the poet is Shakeel!
Yesterday, I re-introduced Begum Akhtar to you as god-sent to sing his ghazals. Mohammad Rafi, however, needs no introduction. My friend Binu Nair, the founder of Rafi Foundation, is fond of quoting Manna Dey when he said that when it came to the rankings amongst male playback singers, position #1 to #10 were occupied by Mohammad Rafi. No one could hold a candle to him. He sang, it appeared to us, effortlessly. But, when you try to sing some of his songs, it occurs to you how difficult these are.
One such song is from the 1952 movie Baiju Bawra, the only movie for which Naushad Ali received the Filmfare Best musician award.
(Poster courtesy: www.youtube.com)
The movie was directed by Vijay Bhatt who made such movies as Ram Rajya (1943), Vikramadita (1945), Ramayan (1954), Goonj Uthi Shehnai (1959), Haryali Aur Raasta (1962) and Himalaya Ki God Mein (1965).
All songs of Baiju Bawra were penned by Shakeel Badayuni and each one was composed by Naushad in a classical raga. Have a look:
1. “Tu Ganga Ki Mauj” (Raga Bhairavi) Mohammad Rafi, Lata Mangeshkar
2. “Aaj Gawat Man Mero Jhoomke” (Raga Deshi) Ustad Amir Khan, D. V. Paluskar
3. “O Duniya Ke Rakhwale” (Raga Darbari) Mohammad Rafi
4. “Door Koi Gaye” (Raga Desh) Lata Mangeshkar, Shamshad Begum & chorus
5. “Mohe Bhool Gaye Sanwariya” (Raga Bhairav with traces of Raga Kalingda) Lata Mangeshkar
6. “Jhoole Mein Pawan Ki Aai Bahar” (Raga Pilu) Mohammad Rafi, Lata Mangeshkar
7. “Man Tarpat Hari Darsan Ko Aaj” (Raga Malkauns) Mohammad Rafi
8. “Bachpan Ki Muhabbat” (Based on Maand) Lata Mangeshkar
9. “Insaan Bano” (Raga Todi) Mohammad Rafi
10. “Tori Jai Jai Kartar” (Raga Puriya Dhanashree) Ustad Amir Khan
11. “Langar Kankariya Ji Na Maro” (Raga Todi) Ustad Amir Khan, D. V. Paluskar
12. “Ghanana Ghanana Ghana Garjo Re” (Raga Megh) Ustad Amir Khan
13. “Sargam” (Raga Darbari) Ustad Amir Khan
We are going to take up O duniya ke rakhwaale in Raag Darbari. This raag was believed to have originated in Kanada region and brought to Emperor Akbar’s court by Mian Tansen. The movie has Baijnath Mishra (called Baiju Bawra, or Baiju the Crazy) seeking revenge on Tansen for the death of Baiju’s father by defeating him in singing!
Rafi has set such high standards in singing this song, that no one has ever attempted to sing it alive in a concert. The high pitched ending is just out of this world.
It was all made possible by the exquisite lyrics of Shakeel.
Please enjoy: O duniya ke rakhwaale….
bhagavaan, bhagavaan … bhagavaan
o duniyaa ke rakhavaale, sun dard bhare mere naale
sun dard bhare mere naale
aash niraash ke do ra.ngo.n se, duniyaa tuune sajaaI
nayyaa sa.ng tuufaan banaayaa, milan ke saath judaaI
jaa dekh liyaa harajaaI
o … luT gaI mere pyaar kii nagarii, ab to niir bahaa le
ab to niir bahaa le
o … ab to niir bahaa le, o duniyaa ke rakhavaale …
aag banii saavan kii barasaa, phuul bane a.ngaare
naagan ban ga_ii raat suhaanii, patthar ban gae taare
sab TuuT chuke hai.n sahaare, o … jiivan apanaa vaapas le le
jiivan dene vaale, o duniyaa ke rakhavaale …
chaa.nd ko Dhuu.NDhe paagal suuraj, shaam ko Dhuu.NDhe saveraa
mai.n bhii Dhuu.NDhuu.N us priitam ko, ho naa sakaa jo meraa
bhagavaan bhalaa ho teraa, o … qismat phuuTii aas na TuuTii
paa.nv me.n pa.D gae chhaale, o duniyaa ke rakhavaale …
mahal udaas aur galiyaa.n suunii, chup-chup hai.n diivaare.n
dil kyaa uja.Daa duniyaa uja.Dii, ruuTh gaI hai.n bahaare.n
ham jiivan kaise guzaare.n, o … ma.ndir girataa phir ban jaataa
dil ko kaun sambhaale, o duniyaa ke rakhavaale …
o duniyaa ke rakhavaale
rakhavaale
rakhavaale
rakhavaale … (throat bleeding pitch !!)
Song #5
What a song that was in Raag Darbari!
In my own words:
Shakeel naghmagar (lyricist) nahin, the ek awwal sunaar, Geet aise likhe hain jaise heeron se jadhe hon haar, Har ek lafz ki alag pehchaan aur chamak hai, Dil chahata hai sune aur dekhen baar baar.
One such song that we would like to listen to over and over again was written by him for the 1962 movie Bees Saal Baad that was produced by my favourite singer Hemant Kumar and directed (debut) by Biren Nag.
A song from the movie Kahin deep jale kahin dil won Shakeel Badayuni his third Filmfare Award for Best Lyricist.
But, the song that we shall never get tired of listening to is Beqraar karke hamen youn naa jaayiye. Of course, one must admire the remarkably impressive singing by Hemant Kumar and also his composition and music. But, what I wrote about each word being a gem to be arranged in a necklace is very much evident in this song.
In just one song of three stanzas, Biswajeet was able to convey to Waheeda Rehman the effect of her beauty, cautioned her about going alone in a garden full of her fans such as roses and moths, and finally suggesting to her to have him as her companion for life!
(beqaraar karake hame.n yuu.N na jaaiye
aapako hamaarii kasam lauT aaiye ) – 2
dekhiye vo kaalii kaalii badaliyaa.N
zulf kii ghaTaa churaa na le kahii.n
chorii chorii aake shokh bijaliyaa.N
aapakii adaa churaa na le kahii.n
yuu.N qadam akele na aage ba.Dhaaiye
aapako hamaarii…
(dekhiye gulaab kii vo Daaliyaa.N
ba.Dhake chuum le na aap ke qadam ) – 2
khoe khoe bha.Nvare bhii hai.n baaG me.n
koii aapako banaa na le sanam
bahakii bahakii nazaro.n se khud ko bachaaiye
aapako hamaarii…
zindagii ke raaste ajiib hai.n
iname.n is tarah chalaa na kiijiye
khair hai isii me.n aapakii huzuur
apanaa koii saathii Dhuu.NDh liijiye
sunake dil kii baat naa muskuraaiye
aapako hamaarii…
Song #6
Whilst Beghum Akhtar sang some of his non-filmy ghazals, the best filmy ghazals of Shakeel Badayuni were sung by both Mohammad Rafi and Lata Mangeshkar. But, the fact is that they sang some of his non-filmy ghazals too.
Here is one of my favourites by Lata Mangeshkar: Aank se aankh milata hai koi…
Aa.Nkh se aa.Nkh milaataa hai ko_ii
Someone is making his eyes rest on mine
Dil ko khii.Nche liye jaataa hai ko_ii
Someone is tugging at my heart
Vaa-e-hairat ke bharii mahafil me.n
Alas in this party full of wonder
Mujh ko tanhaa nazar aataa hai ko_ii
I find someone is alone
Sub.h ko KHunuk fanaa.oñ ki qasam
I vow by the happy weather of the morning
Roz aa aa ke jagaata hai ko_ii
Someone comes again and again to awaken me
Manzar-e-husn-e-do-aalam ke nisaar
Offering of the spectacle of the beauty of two world
Mujh ko aa-iina dikhaataa hai ko_ii
Someone is showing me the looking-glass
Chaahiye Khud pe yaqiin-e-kaamil
One should have firm belief on oneself
Hausalaa kis kaa ba.Dhaataa hai ko_ii
Who is there to provide encouragement?
Sab karishmaat-e-tasavvur hai “Shakeel”
All are miracles of imagination, Shakeel
Varanaa aataa hai na jaataa hai ko_ii
Else no one comes, no one goes
Appreciating Good Lyrics Song #1
Now that I have started putting up posts on my Facebookl page ‘Lyrical‘ (shared here as well as in Facebook group ‘Chalta Hai’) as part of the Countdown to the Birth Centenary of Shakeel Badayuni on 03 Aug, I have also decided to give you matching lyrics by other great lyricists.
I am, as you already know, a ‘Lyrical’ man in the same sense (though lacking in equivalent excellence) as my friend Anand Desai is an Instrumental man.
I also feel – and I was just responding to a comment by Ashwani Sharma, whose dad was a great Urdu poet – that Lyricist and Poets are not horses in a race; to be bet upon and cheered to win every time. Hence, if someone is a favourite lyricist or a poet of yours, it simply means that you appreciate all good lyrics and the lyrics of this particular one best synchronise with your emotions and memories.
In the era when I was brought up, good lyrics simply ruled the scene. We may not remember the story-line of a movie after so many decades, but we do remember the lyrics. I gave Ashwani Sharma several examples, such as Rajinder Krishan’s:
“Ghar se chale the ham to khushi ki talaash mein,
Gham raah mein khade the wahin saath ho liye,
Khud dil se dil ki baat kahi aur ro liye.”
If you have seen the movie Adaalat, you would know how aptly the lyrics fit with the story-line and the emotions of Nargis.
Shailendra Kesarilal was one such lyricist. He was born on 30th Aug 1921 in Rawalpindi (now in Pakistan). He and Hasrat Jaipuri associated with Shankar Jaikishan to create some of the best known songs in the Hindi movies.
His son Dinesh Shankar Shailendra brought out to us during the Shankar Jaikishan Music Foundation’s Mumbai meet that amongst all of them, Shailendra was the only one who knew English and hence all contracts for the S-J and Hasrat were perused by him for correctness before asking them to sign!
If Raj Kapoor hadn’t noticed his poetry in a mushaira in Bombay in the year 1947, Shailendra would have probably continued working in the railways! And then first Aag (1948) and then Barsaat (1949) took place. Shailendra thereafter took us on a better journey than he would have in the Indian Railways.
There are hundreds of his lyrics to appreciate. I am particularly fond of Patita’s Mitti se khelte ho baar baar kis liye and this from the 1965 movie Chhoti Chhoti Baatein that starred Nadira and Motilal.
The movie was written, produced and directed by Motilal. As some of you would know, Motilal died before the movie was released.
You would also appreciate the setting of this great song (and I urge you to see it please) in a boat.
Whilst giving you the description of Raag Sarang in Lyrical, I had mentioned the various names by which Sarang is known, the most popular being Brindavani Sarang. This is, however, composed in Gaur Sarang by Anil Biswas and the tal is Dadra.
Singing for Nadira is Meena Kapoor. She became famous for her 1957 movie Pardesi song: Rasiya re man basiya re. She was, of course married to Anil Biswas. Many people used to comment upon the likeness of her voice to Geeta Dutt with whom she was a friend.
But, this song has to be appreciated most for its exquisite lyrics by Shailendra!
Please enjoy: Kuchh aur zamaana kehta hai…..
kuchh aur zamaanaa kahataa hai, kuchh aur hai zidd mere dil kii
mai.n baat zamaane kii maanuu.N, yaa baat sunuu.N apane dil kii
kuchh aur zamaanaa kahataa hai …
duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
naadaan ham samajhe baiThe the
nibhatii hai yahaa.N dil se dil kii
kuchh aur zamaanaa kahataa hai …
inasaaf, muhabbat, sachchaa_ii
vo raham-o-qaram ke dikhalaave
kuchh kahate zubaa.N sharamaatii hai
puuchho na jalan mere dil kii
kuchh aur zamaanaa kahataa hai …
go bastii hai insaano.n kii
insaan magar Dhuu.NDhe na milaa
patthar ke buto.n se kyaa kiije
fariyaad bhalaa TuuTe dil kii
kuchh aur zamaanaa kahataa hai …
Day #3 of 31 Appreciating Good Lyrics Song #2
The era in which Shakeel Badayuni was active, belonged to Lyricists. Since the success of the movies’ success primarily depended upon their songs, and since songs were appreciated for their lyrics, the Lyricists were centre stage.One such lyricist of that era was Rajinder Krishan (he also wrote his name as Rajendra Krishan). I think of him as ‘Simla boy’ (my home station) since although he was born in Jalalapur Jatan (that part of Gujarat, which is now in Pakistan), his boyhood and early manhood was spent in Simla where he was a clerk in the municipal office.
I share another interesting thing with him, in that a quarter of century later after he was born, I too was born on the 6th of June!
Even before I was born, he left Simla (now Shimla) and came to Bombay (now Mumbai) to try his luck in the Hindi film industry that had shifted there from Calcutta (now Kolkata).
One of the first music directors that he was associated with as Lyricist (initially, he tried his hand as a screenwriter) was C Ramchandra.
The movie from which I have taken this song to tell you about matching lyrics with Shakeel Badayuni was the 1953 movie Anarkali (earlier he wrote lyrics for the songs of Amar Kahani (1949; with MD Husanlal Bhagatram), Albela (1951; with C Ramchandra), Araam (1951; with Anil Biswas) and Ladki (1953; with R. Sudarsanam and Dhaniram).
Ananrkali was his second movie with C Ramchandra. Initially the MD was Vasant Prakash and after his death C Ramchandra took over. Its 11 songs were penned by four lyricist: Rajinder Krishan penned four of them and the others were by Shailendra, Hasrat Jaipuri and Jaan Nisar Akhtar (Jawed Akhtar’s father).
Some of you would tell me that Rajinder Krishan’s best lyrics are to be found in Adaalat (1958) and Jahan Ara (1964). But, those we shall come to later. Lets get on with 1953 movie Anarkali.
The story is thew same as that of Mughal-e-Azam (which came later) and hence I shall not repeat that. Pradeep Kumar acted as Prince Salim, Bina Rai as the courtesan Anarkali in the court of Emperor Akbar and Noor Jahan as Nur Jehan.
I feel that Rajinder Krishan excelled in the lyrics of this song in the very early stages of his career. The third stanza is so exquisite that at least I am rendered speechless with its simple beauty.
One more thing. Seven years later, Shakeel and Naushad created the songs of Mughal-e-Azam and they became iconic. However, Anarkali songs are as fondly remembered as of Mughal-e-Azam.
Please enjoy: Mujhase mat poochh tere ishq mein kyaa rakha hai….
dil kii lagii hai kyaa, ye kabhii dil lagaake dekh
aa.Nsuu bahaake dekh kabhii muskaraake dekh
paravaanaa jal rahaa hai magar jal rahaa hai kyaa
ye raaz jaananaa hai to khud ko jalaake dekh
mujh se mat puuchh mere ishq me.n kyA rakhaa hai
ek sholaa hai jo siine me.n chhuupaa rakhaa hai
daag-e-dil daag-e-jigar daag-e-tamannaa lekar (2)
mai.n ne viiraan bahaaro.n ko sajaa rakhaa hai
mujh se mat puuchh
hai zamaanaa jise betaab miTaane ke liye (2)
mai.nne us yaad ko siine se lagaa rakhaa hai
mujh se mat puuchh
bhUlanevaale tujhe dard-e-muhabbat kii kasam (2)
mai.n ne is dard me.n duniyA ko bhulaa rakh hai
mujh se mat puuchh
https://www.youtube.com/watch?v=bdm-YmBriS0
Song #7
You would have noticed, ladies and gentlemen, that I have started giving you (one post a day titled ‘Appreciating Good Lyrics’). This is intended to contrast his poetry/lyrics with other contemporaries such as Rajinder Krishan, Shailendra, Sahir Ludhianvi, Kaifi Azmi, Hasrat Jaipuri, and Jaan Nisar Akhtar. The idea is to show you that Shakeel was active during a time when songs were appreciated because of their good lyrics as the primary requirement. Enjoy those posts too.
Writing about Shakeel Badayuni is to relive that era when great stories, dialogues, histrionics, and songs made the movies into what they were.
Lets take one of Shakeel’s early movies: the 1951 movie Deedar. It was one of the earliest movies in which Shakeel wrote the songs, Naushad composed them, Mohammad Rafi sang and Dilip Kumar enacted.
The movie stars both Nargis and Nimmi opposite Dilip Kumar (Shamu) as Mala and Champa respectively. The story was that of unfulfilled love between two childhood friends: Shamu and Champa, whose love was nipped in the bud due to class inequalities. Traumatised and blinded, he earns living singing but deep down he searches for his childhood love to have her Deedar (face to face).
The story was repeatedly mentioned by Vikram Seth in his popular novel A Suitable Boy. A remake of this story was done by Raj Khosla at the behest of Manoj Kumar and this was called Do Badan. Interestingly, even Do Badan had songs written by Shakeel Badayuni, though composed by Ravi.
Deedar’s songs were composed by Naushad and have a look at the list:
1. Bachpan Ke Din Bhoola Na Dena – Male Mohammad Rafi
2. Hue Hum Jinke Liye Barbad – I Mohammad Rafi
3. Hue Hum Jinke Liye Barbad – II Mohammad Rafi
4. Naseeb Dar Pe Tera Aazmane Aya Hon Mohammad Rafi
5. Meri Kahani Bhoolne Wale Mohammad Rafi
6. Dekh Liya Maine Kismat Ka Tamasha Mohammad Rafi & Lata Mangeshkar
7. Tu Kon Hai Mera Kehde Balam Lata Mangeshkar
8. Le Ja Meri Duayeein Le Ja Lata Mangeshkar
9. Duniya Ne Teri Duniyawale Lata Mangeshkar
10. Bachpan Ke Din Bhoolana Dena – Female Shamshad Begum & Lata Mangeshkar
11. Chaman Mein Rakhe Verana Shamshad Begum
12. Nazar Phero Na Humse Shamshad Begum & G. M. Durrani
You would have noticed two things in the above list. One, that GM Durrani, who was Mohammad Rafi’s guru, also sang with him in the same movie!
Two, that whenever you post a song of Shakeel Badayuni, you have to sadly and automatically think of all the others that you ain’t putting up!
Mohammad Rafi sang this for Dilip Kumar.
Naushad, who was really very well versed with Raagas, set this in Raag Tilang that I haven’t yet taken up with you here on Lyrical.
All those, like me, who have read and routinely read Sri Guru Granth sahib, the holy book of the Sikhs, would be familiar with this Raag. In the SGGS, there are as many as 20 hymns in this Raag, that has its origin in Sufi tradition and has fair sprinkling of Islamic vocabulary: Guru Nanak (6 hymns), Guru Ram Das (3), Guru Arjan(5), Guru Tegh Bahadur (3), Kabir (1) and Namdev (2).
Raag Tilang has intrinsic sense of yearning in it (it belongs to the Khammaj thaat) and it is reflected very well in this song.
Please enjoy: Meri kahaani bhoolne waale, tera jahan aabaad rahe….
mere giit sune duniyaa ne magar
meraa dard koI na jaan sakaa
ek teraa sahaaraa thaa dil ko
par tuu bhii na mujhe pahachaan sakaa
bachapan ke vo giit puraane aaj tujhe na yaad rahe
merii kahaanii
mai.n apanaa fasaanaa kah na sakaa
mere dil kii tamannaa dil me.n rahii
lo aaj kinaare par aake
aramaano.n kii kashtii Duub ga_ii
qismat ko ma.nzuur yahii thaa lab par mere fariyaad rahe
merii kahaanii
Song #8
The era that I was talking about not just belonged to Shakeel, Naushad, Rafi, Lata, but any attempts to discount the effect of their priceless creations is an effort to rewrite that nostalgia imprinted on our minds.
Lets take one of Lata Mangeshkar at this stage.
The 1955 movie Uran Khatola was indeed produced by the music director Naushad and hence you can be assured of the best of the songs in the movie. Dilip Kumar acted opposite Nimmi.
The story was repeated in Hindi movies a number of times and Dilip Kumar starrer Taraana with Madhubala has almost the same story.
Here is the story from Wiki:
“Kashi (Dilip Kumar) travels by an ill-fated plane, which crashes on the outskirts of an isolated city that is ruled by women, who worship Sanga, their God. Kashi is rescued by pretty Soni (Nimmi) and taken to her home, where she lives with her widowed dad, and brother, Hira (Agha). Since the roads are blocked, Kashi is unable to return home, and in order to continue to stay here, he must first obtain permission from the Raj Rani (Surya Kumari), the ultimate ruler. He meets with her and she finds him attractive and charming, and invites him to stay with her at her palace and sing for him, which he does. Kashi and Soni have given their hearts to each other, they meet secretly, with Soni disguised as a man, Shibu. Raj Rani finds out that a Kashi is ignoring her love for a mere peasant.
And….it is in this song!
Naushad composed the song in Raag Bihag. We have already taken up this Raag on Lyrical when I told you that the mood of the Raag is celebratory and is normally played at marriages.
If you recall Lyrical’s cover picture showed the song ‘Tere sur aur mere geet’ from Goonj Uthi Shehnai.
Please enjoy: Hmaare dil se na jaana, dhoka na khaana, duniya badhi beimaan….
hamaare dil se na jaanaa,dhokaa na khaanaa,duniyaa ba.Dii beimaa.n
o piyaa duniyaa badii beimaa.n
hamaare dil se na jaanaa,dhokaa na khaanaa,duniyaa ba.Dii beimaa.n
hamaare
(mai.n huu.n jii pyaar kii pahalii nishaanii)-2
(aa.Nkho.n se aaj kahuu.n dil kii kahaanii)-2
o~oo~ sun lo jii pai.nyaa pa.Duu.N ho~oo~
(dekho jii vinatii karuu.n)-2
ho~oo~,hamaare ghar laaj nibhaanaa
dil na dukhaanaa
balamaa kahanaa meraa maan
oo~ piyaa duniyaa ba.Dii beimaa.n
hamaare …
(miiThe do bol yahaa.n,mushakil hai bolanaa)-2
(duniyaa kii riit(?) kabhii,man ke na kholanaa)-2
o~oo~ jhuuTii hai priit yahaa.n,ho~oo~
(koii na miit yahaa.n)-2
ho~oo~,buraa hai aaj zamaanaa
TuuTe jiyaa naa
ulajhan me.n hai merii jaan
oo~ piyaa duniyaa ba.Dii beimaa.n
hamaare …
Song #9
If you notice, I have been giving you two songs followed by a ghazal everyday.
The cover picture shows only one ghazal singer: Begum Akhtar who sang several of his ghazals.
Another singer who added his name into the list of immortal ghazal singers was Talat Mehmood. Coincidentally, Talat being almost eight years younger to Shakeel Badayuni was also from Uttar Pradesh: Lucknow. His kind of romantic and tragic singing suited the lyrics of Shakeel.
Here is he singing Shakeel’s famous ghazal: Meri zindagi hai zaalim tere gham se aashkara…
Merii zindagii hai zaalim, tere Gam se aashkaaraa
My life is a manifestation of your sorrow, O tyrant
Teraa Gam hai dar-haqiiqat mujhe zindagii se pyaaraa
The truth is that your sorrow is dearer to me than my life
Vo agar buraa na maane to jahaa.N-e-rang-o-buu me.n
If she won’t mind then in this world of colour and fragrance
Mai.n sukuun-e-dil kii Khaatir koii Dhuu.NDh luu.N sahaaraa
May I search for support for the sake of peace of my heart?
Ye fulak fulak havaaye.N ye jhukii jhukii ghaTaaye.N
These happy winds, these low rain bearing clouds
Vo nazar bhii kyaa nazar hai jo samajh na le ishaaraa
What kind of eye is that which can’t take this hint?
Mujhe aa gayaa yaqii.n saa yahii hai merii ma.nzil
I have come to believe that this is my destination
Sar-e-rah jab kisii ne mujhe daffa’atan pukaaraa
On the road when someone called me spontaneously
Mai.n bataauu.N farq naasih, jo hai mujh me.n aur tujh me.n
I can tell you my counsellor, the difference between you and me
Merii zindagii talaatum, terii zindagii kinaaraa
My life is like a sea-storm, your life is like a shore
Mujhe guftaguu se ba.Dakar Gam-e-izn-e-guftaguu hai
More than the conversation, I have grief of permission to converse
Wahii baat puuchhte hai.n jo na kah sakuu.N dobaaraa
She asks me about that thing that I can’t repeat
Koii aye ‘Shakeel’ dekhe, ye junuu.N nahii.n to kyaa hai
Someone should see this, Shakeel, isn’t it madness
Ke usii ke ho gaye ham jo na ho sakaa hamaaraa
That I became hers but she couldn’t be mine
Day #4 of 31 Appreciating Good Lyrics Song #3
In the last two days I have given you lyrics as under:1. Shailendra’s: Kucch aur zamaana kehta hai.
2. Rajinder Krishan’s: Mujhase mat poochh tere ishq ne kyaa rakha hai.
Lets take one of Kaifi Azmi today. His real name was Sayyid Akhtar Hussein Rizvi. He was born in a village Mizwaan in the district Azamgarh of Uttar Pradesh. His daughter Shabana is a celebrated actress in Hindi movies and son Baba a cinematographer.
Kaifi Azmi was a known poet in the mushairas of that era and as late as in 1970, when I was studying in Government College Dharamshala in Kangra District of Himachal, I heard him in a mushaira in our college.
I like Kaifi’s lyrics and poetry for one unique quality: he’d use very simple words to convey very strong and deep thoughts. Rather than trying to impress you with the different and complex words in the Urdu language, he’d rely more on the play of words.
I am fond of giving this example from Hanste Zakhm:
Dil ki naazuk ragen tootati hain, Yaad itana bhi koi na aaye.
Or, from Kohra (the song picturised on Biswajeet’s first licentious wife, before he married Waheeda rehman):
Haal ye hai masti kaa, saans lagi thamane Utane rahe pyaase ham jitani bhii pi hamane
Or from Guru Dutt’s movie Kaagaz Ke Phool:
Jaaenge kahaan poochhataa nahin Chal pade magar raastaa nahin Kyaa talaash hai kuchh pataa nahin Bun rahe hain dil khvaab dam-ba-dam
Let me take you now to the 1961 movie Shola Aur Shabnam, which had the first major role by Dharmendra though he had acted in two movies before that: Dil Bhi Tera Ham Bhi Tere and Boy Friend.
The film, directed and written by Ramesh Saigal was about a young man (my namesake Ravi played by Dharmendra) torn between love for his long lost childhood sweetheart (Tarla Mehta), and devotion towards a friend (M Rajan) who has helped set him up in his career.
This song brings out the feelings of Ravi (Dharmendra) so well in such simple words. Pay particular attention to the last lines:
Kaise baazaar ka dastoor tumhen samjhaayun, Bik gaya jo woh khareeddaar nahin ho sakta.
Khaiyyam, who was known to give the gentlest of the music, made equally gentle music for these powerful lyrics of Kaifi Azmi. Hats off to Dharmendra that in his first major movie he should attempt such serious and sad role.
By this time, you would have already seen my bias towards the Raag of the hills, my home station, and I am not going to deny it. This too has been set by Khaiyyam in Raag Pahadi in Tal Dadra.
Please enjoy one of Kaifi’s best: Jaane kyaa dhoondati rehati hain ye aankhen mujh mein….
jaane kyaa Dhuu.NDhatii rahatii hai.n ye aa.Nkhe.n mujhame.n
raakh ke Dher me.n sholaa hai na chi.ngaarii hai
ab na vo pyaar na usakii yaade.n baakii
aag yuu.N dil me.n lagii kuchh na rahaa kuchh na bachaa
jisakii tasviir nigaaho.n me.n liye baiThaa ho
mai.n vo diladaar nahii.n usakii huu.N khaamosh chitaa
zi.ndagii ha.Ns ke na guzaratii to bahut achchhaa thaa
khair ha.Ns ke na sahii ro ke guzar jaayegii
raakh barabaad muhabbat kii bachaa rakhii hai.n
baar-baar isako jo chhe.Daa to bikhar jaayegii
aarazuu jurma vafaa jurma tamannaa hai gunaaha
ye vo duniyaa hai jahaa.N pyaar nahii.n ho sakataa
kaise baazaar kaa dastuur tumhe.n samajhaauu.N
bik gayaa jo vo khariidaar nahii.n ho sakataa …
Day #4 of 31 Song #10
We have already taken up a song from the 1952 movie Baiju Bawra. So strong was thew focus on songs and ghazals in the movies that the makers of the movies sought to have singing hero or heroines in the movies. Bharat Bhushan himself acted in singing roles in several of his movies. Besides Baiju Bawra in which he had the title role, he acted in the title role in the 1954 movie Mirza Ghalib. In 1956 movie Basant Bahar, he as Gopal, the son of an astrologer wasn’t interested in astrology but in music. He did the title role in 1959 movie Kavi Kalidas. He was a shayar in 1960 movie Barsaat Ki Raat and finally as the great musician Tansen in 1962 movie Sangeet Samrat Tansen.
The people lapped up all the movies based on music and poetry.
Two years after the success of Baiju Bawra, Bharat Bhushan (typified as the poet/shayar/musician in Hindi movies, in the same manner as Amitabh Bachchan was typified as the angry-young-man) acted in the 1954 movie Shabaab (Youth). Nutan acted as the female lead.
The movie was made, like Baiju Bawra, to bring out the power of music. Bharat Bhushan is the musician. He falls in love with a lost princess, Nutan. Love always had enemies during those days. The king and his men oppose their love. In the end, Bharat Bhushan wins the heart of Nutan but loses his life.
When Shakeel and Naushad are together, you can laways expect magic and it did happen in the movie. Have a look at the list of the songs:
1. Daya Kar He Giridhar Gopal – Amir Khan – Raga Multani
2. Mehlon Mein Rahne Wale – Mohammed Rafi
3. Mar Gaye Ham Jeete Ji Malik – Lata Mangeshkar
4. Bhagat Ke Bas Mein Hai Bhagwan – Manna Dey
5. Jogan Ban Jaungi Saiyan Tore Karan – Lata Mangeshkar
6. Lagi More Man Ki O Sajna – Shamshad Begum
7. Yehi Armaan Lekar Aaj Apne Ghar Se – Mohammed Rafi
8. Jo Main Janti – Lata Mangeshkar
9. Man Ki Been Matwari Baje – Mohammed Rafi, Lata Mangeshkar – Raga Bahar with a trace of Raga Basant
10. Chandan Ka Palna Resham Ki Dori – Lata Mangeshkar, Hemant Kumar
11. Aaye Na Balam Wada Karke – Mohammed Rafi
Today, whilst writing about the other contemporary lyricists, I wrote about the simplicity of the lyrics of Kaifi Azmi. Shakeel excelled in this too.
Lets take up a favourite (also since it is sung by Hemant Kumar) song of mine. Both Lata and Hemant have sung it. The Raag is another very popular raaga in the Hindi movies: Raag Pilu. The taal is Dipchandi (lamplight) also known as Chanchar or Chochar. Some of the other songs that I like in Dipchandi taal are: Ishaaron ishaaron mein dil lene waale, Allah tero naam, Ab ke baras bhej bhaiyya ko baabul, and Piya tose naina laage re that was on Rupak as well as Dipchandi taal.
Please enjoy: Chandan ka palna, resham ki dori….
sa.ngiit hai shakti ii{sh}var kii har sur me.n base hai.n raam
raagii ko sunaaye raag madhur, rogii ko mile aaraam
The last song must have surely put you to sleep and taken you to the dreamworld across the skies. Chandan ka palna, being the best lullaby, has that effect. If Bharat Bhushan was typified as a musician/shayar/poet in the movies, Nutan was often portrayed as the one who had lost her sleep. She did that in Milan, in Dulhan Ek Raat Ki and here in Shabaab!
Lets go back a little to 1949 AR Kardar movie Dillagi.
Another thing that I want to bring out, in addition to the strong stress on lyrics in the songs, was that for a movie to be successful at the box-office, it’d better be tragic! Mughal-e-Azam’s success, to a great extent, has been traced by film analysts to strong underlying tragedy.
Dillagi was a romantic tragedy too based on Emile Bronte’s Wuthering Heights, that was later adapted into Dil Diya Dard Liya, which was another of Shakeel-Naushad movies.
The actor Shyam gave his life-time’s bast performance in Dillagi. Suraiyya acted opposite him.
As always, lets have a look at the list, to reinforce the fact about the primacy of songs in the movies of that era:
1 Tu Mera Chand Suraiya
2 Is Duniya Mein Dil Ka Lagana Kheil Nahin Mohammed Rafi
3 Murliwale Murli Baja Suraiya
4 Char Din Ki Chandni Thi Phir Andheri Raat Hai Suraiya
5 Duniya Kya Jaane Suraiya
6 Nirala Mohabbat Kaa Dastur Dekha Suraiya
7 Tera Khayal Dil Se Bhulaya Na Jayega Suraiya
8 Le Ke Dil Chupke Se Kiya Majboor Suraiya
9 Tu Mera Chand, Mein Teri Chandani Shyam, Suraiya
10 De Dhil De Dhil O Ree Sakhi Uma Devi, Shamshad Begum
Lets take up this duet of Shyam and Suraiyya singing for themselves. The song is on a theme that’s always close to my heart.
Please enjoy: Tu mera chand main teri chandini……
tuu meraa chaa.Nd mai.n terii chaa.Ndanii
mai.n teraa raag tuu merii raaginii
o, nahii.n dil ka lagaanaa koii dillagi, koii dillagi
saath hii jiinaa saath hii maranaa
ulfat kii hai riit, haa.N, ulfat kii hai riit
pyaar kii muralii haradam gaaye terii lagan ke giit
mai.n teraa raag tuu merii raaginii
tuu meraa chaa.Nd mai.n terii chaa.Ndanii
o, nahii.n dil ka lagaanaa …
bhuul na jaanaa rut ye suhaanii
ye din aur ye raat, haa.N, ye din aur ye raat
jab tak chamake chaa.Nd sitaare, dekho chhuuTe na saath
tuu meraa chaa.Nd mai.n terii chaa.Ndanii
mai.n teraa raag tuu merii raaginii
o, nahii.n dil ka lagaanaa …
Song #12
Now that I have given you two of his songs on Chand and Chandini, I should probably end with a Chand ghazal. In his characteristic style, it is a sad ghazal.
There wasn’t a poet and lyricist like him. Probably, there won’t ever be. He used words as a goldsmith uses gold to make beautiful ornaments.
This is his second best ghazal sung by Shanti Heranand. She was a disciple of Begum Akhtar who was fired with the desire to popularise the genre’ of singing of her idol.
Please enjoy: Nazar Nawaz nazaron mein ji nahin lagata….
Nazar nawaaz nazaron mein ji nahin lagata,
Woh kyaa gaye ki bahaaron mein ji nahin lagata.
My heart cannot find joy in sights that are pleasing to the eye
She left and now spring cannot amuse me
(Nazar nawaaz=Pleasing to the eye)
Shab-e-firaaq ko ai chaand aa ke chamka de,
Nazar udaas hai taaron mein ji nahin lagata.
Only moon (her) can come and brighten the night of separation
My sight is sad, stars cannot amuse me
(Shab-e-firaaq=Night of separation/longing)
Gham-e-hayaat ke maare to ham bhi hain lekin,
Gham-e-hayaat ke maaron mein ji nahin lagata.
Even I am a victim of sorrow of life, but
I do not find amusement in the midst of other victims of sorrow of life.
(Gham-e-hayaat=Sorrow of life)
Na poochh mujhase tere gham mein kyaa guzarti hai,
Yahi kahunga hazaaron mein ji nahin lagata.
Don’t ask me how I spend my time in your sorrow
I shall say only this that I don’t find amusement in the midst of thousands
Kuchh is qadar hai gham-e-zindagi se dil maayus,
Khizaan gayi to bahaaron mein ji nahin lagata.
In this manner is the heart saddened by sorrow of life
That when autumn was over, spring doesn’t amuse me
Fasaana-e-shab-e-gham khatm hone waala hai,
Shakeel chand sitaaron mein ji nahin lagata.
Story of the night of grief is about to end now
Shakeel, (now) moon and the stars don’t amuse me anymore
(Fasaana-e-shab-e-gham=Story of the night of grief)
Day #5 of 31 Appreciating Good Lyrics Song #4
These posts started three days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
So far, we have taken up in the last three days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
Tonight we take up Sahir Ludhianvi‘s.
Sahir was born as Abdul Hayee on 8th March 1921. Sahir means ‘Wakeful’ or ‘Magician’ and this poet from Karimpura, Ludhiana actually awakened us with his poetry as a magician.
His mother Sardar Begum suffered at the hands of his father who eventually remarried. Some of Sahir’s poetry reflects that angst about the treatment of women. Sahir gained fame in his college (Khalsa College, Ludhiana) reading out his poems and giving his fiery speeches.
Sahir didn’t marry though he was romantically inclined to Amrita Pritam and later to the singer Sudha Malhotra.
Sahir’s style of poetry was different from Shakeel’s. Indeed, Shakeel was exclusively a poet of Love whereas almost all other poets of that era, including Sahir, wrote about the social conditions prevalent in the country including poverty.
For example, if Shakeel wrote for a Leader song, about Taj Mahal:
“Ek Shehanshah ne banwa ke haseen Taj Mahal, Saari duniya ko mohabbat ki nishaani di hai, Iske saaye mein sadaa pyaar ke charche honge Khatam jo ho naa sakegi wo kahani di hai”
Sahir’s was to be critical of Shahjehan for the ostentation:
“Ek Shaehanshah ne banwa ke haseen Taj Mahal, Ham gareebon ki mohabbat ka udhaaya hai mazaak, Mere mehboob kahin aur mila kar mujhako.”
Many of his fans consider Sahir Ludhianvi as the greatest poet and lyricist of that era.
These do not include me though I was brought up in a place close to Sahir’s. As I told you a favourite is not someone like a horse who wins all races for you. A favourite is the one who comes closest to your emotions and moods. Shakeel does that for me.
Sahir received Filmfare awards for Best Lyricist twice: once for the Taj Mahal song: Jo waada kiya wo nibhaana padhega; and once for the title song of Yash Chopra’s Kabhie Kabhie, which some feel was tailored on his own biography in part.
Lets take a very expressive song from his 1958 BR Chopra movie Sadhana that starred Vyjayanthimala as a prostitute in love with a professor Sunil Dutt.
The film was about rehabilitation of prostitutes and stirred the conscience of the society towards them.
Datta Naik composed the song almost like a nazm, which it was.
Please enjoy: Aurat ne janam diya mardon ko, mardon ne use bazaar diya….
aurat ne janam diyaa mardo.n ko, mardo.n ne use baazaar diyaa
jab jii chaahaa kuchalaa masalaa, jab jii chaahaa dutkaar diyaa
tulatii hai kahii.n diinaaro.n me.n, bikatii hai kahii.n baazaaro.n me.n
na.ngii nachavaaii jaatii hai, aiyyaasho.n ke darabaaro.n me.n
ye vo beizzat chiiz hai jo, ba.nT jAtI hai izzatadaaro.n me.n
mardo.n ke liye har zulm ravaa.N, aurat ke liye ronaa bhii khataa
mardo.n ke liye laakho.n seje.n, aurat ke liye bas ek chitaa
mardo.n ke liye har aish kaa haq, aurat ke liye jiinaa bhii sazaa
jin hoTho.n ne inako pyaar kiyaa, un hoTho.n kaa vyaapaar kiyaa
jis kokh me.n inakaa jism Dhalaa, us kokh kaa kaarobaar kiyaa
jis tan se uge kopal ban kar, us tan ko zaliil-o-khAr kiyaa
mardo.n ne banaayii jo rasme.n, unako haq kaa faramaan kahaa
aurat ke zindaa jal jaane ko, kurbaanii aur balidaan kahaa
qismat ke badale roTii dii, usako bhii ehasaan kahaa
sa.nsaar kii har ek besharmii, gurbat kii god me.n palatii hai
chakalo.n me.n hii aa ke rukatii hai, faako.n me.n jo raah nikalatii hai
mardo.n kii havas hai jo aksar, aurat ke paap me.n Dhalatii hai
aurat sa.nsaar kii qismat hai, fir bhii taqadiir kii hotii hai
avataar payambar janatii hai, phir bhii shaitaan kii beTii hai
ye vo badaqismat maa.N hai jo, beTo.n kii sez pe leTii hai
Day #5 of 31 Song #13
I gave you a list of all ten songs of Shakeel’s first movie, the 1947 movie Dard with Music Director Naushad. I hope you noticed a curious fact that all ten songs were sung by women: Uma Devi (Tun Tun), Suraiyya and Shamshad Begum.
Lets take his second movie: the 1948 movie Anokhi Ada and have a look at the songs:
1 Kyun Unhe Dil Diya Surendra, Suraiya Shakeel Badayuni
2 Kahe Jiya Dole Ho Kaha Nahi Jaye Uma Devi (Tun Tun) Shakeel Badayuni
3 Ye Pyaar Ki Baaten Ye Safar Bhul Na Jaanaa Mukesh Shakeel Badayuni
4 Jale Na Kyun Parwana Surendra Anjum Pilibhiti
5 Bade Bhole Bhale Hai Dil Lene Wale Surendra Anjum Pilibhiti
6 Aaj Kaha Jaa Ke Nazar Shamshad Begum Shakeel Badayuni
7 Nazar Mil Gayi Jane Kiski Nazar Se Shamshad Begum Shakeel Badayuni
8 Bhulane Vaale Yaad Na Aa Mukesh Shakeel Badayuni
9 Bhool Gaye Kyo De Ke Sahara Mukesh, Shamshad Begum Shakeel Badayuni
10 Kabhi Dil Dil Se Mukesh Shakeel Badayuni
11 Manzil Ki Dhun Me Jhumate Gaate Chale Chalo Mukesh Shakeel Badayuni
12 Dil Ko Laga Kar Humne Kuchh Bhi Na Paaya Uma Devi Shakeel Badayuni
Please notice the following:
A. Two of the songs were penned by Anjum Pilbhiti.
B. Mohammad Rafi, who excelled in singing Shakeel-Naushad songs had still not entered the scene with them.
C. Surendra and Mukesh vied with each other to sing Shakeel-Naushad.
This song and the dialogues in between are seven and half minutes of fascinating interplay of emotions in a love traingle between Naseem Bano, Surendra and Prem Adib, and I urge you to please see it. It would tell you how, Shakeel Badayuni, in his very first movie wherein he could express both male and female emotions in the songs, excelled (his first movie Dard, as I said, had only female songs).
Naushad composed this song in Raag Darbari Kanada and taal Kaherava.
Please enjoy: Kabhi dil se dil takraata to hoga….
kabhii dil dil se Takaraataa to hogaa-2
unhe meraa Khayaal aataa to hogaa-2
naa rukate ho.nge jab aa.Nkho.n me aa.Nsuu-2
aa.Nkho.n me aa.Nsuu
to paimaanaa to paimaanaa chhalak jaataa to hogaa
unhe …
vo paa lete to ho.nge dil pe kaabu, dil pe kaabu-2
unhe ye bhii-2 kamaal aataa to hogaa
kabhii dil …
Song #14
I forgot to mention in the last song from 1948 movie Anokhi Ada that it was the first movie in which Mehboob Khan took Shakeel as the lyricist. He repeated this in his Aan (1952), Amar (1954), Mother India (1957), and Son of India (1962) which was his last movie as director.
We jump to Shakeel-Naushad’s 1950 movie Babul and once again notice in the list of songs that I shall give you that Mohammad Rafi hadn’t yet arrived on the scene!
The movie starred Dilip Kumar, Munnawar Sultana and Nargis. It was produced by Naushad and was directed by FU Sunny.
Have a look at the songs:
1 Duniya Badal Gayi Talat Mahmood, Shamshad Begum 3:30
2 Dhadke Mera Dil Shamshad Begum 3:37
3 Chhod Babul Ka Ghar Shamshad Begum 3:15
4 Kisi Ke Dil Men Rahna Tha Shamshad Begum, Lata Mangeshkar 3:37
5 Lagan More Man Ki Lata Mangeshkar, Munawar Sultana 3:12
6 Mera Jeevan Saathi Bichhad Gaya Talat Mahmood 3:40
7 Milte Hi Ankhen Dil Hua Diwana Shamshad Begum, Talat Mahmood 3:11
8 Panchhi Ban Mein Lata Mangeshkar 3:03
9 Husn Walon Ko Na Dil Do Talat Mahmood 3:31
10 Jadoo Bhare Nainon Men Shamshad Begum, Dilip Kumar 3:29
11 Na Socha Tha Yeh Shamshad Begum 3:32
You would agree with me that each one is a gem. Chhod babul ka ghar became the standard song for the bidaai in all weddings. Kisi ke dil mein rehna tha, Mera jeevan saathi bichhad gaya, and Milte hi aankhen dil hua diwana kis ka all became popular hits.
However, for the lyrical excellence, I have chosen for you this number sung by Talat Mehmood. You would enjoy the light-hearted, carefree acting by Dilip Kumar rather than the tragic and sad one that he was branded as.
Please enjoy: Husn waalon ko na dil do mitaa dete hain….
husn vaalo.n ko na dil do ye miTaa dete hai.n
zi.ndagii bhar ke liye rog lagaa dete hai.n
khuub karate hai.n ye biimaar-e-muhabbat kaa ilaaj
dard ba.Dhataa hii rahe aisii davaa dete hai.n
haay kuchh in kii muhabbat kaa bharosaa hii nahii.n
pahale dil lete hai.n phir dil ko bhulaa dete hai.n
dil lagaaye na zamaane me.n hasiino.n se ko_ii
log kahate hai.n ki ye dil ko dagaa dete hai.n
https://www.youtube.com/watch?v=AragPXmpGnU
Song #15
Naushad was the music director for fourteen of AR Kardar’s movies; the 1947 movie Dard being the first one in which he took Shakeel as the lyricist. The 1951 movie Jadoo was AR Kardar’s second last movie with Naushad. After that Naushad was MD only for Deewana (1952), the same year when Naushad also did Baiju Bawra, the only movie for which he received the Filmfare Best Music Director award.
Here is from Wikipedia:
“The film revolves around a young singer and dancer, Sundari (Nalini Jaywant), who is involved with crooks, but falls in love with a police constable, Pritam (Suresh). The plot of the film was inspired from The Loves of Carmen (1948), directed by Charles Vidor and starring Rita Hayworth.”
The movie was the second of the Shakeel-Naushad duo movies (the first one being the 1949 movie Dulari with the song Suhaani raat dhal chuki) in which Mohammad Rafi sang a song (solo) and another with Shamshad Begum and Zohra Ambalewali.
Have a look at the songs that Shakeel wrote:
1 Pyar Ke Sagar Se Nikli Mohammed Rafi
2 Ulajh Gaya Jiya Mera Nainon Ke Jaal Me Lata Mangeshkar
3 Gin Gin Taare Main Haar Gai Raat Ko Lata Mangeshkar
4 Lo Pyar Ki Ho Gayi Jeet Lata Mangeshkar
5 Insan Badalte Rehte Hain Lata Mangeshkar
6 Jab Nain Milein Nainon Se, Laaraa Lu Shamshad Begum
7 Ek Do Tin Chaar, Roop Ki Dushman Paapi Duniya Shamshad Begum
8 Ae Ji Thandi Sadak Hai Thandi Sadak Shamshad Begum
9 Lelo Lelo Phuldani Lelo Shamshad Begum, Zohrabai Ambalewali, Mohammed Rafi
Pyar ke sagar se nikli is an important song for me since it is just the second movie song that Mohammad Rafi sang solo in a movie with the duo of Shakeel Badayuni and Naushad.
Please enjoy: Pyar ke sagar se nikli moti ke badle ret…
pyaar ke saagar se nikalii motii ke badale ret
ab pachhataaye kyaa hoye jab chi.Diyaa.N chug ga_ii.n khet
o
ek jhuuTh hai
ek jhuuTh hai jisakaa duniyaa ne
rakhaa hai muhabbat naam
are rakhaa hai muhabbat naam
dhokhaa hai jise
dhokhaa hai jise kahate hai.n wafaa
bas dekh liyaa anjaam
are bas dekh liyaa anjaam
( paanii sii nazar, patthar saa jigar
bedard tujhe pahachaan gaye ) -2
ham pyaar kii nagarii me.n aa kar
dastuur yahaa.N ke jaan gaye
milatii hai Kushii
milatii hai Kushii dam bhar ke liye
rone ko hai subah-o-shaam -2
haay bas dekh liyaa
bas dekh liyaa anjaam
( na puuchh hu_aa jo haal meraa
ek terii nazar ke dhokhe se ) -2
jaise ko_ii jalataa diip bujhe
bas ek hawaa ke jho.nkhe se
dil de ke hame.n
dil de ke hame.n kuchh bhii na milaa
bekaar huye badanaam
haay bas dekh liyaa
bas dekh liyaa anjaam
https://www.youtube.com/watch?v=ZEcln91GjkY
Day #6 of 31 Appreciating Good Lyrics Song #5
As you are aware. I started these posts four days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
So far, we have taken up in the last four days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
Tonight we take up Majrooh Sultanpuri‘s.
Majrooh is the fifth of our lyricists who was a contemporary of Shakeel Badayuni. Out of all these six (*including Shakeel), three have been from Uttar Pradesh, which says something about that region producing some great poets and lyricists.
Majrooh Sultanpuri was born on 01 Oct 1919 as Asrar ul Hassan Khan in a Tarin Pashtun family, in Sultanpur, Uttar Pradesh. His father was an officer in the police department, but, preferred to send his son for traditional madrasa (Urdu school) rather than provide him with English schooling.
He tried his hand at being a quack until he was noticed in a mushaira in Sultanpur.
He was a disciple of the great Urdu poet Jigar Moradabadi. When he visited Bombay in 1945 to participate in a mushaira, the director Abdul Rashid Kardar noticed him and invited him to write for the movies. Majrooh turned it down as he looked down upon movies! He was persuaded through his mentor Jigar Moradabadi and then there was no turning back.
Many traditionalists of the Urdu literature, however, felt that Majrooh sold his soul to the Hindi films and that he could have emerged a great poet in the likeness of Ghalib and Jigar.
The takhalus Majrooh means “injured” or “wounded”.
Majrooh was awarded, in 1993, the highest award – Dadasaheb Phalke award – for his lifetime contribution towards lyrics and poetry. He was the first lyricist ever to be given that award. For the film Dosti, that made Laxmikant Pyarelal famous, he was awarded the Filmfare Best Lyricist Award for the song: Chahunga main tujhe saanjh savere.
For someone who didn’t want to join Hindi movies, Majrooh emerged as a natural lyricist, very popular, very romantic without too deep poetry. I won’t like to compare him with Shakeel since Shakeel maintained the purity of Urdu lyrics and traditional Urdu poetry style.
Most of Majrooh’s songs are of Dil vil pyaar vyaar main kyaa jaanu,. Baahon mein chale aao, Bangle ke peechhe, Ye raaten ye amusam nadi ka kinaara, and Dekho mausam kyaa bahaar hai. However, some of his lyrics are still comparable to Shakeel’s such as Hui shaam unaka khayaal aa gaya, Woh jo milate the kabhi, Rahe na rahe ham, Chhupa lo youn dil mein pyaar mera, Tu kahe agar jeevan bhar main geet sunaata jaayun, Mujhe dard-e-dil ka pata na tha, Hamaare baad ab mehfil mein afsaane bayaan honge, and the great song on eyes: Teri aankhon ke siwa duniya mein rakha kyaa hai.
The last one is from the 1969 movie Chirag. Hats off to Majrooh for writing this at the age of fifty! Hats off to Madan Mohan too for having composed it in Raag Jhinjhoti, the raag named after an apsara. There are two versions of this song: Mohammad Rafi singing for Sunil Dutt and Lata Mangeshkar singing for Asha Parekh.
The lyrics are exquisite and each word hangs of the notes of the composition like raindrops from green leaves.
Please enjoy: Teri aankhon ke siwa duniya mein rakha kyaa hai….
terii aa.Nkho.n ke sivaa duniyaa me.n rakkhaa kyaa hai
ye uThe.n subah chale, ye jhuke.n shaam Dhale
meraa jiinaa meraa maranaa inhii.n palako.n ke tale
terii aa.Nkho.n ke sivaa …
(rafii)
palako.n kii galiyo.n me.n chehare bahaaro.n ke ha.Nsate hue
hai.n mere Kaabo.n ke kyaa-kyaa nagar iname.n basate hue
ye uThe.n subah chale …
iname.n mere aanevaale zamaane kii tasviir hai
chaahat ke kaajal se likhii huii merii taqadiir hai
ye uThe.n subah chale …
(lataa)
Thokar jahaa.N maine khaaI inho.nne pukaaraa mujhe
ye hamasafar hai.n to kaafii hai inakaa sahaaraa mujhe
ye uThe.n subah chale …
ye ho.n kahii.n inakaa saayaa mere dil se jaataa nahii.n
inake sivaa ab to kuchh bhii nazar mujhako aataa nahii.n
ye uThe.n subah chale …
Day #6 of 31 Song #16
We were talking about the 1952 movie Deewana, the last of the fourteen movies of AR Kardar for which Naushad was the music director.
With Shakeel, the first one, the 1947 movie Dard, had no male songs. The second one, the 1951 movie Jadoo had only one solo by Mohammad Rafi: Pyar ke sagar se nikli moti ke badle ret.
The third one too had just one solo song from Mohammad Rafi but it turned out to be a great one.
As usual, have a look at the lsit of songs:
1. Mora Nazuk Badan – Suraiya
2. Dil Mein Aa Gaya Koi – Suraiya
3. Jeene Diya Na Chain Se – Suraiya
4. Lagi Hai Manmandir – Suraiya
5. Mere Chand Mere Lal – Suraiya, Lata Mangeshkar
6. Tasveer Banata Hoon Teri – Mohammed Rafi
7. Teer Khate Jayenge – Lata Mangeshkar
8. Yeh Duniya Kaisi Hai – Hridayanath Mangeshkar
9. Humein Jo Koi Dekhle – Shamshad Begum
It is only after this that Mohammad Rafi would arrive in a big way with the 1952 movie Baiju Bawra with songs like Man tadpat Hari darshan ko aaj and O duniya ke rakhwaale, and Tu Ganga ki mauj.
After the success of the all time popular and Mohammad Rafi’s first song with Shakeel: Suhaani raat dhal chuki, here is the next popular hit of Rafi with Shakeel.
Please enjoy: Tasveer banaata hoon teri khoon-e-jigar se….
tasaviir banaataa huu.N terii Kuun-e-jigar se
Kuun-e-jigar se
dekhaa hai tujhe mai.n ne muhabbat kii nazar se
are, muhabbat kii nazar se
jitane bhii mile ra.ng vo sabhii bhar diye tujh me.n
haay, bhar diye tujh me.n
ik ra.ng-e-vafaa aur hai, laa_uu.N vo kidhar se
are laa_uu.N vo kidhar se
tasaviir banaataa huu.N terii …
saavan terii zulfo.n se ghaTaa maa.Ng ke laayaa
haay, maa.Ng ke laayaa
bijalii ne churaa_ii hai ta.Dap terii nazar se
are, ta.Dap terii nazar se
tasaviir banaataa huu.N terii …
mai.n dil me.n biThaa kar tujhe ruKsat na karuu.Ngaa
haay, ruKsat na karuu.Ngaa
mushkil hai teraa lauT ke jaanaa mere ghar se
are jaanaa mere ghar se
tasaviir banaataa huu.N terii …
https://www.youtube.com/watch?v=kvs7V66eGck
Day #6 of 31 Song #17
You must have seen my obsession with tracing the history of Mohammad Rafi singing Shakeel’s songs. It is as if Shakeel wrote his best only for him.
It is not true. The first of Shakeel’s is sung by Uma Devi (Tuntun) and Mohammad Rafi arrived only two years later with Suhaani raat dhal chuki in 1949 Dulari. Even two years later, Rafi had sung only two solos of Shakeel Badayuni.
I am giving you this background because many of us believe that the best songs in Hindi movies have been made by the quartet of Shakeel-Naushad-Rafi-Dilip and yet Rafi took quite some time in arriving on the scene.
When he did in a big way with 1952 movie Baiju Bawra, it wasn’t a Dilip Kumar movie but a Bharat Bhushan movie with Meena Kumari who bagged the Best Actress award for the movie.
I have already given you a song from the movie: O duniya ke rakhwaale composed by Naushad in raag Darbari Kanada.
Now, with the short biography of Shakeel Badayuni that I have given you, you have to imagine him writing for Baiju Bawra‘s songs wherein he is told not to write in Urdu, his strong point!
This was exactly the greatness of this greatest poet and lyricist. He delightfully surprised everyone by writing in shudh Hindi.
Indeed, the song that I have to give you now is regarded as the greatest Hindi bhajan ever written in Hindi movies. It is considered the standard for bhajans.
The song was composed by Naushad in Raag Malkauns, a derivation of Malkaush, a combination of Mala (garland) and Kaushik (serpents). Naturally, the Raaga is a Shiva Raag; believed to have been composed by Parvati to calm down an enraged Shiva.
In the movie Baiju Bawra too, one has to admire the musical acumen of Naushad to have composed in this raag since here too it has a calming effect on Baiju’s Guru Hari.
The tal is Tintal.
Without further ado, please enjoy: Man tadpat Hari darshan ko aaj….
man ta.Dapat hari darasan ko aaj
more tum bin biga.De sakal kaaj
aa, vinatii karat, huu.N, rakhiyo laaj, man ta.Dapat…
tumhare dvaar kaa mai.n huu.N jogii
hamarii or nazar kab hogii
sun more vyaakul man kii baat, ta.Dapat harii darasan…
bin guruu GYaan kahaa.N se paauu.N
diijo daan harii gun gaauu.N
sab gunii jan pe tumhaaraa raaj, ta.Dapat harii…
muralii manohar aas na to.Do
dukh bha.njan more saath na chho.Do
mohe darasan bhikshaa de do aaj de do aaj, …
Day #6 of 31 Song #18
It is almost criminal not to listen to all the songs of Baiju Bawra, once one has started. However, it is just a month long tribute as a countdown to his Birth Anniveray on 03 Aug, with less than a hundred songs that I can give you.
Still, I cannot resist giving you this number that Naushad composed in Raag Bhairavi, by that time, the favourite Raaga of another great music director (the greatest duo the world has ever seen) Shankar Jaikishan.
Please see in this song, how well Naushad could get the beat right in taal Dadra.
And Shakeel, he just made this song an iconic song in Hindi movies, the kind that you can’t get out of your system.
Please enjoy in Raag Bhairavi: Tu Ganga ki mauj main Jamuna ka dhaara….
akelii mat ja_iyo raadhe jamunaa ke tiir
o jii o
tuu ga.ngaa kii mauj mai.n jamunaa kaa dhaaraa
ho rahegaa milan, ye hamaaraa
ho hamaaraa tumhaaraa rahegaa milan
ye hamaaraa tumhaaraa
agar tuu hai saagar to majhadhaar mai.n huu.N, majhadhaar mai.n huu.N
tere dil kii kashtii kaa patavaar mai.n huu.N, patavaar mai.n huu.N
chalegii akele na tumase ye naiyaa, na tumase ye naiyaa
mile.ngii na ma.nzil tumhe bin khevaiyaa, tumhe bin khevaiyaa
chale aao jii, chale aao jii
chale aao maujo.n kaa le kar sahaaraa, ho rahegaa milan
ye hamaaraa tumhaaraa rahegaa milan, ye hamaaraa tumhaaraa
bhalaa kaise TuuTe.nge ba.ndhan ye dil ke, ba.ndhan ye dil ke
bichha.Datii nahii.n mauj se mauj milake, hai mauj mil ke
chhupoge bha.Nvar me.n to chhupane na de.nge, to chhupane na de.nge
Dubo de.nge naiyaa tumhe.n Dhuu.NDh le.nge
banaaye.nge ham, banaaye.nge ham
banaaye.nge tuufaa.N ko lekar kinaaraa, ho rahegaa milan
ye hamaaraa tumhaaraa rahegaa milan, ye hamaaraa tumhaaraa
DIL BHAR AAYA
I must be a bundle of emotions!
Today, I had to put up the Baiju Bawra songs as part of my ongoing tribute for Shakeel Badayuni. Knowing what happened to me last year when I saw the movie, I was careful to finish putting these songs before going for my evening walk.
But, then…I made the mistake (I would never do it with Mere Mehboob) of listening to Tu Ganga ki mauj. Tears came naturally again! Where has that era gone? Why can’t we have it again? You have to play the song to feel the emotions.
Here were my Facebook Group Yaad Kiya Dil Ne‘s reactions to it when I felt the same way last year: Go through them nostalgically.
As you are aware, I started these posts five days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last four days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
Tonight we take up Jaan Nisar Akhtar‘s.
Jaan Nisar Akhtar was born a little more than two years before Shakeel, on the 18th Feb 1914 in Gwalior. Unlike Shakeel, who was the first to venture into poetry (only a distant uncle was a poet), Jaan Nisar Akhtar’s father Muztar Khairabadi was poet as was his father’s elder brother, Bismil Khairabadi.
Like many other poets of that era, including Shakeel, he was part of Progressive Writers Movement.
He shifted to Bhopal from Gwalior where he took up job as Head of Department for Urdu and Persian.
In 1949 he shifted to Mumbai and met progressive writers like Rajider Singh Bedi and Mulk Raj Anand. It was only six years later, when he was 41 years old that success came his way when he wrote lyrics of the songs for the movie Yasmin.
And then for the next three and half decades he penned lyrics in the movies until his death on 16 Aug 1976. His son Jawed Akhtar is also a lyricist in the movies.
My friend Vipan Kohli wants me to come straightway to his Shankar Hussain song: Aap youn faaslon se guzarte rahe. But, Shankar Hussain was a 1977 movie and we are still at some early stages.
I, therefore, give you a song from his first movie, the 1955 Yasmin, written, produced and directed by Abdul Rashid Kardar and starring Vyjayamthimala, Suresh and Jayant.
This was composed by C Ramchandra.
The voice is that of Lata Mangeshkar.
Please enjoy: Mujhape ilzaam-e-bewafai hai….
mujhape ilzaam-e-bewafaaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-e-bewafaaii hai …
usane Thaanii hai zulm Dhaane kii
mujh me.n himmat hai Gam uThaane kii
Kush ho, ai dil! tujhe miTaane kii, miTaane kii
aaj usane qasam to khaaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-e-bewafaaii hai …
tuu huaa dil se kab judaa kah de
mujhase kyuu.N ho gayaa Kafaa kah de
tuu hii i.nsaaf se zaraa kah de, zaraa kah de
kisane shart-e-wafaa bhulaaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-ebewafaaii hai …
hai gawaaraa teraa sitam mujh ko
har jafaa hai terii karam mujh ko
jaan jaae, nahii.n hai Gam mujh ko
jab muhabbat pe baat aaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-e-bewafaaii hai …
https://www.youtube.com/watch?v=CZ7wx4KnBL0
Day #7 of 31 Song #19
The success of 1952 movie Baiju Bawra did wonders for the career of Shakeel Badayuni. Ghulam Mohammad, although seven years older to Naushad was an assistant to Naushad in Diwana and emerged on his own in 1952 movie Ambar or Amber (Sky) that starred Raj Kapoor and Nargis. Shakeel was asked by Ghulam Mohammad to pen the songs and he did the following:
1 “Hum Tum Yeh Bahar Dekho Rang Laya Pyar” Lata Mangeshkar, Mohammed Rafi
2 “Shama Jali Parwana Aaya” Lata Mangeshkar, Mohammed Rafi
3 “Dhoom Dhadaka” Mohammed Rafi, Shamshad Begum
4 “Churakar Dil Ko Chale Jaana” Mohammed Rafi
5 “Duniya Mein Nahin Koi Yaar” Lata Mangeshkar, Mohammed Rafi
6 “Tootegi Na Pyar Ki Dor” Lata Mangeshkar
7 “Rote Hain Naina Gham Ke Maare” Mohammed Rafi, Shamshad Begum
8 “Ham Pyar Tumhin Se Karte Hai” Lata Mangeshkar
9 “Dil Deke Sanam Tumhe Pachhtaye” Lata Mangeshkar
10 “Duniya Mein Nahin Koi Yaar” Lata Mangeshkar
The movie was a suspense thriller with Nargis as Rajkumari Amber trying to avenge the murder of her estranged father. Baby Tanuja played Nargis as a child initially.
Some of the best duets in the Hindi movies are between Mohammad Rafi and Lata Mangeshkar. Lets take up a delightful one from this movie: Hum Tum Yeh Bahar, Dekho Rang Laya Pyar.
ra : ( ham-tum ye bahaar
dekho ra.ng laayaa pyaar
barasaat ke mahiine me.n
la : rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n ) -2
do : ho
ra : ho
la : ho
ra : ( terii zulfo.n kii ye ra.ngat hai
jo baadal banake chhaa_ii hai ) -2
jo baadal banake chhaa_ii hai
la : terii aa.Nkho.n kii ye mastii hai
jo saawan banake aa_ii hai
ra : meraa dam jab tak
rahe pyaar kii chamak
mere dil ke nagiine me.n
ham-tum yah bahaar …
la : rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n
la : o
ra : o
la : ( duniyaa ko hamaarii ho na Kabar
aa.Nkho.n me.n ishaare ho jaaye.N ) -2
aa.Nkho.n me.n ishaare ho jaaye.N
ra : ulafat bhii chale aisaa jaaduu
dushman bhii hamaare ho jaaye.N
la : Gam dil se ho duur
naa ho ko_ii majabuur
phir aaye mazaa jiine me.n
do : rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n
ham-tum ye bahaar
dekho ra.ng laayaa pyaar
barasaat ke mahiine me.n
rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n
ho
ho
Day #7 of 31 Song #20
From the next movie, the 1952 movie Aan (Pride), Shakeel started an association with a great movie director and producer Mehboob Khan that lasted for several movies including Amar, Mother India, and Son of India.
Aan was India’s first techniclour movie. It had Dilip Kumar, Nimmi and Premnath in lead roles, together with Nadira in her debut role as a replacement for Nargis, the original choice. Nadira was the haughty princess Rajshree whose horse was tamed by Jai Tilak (Dilip Kumar), a commoner, who finally was able to tame the arrogant princess too!
Naushad and Shakeel gave us the following songs in the movie:
1 Maan Mera Ehsan Mohammed Rafi Shakeel Badayuni 02:48
2 Dil Mein Chhupake Pyar Ka Mohammed Rafi 02:55
3 Tujhe Kho Diya Hamne Lata Mangeshkar 03:14
4 Aaj Mere Man Mein Sakhi Lata Mangeshkar 03:55
5 Mohabbat Choome Jinke Haath Mohammed Rafi 03:36
6 Gao Tarane Man Ke Mohammed Rafi, Lata Mangeshkar & Shamshad Begum 04:41
7 Takra Gaya Tumse Mohammed Rafi 03:44
8 Khelo Raang Hamare Sang Lata Mangeshkar & Shamshad Begum 04:18
9 Aag Lagi Tan Man Mein Shamshad Begum 03:32
10 Mein Raani Hoon Raja Ki Shamshad Begum
Lets take the most popular of these, the first one. Please notice that by now Mohammad Rafi is with Sahkeel and Naushad in a huge manner.
Please enjoy: Maan mera ehsaan, are nadaan….
maan meraa ahasaan are naadaan ke maine
tujhase kiyaa hai pyaar
maine tujhase kiyaa hai pyaar
merii nazar kii dhuup na bharatii ruup to hotaa
husn teraa bekaar
maine tujhase kiyaa hai pyaar
maan meraa …
ulafat na sahii nafarat hii sahii
is ko bhii muhabbat kahate hai.n
tuu laakh chhupaae bhed magar ham
dil me.n samaae rahate hai.n
tere bhii dil me.n aag uThii hai jaag zabaa.n se
chaahe na kar iqaraar
maine tujhase kiyaa hai pyaar
merii nazar kii …
apanaa na banaa luu.N tujhako agar
ik roz to meraa naam nahii.n
patthar kaa jigar paanii kar duu.N ye
to koii mushkil kaam nahii.n
chho.D de ab ye khel tuu kar le mel mere sa.ng
maan le apanii haar
maine tujhase kiyaa hai pyaar
maan meraa …
Day #7 of 31 Song #21
Okay, back to a AR Kardar movie, the 1953 movie Dil-e-Nadaan. I have already told you that Diwana of 1952 was Naushad’s last of the 14 movies with AR Kardar. Hence, in this movie, his protege Ghulam Mohammad took over with Shakeel.
The movie starred Talat Mehmood and Shyama.
Ghulam Mohammad’s compositions in this movie included some of the finest numbers of Talat Mehmood. Here is the list of those songs:
1 Zindagi Denewale Sun, Teri Duniya Se Dil Bhar Gaya Talat Mehmood
2 Jo Khushi Se Chot Khaye, Woh Jigar Kaha Se Laaun Talat Mehmood
3 Ye Raat Suhani Raat Nahin Ae Chand Sitaron So Jao Talat Mehmood
4 Muhabbat Ki Dhun Bekararo Se Poochho Talat Mahmood, Sudha Malhotra, Jagjit Kaur
5 Teri Khaatir Sitam Dil Par Talat Mahmood
6 Chanda Gaye Ragni Cham Cham Barse Jagjit Kaur
7 Khamosh Zindagi Ko Ek Afsana Mil Gaya Jagjit Kaur
8 Na Wo Humare Na Dil Humara Sudha Malhotra
9 Lijo Babul Hamara Salaam Re Asha Bhosle
I am going to give you the second song since it has some remarkably fine lyrics by Shakeel and also because it happens to be a favourite of my late father.
Please enjoy Talat Mahmood sing Shakeel’s: Jo khushi se chot khaaye wo jigar kahan se laayun….
terI khAtir sitam dil pe gavaaraa kar liyaa mai.nne
kahaa kisane muhabbat se kinaaraa kar liyaa mai.nne
jo khushI se choT khaaye,
vo jigar kahaa.N se laauu.n – 2
kisii aur ko jo dekhe,
vo najar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
mujhe terI aarazuu hai,
mere dil me.n tuu hii tuu hai – 2
base gair jisame.n aa kar,
mai.n vo ghar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
terI berukhii pe sadake,
terI har adaa pe kurbaa.n – 2
kare aur ko jo sajade,
mai.n vo sar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
vo jigar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
Appreciating Good Lyrics Song #7
This has come last here, rather than at the beginning of the day since on Day #1 of my Countdown, I didn’t think of including other lyricists, as a comparison.
As you are aware, I started these posts six days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last six days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
Tonight we take up our seventh lyricst, Hasrat Jaipuri‘s creation.
Hasrat and Shailendra were two of the lyricists that were noticed by Prithviraj Kapoor/raj Kapoor and took up making lyrics for the music duo of Shankar-Jaikishan. S-J earned the sobriquet of being “House Musicians” of Raj Kapoor. Most often than not, in Raj Kapoor movies the songs were penned by either Shailendra or Hasrat.
How poor the lyricists were was narrated to us by the director Sudhakar Sharma during the Shankar Jaikishan Music Foundation Meet in Mumbai on 19th June. He had written some songs for Shankar for the film Gori. One day, he wanted to get from Shankar his own songs. But, he was in Mahim and Shankar’s studio in Kala Ghoda in Bombay. So, Sudhakar said, he sold kerosene from his stove so that he could buy a return fare ticket by local train to Churchgate and then walk to Kala Ghoda. He said when he reached there, Shankar was not there and he was shoed away even though he introduced himself as the lyricist of the song that was playing in the studio. He said that on his way down he chanced to meet Shankar who gifted him four LPs and a few cassettes of his own songs!
Well, same was the case with Hasrat! Even though he started writing at the age of 12 years (he was born on 15 Apr 1922, six years after Shakeel), when he moved to Bombay at the age of 18, he worked as a bus-conductor at a monthly salary of 11 rupees a month!
Hasrat’s first song for the 1949 movie Barsaat (the debut movie of Shankar Jaikishan too and Shailendra too) made him famous: Jiya beqraar hai. Even the sad song picturised on Nimmi: Chhod gaye baalam was also his creation.
He was awarded Filmfare Best Lyricst award twice, both times for non-Raj Kapoor movies: for the song Baharon phool barasaao for Rajendra Kumar in the 1966 movie Suraj, and for Zindagi ek safar hai suhaana for Rajesh Khanna for the 1971 movie Anadaz.
Of course what I regard as the best song of Lata Mangeshkar, Rasik balmaa, has been penned by him. He maintained the excellence of his lyrics all along his long career that lasted until 1971 when after Jaikishan’s death Raj Kapoor turned to other lyrcisrs. Hasrat died on 17th Sep 1999.
As far as matching lyrics to Shakeel are concerned, Hasrat gave us several songs starting with his first movie Barsaat and going on to Sehra and Suhagan. His Tum mujhe youn bula na paaoge for Shammi Kapoor in Pagla Kahin Ka is a personal favourite.
But, perhaps the song that is iconic is from a Raj Kapoor starrer Parvarish. I used to hear it often in the parties in our colony in Mandi town of Himachal.
The 1958 movie Parvarish was directed by S Bannerjee and starred Mala Sinha opposite Raj Kapoor.
The song also happens to be the best of singer Mukesh.
Music Director Dattaram composed it in Raag Kalyan (a raag of the evening) in Jhaptaal Taal. Marvel at the lyrical excellence of the line:
Shabnam bhi roye main woh aasmaan hoon (that’s Hasrat’s imagination for you).
Please enjoy: Aansu bhari hain ye jeevan ki raahen….
aa.Nsuu bharii hai.n ye jiivan kii raahe.n
koii unase kah de hame.n bhuul jaae.n
aa.Nsuu …
vaade bhulaa de.n qasam to.D de.n vo – (2)
haalat pe apanii hame.n chho.D de.n vo
unhe.n ghar mubaarak hame.n apanii aa.Nhe.n
koii unase kah de …
barabaadiyo.n kii ajab daastaa.N huu.N – (2)
shabanam bhii roe mai.n vo paasabaa.N huu.N
aise jahaa.N se kyuu.N ham dil lagaae.n
koii unase kah de …
aa.Nsuu …
https://www.youtube.com/watch?v=hyK-ZNZ7T-E
With that we come to the end of the first week of Countdown to the Birth Centenary of Shakeel Badayuni.
Please await the Part II with the second week of the Countdown.
