Raaga Based Song of the Day: Tere sur aur mere geet…. Raag Bihag, Tal Dadra.
We have completed five days of Raaga Based Songs of the Day and hence it is not such a new series on this blog anymore. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
Our fifth post or the last post was titled ‘Raaga Based Song Of The Day #5’ and the song was a Mohammad Rafi and Suman Kalyanpur song from the 1964 Hrishikesh Mukherjee movie Sanjh Aur Savera: Ajahun na aaye balma sawan beeta jaaye. It is in Raag Madhuvanti, Tal Kaherava.
This is from the 1959 Vijay Bhatt movie Goonj Uthi Shehnai, seven years after he made Baiju Bawra, the only movie for which Naushad received his only Filmfare Award (though later he was conferred with the highest, ie, Dadasaheb Phalke Award. Just like Baiju Bawra, this film too had great songs such as Jivan mein piya tera saath rahe (Raag Gara), Keh do koi na kare yahan pyaar (Raag Jogiya), and Dil ka khilauna haay toot gaya (Bhairavi).
The film starred Rajendra Kumar with Ameeta and Anita Guha
The song was put together by lyricist Bharat Vyas and composer Vasant Desai, a great team that gave us Ai malik tere bande hum.
Lata Mangeshkar sang it.
Raag Bihag belongs to Bilawal Thaat and is a late night song. It is a wedding raag since it is both romantic and celebratory.
Goonj Uthi Shehnai is the story of a Shehnai player Rajendra Kumar. The success of the movie made him very famous. Throughout the movie there is Shehnai recital by the greatest Shehnai player in India Ustaad Bismillah Khanwho was conferred the highest award Bharat Ratna in 2001 together with Lata Mangeshkar, three years after MS Subbulakshmi and two years after Pandit Ravi Shankar.
What about our value added learning for today? Today, let’s briefly learn about the ‘mood’ of the raag that explains why Raag means colour, hue or tinge.
For instance, anybody who talks about Raag Darbari Kanada (a raag that Tansen brought from the South (Carnatic Music) to the North (Hindustani Music), into the court of Akbar in the 17th century) would know that the raag has a majestic touch about it, eg, Guzren hain aaj ishq mein ham us mukaam se, and Main nigaahen tere chehre se hataayun kaise?
There are the following eight Ras (sentiments) in the Raagas as given in Bharat Batya Shastra:
Later, another ras Shant (calm or peaceful) was added and the entire list was called Navras.
Naturally, Bihag belongs to Shringaar Ras.
Please enjoy Lata Mangeshkar sing in Raag Bihag, Tal Dadra: Tere sur aur mere geet…
Tere sur aur mere giit
tere sur aur mere giit
dono mil kar banegii priit
tere sur aur mere giit
(dha.Dakan me.n tuu hai samaayaa huaa
khayaalo.n me.n tuu hii tuu chhaayaa huaa) – 2
duniyaa ke mele me.n laakho.n mile
magar tuu hii tuu dil ko bhaayaa huaa
mai.n terii jogan tuu meraa miit
dono mil kar banegii priit
tere sur aur mere giit
(mujhako agar bhuul jaaoge tum, aa aa aaaa
mujhase agar duur jaoge tum ) – 2
merii muhabbat me.n taasiir hai, aa aa aaaa
merii muhabbat me.n taasiir hai
to khii.nch ke mere paas aaoge tum
dekho hamaarii hogii jiit
dono mil kar banegii priit
tere sur aur mere giit
P.S. Please enjoy Bismillah Khan’s Shehnai immediately after Lata’s alaap.
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, that is, today, we learnt about the Ras (sentiments) that Raagas evoke.
There is much more still to be learnt and enjoyed.
Raaga Based Song of the Day: Ajahun na aaye balma… Raag Madhuvanti Taal Kaherava
Fifth day of a still new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka:Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar:Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.
Similarly, the third post was titled ‘Raaga Based Song Of The Day #3’ and the song was, once again, a Mohammad Rafi song from the 1956 GP Sippy movie Chandrakanta:Maine chand aur sitaaron ki tamanna ki thi. It is in Raag Bhimpalasi, Tal Dadra.
The last post, that is the fourth post, was titled ‘Raaga Based Song Of The Day #4’ and the song was a Lata Mangeshkar song pictured on Asha Parekh from the 1960 Ramanand Sagar movie Ghunghat:Laage na mora jiya. It is in Raag Shivaranjani, Tal Dadra.
The song is from 1964 Hrishikesh Mukherjee movie Saanjh Aur Savera that had Guru Dutt and Meena Kumari in lead roles. The song is however pictured on Mehmood and Shubha Khote with Mohammad Rafi and Suman Kalyanpur singing for them.
Music Directors loved to compose for Mehmood and Shubha Khote and some really fine classical Raaga based songs are pictured on them. In the same year, for the 1964 movie Ziddi that is, SD Burman composed a song for them which is considered the purest example of Darbari Kanada in Hindi movies; the song was sung by Manna Dey and is: Pyaar ki aag mein tan badan jal gaya.
Madhuvanti belongs to Todi Thaat. As you must have guessed it Madhu means honey and the raag is as sweet as honey in sringar ras depicting love and romance. It is an evening raag like Yaman aur Kalyan.
About Taal Kaherava I have already told you. But since we are in early stages of our learning here it is again:
Kaherava is most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:
Clap, 2, 3, 4, wave, 2, 3, 4.Theka is
Dhaa Ge Naa Tee Naa Ka Dhin Naa.
Before we take up the song, as always, let’s take up our value added learning. Let’s briefly take up North Indian or Hindustani music notation or swar lipi that dates back to – hold your breath – Vedic times. This is all the more surprising since Indian music is largely based on oral tradition.
Cut from Vedic period to modern times. The great musician Vishnu Digambar Paluskar (a contemporary of Bhatkhande), in early 20th century started the modern musical notation. It was a precise notational system but difficult. It was replaced by a much simpler system by Bhatkhande.
When it came to internationalization of North Indian Music, two approaches were used: one, the Western staff notation with its main disadvantage being that in this, music is tied to a specific key and so much is lost in translation.
The other is simply to use Bhatkhande’s notations in Roman script. Even though it too has aberrations but it is now widely accepted.
Coming back to Ajahun na aaye, it was composed by my favourite music duo Shankar Jaikishan who did wonders in Raaga based songs.
What about other popular songs in Raag Madhuvanti?Madan Mohan composed Rasm e ulfat ko nibhayen to nibhayen kaise in the same Raag and Taal.
Please enjoy in Raag Madhuvanti, Tal Kaherava, Mohammad Rafi and Suman Kalyanpur sing a composition of Shankar Jaikishan, penned by the great Hasrat Jaipuri and picturized on Mehmood and Shubha Khote: Ajahun na aaye balma sawan beeta jaaye..
nii.nd bhii a.nkhiyan dvaar na aae
tose milan kii aas bhii jaae
aaI bahaar khile phulavaa
more sapane kaun sajaae
aa … ajahu.n …
chaa.nd ko badaraa garavaa lagaae
aur bhii more man lalachaae
yaar hasiin gale lag jaa
morii umr guzaratii jaaeaa … ajahu.n …
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, that is, today, we learnt about notations used in Indian classical music or simply Swar Lipi.
There is much more still to be learnt and enjoyed.
Raaga Based Song of the day: Laage na mora jiya, Sajna nahin aaye. Raag Shivaranjani, Tal Dadra.
Fourth day of a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.
Similarly, the third post was titled ‘Raaga Based Song Of The Day #3’ and the song was, once again, a Mohammad Rafi song from the 1956 GP Sippy movie Chandrakanta: Maine chand aur sitaaron ki tamanna ki thi. It is in Raag Bhimpalasi, Tal Dadra.
Wherever I am, I am not too far from my favourite lyricist Shakeel Badayuni. His association with Music Director Ravi got him the first two of his hat-trick of Filmfare Awards.
The 1960 Ramanand Sagar movie Ghunghat was released the same year his first Filmfare Award movie was released (indeed before Chaudhvin Ka Chand). The movie started Bharat Bhushan, Bina Rai, Asha Parekh and Pradeep Kumar. The movie had another great Lata number: Meri chham chham baaje payaliya besides a number by Mohammad Rafi that has outstanding lyrics and rendition: Haay re insaan ki majburiyan.
Raag Shivaranjani is another Raag that belongs to Kafi Thaat. The mood of the raag is Karuna Rasa (pathos) that suited both Shakeel and Ravi very well. However, the MDs who had this as their favourite (both of them as opposed to Bhairavi that was favourite of Jaikishan only) were Shankar Jaikishan. Some of their popular numbers in this Raag are: Awaaz deke hamen tum bulao, Baharon phool barsao, Dil ke jharokhe mein tujhako bithakar, Jaane kahan gaye woh din, and O mere sanam.
Some of the popular numbers of other composers are: Banake kyun bigada re, Dhak dhak karne laga, Kahin deep jale kahin dil, Mere naina sawan bhaadon, Mujhe kuchh kehna hai, Rimjhim ke geet sawan gaaye, Sawan aaye sawan jaaye, Tere mere beech mein, and Yaad teri aayegi.
As far as Tal Dadra is concerned I have given you enough already.
What about learning for today? Yesterday we learnt the various characteristics of Raagas though some of you may have missed them since these were on this blog only and not on WhatsApp.
Today, we simply learn the full forms of Swar used in the Sargam (solfege). By the way the word Sargam is taken from first four Swars: Sa, Re, Ga, Ma. There should be no shyness in admitting that most of us use only abbreviated Sa, Re, Ga, Ma, Pa, Dha, Ni and don’t know that these stand for Sadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, and Nishada.
Please enjoy Lata sing in Raag Shivaranjani Tal Dadra: Lage na mora jiya sajna nahin aaye..
(If this reminds you of another one of Shakeel-Ravi-Lata number (in pathos) Lo aa gayi unaki yaad woh nahin aaye that is in Raag Asavari, Tal Kaherava.)
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 …
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. Today, lets take stock of our collective learning:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, that is, today we learnt about Sargam.
There is much more still to be learnt and enjoyed.
Raaga Based Song of the day: Maine chand aur sitaron ki tamanna ki thi. Raag Bhimpalasi, Tal Dadra.
Third day of a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
The second post was titled ‘Raaga Based Song Of The Day #2’ and the song was a Mohammad Rafi song from the 1971 Sushil Majumdar movie Laal Patthar: Unake khayal aaye to aate chale gaye. It is in Raag Gara, Tal Kaherava.
Today we shall take up a song in Raag Bhimpalasi, Tal Dadra.
This means that we have third consecutive day of Mohammad Rafi songs. And why not? He was the greatest.
Raag Bhimpalasi also belongs to Kafi Thaat just like Raag Pilu (of whose song Dhadakte dil ki tamanna ho I had given earlier).
Some of the popular songs in Bhimpalasi are: Aa neele gagan tale, Ai ajnabee tu bhi kabhi, Aaj mere man mein sakhi, Dil ke tukade tukade, Eri main to prem diwani (Roshan’s and not Pt. Ravi Shankar’s), Khilate hain gul yahan, Kuchh dil ne kaha, Main garibon ka dil, Mere man ka bawra panchhi, Naghma O sher ki saugat, Nainon mein badra chhaye, O beqaraar dil, Samay O dheere chalo, Tere sadke balma, and Tum mile gul khile.
What is our learning about Raagas on this third day? I have already told you the basics of Raaga system, Thaats and Tal. Today we shall take up what makes up a Raag or the very basic elements of the Raag.
I have already told you that the word Raag literally means Colour or Tinge or Hue (Sanskrit word ‘Ranj’). Hence, a Raag does exactly what a colour does: it fills us with varied emotions.
It is easy to make out that a Raag must have notes. These are called Swar.
The number of notes used in a Raaga is called Jati.
Raagas have structural modes. These are called Thaats. In Bhatkhande system that is followed for Hindustani music (North India) there are a total of ten Thaats to which almost all the Raagas belong.
Raags have both ascending and descending structures. These are called Arohana and Avarohana respectively.
It is easy to visualise that the Raagas won’t have notes or Swar of equal importance. The important ones are calledVadi and Samavadi.
The characteristic movement of a Raag is caled its Pakad.
At this stage it is well to remember that Hindi films MDs were innovative and mixed and matched to get popular tunes. Hence, it is rarely that one can come across a pure Raaga based song.
Raaga mixing is not a simple and ad-hoc skill. One has to know the Raagas very well before attempting it. Raaga mixing has two elements: Teerobhavthat translates into ‘conceal’ and Aavirbhav that means to ‘reveal’.
Hindi films MDs often mixed Raagas that would be looked down upon by the purists. However, such intermixing would create some very enchanting tunes. Indeed, some like SD Burman would create tunes that would appear to be Raaga based but are not; eg, Deewana mastana hua dil jaane kahan hoke bahaar aayi. As I said one has to know Raagas really well before attempting what MDs like SD Burman did.
Coming back to the Song of the Day, Bhimpalasi is a raag of the afternoon. Its mood is often an upbeat one (eg, Aaj mere man mein sakhi) before one gets into the sunset, evening and night raagas with their essential sadness.
Tal Dadra derives its name from Dadra style of singing prevalent in Dadra. It is a six or three beat Tal: Clap, 2, 3, Wave, 2, 3; that is two vibhags of three matras each. The theka is: Dhaa Dhin Naa Dhaa Tin Naa
I have already given you a song in this Tal and Raag Pahadi: Aaj ki raat piya dil na todo.Aaj mere man mein sakhi has similar tal or rhythm.
Today’s song is from 1956 movie Chandrakanta starring Bharat Bhushan and Bina Roy. Sahir Ludhianvi penned the song and N Dutta or Datta Naik (who did as many movies with Sahir as SD Burman did) composed it.
Please enjoy in Raag Bhimpalasi Tal Dadra: Maine chand aur sitaaron ki tamanna ki thi……
Maine chand aur sitaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi
mai vo nagma hu jise pyar ki mahafil na mili
mai vo nagma hu jise pyar ki mahafil na mili
vo musafir hu jise koi bhi manzil na mili
vo musafir hu jise koi bhi manzil na mili
zakhm paye hai baharo ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
kisi gesu kisi aanchal ka sahara bhi nahi
kisi gesu kisi aanchal ka sahara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
raste me koi dhundhla sa sitara bhi nahi
meri nazro ne nazaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki siyahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi
meri raaho se juda ho gai raahe unki
meri raaho se juda ho gai raahe unki
aaj badli nazar aati hai nigahe unki
aaj badli nazar aati hai nigahe unki
jisse is dil ne saharo ki tamanna ki thi
maine chand aur sitaro ki tamana ki thi
pyar manga to sisakte huye araman mile
pyar manga to sisakte huye araman mile
chain chaha to umadate huye tufan mile
chain chaha to umadate huye tufan mile
dubte dil ne kinaro ki tamanna ki thi
maine chand aur sitaro ki tamanna ki thi
mujhko rato ki syahi ke siva kuch na mila
maine chand aur sitaro ki tamanna ki thi
I hope by this time you are as hooked as I am on to learning about Raagas whilst being entertained with raaga based songs. We shall collectively enjoy and learn. I can assure you that the journey would become even more interesting.
Whenever I talk to civilians and indeed non-navy men, one of the biggest chasms that I have to cross is the minds-gap between us. It doesn’t easily sink in with people that seas are open in access, they have no visible boundaries, and hence there are gigantic problems of identification at sea especially when it comes to small fishing craft, the kind that ten terrorists from Karachi travelled in from Karachi to launch an attack on Mumbai on 26 Nov 2008 (26/11). With every inch of land owned by either governments or people and some having more than two competing claims, another thing that doesn’t easily soak in is that seas are largely unowned and anyone can be anywhere.
Most of the fishing in our waters is unregulated despite all efforts to bring in regulation post 26/11. Post 26/11 it was decided that all boats more than 20 m in length would be fitted with Automatic Identification System (AIS) and all boats would be registered and would have colour coding system to enable quick identification. Additionally, and all crews would have identification cards. Sounds great? Well, the closest analogy that comes to mind is that of a careful and safe Indian driver: he drives carefully and safely for about ten kilometres after witnessing an accident.
Somewhere in the vicinity of Jakhau (on the Northern side of Gulf of Kachchh in Gujarat), when the Indian minesweeper on which I was serving in 1976, used to come closer to fishing vessels and enquire about their identity, some of the vessels would first hoist a Pakistani flag and then when our identity would be revealed to them through our talk on the loud-hailer, they would quickly replace it with an Indian flag. The scenario continued without much variation for decades. After regular patrols started from both sides, many a fishermen (number in hundreds) on both sides of the IMBL (International Maritime Boundary Line) found themselves in prisons of the opposite side. Again, it is extremely difficult for non-navy people to realise that a line drawn on the map doesn’t actually manifest itself at sea and in the absence of familiar features that you find on the land (such as fence, wall, rock, pillars and sign-boards), it is difficult for the fishermen to even realise that they have crossed this invisible line of IMBL.
Early this month I was talking to research scholars of Punjab University studying to obtain Master of Philosophy degree; most of them being from Army background. When I told them that the Indian Navy wrongly got blamed for having allowed Kasab & co. to traverse the sea-route from Karachi to Mumbai which resulted in Mumbai attacks known as 26/11 attacks, most of them were up in arms against me. They said that it was an attack on the nation by foreign armed terrorists using the sea-route and hence the failure to detect and stop them should be pinned on the Navy. I brought out to them that in the like manner, the failure to prevent the attack on Indian parliament (the very seat of the Indian democracy), on 13th Dec 2001, perpetrated by terrorists of LeT and JeM, should have been pinned on the Indian Army since it was a land-based attack. Similarly, following the same reasoning, the failure to detect and prevent bicycle-bomb attacks in Jaipur, on 13th May 2008, should be pinned on the Mechanised Infantry, bicycle being a mechanised vehicle.
Firstly, a knee jerk reaction of the government post 26/11 made the Indian Navy the only leading navy in the world stuck with the responsibility of coastal security. Secondly, with both the target boats and the investigators constantly moving at sea, the only real identification would be whilst leaving and entering harbours. Post 26/11, in two joint exercises carried out in April and June 2009, by the Indian Navy, Coast Guard, Police and Customs, they were able to check the identities of only 300 and 1000 boats respectively. On land too, you don’t check the identities of vehicles by chasing them on highways, roads, streets, fields et al; you do so at choke points such as Toll Plazas, Barriers, Check-Points and the like.
What about Automatic Identification System transponders for the fishing boats so as to help provide quick identification at sea (in almost the same manner as IFF (Identification Friend or Foe) does it for aircraft? Well, two news items would be indicative of the progress made. First is a news item in the Times of India (ToI) on 12 Jul 2009 by Vishwa Mohan: ‘AIS transponders now made must for all fishing vessels’. And seven years later, here is a news item in the Indian Express on 09 Jun 2016: ‘Centre plans to install tracking devices on fishing vessels’; “With Home Minister Rajnath Singh set to chair a meeting on coastal security with CMs of nine coastal states and four Union Territories in Mumbai on June 16, government sources said modalities of implementing a crucial project to install automatic identification system transponders in all small fishing vessels could be finalised at the meeting.” In short, eight years after the Mumbai attacks, modalities to install AIS transponders were still to be finalised.
First of all, 100% installation of AIS on all craft is still to be implemented. Secondly, no technical means can provide warning of an intent in advance. One has to remember that one is looking for just one boat in thousands and lakhs that would have turned rogue from innocuous and innocent fishing boats earlier. To illustrate this point, lets look into MV Kuber, a vessel hijacked by Kasab and co. off Porbandar in international waters. Now, lets say this scenario was to replicate in future after 100 percent fitment of AIS. This innocuous and innocent fishing vessel having turned rogue would still give an AIS signal of a friendly and no-threat vessel.
Whilst on this subject, one curious fact that escaped most people’s attention was the news item that the master of Kuber, Amarsinh Solanki, was in a Pakistani prison just six months prior to his vessel having been hijacked by Kasab and co. Was it, therefore, just a coincidence that his vessel was the one that was hijacked at the appointed hour? Doesn’t that make identification of such a rogue craft and its intent even more confused? Isn’t that a pointer towards keeping an eye on the fishing community on the whole, an exercise beyond the scope of a maritime agency like the Indian Navy? Would Fishermen’s I-Cards and registration of all boats under the Merchant Shipping Act (MS Act) help? Yes, these would, if one remembers that such I-Cards and Registration cannot be checked at sea. Also, that most fishing boats use migrant labour who keeps changing frequently.
Take the incident of 31st Dec 2015 when a Pak boat carrying explosives blew itself up when challenged by a vessel of the Indian Coast Guard off the coast of Gujarat.
(Picture released by the ICG post the incident of 31 Dec 15/01 Jan 16)
“The coast guard had received a specific intelligence alert on December 31 that a fishing boat from Keti Bunder near Karachi was planning some kind of an operation in the Arabian Sea.”
“Based on the input, a Dornier aircraft undertook a sea-air coordinated search and located the fishing boat. The ship patrolling in the area was diverted and intercepted the unlit boat around midnight of December 31,” the spokesperson said.
Imagine the effort required to intercept just one boat at sea.
“Parrikar had added that the Centre would ensure “99.99%” protection against 26/11-type incidents by timely detection. “How do you pull the needle out of the haystack? Zero tolerance to error is the most important in this project.””
The ironical point here is that even a preventive success story brought out the gigantic difficulties involved in identification and interception and that the answer lies in national will pertaining to “zero tolerance to error” is the only answer to pulling “the needle out of the haystack?”
We must also remember the fact that Coast Guard DIG B K Loshali was sacked for making the following remark on 16 Feb 2016 whilst addressing a gathering of Coast Guard officers and Larsen & Toubro officials during the launch of an interceptor boat (the remark was video taped and reported by the Indian Express: “Let me tell you. I hope you remember 31st December night. I was there at Gandhinagar and I told at night, blow the boat off. We don’t want to serve them biryani.”
Identification of Friend or Foe in Indian Maritime scenario and preventing repeat of 26/11 attacks are, therefore, mammoth tasks that require not just technical means but enormous coordination between many different agencies and, more than anything else, a national will to handle the aftermath of preventive efforts in international waters.
Raaga Based Song of the Day: Unake khayal aaye to aate chale gaye… Raag Gara, Tal Kaherava.
Yesterday we started with a new series on this blog. The first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
Today we shall take up a song in Raag Gara, Tal Kaherava.
At this juncture, now that I have already told you the basics of Raagas and Thaats, permit me to tell you about Tal or Taal. Tal has been derived from the word Tali or Clap, and is the Indian system of rhythm. Not surprisingly, Tal, Rhythm, Clap existed many centuries before the word Raag came into existence. And that shows the importance of rhythm in Indian music system.
If you recall four days ago I gave you the song: Zara sun haseena ai naazneen in Raag Pahadi, Tal Rupaktal in which I mentioned that the first beat (Sam) is khali (represented by wave of hand). Now, you can connect with basic concepts of Tal, which are Tali (or bhari), khali, vibhag (ang), matra, bol, theka, lay, sam and avartan.
Tali has since been replaced by tabla nowadays but the term is still used as Clap.
Tali is the pattern of clapping, khali is wave of hands, vibhag is the measure of number of beats, matra is the beat, bol is the syllabic stroke of the drum, theka is the pattern of bols and vibhag, laya is the tempo that may be slow (vilambit), medium (madhya) or fast (drut), sam is the beginning of the cycle and avartan is the basic cycle.
Kaherava (also written as Kherwa, Kherawa and Kaherawa) is the most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:
Clap, 2, 3, 4, wave, 2, 3, 4.
Theka is:
Dhaa Ge Naa Tee Naa Ka Dhin Naa.
Raag Gara belongs to Kafi Thaat. It is traditionally sung in second half of morning although Bhatkhande didn’t specify any time of the day for this Raaga. Gara is one of the family of Raagas derived from folk melodies and entered classical music in concert with Thumri. The closest resemblance of the raag is to Jaijaivanti, a raag devised by Shri Tegh Bahadur, the 9th Guru of the Sikhs.
Some of the popular Hindi film songs in Raag Gara are: Aise to na dekho, Deewana keh ke aaj mujhe phir pukariye, Hamsafar saath apna chhod chale, Jeevan mein piya tera saath rahe, Kabhi khud pe kabhi halaat pe rona aaya, Mohe panghat pe (as Gara additive), Raghupati Raghav Raja Ram, Tere mere sapne ab ek rang hain, and this one that I am giving you.
This is from the 1971 movie Laal Patthar having the only negative role of Hema Malini. Laal Patthar was remake of a Bengali film of 1964 of the same name. The negative role played by Hema Malini was that she was the mistress of a zamindaar played by Raaj Kumar who goads him to doubt the character of his young wife played by Rakhee on the basis of her having a childhood lover Vinod Mehra.
Hema Malini as Raaj Kumar’s mistress in Lal Patthar.
How captivated Raaj Kumar was, in the movie, by Hema Malini can be made out from this song.
The song was penned by Hasrat Jaipuri and composed by my favourite music duo Shankar Jaikishan. Its rendition by Mohammad Rafi is representative of him being the best in all genres of music.
Please enjoy in Raag Gara, Tal Kaherava: Unake khayal aaye to aate chale gaye…..
un ke Kayaal aae to aate chale gae
diivaanaa zi.ndagii ko banaate chale gae
jo saa.ns aa rahii hai usii kaa payaam hai
betaabiyo.n ko aur ba.Dhaate chale gae
is dil se aa rahii hai kisii yaar kii sadaa
viiraan meraa dil thaa basaate chale gae
hosh-o-havaas pe mere bijalii sii gir pa.Dii
mastii bharii nazar se pilaa ke chale gae
There is much more in store for all of us in our collective learning of Raaga Based Songs and we shall take it slow and easy and enjoy our journey as much as we can.
Whilst sharing Raaga based Hindi films songs with you, it occurred to me that ancient Indians were very innovative people in various fields including music, literature, science, maths, and astronomy. It is just that we were poor in documenting our achievements and that’s where the West scored over us.
I was fortunate to have become member of a group engaged in Vedic research and I was delighted to see the origin of all complex mathematical equations in the world as Vedic maths (not the group’s finding but that of a research team commissioned by the Government of India about two decades back).
The renewed interest in Raagas based music in our younger generation is a healthy trend to take us away from our ingrained cynicism about India (Please read: ‘The Greatness Of India And Its Decline’) and bring us closer to the ancient greatness of our country.
I shall give you regular inputs about Raaga based songs by discussing with you one song a day.
A recent visitor to our house in Shimla Hills called Whispering Winds (Please read: ‘Home Is Where The Heart Is – Kandaghat In Shimla Hills’) mentioned that Pandit Bhimsen Joshi once said that he had about 5 percent knowledge of Raagas! In quick proportionate calculations I have about 0.00001 percent (I am a former Navy officer with no institutionalised training on music)! But, I am learning and so will you.
Stay tuned!
We have to be thankful to Pandit Vishnu Narayan Bhatkhande (early 20th century) who devised the modern system of Raagas for Hindustani Classical Music (based on Thaats), which is much more easily understood than the one prevalent before that (passed only through word of mouth) based on Raagas (male), Ragini (female) and Putra (children). The earlier system has been mentioned in the holy book of the Sikhs: Sri Guru Granth Sahib on pages 1429 and 1430 (last pages). Sikhs traditionally used the Raagas in singing hymns and had bedis who went from place to place singing the Raagas.
Raag Jhinjhoti is a raag named after an apsara. Jhinjhoti is a Raag in Khamaj Thaat. In the modern Thaat system that was created by Vishnu Narayan Bhatkhande (1860–1936), a Thaat is a mode in Hindustani classical music and is a basis for classifying Raagas. Bhatkhande visited a number of gharanas (ad-hoc schools that followed guru-shishya sytem (teacher-pupil system) for passing knowledge down the generations. Interestingly, these gharanas were not open to all and sundry and most often than not a shishya had to prove that he was worthy of being taken as a shishya) (You must listen to Baiju Bawra’s ‘Man tadpat Hari darsan ko aaj‘ (Raag Malkauns, Tal Tintal) to know how a shishya had to prove his single-minded deication).
Surprisingly, the word Raaga doesn’t mean music but colour or dye or shade. But if you think of colours signifying moods, Raagas in music do exactly that. For example, if the colour yellow is the colour of love and red of passion, each one of the raagas is based on mood, time of the day and even season. An easy anology is the Hindi saying: सावन के अंधे को हरा ही हरा दिखाई देता है I You will instantly know that Sawan (Monsoon) is being used as a season, colour and mood.
According to Pandit Bhatkhande, each one of the raagas is based on one thaat (mode) or the other. Although his research with gharanas made him short-list 32 thaats, he finally pruned the list to just ten thaats on which most raagas are based. These are: Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. And that’s why I mentioned that Jhinjhoti belongs to Khamaj Thaat.
Almost all songs in Hindi movies based on this raag have an element of self-pity in them, eg, Ghungru ki tarah bajta hi raha hoon main, Koi hamdam na raha, Mere mehboob tujhe, Mose chhal kiye jaaye, and my second most favourite Lata song: Jaa jaa re jaa balamwa from Basant Bahar.
(Poster courtesy: Cinema Chaat)
The 1970 movie Pagla Kahin Ka was the most challenging job taken up by Shammi Kapoor. He was a mentally deranged person but as the movie progressed, one was left wondering at the sick mentality of those ostensibly sound in body and mind.
Of course the song Tum mujhe yun bhula na paoge is one of the best of Mohammad Rafi.
But today, first, I am going to do something different. I am going to give you the female version to savour its exquisite lyrics penned by Hasrat Jaipuri and its most beautiful composition in this Raag and Tal Kaherava by Shankar Jaikishan.
Please enjoy Lata Mangeshkar sing for Asha Parekh: Tum mujhe youn bhula na paoge…
jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
tum mujhe yu bhula na paoge
ha tum mujhe yu bhula na paoge
jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
ha tum mujhe yu bhula na paoge
ho tum mujhe yu
biti baato ka kuch khyaal karo
kuch to bolo kuch hamse baat karo
biti baato ka kuch khyaal karo
kuch to bolo kuch hamse baat karo
raaz-e-dil mai tumhe bata dungi
mai tumhari hu maan jaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu
meri khamosiyo ko samjho tum
jindagi yaad me gujari hai
meri khamosiyo ko samjho tum
jindagi yaad me gujari hai
mai miti hu tumhari chahat me
or kitna mujhe mitaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu
dil hi dil me tum hi se pyar kiya
apne jiwan ko bhi nisar kiya
dil hi dil me tum hi se pyar kiya
apne jiwan ko bhi nisar kiya
kaun tadpa tumhari raaho me
jab ye sochoge jaan jaoge
ha tum mujhe yu bhula na paoge
jab kabhi bhi sunoge geet mere
sang sang tum bhi gungunaoge
ha tum mujhe yu bhula na paoge
ha tum mujhe yu
Lets now listen to Mohammad Rafi version:
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 …
(vo 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
vo 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 …
Normally, it is a done thing to start learning about Raagas with Raag Yaman or Kalyan, the first of the Raagas that most students of classical music learn. Hence, if my starting with Raag Jhinjhoti has left you wondering, let me explain:
Jhinjhoti is the Raag of my most favourite song: Mere mehboob tujhe meri mohabbat ki kasam (Raag Jhinjhoti, Tal Dadra) put together by Shakeel Badayuni (Lyricist), Naushad (Composer) and Mohammad Rafi (Singer). I am partial to it as much as anyone in love.
Shankar Jaikishan are my most favourite music duo.
Chand and/or Chandini Raatein is my most favourite songs theme.
Anyway, our learning together is going to be an everyday affair and it doesn’t matter where we start from.
I hope I have whetted your appetite to learn more about Raagas, Thaats, Tals, Swar and the like.
There are many Song and Music groups on the Facebook; but, ‘Yaad Kiya Dil Ne‘ is different. Most other groups simply have members putting up urls of songs from YouTube and other sources and then members congratulate the choice of the one who has posted by such comments as “Wow”, “I love this too”, “Really nice” and so on.
‘Yaad Kiya Dil Ne‘ is different and unique. It is a successor to my group ‘Dil Ki Nazar Se‘, which I had to abandon when some of the members insisted on just putting up urls from YouTube with very little or no contribution of their own. Here is the description o ‘Yaad Kiya Dil Ne‘:
“A group for serious music lovers who not just relish putting up and listening to songs but also identify these with Lyricists, Music Directors, Singers and Actors who brought the songs to us. The group pays tributes to these four classes of people on their birth and death anniversaries. The group is also interested in sharing knowledge about all aspects of songs including Raagas. The group also has thematic Music Fests at least once in a month. If you are a casual copy-paste music lover who can copy-paste ten songs (urls) from You Tube in ten minutes, this group is NOT recommended for you.
The name of the group has been derived from the title of a duet between Hemant Kumar and Lata Mangeshkar from the 1953 movie Patita starring Dev Anand and Usha Kiran.”
From its inception in Nov 2013, the group has come a long way off. Many of the members research everything about the song that they are going to put up, write descriptions that can compete with the best blogs, and everyone is on a learning curve of knowing more about songs and music.
Now who says Facebook is for dumbos only?
As far as thematic fests are concerned, from the days of DKNS we have had as many as 61 fests so far including a Live Fest on the Theme: Raat and/or Din in Kandaghat on the 22nd April 17.
The winning ‘Bahaar’ team at the end of Kandaghat Live Fest (KLF) on 22nd Apr 17
When I started the thematic Fests, in Dec 2012, I started off on my most favourite topic Chand. The next fest on Sat/Sun 13th/14th May 17 is important to me as Aansu is my second most favourite topic for Fest (If you read the last poem in this post, you will know why).
In no other Fest, I have built up to the Fest by Preludes like I have done for Aansu Fest. One of the reasons is because at a very early stage itself I took out the usual interpretations of the theme so as to somehow get one’s songs included. Taste this:
“The songs are to have the word Aansu or any of its synonyms either in the mukhada or the antara. (Rona may produce aansu or ashq but is not a synonym of Aansu. Similarly ‘Naina Barse’ is not a synonym of Aansu. Hint: Don’t use logic/reasoning later; there are enough songs with Aansu/Ashq in them)”.
क्या फर्क है आंसू और रोने में,
उम्र बीत गयी हमारी दामन धोने में,
उन्हें फिर भी रूल्स न समझ आये तो क्या,
तरस आता है अपने एडमिन होने पे!
And since the stubborn in the group were bemoaning the letting go of such songs, I started with a Prelude or Doubt Clearance #1:
Aansu Songs Fest Doubt Clearance #1
Imagine this one put together by Raja Mehdi Ali Khan, Madan Mohan and Lata ji not qualifying for the Fest! Raag Bhimpalasi, Taal Kaherava at that.
How unfair the Admin can get!
https://www.youtube.com/watch?v=VXbJwAstSR4
I also brought out another one of the rejects. And see how closely it comes to Aansu. At this juncture I reminded everyone that I had personally checked at least 80 songs on the theme before announcing the Fest and now the list had crossed 100!
गाए जा गीत मिलन के, तू अपने लगन के
सजन घर जाना है
काहे छलके नैनों की गगरी काहे बरसे जल
तुम बिन सूनी साजन की नगरी परदेसिया घर चल
प्यासे हैं दीप नयन के, तेरे दर्शन के
सजन घर…
लुट न जाए जीवन का ढेरा मुझको है ये ग़म
हम अकेले, ये जग लुटेरा बिछड़ें न मिलके हम
बिगड़े नसीब न बनके ये दिन जीवन के
सजन घर…
डोले नयना प्रीतम के द्वारे मिलने की ये धुन
बालम तेरा तुझको पुकारे याद आनेवाले सुन
साथी मिलेंगे बचपन के खिलेंगे फूल मन के
सजन घर…
And, I continued with my own preludes in the form of either comical or serious poems:
Aansu Songs Fest Prelude #2
आंसू गाने याद आये, होंठो पे आ गयी मुस्कान,
फेस्ट के लिये तैयार करूँगा छे हसीन पैगाम।
‘कर चले हम फ़िदा’ तो किसी तरह से फिट नहीं होता,
Unless: ‘मान न मान, मैं तेरा मेहमान’!
आहों और आँसुयों में फर्क न होता तो पूरे कर लेता,
‘आज पुरानी राहों से’ ही दिल के सारे अरमान।
रवि भाई को क्या सूझी है, मुझे कुछ अंदाज़ नहीं,
रोने और आँसुयों को अलग करके ले आये हैं तूफ़ान।
चलो सब लूट नहीं गया, ‘याद में तेरी जाग जाग कर’ तो है ही,
शकील ने तो आँसुयों की खोल रखी है दूकान!
मुझे तो अपना दोस्त याद है, सफ़ेद निक्कर में हम गाते थे,
गाड़ी बुला रही है और यह भूली दास्तान।
मैं तो कम controversial हूँ, मेरा एक दोस्त है विशवास,
उसके doubt clear करते करते, रवि को हो जाएगा जुकाम!
खैर आंसू और रोना अलग हैं, पर आँखें तो common हैं,
और आंसू बन ही जाते हैं आशिक़ के दिल की ज़ुबान।
भाई ने मोटीवेट किया है तो ऐसे गीत लायूँगा मैं फेस्ट में,
भाई भी कहेगा: “हम सब फ़क्त आदमी हैं, तुम्ही हो इन्सान”!
Aansu Songs Fest Prelude #3
Those who know me well – and all of you in YKDN do – know that Aansu is my second most favourite Fest theme after Chand.
We have had discussion on Aansu before too. I cry easily and not only when I cook and cut onions! I hope I don’t offend my sisters here but, for the kind of sensitivity God has given me, I could very well have been a woman!
Last time when you contributed your views on Aansu, I recorded them. Please read what YOU penned about Aansu earlier (Please read: ‘Why Do We Sometimes Cry Listening To Old Songs?’). All of you, without exception, are the best that God could have gifted me and he did!
मेरी ख़ुशी में आपकी झलक, आँसुयों में है आपकी छवि,
दोस्तों आप के दम से ही जीता है आपका रवि।
खुदा ने गीत दिए, संगीत दिया, और दी प्यार की रौशनी,
और मुझ जैसा ज़ाहिल भी बन बैठा छोटा सा कवि।
अपने छोटे पन का एहसास मुझे सताता था हर दम,
आपकी ताक़त और इल्म से मैं भी जचता हूँ अनुभवी।
मिल के आंसू छलक जाएँ, ख़ुशी के हों या ग़म के,
पर दुबारा कभी भी हम ना होंगे अजनबी।
फेस्ट आयेंगे, फेस्ट चले जायेंगे मेरे साथियो,
अपने ‘भैया’ और ‘वीरजी’ से ना रूठना कभी।
आपके इशारे से ही चलती है दिल की धड़कन,
कल भी, आज भी और आने वाले कल में भी।
There are, of course, one or two members who invariably have doubts even after the Fest is over. This is a tribute to them:
Aansu Songs Fest Prelude/Doubt Clearance #4
TRIBUTE TO YOU-KNOW-WHO!
What would Fests be without a doubt?
What would suave be without a lout?
Tears can be even in pants and shirts,
But we talk about only those in the eyes sprout.
Weeping like a willow is alright in a way,
But in the Fest we’d like to see drops about.
There are many songs on Aansu and synonyms,
But remember what is IN and what is OUT.
You will have to wait until the end of the Fest,
To beat your ‘bhaiyya’ with a stick that is stout!
I am hell-bent to give you negative marks,
If you continue to rules and norms flout.
And those of you who like to take up the cudgels,
Remember, it is just a Fest and not a boxing bout!
(Surprise! Surprise!)
Let me see you laugh and smile in Aansu Fest,
No long face, no grudge, no anger, no pout.
Aansu Songs Fest Prelude/Doubt Clearance #5
RARE KI KHOJ
बीसियों गाने हैं आंसू और अश्क़ पर लेकिन,
हमें ढूंढना है कुछ हटके,
रवि भैया ने लंबी लिस्ट बनायीं होगी फेस्ट से पहले,
पर हम लगे रहेंगे डट के।
कल रात मैंने फिर से लिस्ट देखी, क्या अनोखे गीत हैं आँसुयों पे!
समझ नहीं आता क्यों हैं मेरे दोस्त, rare की खोज में सटके?
जब आंसू और अश्क़ पर ही हैं इतने प्यारे नग्में,
तो यह सब नीर, बदरा, घटा, बरसात में क्यों अटके?
कहीं ऐसा तो नहीं के अभी से महसूस हो रहे हैं,
After Fest के भूकंप के ज़ोरदार झटके?
सिर्फ मेरी बहनें चुप हैं, क्योंकि आंसू उनके अपने हैं,
Rare की खोज में उनके तो नैन भी ना मटके।
बाकी रहे मेरे भाई, यूँ लगता है मुझे तो हुज़ूर,
आसमान से गिरे, ख़जूर पे लटके!
लगे रहो Munna भाई!
Aansu Songs Fest Prelude #6
I agree with you that most things in this universe are inter-connected. Hence, some of the causes of Aansu would be crying, wailing, screaming, cutting onions and weeping. There are others who would like to reason out that even uncontrolled laughter can cause Aansu and hence even Hansi, Muskaan, Khushi, Gham, Sorrow, Miseries all should be under the general heading AANSU.
This time, unlike the working of your complex minds, I made it very simple. ONLY Aansu and its direct synonyms such as Ashq and Tears are included. No Rona Dhona, Aankhon se Barsaat, Naino mein Badra, Motiyon ki ladhi, Neer, Paani, NOTHING. If you have the slightest doubt whether what you are putting up is a synonym or your interpretation of Aansu, DON’T PUT IT UP.
I have already done the homework for you and confirmed that there are adequate songs on Aansu and its direct synonyms.
AANSU AUR DIL by Sunbyanyname (First Look here, as always)
लोग कहते हैं आंसू दिल की जुबां हैं,
मैं सोचता हूँ आंसुओं के अपने अरमान हैं,
कई बार लगता है इन नन्हे आंसुओं में,
गौर से देखें तो सारा जहान है I
आंसू चुप रह के भी सब कुछ बोल जाते हैं,
किस खूबी से दिल से दिल को टोल जाते हैं,
राज़ – ऐ – दिल लाख आप छुपाते रहें,
खामोशी में छुपे राज़ अक्सर खोल जाते हैं I
आंसुओं के साथ जुड़े हैं कई जज़्बात,
आंसू ही तो हैं एहसास – ऐ – कायनात,
खशी में, ग़म में, उदासी में, हँसते हुए,
आंसू हैं सुहाना दिन, आंसू हैं हिज्र की रात I
आंसुओं की बौछार से खिल जाते हैं फूल,
वल्लाह, कई बार चुभते हैं बनके गरम शूल,
बेकसी के आलम में तो यौन भी लगता है हमें,
हमारे आंसू हैं किसी और की भूल I
आंसुओं का फेस्ट मेरा दिल – पसंद और अज़ीज़ है,
चाँद के बाद एहि तो मेरे करीब है,
साड़ी उम्र गुज़री है यह खज़ाना जमा करने में,
आंसुओं के बग़ैर रवि फ़क़त गरीब है !
Log kehte hain aansu dil ki zubaan hain,
Main sochata hoon aansuyon ke apne armaan hain,
Kayi baar lagta hai in nanhe se aansuyon mein,
Gaur se dekhen to saara jahaan hai.
Aansu chup reh ke bhi sab kuchh bol jaate hain,
Kis khoobi se dil ko dil se tol jaate hain,
Raaz-e-dil laakh aap chhupate rahen,
Khaamoshi mein chhupe raaz aksar khol jaate hain.
Aansuyon ke saath judhe hain kayi jazbaat,
Aansu hi to hain ehsaas – e – kayinaat,
Khushi mein, gham mein, udaasi mein, hanste huye,
Aansu hain suhaana din, aansu hain hijr ki raat.
Aansuyon ki bauchhar se khil jaate hain phool,
Wallah kayi baar chubhate hain banake garam shool,
Bekasi ke aalam mein to youn bhi lagta hai hamen,
Hamaare aansu hain kisi aur ki bhool.
Aansuyon ka Fest mera dil-pasand aur azeez hai,
Chand ke baad yehi to mere kareeb hai,
Saari umr guzari hai yeh khazaana jama karne mein,
Aansuyon ke bagaair Ravi faqt gareeb hai!
Aansu Songs Fest Prelude #7 (Six Hours to Go!)
AANSUYON KI TAMANNA!
आज तो आंसुओं की बरसात होने वाली है,
थाम लो दिल अब मुलाक़ात होने वाली है I
अजीब तमन्ना – ए – आंसू लेकर उठेंगे दोस्त मेरे,
ख़ुशी अब मिले अब अश्क़ों की बरात होने वाली है I
बहारों से दिन रात सजे थे पिछले फेस्ट में,
अब तो सुनते हैं ग़म – ए – हयात होने वाली है I
सुलगते अश्क़ों से दिल के फ़साने सुनाएंगे,
मुझे लगता है करामात होने वाली है I
दोस्तो, अल्लाह का फज़ल हो आप पे और आप की कलम पे,
खामोश लबों की आँखों से बात होने वाली है I
आपकी सालगिरह पर आपको बधाई हो,
आपके प्यार में हर दम गहराई हो,
और कुछ ऐसा संगीत और गीत बनें,
अपनी अपनी बीन नहीं, सांझी शहनाई हो !
आप दोनों ही प्यार की हसीन मूरत हो,
आपसी ख्वाइश ही नहीं ज़िन्दगी की ज़रुरत हो,
आपको देख के लगता है कुछ यूँ हमें,
सारे जहाँ में आप दोनों सबसे खूबसूरत हो I
खुदा ने बनाई है यह जोड़ी बड़े प्यार के संग,
सुन्दर मीना है फ़रिश्ते राज कुमार के संग,
फिर ऊंचे बादल क्यों न हों पैरों तले?
बसंत जब जुड़ी हो बहार के संग !
अगर शहनशाह है राज तो मीना है मुमताज़,
राज की गहरी आवाज़ और मीना का अंदाज़,
सच पूछो तो ऐसा महसूस होता है हमें,
राज गर गीत का सुर है तो मीना है साज़ I
आपके प्यार में खुशबु हो, कभी न हो गन्दगी,
मीना की हो इबादत और राज की हो बंदगी,
हज़ारों जनम आप का बार बार मिलन हो,
हसीं ख़ुशी से गुज़रे मुहब्बत की ज़िन्दगी I
Aapki saalgirah par aapko badhayi ho,
Aapke pyaar mein har dam gehrayi ho,
Aur kuchh aisa sangeet aur geet banen,
Apni apni been nahin saanjhi shehnayi ho!
Aap dono hi pyaar ki haseen murat ho,
Aapsi khwaaish hi nahin zindagi ki zaroorat ho,
Aapko dekh ke lagta hai kuchh youn hamen,
Saare jahan mein aap dono sabse khoobsurat ho.
Khuda ne banayi hai yeh jodhi badhe pyaar ke sang,
Sundar Meena hai farishtey Raj Kumar ke sang,
Phir oonche baadal kyun na hon pairon tale?
Basant jab judhi ho Bahaar ke sang!
Agar Shehanshah hai Raj to Meena hai Mumtaz,
Raj ki gehri awaaz aur Meena ka andaaz,
Sach poochho to aisa mehsoos hota hai hamen,
Raj gar geet ka sur hai to Meena hai saaz!
Aapke pyar mein khushbu ho, kabhi na ho gandagi,
Meena ki ho ibaadat aur Raj ki ho bandagi,
Hazaaron janam aapka baar baar milan ho,
Hansi khushi se guzre aapki muhabbat ki zindagi.
At the end of the Fest, my sister Suman Saxena paid the following tribute to Shakeel Badayuni (there can’t be a YKDN Fest without him). By the way, the entire lot of participants were divided into two groups: Basant and Bahaar and Suman was the leader of the Bahaar group that won the Fest.
Tribute to Shakeel Badayuni ————————————- Sab karishmat-e-tasavvur hai ‘Shakeel’ Warna aataa hai na jata hai koi
Dedicating this song to our Ravinder PS Ravi Bhaiya and Basant Team (fans of Shakeel).
I wanted to post something unique for ‘Basant’ team for their unconditional love and support throughout the meet. While surfing songs came across this rare gem “Hangaama E Gham Se Tang Aakar” which is the only song that Shakeel Badayuni has recorded in his own voice in movie Paak Daaman (1957). Music directed and composed by Ghulam Mohammad and lyrics written by Shakeel Badayuni.
Hope you all will like it.
Requesting Ravinder PS Ravi Bhaiya to add value to this post with his comments.
Lyrics
Hangaamah e gham se tang aa kar Izhaar e masarrat kar baithhe ae Mashoor thi apni zinda dili Daanistah sharaarat kar baithhe ae
Koshish to bahut ki hamne magar Paaya na gham e hasti se mafarr Veeraani e dil jab hadd se badhi Ghabraa ke mohabbat kar baithhe ae
Har cheez nahin ek markaz par Ik roz idhar ik roz udhar Nafrat se na dekho dushman ko Shaayad ye mohabbat kar baithhe ae
Allaah to sab ki suntaa hai Jur’at hai ‘shakeel’ apni apni Haali ne zubaan se uff bhi naa ki Iqbaal shikaayat kar baithhe ae Hangaama e gham se tang aa kar Izhaar e masarrat kar baithhe ae.
Here is what I wrote on her poet spontaneously without giving it too much of a thought:
Shakeel का कलाम उन्ही की ज़ुबान से,
सुनते ही फरिश्ते बन जाते हैं इनसान से,
दिल की तरंगें उठके गिरने का नाम नहीं लेतीं,
सांस थम जाती है जशन-ऐ-अरमान से।
और क्या मैं लिखूं इस बारे में Suman?
यही के उन जैसा शायर कहाँ चला गया जहान से?
शुक्र गुज़ार हूँ आपका, आपने जज़्बात की कदर की,
वर्ना आजकल लोग नज़र आते हैं मेहमान से।
अल्लाह, मुझे Shakeel की बज़्म में ही जगह देना,
कल जब मैं उठ जायूँ इस जहान से।
Doesn’t look like I will ever fail to pay tribute to Shakeel Badayuni. A sizeable portion of my blog Sunbyanyname is already devoted to Shakeel whose ‘takhallus‘ means: Handsome, Idealistic, Sensitive. Just how ‘sensitive’ he could get can be made out from just two couplets from his songs:
फिर आह दिल से निकली, टपका लहू जिगर से
शायद वो जा रहे हैं, छुपकर मेरी नज़र से
and….
तूने वो दे दिया ग़म, बेमौत मर गये हम
दिल उठ गया जहाँ से, ले चल हमें यहाँ से
ले चल हमें यहाँ से
किस काम की ये दुनिया जो ज़िंदगी से खेले रे
हम को भी साथ ले ले, हम रह गये अकेले
And yet, he was a poet of Husn and Bahaar. What did he have to say about the latter, Bahaar or the group Bahaar commanded by Suman Saxena? Here are a few examples:
ज़रा सुन हसीना ऐ नाज़नीं
मेरा दिल तुझ ही पे निसार है
तेरे दम से ही मेरे दिलरुबा
मेरी ज़िंदगी में बहार हैI
आई हैं बहारें मिटे ज़ुल्म-ओ-सितम
प्यार का ज़माना आया दूर हुए ग़म
बहारों की दुनिया पुकारे तू आ जा
तेरे मुन्तज़िर हैं सितारे तू आ जा
दो दिन की बहार प्यारे
दिल में बसा ले प्यार
हम-तुम ये बहार
देखो रंग लाया प्यार
मुस्कराएँ जो तेरे लब तो बहारें आईं
खिल गए फूल पड़ी तेरी जहाँ परछाईं
तूने गुलशन मेरा महकाया है
तेरी सूरत ने गज़ब ढाया है
तू है ऐसी कली जो गुलशन में
साथ अपने बहार लायी हो
And here is a special one for Yaad Kiya Dil Ne group from Shakeel:
ये बहारें ये फ़िज़ा, देखकर ओ दिलरुबा
जाने क्या दिल को हुआ, तुम याद आये
The fact is that I can go on and on and on and yet not come to the end of what Shakeel had to write about Bahaar!
So, how do you put both these things together: One side ‘Dard‘ (Ache) and extreme sensitivity and on the other side Husn (Beauty) and Bahaar (Spring)?
Simple! Many a times, he combined both together and made it into ‘Irony’ especially for those who understood the deep emotions. For others who like their poetry and lyrics as ‘fast food’, he made it look like as if there was ‘Bahaar‘ and happiness and celebrations around.
Her name too was Bahaar – the senior courtesan in the court of Emperor Akbar (Mughal-e-Azam) (Please also enjoy ‘Immortal Songs Of Mughal-e-Azam’) and she was jealous of the love that existed between Prince Salim and a junior courtesan Nadira (Anarkali; the blossom that sprouts in Bahaar! (Height of Irony)). So she tattled to the Emperor and he immediately had Anarkali imprisoned. When you are in love you can do anything. Hence, Prince Salim amassed an army against his own father to rescue Ananrkali. Salim was defeated and sentenced to death and it was Anarkali who offered to die in his place! This was accepted by Emperor Akbar. Before being entombed alive to die, she asked for a few hours of the night with Salim. It was granted on the condition that she would make him smell a sedative in a rose flower so that he won’t interfere with her being taken to the dungeon.
Shakeel had nothing to do with the above story; it is just historical. So where did he come in? He had to make a song that would bring out the irony of this situation! He was – this is what I have dubbed him as – the King of Irony. He came up with this outstanding song that was composed by Naushad in a Qawwali in K Asif’s 1960 movie Mughal-e-Azam. He composed it in Raag Jaijaiwanti, Taal Kaherava (Please read: ‘The Best Raaga Based Songs In Hindi Movies – Raag Jaijaivanti’).
Each word of this qawwali has been scripted keeping in mind the dual meaning of total happiness at Salim and Nadira being together for the night and, at the same time, pointing indirectly (and cleverly) to her being entombed to death in the morning.
Shakeel’s fans (the Basant Group, for example) can delve in ‘Irony’ as much as Shakeel did! They selected this qawwali to pay tribute to what should have been their rival group: the Bahaar group. Please see how outstandingly they did it:
नग़मो से बरसती है मस्ती
छलके हैं खुशी के पैमाने आज ऐसी बहारें आई हैं कल जिनके बनेंगे अफ़साने
अब इसे ज्यादा और हसीं ये प्यार का मौसम क्या होगा?
No one could have even thought of it but Shakeel did and his fans did!
Last year (56 years after the movie was released), the Akademi for promoting South Asian Dance form in UK paid tribute to the genius of Shakeel, Naushad and K Asif by re-enacting (in dance form) that magnificent night when Anarkali was granted her wish to spend a part of night with Prince Salim, her lover.
(Ladies and gentlemen, we of the Bassant Group also take the help of Shakeel to convey a further message to the Bahaar group through a rare Shakeel song sung by Kishore Kumar (of course with Asha Bhosle) in the year 1955):
ये चार दिन बहार के
हँसी-ख़ुशी ग़ुज़ार के
भुला दो ज़िन्दगी के ग़म
तुम्हारे दिल में हम रहें
हमारे दिल में तुम रहो
किसी से अपनी दास्ताँ
न हम कहें न तुम कहो
ज़माना चाहे कुछ कहे
ज़फ़ा करे सितम करे
जुदा न होंगे तुम से हम
भुला दो ज़िन्दगी के ग़म)
Ladies and gentlemen please enjoy the magic and irony of one of the greatest songs that Shakeel wrote so as to remember him on his 48th death anniversary: Jab raat hai aisi matwaali phir subah ka aalam kyaa hoga?
ये दिल की लगी कम क्या होगी
ये इश्क़ भला कम क्या होगा
जब रात है ऐसी मतवाली – २
फिर सुबह का आलम क्या होगा – २
नग़मो से बरसती है मस्ती
छलके हैं खुशी के पैमाने – २
आज ऐसी बहारें आई हैं
कल जिनके बनेंगे अफ़साने – २
अब इसे ज्यादा और हसीं ये प्यार का मौसम क्या होगा – २
जब रात है ऐसी मतवाली
फिर सुबह का आलम क्या होगा – २
ये आज का रंग और ये महफ़िल
दिल भी है यहाँ दिलदार भी है – २
आँखों में कयामत के जलवे
सीने में सुलगता प्यार भी है – २
इस रंग में कोई जी ले अगर मरने का उसे ग़म क्या होगा – २
जब रात है ऐसी मतवाली
फिर सुबह का आलम क्या होगा – २
हालत है अजब दीवानों की
अब खैर नहीं परवानों की – २
अन्जाम-ए-मोहब्बत क्या कहिये
लय बढ़ने लगी अरमानों की – २
ऐसे में जो पायल टूट गयी फिर ऐ मेरे हमदम क्या होगा – २
जब रात है ऐसी मतवाली – २
फिर सुबह का आलम क्या होगा – २
When Socrates said: ‘The more you know, the more you come to know how little you know’, no one could have visualised how well it fits in with Shakeel Badayuni, the greatest poet and lyricist.
In ‘The Best Songs Of Sahir Ludhianvi – Part I’, I gave you two dozen songs. Initially, I started with a favourite of mine: Aurat ne janam diya mardon ko, mardon ne use bazaar diya, from the 1958 BR Chopra movie Sadhana. I soon settled with giving you his songs chronologically from Thandi hawayen, lehrake aayen (from 1951 movie Naujawaan) to Ab woh karam karen yaa sitam main nashen main hoon (from 1955 movie Marine Drive).
In ‘The Best Songs Of Sahir Ludhianvi – Part II’, I gave you two songs more than two dozens as I wanted to finish with the songs of 1957 Guru Dutt classic Pyaasa in one part only (the last song was ‘Aaj sajan mohe ang laga lo’). This was the last and the 18th movie when Sahir Ludhianvi paired with SD Burman. Of course, the Part II we had started with ‘Ye baharon ka sama’ from the 1955 Dev Anand, Geeta Bali movie Milaap.
In ‘The Best Songs Of Sahir Ludhianvi – Part III’, I gave you 22 songs from Youn to hamane lakh haseen dekhe hain from the 1957 movie Tumsa nahin dekha to Bachcho tum taqdeer ho kal ke Hindustan ki from the 1959 movie Didi.
Let me reiterate that 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 Sahir Ludhianvi have been reconstructed from the same page. Sahir was given the moniker of being the People’s Poet. As we go along, you would know why.
Lets proceed further into the world of Sahir Ludhianvi’s songs.
Song #73
Ye husn ye ada….
The next movie of 1959 in which there was just one song by him (the rest were by Anand Bakshi) was Lal Nishan. The song Ye husn ye ada was penned by him, composed by Nirmal Kumar and sung by Sudha Malhotra and Mohammad Rafi. It is a qawwali.
Please enjoy: Ye husn ye ada….
ye husn, ye ada, ye najakat to dekhiye
aji tuti hai hum pe jo wo
haye tuti hai hum pe jo, wo kayamat to dekhiye
tuti hai hum pe jo, wo kayamat to dekhiye
tuti hai hum pe jo, wo kayamat to dekhiye
tuti hai hum pe jo, wo kayamat to dekhiye
ye shokh, ye junun, ye dahshat to dekhiye
aashiq bane hai haye
aashiq bane hai, aapki surat to dekhiye
aashiq bane hai, aapki surat to dekhiye
o aashiq bane hai, aapki surat to dekhiye
aashiq bane hai, aapki surat to dekhiye
zulfo me badaliya hai, nigaho me bijaliya
baato me shokhiya hai, adao me mastiya
inki nazar ke waar se, bachna muhal hai
is husne nau bahar se, bachna muhal hai
jab chahe ye dilo ke, khazane ko lut le
ek hum hi kya hai, sare zamane ko lut le
zamane ko lut le
ye husn, ye ada, ye najakat to dekhiye
haye najakat to dekhiye
hoye najakat to dekhiye
tuti hai hum pe jo, wo kayamat to dekhiye
tuti hai hum pe jo, wo kayamat to dekhiye
https://www.youtube.com/watch?v=rOD5UiiKzL8
Main hoon Mister John….
(Pic courtesy: LyricsBogie)
The next movie of 1959 was indeed his last for that year: Naach Ghar and he was back with N Dutta or Datta Naik.
Have a look at the songs that they made together:
1. Dil Zubaan Na Khol Sirf Dekh Le Kisi Se Kuch Na Bole Sirf Dekh Le.
2. Dukh Jo Diye Hain Duneeya Ne.
3. Meri Sune To O Pardesi Dil Se Dil Takrane De, Bhala Lage Toh Gale Se Lagja.
4. Dil Tujhko Diya Tha Dildar Maan Ke.
5. Janeman Chilman Utha Kar Dekh Le Dil Jalo Se Dil Laga Kar Dekh Le.
6. Door Se Yun Na Tarsao.
7. Main Banjara Door Ka.
8. Main Hoon Mr. John.
9. Tere Shaharo Se Raaja Hame Ban Hee Bhale.
10. Tumhe Kaise Kahoon.
Lets listen to Main Hoon Mister John if not for anything but to relive that era that Sahir earlier than 1957 had with SD Burman. The movie Naach Ghar was a forgettable movie starring Ashok Kumar, Anoop Kumar, Kamala Laxman, Helen, Shobha Khote, Iftekhar, and Gopi Krishna.
Please enjoy: Main hoon Mister John….
(The picture shown in the video is NOT the picture of this song but from Mr and Mrs 55: Jaane kahan mera jigar gaya ji)
main hoon mr. John
watan hai mera Bonn
rang birange bhes badal kar
ghooma hoon jahaan
main hoon mr. John
watan hai mera Bonn
rang birange bhes badal kar
ghooma hoon jahaan
arbastaan,
inglistaan
cheen japan aur afghanistaan
mat khaa mere kaan
chhod yeh ulti taan
jaan na hai pehchaan
magar tu ban baithha mehmaan
mat khaa mere kaan
chhod yeh ulti taan
jaan na hai pehchaan
magar tu ban baithha mehmaan
oh shaitaan
be-imaan
kehnaa maan
kho baithhegaa jaan
main hoon mr. John
hrr
tum ne ham se dil thha lagaaya
haan
ham ne thha tum ko apnaaya
hmm hmmm
tum ne ham se dil thha lagaaya
ham ne thha tum ko apnaaya
beech mein tapka ek paraaya
jis ne tum ko ham se chhudaaya
oh baap re
ham ko tum bin chain na aaya
deputy jaisa bhes banaaya
desh desh mein khoj lagaaya
aakhir iss mehfil mein paaya
meri jaan
jaa jaa
ho main qurbaan
achcha
kuchh pehchaan
kyun hai tu hairaan
main hoon mr. john
watan hai mera Bonn
rang birange bhes badal kar
ghooma hoon jahaan
arbastaan,
oh ho
inglistaan
aa aa
cheen japan aur afghanistaan
main hoon mr. John
o awaara o deewaane
oh ho ho ho
waah waah
samajh gayee main tere bahaane
aa haaa
o awaara o deewaane
samajh gayee main
tere bahaane
chala hai tu kis ko behkaane
yeh saare kartab hain puraane
kitne bhi hain tere thhikaane
sab hain mere jaane pehchaane
tu ho kar aaya hai thaane
ab jaayegaa paagalkhaane
yaah yaah yaahu hu yaa
hu yaa yaa yaahu
chhod yeh jaan
khaak na chhaan
pakad yeh kaan
ishq nahin aasaan
mat khaa mere kaan
chhod yeh ulti taan
jaan na hai pehchaan
magar tu ban baithha mehmaan
oh shaitaan
ah haa haa
be-imaan
oh ho ho
kehnaa maan
kho baithegaa jaan
main hoon mr. John
Song #75
Tum ek baar mohabbat ka imtihaan to lo….
And that brings us to the first movie of 1960 Babar which started a very meaningful pairing that Sahir had with Music Director Roshan. Another thing that happened with the movie was that Sahir was with Sudha Malhotra in a big way.
The movie was directed by Hemen Gupta who was secretary to Netaji Subhash Chndra Bose and made several movies for Bimal Roy including Anand Math and Kabuliwala.
(Moghul king Babur as depicted in a painting)
Hindi movies’ infatuation with our moghul rulers and trying to find something good about them are indeed fascinating. Babur or Ẓahīr-ud-Dīn Muḥammad was responsible for laying the moghul dynasty foundation in India. He was the direct desendant of Taimur and Genghis Khan who perpetrated untold atrocities on our people. “Unlike his father, he had ascetic tendencies and did not have any great interest in women. In his first marriage, he was “bashful” towards Aisha Sultan Begum, later losing his affection for her. However, he acquired several more wives and concubines over the years, and as required for a prince, he was able to ensure the continuity of his line; Babur treated them and his other women relatives well. In his memoirs, there is a mention of his infatuation for a younger boy when Babur was 16 years old. According to the historian Abraham Eraly, bisexuality was common and pederasty high fashion among the central Asian aristocrats of the time.” However, since he was relatively nicer to women as compared to his predecessor and successors, the imagination of Hindi films industry was aroused!
Following are the songs that Sahir and Roshan put together:
1. Payaam\-e\-ishq muhabbat hame.n pasa.nd nahii.n.
2. Salaam\-e\-hasarat qubuul kar lo.
3. Tum ek baar muhabbat kaa imtahaan to lo.
4. Tum maa ho tum aisa na karo.
5. Haseeno ke jalwe pareshan rehte agar ham na hote.
We shall be taking up two out of these.
The first one is a favourite Mohammad Rafi song of mine. It has very romantic and powerful lyrics. The Mughals were known to have ill-treated their women and Babar was no exception. However, in poetical expressions especially in the movies, they made the women feel absolutely great!
One person who needs to be appreciated for the song is Mohammad Rafi.
Please enjoy: Tum ek baar mohabbat ka imtihaan to lo….
tum ek baar muhabbat ka imtahaan to lo
mere junun meri vahshat ka imtahaan to lo
tum ek baar muhabbat ka imtahaan to lo
salaam-e-shauq pe ranjish bhara payaam na do
salaam-e-shauq pe ranjish bhara payaam na do
mere khloos ko hiras-o-havas ka naam na do
meri vafa ki haqikat ka imtahaan to lo
tum ek baar muhabbat ka imtahaan to lo
na takt-o-taz na laal-o-guhar ki hasarat hai
na takt-o-taz na laal-o-guhar ki hasarat hai
tumhare pyar tumhari nazar ki hasarat hai
tum apne husn ki azmat ka imtihaan to lo
tum ek baar muhabbat ka imtahaan to lo
mai apni jaan bhi de du to aitbaar nahi
mai apni jaan bhi de du to aitbaar nahi
ke tum se badhke mujhe zindagi se pyar nahi
yu hi sahi meri chahat ka imtihaan to lo
tum ek baar muhabbat ka imtahaan to lo
https://www.youtube.com/watch?v=JSmeq0fqA50
Song #76
Haseeno ke jalwe parehsan rehte….
(Gajanan Jagirdar as Babar or Babur in the 1960 movie)
Yesterday, we started taking up songs of the 1960 movie Babar and we had taken up just one song, one of the best of Mohammad Rafi: Tum ek baar mohabbat ka imtihaan to lo.
I told you yesterday that with this movie there started a very meaningful relationship between Sahir Ludhainvi and Roshan.
Roshan was, of course, very good at qawwalis.
Here is, therefore, a very fine qawwali from the movie, sung by Mohammad Rafi, Manna Dey, Sudha Malhotra and Asha Bhosle.
Please enjoy: Haseeno ke jalwe parehsan rehte….
hasino ke jalwe pareshan rahte
hasino ke jalwe pareshan rahte
agar hum na hote, agar hum na hote
agar hum na hote, agar hum na hote
hasino ke jalwe
mohabbat se tum log anjan rahte
mohabbat se tum log anjan rahte
agar hum na hote, agar hum na hote
agar hum na hote, agar hum na hote
mohabbat se tum log anjan rahte
hami ne tumhe jane mahfil banaya
nigaho me tulne ke kabil banaya
hami ne sikhaya tumhe war karna
huye katl or tumko katil banaya
huye katl or tumko katil banaya
ye sab nazo bejan rahte, bejan rahte
ye sab nazo bejan rahte
agar hum na hote, agar hum na hote
agar hum na hote
hasino ke jalwe pareshan rahte
hami ne tumhe pyar ki roshni di
jo aachal se chalki wo chandani di
najar se jawani ki shabnam luta ke
tamanna ke har phul ko tajgi di
tamanna ke har phul ko tajgi di
chamak aarzuo ke viran rahte, viran rahte
chamak aarzuo ke viran rahte
agar hum na hote, agar hum na hote
agar hum na hote, agar hum na hote
tumhe hamne jadu bhare khwab bakshe
andheri fizao ko mahtab bakshe
junu ko wafa ka salika sikhaya
dilo ko dhadkane ke aadab bakshe
dilo ko dhadkane ke aadab bakshe
ye nadan dil yuhi nadan rahte, nadan rahte
ye nadan dil yuhi nadan rahte
agar hum na hote, agar hum na hote
agar hum na hote, agar hum na hote
mohabbat se tum log anjan rahte
jawa bajuo ko lachak hamne di hai
hasi chudio ko khanak di hai
hami ne bhara loch angadayi me
tumhe bijliyo ki chamak hamne di hai
tumhe bijliyo ki chamak hamne di hai
tum is husn par khud pasheman rahte, pasheman rahte
tum is husn par khud pasheman rahte
agar hum na hote, agar hum na hote
agar hum na hote, agar hum na hote
hasino ke jalwe pareshan rahte
dua do ke tumko mohabbat sikha di
murabbat ki khatir sarafar sikha di
hami ne tumhe dhange tahzib baksha
hami ne tumhe aadmiyat sikha di
hami ne tumhe aadmiyat sikha di
jamane me wahsat ke saman rahte, saman rahte
jamane me wahsat ke saman rahte
agar hum na hote, agar hum na hote
agar hum na hote, agar hum na hote
mohabbat se tum log
Song #77
Naa to karvaan ki talaash hai……
Alright, ladies and gentlemen, if you are waiting for me to tell you about the affairs of Sahir Ludhianvi, I think you all know about Amrita Pritam already. She had an unsuccessful marriage with Pritam Singh. She listened to Sahir in a mushaira in 1944 and was enamoured by him. He was shy of course and usually the one thing that they shared together was – hold your breath – silence. She was so fascinated by him that when they were together, mostly in silence, he would smoke cigarettes, leave them half and light more. She used to save all the stubs and smoke them after he’d leave. That’s how she took to smoking.
In 1958, suddenly after 14 years of their silent acquaintance, he took fancy to Sudha Malhotra. She was an aspiring singer and Sahir started giving her his best songs to sing. I have already given her: Tum mujhe bhool bhi jaao to ye haq hai tumako. I just gave you another qawwali from 1960 movie Babar and one of the singers was Sudha.
It didn’t go beyond his “morning-alarm” calls to her (always to discuss songs only) and then it ended as abruptly as it started. Many people feel that the 1963 Gumraah song that he wrote: Chalo ik baar phir se ajanabee ban jaayen hum dono, was meant for her!
The 1960 movie Barsaat Ki Raat had Bharat Bhushan as a poet with Madhubala enamoured by him. Sahir was such a lyricist and poet that many movies had poets as central character, based on his own life. This continued, if you recall, until 1976 movie Kabhi Kabhi!
I have already given you three songs from Barsaat Ki Raat on the birth anniversary of Madhubala on Valentine’s Day this year: 14th of Feb.
It remains for me only to give you the best qawwali in Hindi movies ever, which was a qawwali that he made Sudha Malhotra sing together with Mohammad Rafi, Asha Bhosle, SD Batish and Manna Dey.
A scene from the best qawwali in Hindi movies: Na to karwaan ki talaash hai…
Roshan based on Raag Kalavati, Taal Kaherava.
Please enjoy: Naa to karvaan ki talaash hai……
naa to kaaravaa.N kii talaash hai, naa to hamasafar kii talaash hai
mere shauq-e-khaanaa kharaab ko, terii rahaguzar kii talaash hai
mere naamuraad junuun kaa hai ilaaj koI to maut hai
jo davaa ke naam pe zahar de usii chaaraagar kii talaash hai
teraa ishq hai merii aarazuu, teraa ishq hai merii aabaruu
dil ishq jism ishq hai aur jaan ishq hai
Imaan kii jo puuchho to Imaan ishq hai
teraa ishq hai merii aarazuu, teraa ishq hai merii aabaruu,
teraa ishq mai.n kaise chho.D duu.N, merii umra bhar kii talaash hai
ishq ishq teraa ishq ishq …
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
jaa.Nsoz kii haalat ko jaa.Nsoz hii samajhegaa
mai.n shamaa se kahataa huu.N mahafil se nahii.n kahataa kyo.nki
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
sahar tak sabakaa hai a.njaam jal kar khaak ho jaanaa,
bharii mahafil me.n koI shammaa yaa paravaanaa ho jAe kyo.nki
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
vahashat-e-dil rasm-o-diidaar se rokii naa gaI
kisii kha.njar, kisii talavaar se rokii naa gaI
ishq majanuu kii vo aavaaz hai jisake aage
koI lailaa kisii diivaar se rokii naa gaI, kyo.nki
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
vo ha.Nsake agar maa.Nge.n to ham jaan bhii dede.n,
haa.N ye jaan to kyaa chiiz hai Imaan bhii dede.n kyo.nki
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
naaz-o-a.ndaaz se kahate hai.n ki jiinaa hogaa,
zahar bhii dete hai.n to kahate hai.n ki piinaa hogaa
jab mai.n piitaa huu.N to kahate.n hai ki marataa bhii nahii.n,
jab mai.n marataa huu.N to kahate hai.n ki jiinaa hogaa
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
mazahab-e-ishq kii har rasm ka.Dii hotii hai,
har kadam par koI diivaar kha.Dii hotii hai
ishq aazaad hai, hi.nduu naa musalamaan hai ishq,
aap hii dhama.r hai aur aap hii Imaan hai ishq
jisase aagaah nahii shekh-o-barahaaman dono,
us haqiiqat kaa garajataa huA ailaan hai ishq
ishq naa puchchhe diin dharam nuu, ishq naa puchchhe jaataa.N
ishq de haatho.n garam lahuu vich, Dubiyaa.n lakh baraataa.N
ke … de ishq
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
raah ulfat kii kaThin hai ise aasaa.N naa samajh
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
bahut kaThin hai Dagar panaghaT kii
ab kyaa bhar lAU.N mai jamunaa se maTakii
mai jo chalii jal jamunaa bharan ko
dekho sakhii jii mai jo chalii jal jamunaa bharan ko
na.ndakishor mohe roke jhaa.Do.n to
kyaa bhar lAU.N mai jamunaa se maTakii
ab laaj raakho more ghuu.NghaT paT kii
jab jab kR^ishhN kii ba.nsii baajii, nikalii raadhaa saj ke
jaan ajaan kaa maan bhulaa ke, lok laaj ko taj ke
janak dulaarii ban ban Dolii, pahan ke prem kii maalaa
dasha.rn jal kii pyaasii miiraa pii gaI vishh kaa pyaalaa
aur phir araj karii ke
laaj raakho raakho raakho, laaj raakho dekho dekho,
laaj raakho raakho, he he he,
laaj raakho raakho, he he he,
laaj raakho raakho
ye ishq ishq hai ishq ishq, ye ishq ishq hai ishq ishq
allaah rasuul kaa faramaan ishq hai
yaane hafiiz ishq hai, quraan ishq hai
gautam kaa aur masiih kaa aramaan ishq hai
ye kaayanaat jism hai aur jaan ishq hai
ishq saramad, ishq hii ma.nsuur hai
ishq muusaa, ishq koh-e-nuur hai
Kaaq ko but, aur but ko devataa karataa hai ishq
intahaa ye hai ke ba.nde ko Kudaa karataa hai ishq
haa.N ishq ishq teraa ishq ishq
teraa ishq ishq, ishq ishq …
Song #78
Kashti ka khamosh safar hai, aaj mujhe kuchh kehna hai….
(Pic courtesy: LyricsBogie)
That brings us to the 1960 movie Girl Friend that starred Kishore Kumar with Waheeda Rehman. For the first time, Sahir paired with Hemant Kumar as Music Director and they made the following songs:
1. Aaj Rona Pada Toh Samjhe – Kishore Kumar.
2. Aaj Mujhe Kuchh Kahanaa Hai, Aaj Mujhe Kuchh Kahanaa Hai – Kishore Kumar and Sudha Malhotra.
3. Kashti Kaa Kaamosh Safar Hai, Aaj Mujhe Kuchh Kahanaa Hai – Kishore Kumar and Sudha Malhotra.
4. Mai Pagal Hu – Kishore Kumar.
5. Na Dhela Lagta Hai Na Paisa – Daisy Irani, Kishore Kumar.
6. Kahate Hain Ise Paisaa, Paise Ki Kahaani – Hemant Kumar, Kishore Kumar, Ranu Mukherjee.
7. Jhuk Jhuk Buddhi Maa Ko – Kishore Kumar.
8. Bum Buma Bum Karega Kutum Jo – Asha Bhosle, Kishore Kumar.
Lets take up the song sung by a girl in her twenties at that time that Sahir had crush on: Sudha Malhotra. Was this the song that he would have sung for her?
Please enjoy: Kashti ka khamosh safar hai, aaj mujhe kuchh kehna hai….
ki: kashti ka khaamosh safar hai, shaam bhi hai tanahaai bhi
dur kinare par bajati hai laharo ki shahanai bhi
aaj mujhe kuchh kahana hai, aaj mujhe kuchh kahana hai
lekin ye sharmili nigaahe mujhako ijaazat de to kahun
ye meri betaab umage thodi fursat de to kahun
su: jo kuchh tumako kahana hai, vo mere hi dil ki baat na ho
jo mere khvaabo ki mazil us mazil ki baat na ho
ki: kahate hue dar sa lagata hai, kahakar baat na kho baithun
ye jo zara sa saath mila hai, ye bhi saath na kho baithun
su: kabase tumhaare raste pe mai, phul bichhaaye baithi hun
kah bhi chuko jo kahana hai mai aas lagaaye baithi hun
ki: dil ne dil ki baat samajh li, ab munh se kya kahana hai
aaj nahi to kal kah lege, ab to saath hi rahana hai
Before we broke off last week, I gave you a song from the 1960 movie Girl Friend: Kashti ka khamosh safar hai. If in Girl Friend, Sahir paired with Hemant Kumar for the first time, for the 1960 movie Hum Hindustani, he paired with Usha Khanna for the first time. In a typical male bastion of music direction, Usha Khanna battled to establish herself and she did.
The title song of the movie: Chhodo kal ki baaten made waves. But, as some of you may know, the song was not penned by Sahir, but by Prem Dhawan. The movie starring Asha Parekh and Joy Mukherjee (both in their second movies after Dil Deke Dekho and Love in Shimla respectively) and Sunil Dutt had nine songs: four penned by K Manohar, two by Bharat Vyas, and one each by Prem Dhawan, Rajinder Krishan and Sahir Ludhianvi.
The Sahir Ludhianvi song Hum jab chale to ye jahan jhuume was sung by Mohammad Rafi for Sunil Dutt.
Please enjoy: Hum jab chale to ye jahan jhuume…..
ham jab chale.n to ye jahaan.N jhuume
aarazuu hamaarii aasamaa.N ko chuume
o ho ho ham jab chale.n …
ham na_e jahaan ke paasabaa.N
ham na_ii bahaar ke raazadaa.N
ham ha.Nse.n to ha.Ns pa.De har kalii
ham chale.n to chal pa.De zindagii
saare nazaaro.n me.n phuulo.n me.n taaro.n me.n
hamane hii jaaduu bharaa
ham jab chale.n …
hamase hai fizaa_o.n me.n ra.ng-o-buu
hamase hai is zamii.n kii aabaruu
nadiyo.n kii raaginii hamase hai
har taraf ye taazaGii hamase hai
saare nazaaro.n me.n …
duur ho ga_ii.n sabhii mushkile.n
khi.nch ke paas aa ga_ii.n ma.nzile.n
dekhakar shabaab ke hausale
khud-ba-khud simaT ga_e faasale
saare nazaaro.n me.n …
https://www.youtube.com/watch?v=iP2x54fTVjI
Song #80
Ye haath hi apni daulat hai….
(Pic courtesy: CineMaterial)
In his next movie, the 1960 movie Masoom (in Hindi films, at least four movies have been named Masoom: in 1941, 1960, 1983 and 1996).
The movie had a favourite song of mine albeit penned by Shailendra: Nani teri morni ko more le gaye sung by Ranu Mukherjee with composition of Hemant Kumar. Four other songs were penned by Raja Mehdi Ali Khan and one by Sahir, all with compositions by Robin Banerjee.
Sahir’s one is titled: Yeh haath hi apni daulat hai and was sung by a woman Sahir was in love with: Sudha Malhotra though at that time, whatever was the enthusiasm for love, had already tapered off.
Please enjoy: Ye haath hi apni daulat hai….
mehnat karte aaye hai hum mehnat karte jayenge
jab tak ye hath salamat hai kyu daan ke tukde khayenge
kyu daan ke tukde khayenge ye hath hi apni daulat hai
ye hath hi apni takat hai kuch aur to punji paas nahi
ye hath hi apni kismat hai ye hath hi apni daulat hai
hum dhanwalo ke put nahi nirdhan ma bap ke bache hai
sab aur sahare chhute hai ye do hi sahare sache hai
ye do hi sahare sache hai ye hath hi apni daulat hai
ye hath hi apni takat hai kuch aur to punji pas nahi
ye hath hi apni kismat hai ye hath hi apni daulat hai
kya gam jo hamare mat pita sona chandi na jod sake
wo achhe dil ke malik the wo lut ka mal na jod sake
wo lut ka mal na jod sake ye hath hi apni daulat hai
ye hath hi apni takat hai kuch aur to punji pas nahi
ye hath hi apni kismat hai ye hath hi apni daulat hai
bhulenge hum na is shiksha ko chori se mehnat behtar hai
sukh ke liye zilat sahne se dukh sahne ki aadat behtar hai
dukh sahne ki aadat behtar hai ye hath hi apni daulat hai
ye hath hi apni takat hai kuch aur to punji pas nahi
ye hath hi apni kismat hai ye hath hi apni daulat hai
Song #81
Bhool sakta hai bhala kaun tumhaari aankhen…..
(Pic courtesy: LyricsBogie)
His next movie was the 1961 movie Dharamputra in which he was back with N Dutta or Datta Naik. Dharamputra was one of the early movies of Yash Chopra based on a novel by the same name by Acharya Chatursen. If you recall, two years before this, Yash Chopra had made Dhool Ka Phool and I gave you songs of that too, penned by Sahir and composed by N Dutta.
If Dhool Ka Phool was steeped in Nehruvian secularism (I gave you the song: Tu Hindu banega na musalmaan banega, insaan ki aulad hai insaan banega), the same theme in another manner returns in this movie through the characters of Shashi Kapoor (Dilip Rai, a Muslim hater but born to Mala Sinha as Husn Bano and her lover Rehman as Javed) and Indrani Mukherjee (Meena).
The movie had excellent songs just like Dhool Ka Phool.
1 Main Jab Bhi Akeli Hoti Hoon Asha Bhosle
2 Aaj Ki Raat Mahendra Kapoor
3 Naina Kyon Bhar Aaye Asha Bhosle
4 Tumhari Aankhen Mahendra Kapoor
5 Jo Dil Deewana Machal Gaya Mohammed Rafi, Chorus
6 Yeh Kis Ka Lahu Hai Kaun Mara Mahendra Kapoor, Chorus
7 Jai Janani Jai Bharat Maa Mahendra Kapoor, Chorus
8 Chahe Yeh Mano Chahe Woh Mano Mahendra Kapoor, Balbir, Chorus
Please enjoy my favourite by Mahendra Kapoor: Bhool sakta hai bhala kaun tumhaari aankhen…..
bhuul sakataa hai bhalaa kaun ye pyaarii aa.Nkhe.n
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
merii har sos ne har soch ne chaahaa hai tumhe.n
jab se dekhaa hai tumhe.n tab se saraahaa hai tumhe.n
bas ga_ii hai.n merii aa.Nkho.n me.n tumhaarii aa.Nkhe.n
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
tum jo nazaro.n ko uThaao to sitaare jhuk jaaye.n
tum jo palko.n ko jhukaao to zamaane ruk jaaye.n
kyuu.N na ban jaaye.n in aa.Nkhon kii pujaarii aa.Nkhen
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
jaagatii raato.n ko sapano.n kaa khazaanaa mil jaaye
tum jo mil jaao to jiine ka bahaanaa mil jaaye
apanii qismat pe kare naaz hamaarii aa.Nkhen
bhuul sakataa hai bhalaa kaun ye pyaarii aa.Nkhe.n
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
https://www.youtube.com/watch?v=gDE2vaArWsY
Song #82
Abhi na jaao chhod kar ke dil abhi bhara nahin…..
We have had a two weeks break in continuing with the best songs of our fourth Lyricist in our ‘Remembering Great Lyricists’ series: Sahir Ludhianvi. At this juncture I want to remind you that these lyricists are not being taken up in any particular order and the number of the lyricist doesn’t correspond with his or her ranking or standing.
His next movie in 1961 was Dev Anand’s Navketan Films production Hum Dono which was credited to have been directed by Amarjeet but Dev Anand claimed that it was his brother Vijay Anand who directed the movie based on his own script.
Dev Anand had a double role in the movie: as Army Captain Anand and Major Manohar Lal Verma. Anand was in love with Sadhana as Mita and joined the army so as to prove to Sadhana’s father that he could be someone in life. Manohar Lal Verma was married to Nanda as Ruma. Both, the Captain and the Major meet in Burma and the Major is reported dead in action. Captain has to break news to his widow Ruma and the story becomes complicated when Nanda as Ruma starts thinking of him as her husband Manohar and Sadhana as Mita suspects that her love of lifetime is having affair with another woman. In the end, Manohar too returns having miraculously escaped death.
Dev Anand had a double role in the movie, seen here with his two heroines: Sadhana and Nanda (Pic courtesy: Indiandhamaal)
After 1955, when Sahir paired with Music Director Jaidev in the movie Joru Ka Bhai, Sahir paired with him again in this movie and both ended up creating some of his best songs:
1. “Abhi Na Jao Chhodkar” – Mohammed Rafi, Asha Bhosle
2. “Adhuri Yaad Pyas Chhod Ke” – Mohammed Rafi, Asha Bhosle
3. “Allah Tero Naam Ishwar Tero Naam” – Lata Mangeshkar
4. “Jahan Mein Aisa Kaun Hai” – Asha Bhosle
5. “Kabhi Khud Pe Kabhi Haalaat Pe” – Mohammed Rafi
6. “Main Zindagi Ka Saath” – Mohammed Rafi
7. “Allah Tero Naam” – Lata Mangeshkar
We shall be taking up three songs tonight.
Lets first take up the song that is considered one of the most iconic and enchanting duets in Hindi films, having been sung by Mohammad Rafi and Asha Bhosle. It was composed by Jaidev in the Raaga of the evening: Kalyan. Taal is Dadra.
Please enjoy: Abhi na jaao chhod kar ke dil abhi bhara nahin…..
ra: abhii na jaao chho.D kar ke dil abhii bharaa nahii.n – (2)
abhii abhii to aaii ho – abhii abhii to
abhii abhii to aaii ho, bahaar banake chhaaii ho
havaa zaraa mahak to le, nazar zaraa bahak to le
(ye shaam Dhal to le zaraa – 2), ye dil sambhal to le zaraa
mai.n tho.Dii der jii to luu.N, nashe ke ghuu.NT pii to luu.N
nashe ke ghuu.NT pii to luu.N
abhii to kuchh kahaa.Nahii.n, abhii to kuchh sunaa nahii.n
abhii na jaao chho.Dakar ke dil abhii bharaa nahii.n
aa: sitaare jhilamilaa uThe, sitaare jhilamilaa uThe, charaaG jagamagaa uThe
bas ab na mujhako Tokanaa
bas ab na mujhako Tokanaa, na ba.Dhake raah rokanaa
agar mai.n ruk ga_ii abhii to jaa na paauu.Ngii kabhii
yahii kahoge tum sadaa ke dil abhii nahii.n bharaa
jo khatm ho kisii jagah ye aisaa silasilaa nahii.n
ra: abhii nahii.n abhii nahii.n
aa: nahii.n nahii.n nahii.n nahii.n
ra: abhii na jaao chho.Dakar ke dil abhii bharaa nahii.n
ra: adhuurii aas, adhuurii aas chho.Dake, adhuurii pyaas chho.Dake
jo roz yuu.Nhii jaaogii to kis tarah nibhaaogii
ki zi.ndagii kii raah me.n, javaa.N dilo.n kii chaah me.n
ka_ii muqaam aae.nge jo ham ko aazamaae.nge
buraa na maano baat kaa ye pyaar hai gilaa nahii.n
aa: haa.N, yahii kahoge tum sadaa ke dil abhii nahii.n bharaa
ra: haa.N, dil abhii bharaa nahii.n
aa: nahii.n nahii.n nahii.n nahii.n
https://www.youtube.com/watch?v=9VlDX_U2PkI
Song #83
Main zindagi ka saath nibhata chala gaya….
We had just started taking up songs of the 1961 movie Hum Dono starring Dev Anand in double role as Captain Anand and Major Verma together with Sadhana and Nanda.
Anand was in love with Sadhana as Mitu. Her father was not keen on the match since Anand didn’t even have a job whereas she was the daughter of a rich Jagirdar (played by Gajanan Jagirdar; yes, ladies and gentlemen the same man who played Babar’s title role). So, in order to prove to the father that he could become something, he joined the Indian Army.
In the video of the last song you must have seen the cigarette lighter that Sadhana as Mita had given him. He lights a cigarette with this lighter and then sings this song whilst looking at himself in a pond, after joining the Army.
Mohammad Rafi sang this on Jaidev’s composition.
Please enjoy: Main zindagi ka saath nibhata chala gaya….
mai.n zi.ndagii kaa saath nibhaataa chalaa gayaa
har fikr ko dhu.Ne.n me.n u.Daataa chalaa gayaa
jo mil gayaa usii ko muqaddar samajh liyaa – 2
jo kho gayaa mai.n usako bhulaataa chalaa gayaa
mai.n zi.ndagii…
Gam aur khushii me.n fark na mahasuus ho jahaa.N – 2
mai.n dil ko us muqaam pe laataa chalaa gayaa
mai.n zi.ndagii…
Song #84
Kabhi khud pe kabhi halaat pe rona aaya…
The last song of the 1961 movie Hum Dono has some of the best lyrics of Sahir Ludhianvi and as per my personal choice, actually his best lyrics. I feel that following lines are the best lines that he ever wrote:
कौन रोता है किसी और की ख़ातिर ऐ दोस्त
सबको अपनी ही किसी बात पे रोना आया
What’s the scene? Dev Anand as Captain Anand meets Dev Anand as Major Manohar Lal Verma in a camp during the Burma Campaign. He is filled with heartache of having parted from his beloved Sadhana as Mita and Manohar has similar feelings for his wife Nanda as Ruma. It is Dev Anand as Captain Anand who lip syncs this song sung by Mohammad Rafi on Jaidev’s composition.
Dev Anand as Captain Anand (left) and also as Major Manohar Lal Verma (right)
Jaidev composed it in Raag Gara, Taal Dadra; the same Raag and Taal in which these songs were composed: Tere mere sapne ab ek rang hain, Aise to na dekho, Hamsafar saath apna chhod chale, and that beautiful song of Shakeel Badayuni in 1963 movie Mulzim composed by Ravi and picturised on Pradeep Kumar and doe-eyed Shakeela: Deewana keh ke aaj mujhe phir pukaariye.
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
kisa 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
https://www.youtube.com/watch?v=kEoSO3lppyg
Song #85
Rimjhim rimjhim sawan barse tumse milan ko jiyara tarse…..
(Pic courtesy: Cinestaan)
We finished with the songs of the 1961 Navketan production Hum Dono last night. In 1962 he worked only with N Dutta or Datta Naik and did three movies with him: Dilli Ka Dada, Kala Samundar, and Sachche Moti.
In Dilli Ka Dada, Sahir penned four songs and Jaan Nisar Akhtar wrote three. These were the four songs penned by Sahir:
1. Aji ham Dilli ke daade hain.
2. Hamne bhi mohabbat ki thi.
3. Rimjhim rimjhim sawan barse tumse milan ko jiyara tarse.
4. Zara suno ji.
Lets take up Song #3 sung by Manna Dey and Asha Bhosle.
Please enjoy: Rimjhim rimjhim sawan barse tumse milan ko jiyara tarse…..
rim jhim rim jhim sawan barse
rim jhim rim jhim sawan barse
tumhare milan ko jiyra tarse
tumhare milan ko jiyra tarse
chham chham chham chham payal chhanke
chham chham chham chham payal chhanke
bolo sajan kaise niklu ghar se
bolo sajan kaise niklu ghar se
chham chham chham chham payal chhanke
sawan barse
chanchal shital pawan jhakore
vyakul man me aag lagaye
garaj garaj ke kare badarwa
dekh ke soi peed jagaye
nain hatat nahi tumhari dagar se
nain hatat nahi tumhari dagar se
nain hatat nahi tumhari dagar se
tumhare milan ko jiyra tarse
chham chham chham chham payal chhanke
sawan barse
more anganwa laz ka pahra
band kiwadiya khol na pau
gili lakadiya ban ban sulgu
muh se kuch bhi bol na pau
mar mar jau jag ke dar se
mar mar jau jag ke dar se
bolo sajan kaise niklu ghar se
bolo sajan kaise niklu ghar se
chham chham chham chham payal chhanke
sawan barse
Song #86
Arre O deewane khushi ke zamaane phir nahin aane….
In the next movie of 1962 Kala Samundar, Sahir penned just one song whilst Anand Bakshi wrote the rest including Meri tasveer lekar kyaa karoge.
The song that Sahir penned was Mohabbat karo to karo chhup chhupa ke that was sung by Asha Bhosle and Mohammad Rafi. I am not giving it here.
Asha Bhosle and Mohammad Rafi singing song Chahe dekhe ghoor ke
In the next movie Sachche Moti starring Madhu Apte, Helen and Jeewan, he penned all the songs:
1. Arre O deewane khushi ke zamaane phir nahin aane.
2. Chahe dekhe ghoor ke chahe deve gaaliyan.
3. Garaz ho to nakhre dikhati hai biwi.
4. Mere munne re seedhi raah pe chalna.
5. Ai mere meharbaan ab na le imtihaan.
6. Sachche ka hai bol bala suno re bhai.
In the first song, danced by Helen, N Dutta somewhat recreated the magic that Sahir had with SD Burman.
Geeta Dutt sang this song.
Please enjoy: Arre O deewane khushi ke zamaane phir nahin aane….
are o diwane khushi ke jamane
phir nahi aane re man bhi ja
are o diwane khushi ke jamane
phir nahi aane re man bhi ja
ye sharmana ye ghabrana thik nahi
aahe bharna ji tarsana thik nahi
jine ke bahane sare jag jane
tu nahi jane re jaan bhi ja
are o diwane khushi ke jamane
phir nahi aane re man bhi ja
badh ke dil ka daw laga le der na kar
koi suhana dhokha khale der na kar
jine ke bahane sare jag jane
tu nahi jane re jaan bhi ja
are o diwane khushi ke jamane
phir nahi aane re man bhi ja
are o diwane khushi ke jamane
phir nahi aane re man bhi ja
Song #87
Mujhe gale se laga lo bahut udaas hoon main….
In the first movie of the year 1963, Sahir Ludhianvi paired, for the first time in his career as a lyricist, with Ravi. You may recall that two years before him, for the first time, Shakeel Badayuni too had paired with Ravi in Chaudhvinh Ka Chand and straightway won his first Filmfare Award as Best Lyricist, an award that Shakeel made a hat-trick of in the next two years, and an award, which so far since inception two years before Shakeel had gone to Shailendra (Yeh mera deewanapan hai, and Sab kuchh seekha hamne). Sahir would have to wait for another year before he would get his for Taj Mahal song, pairing with Roshan.
(Pic courtesy: webmallindia)
The name of the movie was Aaj Aur Kal. The movie produced and directed by Vasant Joglekar starred Sunil Dutt, Raj Kumar and Nanda besides Tanuja and Ashok Kumar.
Sahir and Ravi created the following songs:
1. “Mujhe Gale Se Laga Lo” Mohammad Rafi and Asha Bhosle 3:14
2. “Raja Saheb Ghar Nahin” Mahendra Kapoor and Asha Bhosle 3:23
3. “Maut Kitni Bhi Sangdil Ho” Asha Bhosle 3:24
4. “Taqat Na Hoga Taj Na Hoga” Manna Dey and Geeta Dutt and Mohammed Rafi 3:15
5. “Yeh Wadiyan Yeh Fazayen” Mohammad Rafi 3:13
6. “Mujhe Chhedo Na Kanha” Asha Bhosle 3:25
7. “Itni haseen itni jawaan raat kya karen” Mohammad Rafi
8. “Zindagi ke rang kayi re” Asha Bhosale
We shall take up one song today and one tomorrow.
This song was composed by Ravi in Raag Asavari, Taal Kaherva. It is amongst the best sad songs of Asha Bhosle and the lyrics are outstanding.
Please enjoy Mohammad Rafi and Asha Bhosle sing for the lead actors a marvellous song: Mujhe gale se laga lo bahut udaas hoon main….
aa: mujhe gale se lagaa lo, bahut udaas huu.N mai.n
nazar me.n tiir se chubhate hai.n ab nazaaro.n se
mai.n thak ga_ii huu.N sabhii TuuTate sahaaro.n se
ab aur bojh na Daalo
ra: bahut sahii, Gam-e-duniyaa, magar udaas na ho
kariib hai shab-e-Gam kii, sahar udaas na ho
bahut sahii
sitam ke haath kii talavaar TuuT jaaegii
ye uu.Nch-niich kii ciivaar TuuT jaaegii
tujhe kasam hai merii hamasafar udaas na ho
aa: na jaane kab ye tariikaa ye taur badalegaa
sitam kaa Gam kab musiibat kaa daur badalegaa
mujhe jahaa.N se uThaa lo, bahut udaas huu.N mai.n
https://www.youtube.com/watch?v=dozK_TbXP38
Song #88
Ye waadiyan ye fazayen bula rahi hain hamen….
Last night, I started giving songs of the 1963 movie Aaj Aur Kal in which, for the first time, Sahir paired with Ravi, the music director with a golden touch (I say that conscious of the fact that as soon as Shakeel Badayuni paired with him, he received two of his three Filmfare Awards).
Last night I gave you one of the most beautiful songs of Asha Bhosle: Mujhe gale se laga lo bahut udaas hoon main.
Tonight I give you the other song from the movie that is so refreshing. And the reason it is so refreshing is because it has been composed in Raag Pahadi (Tal Kaherva). Pahadi is a dhun and is indeed very refreshing. In this case, it is actually used in the hills.
Please enjoy Mohammad Rafi sing: Ye waadiyan ye fazayen bula rahi hain hamen….
ye vaadiyaa.N ye fizaa_e.n bulaa rahii hai.n tumhe – 2
khaamoshiyo.n kii sadaa_e.n bulA rahii hai.n tumhe
ye vaadiyaa.N ye fizaa_e.N bulaa rahii hai.n tumhe
tumahArI zulpho.n se khushabU kI bhIkh lene ko
jhukI jhukI sI ghaTAe.n bulA rahI hai.n tumhe
khAmoshiyo.n kI sadAe.N …
hasI.n champAI pairo.n ko jabase dekhA hai
nadI kI mast adAe.n bulA rahI hai.n tumhe
khAmoshiyo.n kI sadAe.N …
merA kahA nA suno dil kI baat to sunalo
har ek dil kI duAe.N bulA rahI hai.n tumhe
khAmoshiyo.n kI sadAe.n bulA rahI hai.n tumhe
ye vAdiyA.N ye fizAe.N bulA rahI hai.n tumhe …
https://www.youtube.com/watch?v=M1l52x3wXYw
Song #89
Umr hui tumase mile phir bhi jaane kyun…
Sahir’s next movie in 1963 was Bahurani in which, once again, for the first time he paired with music director C Ramchandra. The movie had the following songs:
1. Umr hui tumase mile phir bhi jaane kyun.
2. Balma anari man bhaye.
3. Main jaagun sari rain sajan tum so jao.
4. Ye husn tera ye ishq mera rangeen to hai badnaam nahin.
5. Kaam krodh aur lobh ka maara.
6. Etal Ke Ghal Me Tital Bahar Acha Ya Bheetar.
7. Kab gham ki ghatayein.
8. Bane aisa samaaj.
We shall be taking up two tonight.
Lets take the first one sung by Hemant Kumar and Lata Mangeshkar for Guru Dutt and Mala Sinha.
Please enjoy: Umr hui tumase mile phir bhi jaane kyun…
umr hui tumase mile phir bhi jaane kyo
aise lage jaise pahali baar mile hai
umr hui baag saje phir bhi jaane kyo
aise lage phool pahali baar khile hai
rup jagaa yun, bin sanvaare saajanaa mai sanvar gai
rup jagaa yun, bin sanvaare saajanaa mai sanvar gai
aaj lagaa yun, aaj lagaa yun
motiyo se meri maang bhar gai
kajaraa chhalake, acharaa dhalake
umr hui tumse mile phir bhi jaane kyo
aise lage jaise pahali baar mile hai
sag tumhaaraa, meri zindagi ko raas aa gayaa
sag tumhaaraa, meri zindagi ko raas aa gayaa
paa ke sahaaraa, paa ke sahaaraa
dur thhaa mai, apne paas aa gayaa
duniyaa saari laage nyaari
umr hui tumase mile phir bhi jaane kyo
aise lage jaise pahali baar mile hai
jhum uthaa tan, man me ek aisi baat aa gai
jhum uthaa tan, man me ek aisi baat aa gai
jiski thi lagan, jiski thi lagan
aaj vo milan ki raat aa gai
akele rah gaye, akhiyaan bah gayi
umr hui tumase mile phir bhi jaane kyo
aise lage jaise pahali baar mile hai
https://www.youtube.com/watch?v=ZtMK5pHLHWU
Song #90
Main jaagun sari rain sajan tum so jao…
And the last song tonight is also from the 1963 T Prakash Rao film Bahurani, a remake of Telugu film Ardhangi, which was based on Maddipatla Suri’s Telugu translation of Bengali novel Swayamsiddha written by Manilal Banerjee. Swayamsiddha went on to be made into a 1975 Bengali movie of same name.
The movie starred Guru Dutt and Mala Sinha in the lead roles together with Feroz Khan.
The second promised song from the movie is once again a slow song and very very good. It has been sung by Lata Mangeshkar and brings out the self-sacrificing image of the Indian women, at least in that era.
Please enjoy: Main jaagun sari rain sajan tum so jao…
mai jagu sari rain sajan tum so jao so jao so jao
gito me chupa lu sajan tum so jao so jao so jao
saanjh dhale se bhor bhaye tak jaag ke jab katti hai ghadiya
saanjh dhale se bhor bhaye tak jaag ke jab katti hai ghadiya
madhur milan ki aas me baskar khilti hai jab jeevan ladiyan
mai jagu sari rain sajan tum so jao so jao so jao
phiki pad gayi chand ki jyoti dhundhale ho gaye dip gagan ke
phiki pad gayi chand ki jyoti dhundhale ho gaye dip gagan ke
so gayin sundar sej ki kaliya so gaye khuilte bhag dulhan ke
khulkar ro le nain khulkar ro le nain sajan tum so jao
mai jagu sari rain sajan tum so jao so jao so jao
jag ke so gayi tan ki agni badhkar tham gayi man ki halchal
jag ke so gayi tan ki agni badhkar tham gayi man ki halchal
apna ghunghat aap uthakar khol di maine panv ki chhagal
abb hai chain hi chain sajan tum so jao so jao
mai jagu sari rain sajan tum so jao so jao so jao
Song #91
Laaga chaunari mein daag chhupaaun kaise….
(Pic courtesy: The-Sales Room)
In the next movie of 1963, Dil Hi To Hai, it was the third time that Sahir paired with Roshan: Babar and Barsaat Ki Raat in 1960 and now in 1963 Dil Hi To Hai. The movie was a Rawal movie: written by CL Rawal, produced by BL Rawal and directed by both CL Rawal and PL Santoshi. It starred Raj Kapoor and Nutan.
Sahir and Nutan created the following songs in the movie:
1. “Bhoole Se Mohabbat” – Mukesh
2. “Dil Jo Bhi Kahenga” – Mukesh
3. “Laaga Chunri Mein Daag” – Manna Dey
4. “Nigahen Milane Ko Jee Chahta Hai” – Asha Bhosle
5. “Parda Uthe Salam Ho Jaye” – Asha Bhosle, Manna Dey
6. “Tum Agar Mujhko Na Chaho” -Mukesh
7. “Tumhari Mast Nazar” – Lata Mangeshkar, Mukesh
8. “Yun Hi Dil Ne Chaha Tha” – Suman Kalyanpur
9. “Gusse Men Jo Nakhra Hai” – Mukesh
10. “Chura Le Na Tumko Ye Mausam Suhana” – Mukesh, Suman Kalyanpur
11. “Tumhari Mast (Revival)” – Mukesh, Lata Mangeshkar
12. “Laga Chunari Mein Daag (Revival)” – Manna Dey
If you notice, one after the other, all good and popular songs. However, we shall be taking up only three.
First lets take up Manna Dey‘s favourite genre’ of singing: the classical. This was composed by Roshan in Raag Bhairavi, Tal Kaherava.
The song is at two levels: one is the ordinary sounding worldly level and the second is the spiritual level about a person visiting the Earth from his/her babul’s (father’s) place in Heavens and getting corrupted here and then having to return to the Creator (babul). It is the deeper meaning which is indeed the essence of the song.
(ho ga_ii mailii morii chunariyaa
kore badan sii korii chunariyaa ) – 2
aa … jaake baabul se, nazare.n milaaU.N kaise, ghar jaaU.N kaise
laagaa, chunarii me.n daag …
bhuul ga_ii sab bachan bidaa ke
kho ga_ii mai.n sasuraal me.n aake
aa … jaake baabul se, nazare milaaU.N kaise, ghar jaaU.N kaise
laagaa, chunarii me.n daag …
(korii chunariyaa aatmaa morii
mail hai maayaa jaal ) – 2
vo duniyaa more bAbul kaa ghar
ye duniyaa sasuraal
haa.N jaake, baabul se, nazare milaaU.N kaise, ghar jaaU.N kaise
laagaa, chunarii me.n daag …
aa aa~
dhiim ta na na na dir dir taanum
taa na dere na
dhiim ta na na na dir dir taan, dhiim ta dere na …
sapt suran tiin graam ba.nsii baajii
dir dir taanii, taa nii nii da, nii da pa ma, pa ma ma ga
ma dha ga ma ma ga re sa
dha dha keTe dha dha dha keTe dha dha keTa dha keTa
dharat paag pa.Dat nayii paraN
jhaa.Njhar jhanake jhana nana jhana nana
dir dir ta tuum ta da nii, ta na na na ta na na na
dhiim ta na na na na dir dir taam …
Song #92
Bhule se mohabbat kar baitha…..
We have just started taking up songs of the 1963 movie Dil Hi To Hai penned by Sahir Ludhianvi and composed by Roshan.
Lets now take up the title song sung by Mukesh. The movie had a predominant Urdu content as was the trend during those days. Raj Kapoor acted as Ysuf/Chand/Khan and Nutan as Jamila Banu. Even the villain Pran was Sheku/Yusuf in the movie. Hence, one would witness in the movie sherwanis and the like.
This one though has Raj Kapoor wearing a western suit and he sings in the style that he perfected: standing in front of the mike and emoting mostly with facial expressions; you may recall his Dulha Dulhan song of five stanzas in front of the mike: Hamane tujhako pyaar kiya hai jitana kaun karega itana.
Please enjoy: Bhule se mohabbat kar baitha…..
bhuule se mohabbat kar baiThaa
naadaa.N thaa bechaaraa dil hii to hai
har dil se Kataa ho jaatii hai
biga.Do na Kudaaraa dil hii to hai
duniyaa me.n hamaaraa dil hii to hai
( is tarah nigaahe.n mat phero
aisaa na ho dha.Dakan ruk jaa_e ) -2
siine me.n ko_ii patthar to nahii.n -2
ehasaas kaa maaraa dil hii to hai
duniyaa me.n hamaaraa …
( bedaadagaro.n kii Thokar se
sab Kvaab suhaane chuur hu_e ) -2
ab dil kaa sahaaraa Gam hii to hai -2
ab Gam kaa sahaaraa dil hii to hai
duniyaa me.n hamaaraa …
https://www.youtube.com/watch?v=M4-6CFRmehs
Song #93
Nigaahen milane ko ji chahta hai….
As you saw in the movie Barsaat Ki Raat that had the best qawwali in Hindi movies: Na to karwan ki talaash hai, Roshan was very accomplished in this genre of music.
The 1963 movie Dil Hi To Hai too had a qawwali that has been sung by a female: Asha Bhosle singing for Nutan. Roshan composed it in Raag Kalyan, the raag of the evenings, Tal Kaherava.
Please enjoy: Nigaahen milane ko ji chahta hai….
… raaz kii baat hai
mehafil me.n kahe.n yaa na kahe.n
bas gayaa hai koii is dil me.n kahe.n yaa na kahe.n
kahe.n yaa na kahe.n …
nigaahe.n milaane ko jii chaahataa hai
dil-o-jaa.n luTaane ko jii chaahataa hai
vo tohamat jise ishq kahatii hai duniyaa
vo tohamat uThaane ko jii chaahataa hai
kisii ke manaane me.n lazzat vo paayii
ki phir ruuTh jaane ko jii chaahataa hai
vo jalavaa jo ojhal bhii hai saamane bhii
vo jalavaa churaane ko jii chaahataa hai
o… jis gha.Dii merii nigaaho.n ko terii diid huii
vo gha.Dii mere liye aish kii tamahiid huii
jab kabhii mai.nne teraa chaa.Nd saa cheharaa dekhaa
iid ho yaa ki na ho mere liye iid huii
vo jalavaa jo ojhal bhii hai saamane bhii
vo jalavaa churaane ko jii chaahataa hai
mulaaqaat kaa koii paiGaam diijiye kii
chhup chhupake aane ko jii chaahataa hai
aur aake na jaane ko jii chaahataa hai
aur aake na jaane ko jii chaahataa hai
nigaahe.n milaane ko jii chaahataa hai
https://www.youtube.com/watch?v=VBo-wwCttec
Song #94
Yeh fiza, Yeh hawa, Aa bhi jaa….
The year 1963 was a very successful year for Sahir Ludhianvi, if not the most successful. He started his career as a lyricist from the 1949 movie Azaadi Ki Raah Par and it was in 1964 that he received his first Filmfare Award for the 1963 movie Taj Mahal, which he did with Roshan. It would be another 13 years before he would get his second and last one for the movie Kabhie Kabhie.
Best Lyricist Award was instituted in 1959, four years after the Awards themselves were instituted and Shailendra received the first two: 1959 and 1960. After these Shakeel did a hat-trick from 1961 to 1963 and then it was Sahir.
We shall come to Taj Mahal later. Before that, even if Sahir failed to get award for the movie Gumraah, these are indeed his best and most beautifully worded songs:
1. “Yeh hawa, ye fiza, Aa Bhi Ja” Mahendra Kapoor
2. “Aa Ja Aa Ja Re” Mahendra Kapoor, Asha Bhosle
3. “Aap Aaye To” Mahendra Kapoor
4. “Chalo Ek Baar Phir Se” Mahendra Kapoor
5. “Ek Pardesi Door Se Aaya” Asha Bhosle
6. “Ek Thi Ladki Meri Saheli” Asha Bhosle
7. “In hawaaon mein Tujhko Mera Pyar Pukare” Mahendra Kapoor, Asha Bhosle
We shall be taking up three tonight; Song #s 1, 3 and 4.
Gumraah was the fourth BR Chopra film for which Sahir penned the lyrics. For the other three: Naya Daur, Sadhana and Dharamputra, BR Chopra had got N Dutta as Music Director. Here he got Ravi and after Aaj Aur Kal, this was the second film in which Sahir paired with Ravi.
Lets take the setting of Song #1. Meena (Mala Sinha) an ex beloved of Rajendra (Sunil Dutt) is married to Ashok (Ashok Kumar). They are in Naini Tal and Rajendra is waiting for his ex flame to have a tryst with him on a hill top, for old time’s sake.
Ravi composed this in Raag Bhupali, Taal Kaherva.
Please enjoy Mahendra Kapoor sing for Sunil Dutt: Yeh fiza, Yeh hawa, Aa bhi jaa….
o ho ho
o ho ho o ho o ho
o ho ho ho
o ho ho o ho ho ho ho ho
o ho ho ho ho ho
o ho ho
ye hawaa ye hawaa ye hawaa
ye fizaa ye fizaa ye fizaa
hai udaas jaise meraa dil meraa dil meraa dil
aa bhii jaa aa bhii jaa aa bhii jaa -2
aa ke ab to chaa.Ndanii bhii zard ho chalii ho chalii ho chalii
dha.Dakano.n kii narm aa.Nch sard ho chalii ho chalii ho chalii
Dhal chalii hai raat aa ke mil aa ke mil aa ke mil
aa bhii jaa aa bhii jaa aa bhii jaa -2
raah me.n bichhii hu_ii hai merii har nazar har nazar har nazar
mai.n ta.Dap rahaa huu.N aur tuu hai beKabar beKabar beKabar
ruk rahii hai saa.Ns aa ke mil aa ke mil aa ke mil
aa bhii jaa aa bhii jaa aa bhii jaa -2
o ho ho
o ho ho o ho o ho
o ho ho ho
o ho o ho ho ho ho ho ho
o ho ho ho ho ho
o ho ho
https://www.youtube.com/watch?v=rZs2NqhNFWs
Song #95
Aap aaye to khyaal-e-dil-nashaad aaya….
We are taking up songs of the 1963 BR Chopra movie Gumraah in which Mala Sinha is married to Ashok Kumar but is still in alliance with her ex lover Sunil Dutt. The name of the movie Gumraah (Astray) is revealing. Both Sunil Dutt and Mala Sinha are astray.
The next song is when she actually meets him for the recording of his song in a studio. The lyrics are amongst the best of Sahir and very impressive and revealing indeed.
This too has been sung by Mahendra Kapoor for Sunil Dutt.
Please enjoy: Aap aaye to khyaal-e-dil-nashaad aaya….
aap ke lab pe kabhii apanaa bhii naam aayaa thaa
shokh nazaro.n se muhabbat kaa salaam aayaa thaa
umr bhar saath nibhaane kaa payaam aayaa thaa
aapako dekh ke vo ahad-e-vafaa yaad aayaa
kitane bhuule hue zakhmo.n kaa pataa yaad aayaa
aap aaye …
ruuh me.n jal uThe bujhatii huii yaado.m ke diye
kaise diivaane the ham aapako paane ke liye
yuu.N to kuchh kam nahii.n jo aapane ahasaan kiye
par jo maa.Nge na paayaa vo silaa yaad aayaa
kitane bhuule hue zakhmo.n kaa pataa yaad aayaa
aap aaye …
aaj vo baat nahii.n phir bhii koii baat to hai
mere hisse me.n ye halkii sii mulaaqaat to hai
Gair kaa ho ke bhii ye husn mere saath to hai
haay kis vaqt mujhe kab kaa gilaa yaad aayaa
kitane bhuule hue zakhmo.n kaa pataa yaad aayaa
aap aaye …
Song #96
Chalo ik baar phir se ajanabee ban jayen ham dono….
Ladies and gentlemen, if in the last two songs of the 1963 BR Chopra film Gumraah you appreciated the lyrics of Sahir Ludhianvi, the compositions of Ravi and silky smooth singing of Mahendra Kapoor, then you haven’t seen the best yet.
The best is about it dawning on both the Gumraah or Astray lovers that it is not socially acceptable to carry on with a love afffair of earlier days after she had got married.
This is the best of Sahir, in the same class as his Hum Dono (surprisingly, these two words actually occur in the song!) number: Kabhi khud pe kabhi halaat pe rona aaya.
The husband between the two ex lovers.
Please enjoy: Chalo ik baar phir se ajanabee ban jayen ham dono….
chalo ik baar phir se, ajanabii ban jaae.n ham dono
chalo ik baar phir se …
na mai.n tumase koI ummiid rakhuu.N dilanavaazii kii
na tum merii taraf dekho galat a.ndaaz nazaro.n se
na mere dil kii dha.Dakan la.Dakha.Daaye merii baato.n se
na zaahir ho tumhaarii kashm-kash kaa raaz nazaro.n se
chalo ik baar phir se …
tumhe.n bhii koI ulajhan rokatii hai peshakadamii se
mujhe bhii log kahate hai.n ki ye jalave paraae hai.n
mere hamaraah bhii rusavaaiyaa.n hai.n mere maajhii kii – 2
tumhaare saath bhii guzarii huii raato.n ke saaye hai.n
chalo ik baar phir se …
taarruf rog ho jaaye to usako bhuulanaa behatar
taalluk bojh ban jaaye to usako to.Danaa achchhaa
vo afasaanaa jise a.njaam tak laanaa naa ho mumakin – 2
use ek khuubasuurat mo.D dekar chho.Danaa achchhaa
chalo ik baar phir se …
Song #97
Tere bachpan ko jawani ki dua deti hoon….
We finished taking up songs of the 1963 BR Chopra movie Gumraah in which Sahir had some of his best lyrics especially in the iconic and unforgettable song: Chalo ik baar phir se Ajnabee ban jaayen hum dono.
As I mentioned earlier, 1963 was the most successful year for Sahir since that was the year for him to get his first Filmfare Award. He got the next and last one more than a decade later with Kabhie Kabhie.
We shall come to that movie two movies later. First, lets take up his Mujhe Jeene Do, a production of Sunil Dutt’s company Ajanta Arts (the same one that made Sadhana earlier, whose songs I gave including the one with which I started this tribute for him: Aurat ne janam diya mardon ko).
The movie was directed by Moni Bhattachargee and was about the rehabilitation of dacoits. Hindi movies were and are very concerned about the rehabilitation of prostitutes, dacoits, Pakistanis and anyone whom the society looks down upon. Considering that Hollywood has similar obsession (eg, Pretty Women), we conclude that nothing like taking up cudgels for the downtrodden and pariahs whilst laughing all the way to the bank.
We should never forget that the Film industry also hold faujis in great esteem on the screen and lose no opportunity making money from their misery, valour and values. However, in real life, ask anyone in the film industry to stand up for the faujis and they have sudden bouts of amnesia.
One person, who probably believed in everything that he was writing was Sahir Ludhianvi and his last song that justifies the title of the movie, as Waheeda Rehman is running away from the police with her child born out of relationship with a dacoit is indeed the most memorable song of the movie with the best lyrics.
Jaidev, who paired with Sahir in Dev Anand movie Hum Dono (glorifying the life of an army officer) was the composer.
Knowing me, it should surprise no one that I should start with this, the last song, whilst taking up songs of 1963 movie Mujhe Jeene Do.
Please enjoy Lata Mangeshkar sing: Tere bachpan ko jawani ki dua deti hoon….
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 that you can get from Sahir.
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=ECphye5BvqY
Song #98
Jo wada kiya wo nibhana padhega….
We just started taking up songs of the 1963 movie Mujhe Jeene Do in which Sahir paired with Music Director Jaidev to create the following songs, the last one of which we have already taken up. We shall not take up any more remembering the fact that we took up these songs for the birthday of Waheeda Rehman on 03 January.
Lets take up the songs of his next movie Pyaar Ka Bandhan, in which, once again, he paired with Ravi after Gumraah, the same year.
The movie starred Raj Kumar and Punjabi actress Nishi. Sahir and Ravi made the following songs:
1 “Ghodaa Pishori Meraa, Main Hun Alabelaa” Mohammed Rafi
2 “Meri Pahali Aarazu Ka” Mohammed Rafi, Asha Bhosle
3 “Aa Meri Ankho Ki Gehrayi Me” Mohammed Rafi, Asha Bhosle
4 “Zaraa Bach Ke O Balie Bach Ke” Mahendra Kapoor, Asha Bhosle
5 “Bojh Utha Le Saathi Bojh Uthale” Mohammed Rafi
6 “Ek Pyar Ke Bandhan Ki Khatir (Sad)” Asha Bhosle
7 “Sambhal Kar Ishq Farmana” Mohammed Rafi, S. Balbir
None of these deserve to be given here. Hence, without much ado, we jump to his 1963 movie Taj Mahal. The movie was directed by M Sadiq and starred Pradeep Kumar as Mughal Emperor Shehan Shah and Beena Rai as Mumtaz, his beloved, for whom Shahen Shah erected the Taj Mahal, one of the seven wonders of the world.
After Dil Hi To Hai, the same year, Sahir paired with Roshan and this was their best pairing ever. They created the following songs:
1. “Jo Baat Tujh Mein Hai” Mohammed Rafi
2. “Jo Wada Kiya Wo” Mohammed Rafi, Lata Mangeshkar
3. “Jurm-E-Ulfat Pe” Lata Mangeshkar
4. “Qhuda-E-Burtur” Lata Mangeshkar
5. “Na Na Na Re Na Na, Haath Na Lagana” Suman Kalyanpur, Minoo Purshottam
6. “Paaon Chhoo Lene Do” Mohammed Rafi, Lata Mangeshkar
7. “Chandi Ka Badan” Mohammed Rafi, Manna Dey, Asha Bhosle, Meena Kapoor
8. “Husn Se Duniya Hansi” Asha Bhosle
We shall be taking up two of the songs tonight.
The first song is the one for which Lata Mangeshkar was nominated for yet another Filmfare Award. For the movie, of course, both Sahir and Roshan were goven Filmfare Awards for Best Lyricist and Best Music Director respectively.
Please enjoy this lovely duet sung for the lovers by Mohammad Rafi and Lata Mangeshkar. Roshan composed it in Raag Pahadi, Tal Kaherava: Jo wada kiya wo nibhana padhega….
jo vaadaa kiyaa vo nibhaanaa pa.Degaa
roke zamaanaa chaahe roke khudaaii tumako aanaa pa.Degaa
jo vaadaa…
tarasatii nigaaho.n ne aavaaz dii hai
muhabbat kii raaho.n ne aavaaz dii hai
jaan-e-hayaa, jaan-e-adaa chho.Do tarasaanaa tumako aanaa pa.Degaa
jo vaadaa…
ye maanaa hame.n jaa.N se jaanaa pa.Degaa
par ye samajh lo tumane jab bhii pukaaraa hamako aanaa pa.Degaa
jo vaadaa…
ham apanii vafaa pe naa ilazaam le.nge
tumhe.n dil diyaa hai tumhe jaa.N bhii de.nge
jab ishq kaa saudaa kiyaa phir kyaa ghabaraanaa tumako aanaa pa.Degaa
jo vaadaa…
chamakate hai.n jab tak ye chaa.Nd aur taare
na TuuTe.nge ab ehad-o-paimaa.n hamaare
ik duusaraa jab de sadaa hoke diivaanaa hamako aanaa pa.Degaa
jo vaadaa…
sabhii ehal-e-duniyaa ye kahatii hai hamase
ki aataa nahii.n koii mu.Dake adam se
aaj zaraa shaan-e-vafaa dekhe zamaanaa tumako aanaa pa.Degaa
jo vaadaa…
bahut jii lagaayaa zamaane se hamane
bahut vaqt kaaTaa bahaane se hamane
jab se huaa tumase judaa ye dil na maanaa tumako aanaa pa.Degaa
jo vaadaa kiyaa
ham aate rahe hai.n ham aate rahe.nge
muhabbat kii rasame.n nibhaate rahe.nge
jaan-e-vafaa tum do sadaa fir kyaa Thikaanaa hamako,
aanaa pa.Degaa
jo vaadaa…
Song #99
Paanv chhune do phuulon ko inaayat hogi…
And the last song for tonight from the 1963 movie Taj Mahal too became equally popular. This too is a duet between Mohammad Rafi and Lata Mangeshkar singing for Pradeep Kumar as Shahen Shah and Bina Rai as Mumtaz; they, if you remember, also acted as Prince Salim and Anarkali in the 1953 movie Anarkali that had some of the best lyrics of Rajendra Krishan.
Please enjoy: Paanv chhune do phuulon ko inaayat hogi…
paa.Nv chhuu lene do phuulo.n ko inaayat hogii, inaayat hogii
varanaa hamako nahii.n, inako bhii shikaayat hogii
shikaayat hogii
aap jo phuul bichhaae.n unhe.n ham Thukaraae.n – 2
hamako Dar hai
hamako Dar hai ke ye tauhiin-e-muhabbat hogii, muhabbat hogii
paa.Nv chhuu lene do …
dil kii bechain uma.ngo.n pe karam faramaao – 2
itanaa ruk ruk
itanaa ruk ruk ke chaloge to qayaamat hogii, qayaamat hogii
paa.Nv chhuu lene do …
sharm roke hai idhar, shauk udhar khii.nche hai – 2
kyaa khabar thii
kyaa khabar thii tabhii is dil kii ye haalat hogii
ye haalat hogii
paa.Nv chhuu lene do …
sharm gairo.n se huaa karatii hai apano.n se nahii.n – 2
sharm ham se
sharm ham se bhii karoge to musIbat hogii, musIbat hogii
paa.Nv chhuu lene do …
Ladies and gentlemen, with that I finish with Part IV of the best songs of our fourth lyricist (not in any order): Sahir Ludhianvi. I hope you liked my selection. We have reached only up to the year 1963 and have a long way to go. Please await following parts.
All names and incidents in the story are fictional and any resemblance to anyone or anything real is purely coincidental. Historical details are however real and pains have been taken to re-report them as correctly as possible.
1975
Greased face, slimy hands, torn shorts, bare feet, he stealthily went around the crowd in front of the theatre. He was so small – he came up to hip level of most people there – that he was hardly noticed other than by those in immediate vicinity. However, the cop on duty there already was up to his tricks and had chased him many times with his danda. Yet, so determined was Chikoo to sell his five tickets in black that he came there again and again with his barely audible whisper, as he went around the crowd like a fruit-fly over garbage: Dus ka tees, dus ka tees.
He was named Chikoo because his father, now in jail, used to sell the fruit by that name on the foot-path, in a basket. He was in jail because an upper class woman purchased Chikoos from him and when she bent down to take the paper bag with the fruit, her gold-pendant broke and fell into the basket unknown to her and also to him. Later, she lodged a police complaint and the pendant was recovered from Chikoo’s father. The police beat him up black and blue and then marched him into a court and he was sentenced to 15 days of jail. Chikoo’s mother delivered him in the absence of her husband and everyone called him by that name because she sold Chikoos on the street in the absence of her husband and then came home to look after him. Also, he was very cute and Chikoo in slang meant a very cute boy.
A man made eye contact with him and he signaled him to follow him. They went behind the Chai-wala khokha on the side of the theatre and there two tickets and sixty rupees exchanged hands much before the policeman with the danda made his appearance.
The remaining tickets were sold in two lots of one and two respectively. Suddenly, Chikoo had 150 rupees with him whereas in the morning he had just 50. He went confidently to the cop, signaled him to follow him and near the chai stall gave him 50 rupees for allowing him to go about doing his business whilst keeping up the appearance of chasing him away every now and then. This was part of the game and Chikoo, at the age of six, had learnt it well.
Everything in Bombay (the name was changed to Mumbai, some twenty years later) worked on Black, Chikoo thought. And he was right to quite an extent. Black was the way of life in Bombay, later Mumbai and everyone was happy. Everything was available at an additional cost and Chikoo was to learn in his later life that everything meant everything. Very soon Chikoo had found that bigger money than what he made in front of the cinema halls could be made on the Bombay Central Railway Station by buying tickets of the long-distance trains and then selling them in black. Here, his assistants were not just the police guys but also the railway booking clerks.
His father, an upright man, had disapproved of his illegal ways but, after spending 15 days in the cooler, for no fault of his, he had started looking at societal norms afresh. In any case, it took him the entire day to earn fifty rupees. Whereas his son, at the age of six, was making that kind of money in an hour’s work: half an hour in the queue to buy the tickets and half an hour in the police protected environment to sell them off. Chikoo’s father was happy that Bombay was a safe city since police was involved in everything and actually facilitated all kinds of business.
1984
They still lived in the slums but thanks to Chikoo’s earnings, life was becoming better for them. They – his father and mother, one brother and a sister – were as happy as they could get under the circumstances.
One day, in the summers, his father was selling Chikoos on his allotted space on the pavement when an SUV driven by a rich kid, barely sixteen years old, went amok and ran over several of them on the pavement. His father was amongst the three who were killed on the spot whilst five others were admitted in the hospital with serious injuries. One of them succumbed to his injuries later.
It was an incident that shook the conscience of the city. In later years the city, which called itself the financial capital of the country, got used to periodic acts of terrorism such as bomb blasts. However, in that year, since it was the first major incident in the city, it was really shocking. Bombay was unlike Delhi at that time. Its police used to be compared to Scotland Yard in its efficiency. Delhi had its share of Billa, Ranga cases but Bombay was considered safe. The politicisation of police, criminalisation of polity and parochial tendencies hadn’t yet started showing their ugly heads.
The clout of the rich and influential was such that the legal wranglings continued for quite some time till the incident was off from public gaze. After that, the culprit got away lightly because of, as orchestrated in the court, his being a juvenile. It was rumoured in the media that palms were greased at various levels. Chikoo’s mother’s lawyer, who was also the lawyer for other victims, got them some money out of court. However, it came out in the media that he himself made many times more money than the victims. This is almost invariably the case in law-suits in India. In the olden days – of say, barrister Mr. MK Gandhi – law was a very reputed profession and there were any number of Hindi movies in which the lead actors would become lawyers. Nowadays, Hindi word for lawyer – Vakeel, that is – used in a very pejorative manner and there is a popular saying that if you come across a snake and a lawyer, you should kill the lawyer first.
March 1993
If the year 1984 was bad for Chikoo, it was even worse for the country. On the 31st October of that year, the third Prime Minister of India after her father Jawahar Lal Nehru and Lal Bahdur Shastri, was assassinated by her security guards Satwant Singh and Beant Singh when she was walking from her residence to the adjoining Congress office for an interview with British actor Peter Ustinov. The assassination was in retaliation for the Indian Army, at her orders, storming the Golden Temple (founded by the fifth guru of the Sikhs Arjan Dev in the year 1604) to flush out the armed followers of Jarnail Singh Bhindranwale, accused of waging a war against the state.
The year and subsequent years saw the transition of the Indian society from peace-loving to a society in turmoil. Indira Gandhi’s successor was her elder son Rajiv Gandhi who too was assassinated, five years and 32 days after becoming the PM, on 21 May 1991, by Thenmozhi Rajaratnam, also known as Dhanu, a member of the Sri Lankan militant organisation called LTTE or Liberation Tigers of Tamil Eelam. Rajiv Gandhi, of course, lived through the Bofors Deal Kickbacks scandal and allegations of black-money. As big time corruption scandals became a routine in India, there was a cartoon by RK Laxman (India’s most loved cartoonist who died on India’s Republic Day in 2015). In this cartoon, a petty thief in handcuffs is being led by a cop who tells him, “Your bad luck is that you stole fifty rupees; if you had stolen fifty crores, I could have been your security guard.”
Indeed, that year, when Chikoo was caught by a new cop in front of the cinema, he told him, “Chhodo sahib, bahut chhota black kiya hai, koi Bofor nahin kiya hai.” (Leave it, Sir, I undulged in very petty black, I am not involved in any Bofors deal).
Rajiv Gandhi’s successor was his erstwhile Finance Minister VP Singh who was sacked by him for going after black-money in such an obsessive way that he didn’t even spare his party, Congress’s, main fund contributors: the industrialists. He was then made the Defence Minister, which was considered a safe bet. However, here too he uncovered the Bofors Scandal and became an embarrassment to the government. He joined the Janata Dal and as Prime Minister, he took up the unfinished agenda of the earlier Janata Dal PM Morarji Desai in setting up the Mandal Commission in 1978 to identify socially or educationally backward classes in India so as to provide them with seat-reservations and quotas in educational institutions and jobs. This led to widespread protests and even self-immolations by anti-reservationist students.
Caste based hydra was, however, let loose in the country and its pinnacle was on 6th Dec 1992 when the Babri mosque was demolished by Hindu Kar Sevaks since they believed that the mosque stood at the same spot in Ayodhya, which was the birthplace of God-king Rama (or Ram Janambhoomi). This led to large-scale riots in the country. The most violent of these took place in Mumbai in which nearly a thousand people died mostly belonging to the minority community.
Just as the Father of the Nation Mahatma Gandhi had once said, “An eye for an eye would make the whole world blind“, these riots were followed by retaliatory Mumbai bombings (12 of them) on 12th March 1993. This was the first time in the world that serial-bomb-blasts were perpetrated.
A total of 257 people were killed. Chikoo’s mother, brother and sister were amongst them.
Chikoo was just 24 years old when this occurred. His world was shattered. Suddenly, it wasn’t such a happy place as he had imagined where people paid underhand just to see their favourite movie or go comfortably by train especially during overnight journeys. He was alone in the world and everything looked black to him.
After the cremation he sat on a rock near the sea, aimlessly throwing pebbles into the waves, when he saw a man approaching him. He wasn’t in a mood to talk to anyone and he hoped that the man would just go past him. To his annoyance, he saw that the man sat on a rock next to his and also started throwing pebbles into the sea.
After about ten minutes, this man spoke as if he was speaking to the sea, “I can be your friend.”
He too replied in the same manner, “What do I require a friend for?”
And the man insisted, “Everyone requires a friend.”
In the ensuing silence Chikoo realised that the man spoke a fact that had started haunting him. He asked, “What do I have to do to become your friend?”
“We can discuss over tea.”
They went to a way-side tea-stall. The man’s story in patches was that he belonged to a governmental anti-terrorist organisation and in the aftermath of the Mumbai blasts it was decided to clamp down on and track the movements of certain organisations that were inimical to national interests. SIMI or Students Islamic Movement of India had been identified as one such organisation. Though it was founded in April 1977, it is only after the Babri demolition that it started country-wide violent protests and landed up on the wrong side of the police and anti-terrorist organisations.
Chikoo was scared in the beginning. But, all that the man wanted was for him to keep his eyes and ears open in his chawl and surroundings and report any untoward things going on. He asked how do I report? The man told him that one of their operators would pick up information from him along with tickets in black and pay him for the information much more than the black price of the tickets. The first time pass-phrase would be ‘black milega kyaa?’ (a question that nobody buying tickets in black ever asks) and his reply would be ‘nahin seth mere paas to green hain‘ (the actual colour of the tickets). His next pass-phrase would be given with the money for the tickets.
He told the man that it appeared dangerous to him but the man said they would take care of his protection. He agreed.
1993 Onwards
Initially, he would supply them with information about suspicious persons and happenings such as suspicious call at the local STD booth or suspicious meetings of a few of them and they would pay him; the information and money exchanging hands at the chai-wala place at the cinema. He noticed that the money was more substantial than what he was used to for selling tickets in black.
One night, he had an upset tummy and kept going to the toilet every now and then. As usual there was no water and whatever water was kept in a tin there had got over. The stench was therefore unbearable. So, past midnight, when the nature’s call came again, he ambled across to the sea and sat on his haunches in a small clearing between the rocks. He saw a flashing light approaching from the sea and when he looked towards the woods on the shore, he noticed another answering flashing light. After what appeared to be eternity, he saw a fishing boat beaching on the sand. Some people came from the woods and helped in shifting the boat’s cargo. It was unusual for a fishing boat at that hour. Also, he observed that the cargo wasn’t the usual fish-catch but wooden boxes. He was curious and followed them in the woods. There were six large size crates (more long than wide) and he noticed that holes had already been dug in the ground to lower them and cover them with sand and soil.
The next day, at the matinée show itself, he passed the information to one of the operators. They laid a trap and on the next night, at least two men smuggling arms and ammunition were caught red-handed whilst taking out the crates from their holes. The others ran away. These two men were also later killed in an encounter whilst making a bid to escape from police custody.
This made big news and although Chikoo was very scared, he was happy to have got a huge sum for the information.
With the newly acquired wealth, Chikoo’s lifestyle changed. He was an occasional drinker; but, now, he started drinking regularly. It helped him get over his fear of the happenings that he had become part of as also to forget his family that he had lost. The bar that he used to frequent was a dance bar and he loved those voluptuous dancers who danced there, especially those who came near him, brushed their bodies against his, and seductively took his money and hid in their bosoms with knowing smiles and winks. He had seen the re-run matinée show of the dacoit movie Mujhe Jeene Do and everytime a dancing girl came near him, he imagined her to be Waheeda Rehman and himself to be the dacoit Sunil Dutt.
Her name was Rehana. Chikoo knew that most of them, if not all, kept fictitious names such as Rehana, Asma, Shama and Shabana. One was even called Madhuri, named after the actress at her peak at that time. He had seen her Khalnayak with Sunil Dutt’s son Sanjay Dutt with its super-hit song: Choli ke peechhe kya hai? One month after Mumbai Blasts, Sanjay Dutt was arrested under the Terrorist and Disruptive Activities (Prevention) Act, in April 1993 and that made sensational news. Charges of terrorism were dropped later but he was convicted of illegal possession of armaments. When Sanjay Dutt was first jailed, in Chikoo’s circles, it was talked about that whereas the father had police after him in reel life only (Mujhe Jeene Do), Sanjay had police after him in real life. Anyway, Chikoo wasn’t interested so much in the life of Sanjay Dutt as he was in Rehana, the bar dancer, who had started showing more than routine interest in him. They had started meeting covertly in the day time whilst in the evenings and nights she performed her acts at the bar. One afternoon when they made love in his room in the chawl, Chikoo noticed that it was more than sex; she appeared to be in love with him.
He won’t have even dreamt of sharing this information with his shady contacts. In a world of extreme scare, danger and intrigue, she provided him with love, the greatest feeling on earth. At his young age, when he could get a lot of things which were denied to many people, love really had fascination for him. She soon fell into the habit of cooking for him and washing his clothes and he loved it when she would take a morsel of chapati in her manicured hand, wrap it around his favourite bheendi subji, and put it in his mouth. Suddenly, he had a home and he thanked God for the gift of Rehana in his life. Once or twice he had tried to find her real name and she had countered it with: “Kyun Rehana nahin pasand aapko? Rehana ko to Chikoo bahut pasand hai.” (Why, don’t you like (the name) Rehana? Rehana, however, likes (the name) Chikoo a lot). He had given up.
He was still supplying his contacts with information and they were still giving him money for it. Gradually, he felt that there would be no harm in sharing his life with Rehana since, in any case, very soon they had decided to get married. The day when they first talked of their marriage, she teasingly asked him what he would name her after marriage and he had equally jokingly responded: “Bheendi”.
And then, one day, it happened. She said that he must meet her people and propose marriage and she would make sure that they would accept. When he enquired about her people, she said she was an orphan like him; but, she had brothers and cousins who would be only too delighted to meet him.
He wanted to accompany her to her place but she said that traditionally the man visits the woman’s house and they would wait for him with bated breath.
As he came out of the chawl that evening, a black cat crossed his way. His mother was a great believer in such bad omens. But, he was in a hurry. All throughout the journey to her place by an auto-rickshaw, he kept thinking of her abundant charms, the way she tickled him when she caressed his ear lobes and even inserted her little finger inside, her wanting him again immediately after they made love, and her sleeping in the crook of his right arm.
When he got down from the auto-rickshaw and paid the driver, he noticed that Rehana wasn’t living in a chawl but in a house that was more than a little distance from the other houses in the area. But, then, she had been a bar dancer for several years and he reckoned that she could afford a house. On closer look, he found that it looked more like a dilapidated house. He was having second thoughts about entering the house but then a kindly man opened the door and ushered him in with, “Aa jaao Chikoo, aap ka hi intezaar hai.” (Come in Chikoo, we are waiting for you).
There were only men in the room, some five of them, and he thought he had seen one, in a skull cap, sometime earlier. One of them addressed him heartily: “Daro mat; hum tumhaare azeez hain.” (Don’t be afraid; we are your dear ones).
And that’s the time when he recognised the man in the skull-cap. He was the one who came out of the boat with those crates many years back on that dark night and wasn’t caught in the raid.
Suddenly, he was mortally scared and he made an attempt to flee. They caught him, there was no escape. They confronted him with proof of all that he had done in the last several years.
At the end of it, they carried him to an upstairs room and that’s where they put acid in his eyes and said, “You are proud of these eyes with which you observe things. Well, today onwards, you will see nothing.”
Suddenly, his world became black. Gandhi was right, after all…an eye for an eye….
Epilogue
Chikoo gradually learnt to survive as a blind man. There was no money in selling movie tickets in black after the advent of multiplexes. There was no money in selling train tickets in black after the online bookings and many people choosing to travel by air. He sat the whole day in the same spot that his father used to sit at, selling Chikoos. In his spare time, he liked to grope his way to the rocks next to the sea behind his chawl through his constant companion: a white stick. He loved the sound of the waves and gentle drenching of his face. One day, he felt a man first approaching and then sitting on a rock next to him and joining him in throwing pebbles into the sea. “I can be a friend”, he said and Chikoo recognised the voice. He kept silent. The man continued, “With your eyes gone, you can be even more useful than earlier since no one would suspect you. You can hear and feel and tell us about any suspicious activity.”
Chikoo sighed and said to himself: I thought I was the one who was blind.
My wishes on the birthday of my sister, Surekha Saini:
जन्मदिन मुबारक सुरेखा,
जबसे हमने तुम्हें है देखा,
दिल में ख़ुशी और उमंगो की,
खींच गयी है जैसे रेखा।
आप अच्छाई और सुंदरता की मूरत हो,
हम भाइयों के लिए बहिन की सूरत हो,
आपसे मिल के यूँ लगता है हमें,
ज़िन्दगी की एक हसीन ज़रुरत हो ।
सूफ़ी संगीत आपकी पसंदीदा चाहत है,
इसी से आपके जीवन में राहत है,
“जैसा जिसका संगीत हो, वैसा ही इन्सान होता है”
यह तो बहुत पुरानी कहावत है ।
बच्चों और उनके बच्चों संग आप लहराती हो,
बहुओं को तो आप दोस्त बनके भाती हो,
बाकी रहे हम आपके YKDN के fan (पंखे),
हमें rare और सुरीले नग़में सुनाती हो ।
आपको रब्ब ने बहुत इत्मिनान से है बनाया,
क्या मुस्कराहट दी है, और क्या दी है काया,
यानि यूँ कहो के गहरी अँधेरी रात में भी,
जैसे चौदहवीं का चाँद हो निकल आया ।
Vipan कहते हैं उनका पहले से आप से नाता, Raj कहते हैं वह हैं आपके असली भ्राता, Vishwas तो “मैडम” से ही काम चला लेता है, Nitin तो सुबह शाम आपके ही गीत गाता ।
Manik पल पल आपके ही गुन गाती है, Leela आपके बारे सोच मंद मंद मुस्कराती है, Sumedha आपको समझती हैं अप्सरा, Ritu को वह aunty मिली जो उसे भाती है ।
Surinder आपको समझता है देवी का रूप, Sumona के लिए आप हैं छाँव में घूप,
और जो आपकी Ambale वाली फॅमिली है,
उनके लिए आप हैं KFC और Manchow सूप।
और वह भी हैं जिनके मैंने नाम नहीं लिए, (जैसे कि Jaswant)
उनके लिए हो आप सबसे प्रिय,
बाकी मैं रह गया आपका खुश किसमत वीरजी,
मेरी बहिन हो आप सौ जन्मो के लिए ।
सोचता हूँ बहिन पा के मुझे मिला है इनाम,
मुझ नामुराद को भी मिल गया है नाम,
आपका वीरजी बनना किसी तोहफ़े से कम नहीं,
भगवान् तुझे दिल जिगर से सलाम ।
आपका जन्मदिन शुभ हो, यह हमारी आशा है,
प्यार से family संग रहना, YKDN की भाषा है,
सौ वर्ष जिए हमारी सुन्दर और प्यारी बहना,
हम सबकी आज के शुभ दिन की अभिलाषा है ।
Janamdin mubaarak Surekha,
Jabase hamane tumhen hai dekha,
Dil mein khushi aur umango ki,
Kheench gayi hai jaise rekha.
Aap achchhayi aur sundarta ki moorat ho,
Hum bhatiyon ke liye bahin ki soorat ho,
Aap se mil ke youn lagata hai hamen,
Zindagi ki ek haseen zaroorat ho.
Sufi sangeet aapki pasandeeda chahat hai,
Isi se aapke jeevan mein raahat hai,
“Jaisa jiska sangeet ho, waisa hi insaan hota hai”,
Yeh to bahut purani kahawat hai.
Bachchon aur unake bachchon sang aap lehraati ho,
Bahuyon ke liye aap dost ban ke bhaati ho,
Baaqi rahe ham aapke YKDN ke fan (pankhe),
Hamen rare aur sureele naghmen sunaati ho.
Aapko rabb ne bahut itminaan se hai banaya,
Kyaa muskraahat di hai, aur kyaa di hai kaaya,
Yani youn kaho ke gehri andheri raat mein bhi,
Jaise chaudhvin ka chand ho nikal aaya.
Vipan kehte hain unaka pehle se hai aap se naata, Raj kehte hain woh hain aapke asli bhraata, Vishwas to “madam” se hi kaam chala lete hain, Nitin to subah shaam appke hi geet gaata.
Manik pal pal aapke hi gun gaati hai, Leela aapke baare mein soch mand mand muskraati hai, Sumedha aapko samajhati hai apsara, Ritu ko woh aunty mili jo use’ bhaati hai.
Surinder aapko samajhata hai devi ka roop, Sumona ke liye aap hain chhanv mein dhoop,
Aur woh jo aapki Ambale waali family hai,
Unake liye aap hain KFC aur Manchow soup.
Aur woh bhi hain jinake maine naam nahin liye,(eg, Jaswant)
Unake liye ho aap sabse priya,
Baaki main reh gaya aap ke khush kismat veerji,
Meri bahin ho aap sau janamo ke liye.
Sochata hoon bahin paa ke mujhe mila hai inaam,
Mujh namuraad ko bhi mil gaya hai naam,
Aapka veerji banana kisi tohfe se kam nahin,
Bhagwan tujhe dil jigar se salaam.
Aapka janmadin shubh ho, yeh hamaari aasha hai,
Pyaar se family sang rehna, YKDN ki bhasha hai,
Sau varsh jiye hamaari sundar aur pyaari behna,
Hum sabaki aaj ke shubh din ki abhilasha hai.
The song is from 
Today’s song is from 
Sahir’s next movie in 1963 was Bahurani in which, once again, for the first time he paired with music director C Ramchandra. The movie had the following songs:
We shall come to Taj Mahal later. Before that, even if Sahir failed to get award for the movie Gumraah, these are indeed his best and most beautifully worded songs:
None of these deserve to be given here. Hence, without much ado, we jump to his 1963 movie Taj Mahal. The movie was directed by M Sadiq and starred Pradeep Kumar as Mughal Emperor Shehan Shah and Beena Rai as Mumtaz, his beloved, for whom Shahen Shah erected the Taj Mahal, one of the seven wonders of the world.
