THE BEST SONGS OF RAJENDRA KRISHAN, THE RICHEST LYRICIST – PART II

In Part I of ‘The Best Songs Of Rajendra Krishan, The Richest Lyricist’ I gave you 25 songs. After the initial introductory songs, I gave you songs chronologically from the year 1951  to 1955, from Badi Bahen to Azaad. On the 2nd of Sep 16, since it was the first birth anniversary of Sadhana after her demise on 25 Dec 2015, I also gave three songs of hers penned by Rajendra Krishan (or Rajinder Krishan since he used both the spellings).

I 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 Rajendra Krishan have been reconstructed from the same page. Rajendra Krishan was considered the richest lyricist, writer and poet not only because he won a jackpot of Rupees 46 Lakhs in horse-racing.

Song #26
Ai dil mujhe bata de tu kis pe aa gaya hai…

In his next movie, the 1956 movie Bhai Bhai, Rajinder Krishan not only wrote the lyrics but also wrote the dialogues of the movie. The movie starred Ashok Kumar, Kishore Kumar, Nirupa Roy, Shyama, Nimmi, Daisy Irani, David and Om Prakash.

The film had as many as twelve songs as follows that were composed by Madan Mohan:

1 “Ae Dil Mujhe Bata De, Tu Kis Pe Aa Gaya Hai” Geeta Dutt
2 “Kadar Jane Na Mora Balam Bedardi” Madan Mohan
3 “Kadar Jane Na Mora Balam Bedardi” Lata Mangeshkar
4 “Is Duniya Mein Sab Chor Chor” Lata Mangeshkar
5 “Sharabi Ja Ja Ja, O Diwane Tu Kya Jaane” Lata Mangeshkar
6 “Thandi Thandi Hawaa Khaane” Lata Mangeshkar
7 “Bhagwan Jo Tu Hai Mera Insaaf Karega ” Lata Mangeshkar
8 “Dil Teri Nazar Mein Atka Re” Lata Mangeshkar
9 “Mera Chhota Sa Dekho Yeh Sansar Hai” Lata Mangeshkar
10 “Mera Chhota Sa Dekho Yeh Sansar Hai” (sad version) Lata Mangeshkar
11 “Mera Naam Abdul Rehman” Kishore Kumar, Lata Mangeshkar
12 “Apna Hai Phir Bhee Apna Badhakar Gale Lagale” Mohammed Rafi

The song that became super hit was sung by Geeta Dutt, the only song in the movie sung by her. It is picturised on Shyama.

Madan Mohan with Geeta Dutt (Pic courtesy: geetadutt.com)

Please enjoy: Ai dil mujhe bata de tu kis pe aa gaya hai…

ai dila mujhe bataa de, tuu kisa pe aa gayaa hai
vo kauna hai jo aakara, khvaabo.n pe chhaa gayaa hai

mastii bharaa taraanaa, kyo.n raata gaa rahii hai
aa.nkho.n me.n nii.nda aakara, kyo.n duura jaa rahii hai
dila me.n koI sitamagara, aramaa.n jagaa gayaa hai
vo kauna hai jo aakara, khavaabo.n pe chhaa gayaa hai
ai dila mujhe bataa de, tuu kisa pe aa gayaa hai
vo kauna hai jo aakara, khvaabo.n pe chhaa gayaa hai

betaaba ho rahaa hai, ye dila machala machala ke
shAyada ye raata biite, karavaTa badala badala ke
lala laa lala laa…
betaaba ho rahaa hai, ye dila machala machala ke
shaayada ye raata biite, karavaTa badala badala ke
ai dila zaraa sambhala jaa, shaayada vo aa gayaa hai
vo kauna hai jo aakara, khvaabo.n pe chhaa gayaa hai
ai dila mujhe bataa de …

bhiigii huii havAe.n, mausama bhii hai gulaabii
jaa chaa.Nda jaa sitaare, hara tiira hai sharaabii
dhiire se ek naGamaa, koii sunaa gayaa hai
vo kauna hai jo aakara, khvaabo.n pe chhaa gayaa hai

ai dila mujhe bataa de, tuu kisa pe aa gayaa hai
vo kauna hai jo aakara, khvaabo.n pe chhaa gayaa hai

https://www.youtube.com/watch?v=hKcaNydkNMg

Song #27
Kaun aaya mere man ke dwaare….

And the last song for tonight is from his next movie, the 1957 movie Dekh Kabira Roya. Once again, he paired with Madan Mohan to create some excellent songs in a movie that was a comedy drama.

Rajinder Krishan and Madan Mohan who gave us some of the most enchanting numbers in Hindi movies (Pic courtesy: learningandcreativity.com)

This classic is a farcical comedy about the vicissitudes of modern love. Mohan (Anoop Kumar), Pradeep (Daljit), and Ranjeet (Jawahar Kaul) are three struggling artists—singer, painter, and writer, respectively—who live together in the same rooming house. Romantic hijinks ensue when the trio meet three lovely girls, Geeta (Ameeta), Rekha (Anita Guha), and Kalpana (Shubha Khote), with very specific ideas about art and love. The three male friends decide to help each other out by using their talents, and utter and hilarious chaos reigns.

Have a look at the list of songs:

1. Lagan Tose Lagi Balma Lata Mangeshkar Rajendra Krishan Madan Mohan
2. Meri Veena Tum Bin Roye Lata Mangeshkar Rajendra Krishan Madan Mohan
3. Hum Panchhi Mastaane Lata Mangeshkar Geeta Dutt & Seeta Rajendra Krishan Madan Mohan
4. Humse Aaya Na Gaya Talat Mahmood Rajendra Krishan Madan Mohan
5. Tum Meri Raakho Laaj Hari Sudha Malhotra Rajendra Krishan Madan Mohan
6. Tu Pyar Kare Ya Thukraye Lata Mangeshkar Rajendra Krishan Madan Mohan
7. Ashqon Se Teri Humne Asha Bhosle Rajendra Krishan Madan Mohan
8. Hum Bulate Hi Rahe Asha Bhosle & Mohammad Rafi Rajendra Krishan Madan Mohan
9. Bairan Ho Gayi Rain Manna Dey Rajendra Krishan Madan Mohan
10. Kaun Aaya, Mere Man Ke Dwaare Manna Dey Rajendra Krishan Madan Mohan

Naturally, even though I am hurrying up with some of the songs, I cannot do it with this movie and would take up more than one song. However, this is the last song tonight.

Lets take the last one first. This was composed by Madan Mohan in Raag Rageshri and Tal Kaherava.

Please enjoy: Kaun aaya mere man ke dwaare….

(kaun aayaa mere man ke dvaare,
paayal kii jhanakaar liye ) – 2
kaun aayaa …

(aa.Nkh na jaane, dil pahachaane
suuratiyaa kuchh aisii ) – 2
yaad karu.N to, yaad na aaye
muuratiyaa ye kaisii
paagal manavaa, soch me.n Duubaa
sapano.n kaa sa.nsaar liye
kaun aayaa …

(ik pal sochuu.N, merii aashaa
ruup badal kar aaI) – 2
duuje pal phir, dhyaan ye aae
ho na kahii.n parachhaaii.n
jo paradesii ke, ghar aaI
ek anokhaa pyaar liye
kaun aayaa …

https://www.youtube.com/watch?v=O_vcV7JGKpY

Song #28
Hum se aaya na gaya….

Yesterday, we had started taking up the songs of the 1957 farcical comedy Dekh Kabira Roya, which has some really fine numbers penned by Rajinder Krishan and composed by Madan Mohan. We had taken up only one of them: Kaun aaya mere mann ke dwaare. I had promised that we would take up a few more. I shall give you two more.

This has the voice of Talat Mehmood and indeed has been one of his best. Madan Mohan composed it in Raag Bageshri, Tal Kaherava.

Please enjoy: Hum se aaya na gaya….

ham se aayaa na gayaa tum se bulaayaa naa gayaa
faasalaa pyaar me.n dono.n se miTaayaa naa gayaa

vo gha.Dii yaad hai jab tum se mulaaqaat huI
ek ishaaraa huaa do haath ba.Dhe baat huI
dekhate dekhate din Dhal gayaa aur raat huI
vo samaa.n aaj talak dil se bhulaayaa naa gayaa
ham se AyA na gayA

kyaa Kabar thii ke mile hai.n to bichha.Dane ke liye
qismate.n apanii banaaI.n hai.n biga.Dane ke liye
pyaar kaa baag basaayaa thaa uja.Dane ke liye
is tarah uja.Daa ke phir ham se basaayaa naa gayaa
ham se AyA na gayA

yAd rag jAtI hai aur vaqt guzar jAtA hai
phUl khilatA hai magar khil ke bikhar jAtA hai
sab chale jAte hai.n phir darde jigar jAtA hai
dAG jo tUne diyA dil ne miTAyA nA gayA
ham se AyA na gayA …

Song #29
Meri veeena tum bin roye…..

Tonight has been a very bad night. For the last two hours or more, I am trying to sort out my Internet/Com problem. I hope this at least gets posted.

We have already taken up two songs of the 1957 farcical comedy movie Dekh Kabira Roya. These songs are: Kaun aaya mere mann ke dware; and Humse aaya na gaya tumse bulaya na gaya.

Now here is the last song of the movie tonight.

It was composed by Madan Mohan in Raag Ahir Bhairav and Tal Kaherava. It was sung by Lata Mangeshkar.

Please enjoy: Meri veeena tum bin roye…..

merii viinaa tum bin roye sajanaa sajanaa sajanaa
merii viinaa tum bin roye

saa.Nwariyaa tum jahaa.N base ho mai.n vo gaa.Nv na jaanuu.N
biitegii kab birahaa kii ye paapan shaam na jaanuu.N
haaye madhur milan kab hoye
sajanaa sajanaa sajanaa, merii viinaa tum bin roye

tujh bin mere giit adhuure ho.nTho.n pe sharamaa_e.n
saaz uThaa_uu.N taar naa baaje.n ta.Dap ta.Dap rah jaa_e.n
merii piir naa jaane koye
sajanaa sajanaa sajanaa, merii viinaa tum bin roye

haaye roye, haaye roye …

https://www.youtube.com/watch?v=kfyijp0eMI4

Song #30
Tum meri raakho laaj Hari…..

Even though I had promised you only two songs from Dekh Kabira Roya tonight, I am tempted to give you one more if anot for anything but to give you a fine Krishna bhajan penned by Rajinder Krishan and sung beautifully by Sudha Malhotra on a composition by Madan Mohan.

Please enjoy: Tum meri raakho laaj Hari…

aa om
aa aa
harii
harii tum merii raakho laaj harii
tum merii

maataa jii aap bhii kharataal bajaa_iye naa

tum merii raakho laaj harii -2
tum jaanat sab a.ntaryaamii
tum jaanat haa.N
tum jaanat haa.N
tum jaanat

su : tum jaanat sab
aa
tum jaanat sab a.ntaryaamii
karanii kachhu naa karii
prabhuu jii mere
karanii kachhu naa karii
tum merii raakho laaj harii -2

beTaa tum bhii gaa_o naa

##male## : maataa jii aap hii gaate rahiye

su : nahii.n nahii.n beTaa tum gaa_o

##male## : aa
harii
haa haa
avagun mose bisarat naahii.n
avagun mose haa.N
avagun mose haa.N
avagun

su : avagun mose
aa
avagun mose bisarat naahii.n
pal chhin kharii-kharii
prabhu jii mere
pal chhin kharii-kharii
tum merii raakho laaj harii -2

beTaa chup kyo.n ho gaye gaa_o naa

##male## : harii -2
raakho laaj harii -3
raakho
harii -4
raakho laaj
harii -2
haay harii

https://www.youtube.com/watch?v=m6w9YYSj1is

Song #31
Youn hasraton ke daag mohabbat mein dho liye…

His next movie Adalat of 1958 was a major success for him and he cemented his pairing with Madan Mohan to create some of the best Lata Mangeshkar songs. As I never grow tired of saying it, the Top 10 Lata songs have Rajinder Krishan and Madan Mohan in large measure.

Madan Mohan with Lata Mangeshkar (pic courtesy: glamsham.com)

Adalat starred Pradeep Kumar, Nargis and Pran and the story of her having been forced to become a courtesan is the same as Suchitra Sen‘s Mamta or dozens of other pics that Hindi films dished out.

The songs of the movie were not as commonplace as the story and are amongst the best of Lata. Have a look:

1. “Zameen Se Hamen Aasmaan Par” Asha Bhosle, Mohammad Rafi 03:44
2. “Yun Hasraton Ke Daag Mohabbat Mein” Lata Mangeshkar 04:00
3. “Dupatta Mera Malmal Ka” Asha Bhosle, Geeta Dutt 02:49
4. “Jaana Tha Humse Door Bahaane Bana Liye” Lata Mangeshkar 03:20
5. “Unko Yeh Shiqaayat Hai Ki Hum Kuchh Nahin Kehte” Lata Mangeshkar 04:31
6. “Ja Ja Re Ja Saajna (slow)” Lata Mangeshkar
7. “Ja Ja Re Ja Saajna (fast)” Asha Bhosle 05:50
8. “Jab Din Haseen Dil Ho Jawaan” Asha Bhosle, Mohammad Rafi 04:07

We shall be taking up the top three of these.

Lets start with the top most: Youn hasraton ke daag mohabbat mein dho liye. Marvel at the outstanding beauty of the lyrics:

Ghar se chale the ham to khushi ki talaash mein,
Gham raah mein padhe the wahin saath ho liye

Please enjoy: Youn hasraton ke daag mohabbat mein dho liye…

yU.N hasarato.n ke dAG, muhabbat me.n dho liye
khud dil se dil kI bAt kahI, aur ro liye
yU.N…

ghar se chale the ham to, khushI kI talAsh me.n -2
khushI kI talAsh me.n
Gam rAh me.n kha.De the vahI, sAth ho liye
khud dil se dil kI bAt kahI, aur ro liye
yU.N…

murajhaa chukaa hai phir bhii ye dil phuul hii to hai
haa.N phuul hii to hai
ab aap kii Khushii ise kaa.NTo.n me.n toliye
khud dil se dil kii baat kahii, aur ro liye
yuu.N …

ho.nTho.n ko sI chuke to, zamAne ne ye kahA – 2
zamAne ne ye kahA
ye chup sI kyo.n lagI hai ajI, kuchh to boliye
khud dil se dil kI bAt kahI, aur ro liye
yU.N…

Song #32
Jaana tha hamase door bahaane bana liye…..

The second song of today evening is also from the 1958 movie Adalat starring Nargis in a cameo role with Pradeep Kumar, and Pran relentlessly chasing her to become a courtesan though she was from a good but poor family.

(Poster courtesy: torrentking.eu)

Ladies and gentlemen, it is for Adalat songs that OP Nayyar said that just two songs from this movie are better than all his songs put together. Madan Mohan was really great and Rajinder Krishan paired with him really well.

Please enjoy Lata Mangeshkar again with: Jaana tha hamase door bahaane bana liye…..

jaanaa thaa hamase duur, bahaane banaa liye
ab tumane kitanii duur, Thikaane banaa liye
jaanaa thaa …

ruKasat ke vaqt tumane jo aa.Nsuu hame.n diye
un aa.Nsuo.n se hamane, fasaane banaa liye
ab tumane kitanii duur, Thikaane banaa liye
jaanaa thaa …

dil ko mile jo daaG jigar ko mile jo dard
un daulato.n se hamane khazaane banaa liye
ab tumane kitanii duur, Thikaane banaa liye
jaanaa thaa …

Song #33
Unako ye shikaayat hai ke ham kuchh nahin kehate….

Now that I have given you two of the best Lata Mangeshkar songs ever, penned by Rajinder Krishan, for the 1958 movie Adalat, so called because finally she is in the court or the Adalat for having murdered Pran and she is acquitted! Her own lover and then her son fights the case!

This was composed by Madan Mohan in Raag Malgunji, Tal Dadra, the same raag in which RD Burman composed his first Lata song: Ghar aaja ghir aaye badra saanwariya in Chhote Nawab.

Please enjoy: Unako ye shikaayat hai ke ham kuchh nahin kehate….

un ko ye shikAyat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat hai ke ham, (kuchh nahI.n kahate – 2)

majabUr bahaut karatA hai ye, (dil to zubaa.n ko – 2)
kuchh aisI hI haalat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …

kahane ko bahaut kuchh thA agar, (kahanepe aate – 2)
duniyA kI inaayat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …

kuchh kahanepe tUfAn (uThA letI hai duniyA – 2)
ab isape qayAmat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …

Song #34
Rang dil ki dhadhkan sio laati to hogi….

Ladies and gentlemen, please forgive me for playing truant since 19th Sep when they were only four days left for the death anniversary of this great lyricist, by which time I had planned to conclude this tribute to him.

I was away for a week in Punjab and on my return events overtook me.

Anyway, here I am back with you and now I don’t have to meet any deadline.

We finsihed with his 1958 movie Adalat for which I gave you three songs: Youn hasraton ke daag muhabbat mein dho liye, Jaana tha humse door bahaane bana liye and Unako yeh shikayat hai ke hum kuchh nahin kehte.

In 1959 he participated in only one movie Barkha for which he wrote the dialogues.

In 1960, his first movie was Patang starring Rajendra Kumar and Mala Sinha. Rajendra Krishan paired with Chitragupt to create songs for the movie.

Here is one really good one sung by Lata Mangeshkar whose 87th birthday we celebrated yesterday.

Lata Mangeshkar recording with Chitragupta (Pic courtesy: hamaraforums.com)

Please enjoy: Rang dil ki dhadhkan sio laati to hogi….

ra.ng dil kii dha.Dakan bhii laatii to hogii
yaad merii unako bhii aatii to hogii
ra.ng dil kii dha.Dakan …

o ( pyaar kii Kushbuu kahaa.N aatii thii kaliyo.n se
ho ke aa_ii hai havaa bhii unakii galiyo.n se ) -2
chhuu ke unake daaman ko aatii to hogii
ra.ng dil kii dha.Dakan …

o ye bahaare.n ye samaa.N sab usake dam se hai
vo piyaa kuchh-kuchh Kafaa rahataa jo hamase hai
jaan kuchh-kuchh usakii bhii jaatii to hogii
ra.ng dil kii dha.Dakan …

( jaa rii ai titalii nagariyaa pii kii tuu jaanaa
ho bhalaa teraa Kabar kuchh unakii le aanaa ) -2
tuu vahaa.N pe vaise bhii jaatii to hogii
ra.ng dil kii dha.Dakan …

Song #35
Le lo le lo duaayen maa baap ki…..

His next movie of 1960 was Maa Baap and I was, in my boyhood days, fond of the title song of the movie.

This too was composed by Chitragupt but sung by Mohammad Rafi.

Please enjoy: Le lo le lo duaayen maa baap ki…..

le lo le lo du_aa_e.n maa.N baap kii
sar se utaregii gaTharii paap kii
le lo le lo du_aa_e.n …

god me.n maa.N kii aa.Nkh khulii
jag dekhaa baap ke ka.ndhe cha.Dh ke
sevaa ba.Dii na hogii ko_ii
in dono.n kii sevaa se ba.Dhake
le lo le lo du_aa_e.n …

dukh sahanaa maa.N baap kii Kaatir
farz to hai ehasaan nahii.n
karz hai inakaa tere sar par
bhixaa yaa ko_ii daan nahii.n
le lo le lo du_aa_e.n …

maat-pitaa ki charaN chhu_e jo
chaar dhaam tiirath phal paa_e
jo aashiiSh vo dil se de.n
bhagavaan se bhii Taalii naa jaa_e
le lo le lo du_aa_e.n …

https://www.youtube.com/watch?v=d7sLKDU24Vk

Song #36
Love ka matlab hai pyaar….

Next is a movie whose title has the name of my home station; the 1960 movie Love In Shimla. It was a movie directed by RK Nayyar. Since the movie was produced by Sasadhar Mukherjee, it had his son Joy Mukherjee as the hero. Its heroine Sadhana who died last year married the director RK Nayyar after the movie.

All this Shimla can do to you!

The movie had a number of songs, all composed by Iqbal Qureshi:

  1. “A Be Baby A A Ji” – Asha Bhosle, Mohammed Rafi
  2. “Alif Zabar Aaa Alif Zer Ae Alif Pesh O” – Mohammed Rafi, Sudha Malhotra
  3. “Dar Pe Aaye Hain” – Mukesh
  4. “Dil Tham Chale Hum Aaj Kidhar” – Mohammed Rafi
  5. “Dil Tham Chale Hum Aaj Kidhar v2” – Mohammed Rafi
  6. “Gaal Gulabi Kiske Hai” – Mohammed Rafi
  7. “Hasinon Ki Sawari Hai” – Mohammed Rafi, Suman Kalyanpur
  8. “Husnwale Wafa Nahi Karte” – Mohammed Rafi, Shamshad Begum
  9. “Kiya Hai Dilruba Pyar Bhi Kabhi” – Mohammed Rafi, Asha Bhosle
  10. “Love Ka Matlab Hai Pyar” – Mohammed Rafi, Asha Bhosle
  11. “Muskuraye Khet Payse Tarse Tarse” – Mohammed Rafi, Suman Kalyanpur
  12. “Wo Zindagi Ke Raaste” – Mohammed Rafi

Lets take up the duet: Love ka matlab hai pyaar sung by Mohammad Rafi and Asha Bhosle

##l o v e love, love## kaa matalab hai pyaar
pyaar dilo.n kaa qaraar -2

baat ek nazar kii khel ek adaa kaa
gul khilaane vaalaa pyaar jho.nkaa havaa kaa
dil milaakar dil se dekho kyaa hai ra.ng-e-bahaar -2
##love## kaa matalab hai …

ek ha.Nsii ho.nTho.n pe ik hayaa aa.Nkho.n me.n
jo vafaa na ho to ye dil do gha.Dii kaa khumaar
##love## kaa matalab hai …

Kuubasuurat baate.n aur khud bhii hasii.n ho
tum bhii saare jahaa.N me.n kisii se kam nahii.n ho
husn dhokhaa aa.Nkh kaa hai aise dhokhe hazaar -2
##love## kaa matalab hai …

https://www.youtube.com/watch?v=GtoI_YnVoUU

Song #37
Main apne aap se ghabra gaya hoon….

We are half way into the tribute to our second great lyricist: Rajinder or Rajendra Krishan in the Great Lyricists series that I started with last month (the first one that we took up was Shailendra).

We had reached the year 1960 and took up one song each from three movies: Patang, Maa Baap and Love in Simla.

Lets proceed further.

In the next movie of 1960, Bindiya, once again Rajendra Krishan paired with Iqbal Qureshi and they produced one his most memorable songs. This is also one of the best picturised on Balraj Sahni.

Iqbal Qureshi with Mohammad Rafi (Pic courtesy i.ytimg.com)

Mohammad Rafi sang it, as he always did, exquisitely well.

Please enjoy: Main apne aap se ghabra gaya hoon, mujhe ai zindagi deewana kar de…..

mai.n apane aap se ghabaraa gayaa huu.N
mujhe ai zi.ndagii diivaanaa kar de

kahaa.N se ye fareb-e-aarazuu mujhako kahaa.N laayaa
jise mai.n puujataa thaa aaj tak nikalaa vo ik saayaa
Kataa dil kii hai mai.n sharamaa gayaa huu.N
mai.n apane aap se …

ba.De hii shauq se ik Kvaab me.n khoyaa huaa thaa mai.n
ajab mastii bharii ik nii.nd me.n soyaa huaa thaa mai.n
khulii jab aa.Nkh to thar.raa gayaa huu.N
mai.n apane aap se …

Song #38
Bikhra ke zulfen chaman mein naa jaana….

With this we enter the year 1961 and Rajendra Krishan had a Nazrana for us; yes that was the name of the movie that starred Raj Kapoor and Vyjayanthimala. Since the movie was produced by S Krishnamurthy and directed by CV Sridhar (simply called Sridhar), South Indian star Gemini Ganesan had a prolonged role in the movie.

There were only five songs in the movie and these were composed by my namesake: Ravi:

1 “Baazi Kisine Pyar Ki” Mohammed Rafi Climax sequence feature actress Vyjayanthimala, Raj Kapoor, Gemini Ganesan and Master Shahid 03:32 Rajendra Krishan
2 “Mele Hain Chiraghon Ki Diwali” Lata Mangeshkar Featuring actress Vyjayanthimala along with Raj Kapoor, Usha Kiran and Master Shahid 03:33 Rajendra Krishan
3 “Mere Peechhe Ek Diwana” Mukesh, Asha Bhosle Duet on actress Vyjayanthimala and Raj Kapoor 03:37 Rajendra Krishan
4 “Ek Woh Bhi Diwali Thi” Mukesh Featuring actor Raj Kapoor and Master Shahid 03:19 Rajendra Krishan
5 “Bikhra Ke Zulfen Chaman Mein” Mukesh, Lata Mangeshkar Featuring actress Vyjayanthimala, Leela Chitnis and Sunil Dutt 03:22 Rajendra Krishan

We shall be taking up three of them: two tonight and one tomorrow.

Here is the first one tonight, at #5 above. It is a very enchanting duet between Mukesh and Lata Mangeshkar singing for Raj Kapoor and Vyjayanthimala.

Please enjoy: Bikhra ke zulfen chaman mein naa jaana….

bikharaa ke zulfe.n chaman me.n na jaanaa
– kyo.n?
is liye
ki sharmaa na jaaye.n phuulo.n ke saaye
muhabbat ke naGame tum bhii na gaanaa
– kyo.n?
is liye
ki bha.Nvaraa tumhaarii ha.Nsii na u.Daaye

muhabbat ke bha.Nvare kii pahachaan kyaa?
ye kaliyo.n se puuchho hame.n kyaa pataa
har_jaa_ii hogaa
ham to nahii.n hai.n
kahii.n siikh lenaa na tum ye adaa
zubaa.N par kabhii baat aisii na laanaa
– kyo.n?
is liye
ki duniyaa.N se rasm-e-vafaa miT na jaaye

kaho saath doge kahaa.N tak meraa
vahaa.N tak jahaa.N aasamaa.N jhuk rahaa
bolo chalogii?
jo tum le chaloge
kahii.n raah me.n ho na jaanaa judaa
meraa pyaar dekhegaa saaraa zamaanaa
– kyo.n?
is liye
ki vaade kiye aur kar ke nibhaaye

https://www.youtube.com/watch?v=y7K4pp87884

Song #39
Baazi kisi ne pyaar ki jeeti ya haar di….

The last song tonight is also from Rajendra Krishan’s 1961 movie Nazrana starring Raj Kapoor and Vyjayanthimala and is also composed by Ravi.

Mohammad Rafi sang it and if I may say so, sang it very well indeed.

Please enjoy: Baazi kisi ne pyaar ki jeeti ya haar di….

ek pyaasaa tujhe maiKaanaa di_e jaataa hai
jaate-jaate bhii ye nazaraanaa di_e jaataa hai

baazii kisii ne pyaar kii jiitii yaa haar dii
jaise guzar sakii ye shab-e-Gam guzaar dii
baazii kisii ne …

saahil karegaa yaad usii naamuraad ko
kashtii Kushii se jisane bha.Nvar me.n utaar dii
baazii kisii ne …

chal pa.De safar ko to mu.D ke kyaa dekhanaa
duniyaa ne usako sadaa baar-baar dii
baazii kisii ne …

Song #40
Ek woh bhi diwali thi, ek yeh bhi diwali hai….

Today is the end of second week of tribute to our second lyricist: Rajendra or Rajinder Krishan in the Great Lyricists series that I began in Aug this year.

Out of the three songs that I promised you of the 1961 movie Nazrana, we took up two last night; viz: Bikhra ke zulfen chaman mein na jaana and Baazi kisi ne pyaar ki jeeti ya haar li.

Here is the third one and this one has been sung by Mukesh and the composition is that of Ravi.

Mukesh

Please enjoy: Ek woh bhi diwali thi, ek yeh bhi diwali hai….

Mukesh version

(ek vo bhii diwaalii thii, ek ye bhii diwaalii hai
uja.Daa hu_aa gulashan hai, rotaa hu_aa maalii hai) 2

(baahar to ujaalaa hai magar dil me.n a.Ndheraa
samajho naa ise raat, ye hai Gam kaa saveraa) 2
kyaa diip jalaaye.n ham taqadiir hii kaalii hai
uja.Daa hu_aa gulashan hai, rotaa hu_aa maalii hai

(aise na kabhii diip kisii dil kaa bujhaa ho
mai.n to vo musaafir huu.N jo raste me.n luTaa ho) 2
ai maut tuu hii aa jaa dil teraa sawaalii hai
uja.Daa hu_aa gulashan hai, rotaa hu_aa maalii hai

%sawaalii – ##beggar##

(ek vo bhii diwaalii thii, ek ye bhii diwaalii hai
uja.Daa hu_aa gulashan hai, rotaa hu_aa maalii hai) 2

Lata version:

( mele hai.n chiraaGo.n ke
ra.ngiin diiwaalii hai
mahakaa hu_aa gulashan hai
ha.Nsataa hu_aa maalii hai ) -2

( is raat ko_ii dekhe
dharatii ke nazaaro.n ko
sharamaate hai.n ye diipak
aakaash ke taaro.n ko ) -2
is raat kaa kyaa kahanaa -2
ye raat niraalii hai

mahakaa hu_aa gulashan hai
ha.Nsataa hu_aa maalii hai

mele hai.n chiraaGo.n ke
ra.ngiin diiwaalii hai
mahakaa hu_aa gulashan hai
ha.Nsataa hu_aa maalii hai

( khaa jaaye nazar dhokhaa
juganuu hai.n yaa phulajha.Diyaa.N
( baaraat hai taaro.n kii
yaa ra.ng bharii la.Diyaa.N )-2
ho.nTho.n pe taraane hai.n -2
bajatii hu_ii taalii hai

mahakaa hu_aa gulashan hai
ha.Nsataa hu_aa maalii hai

mele hai.n chiraaGo.n ke
ra.ngiin diiwaalii hai
mahakaa hu_aa gulashan hai
ha.Nsataa hu_aa maalii hai

https://www.youtube.com/watch?v=ia6uMy2tzok

Song #41
Happy Birthday Asha Parekh
Itna na mujhse tu pyaar badha…..

The next movie of his was the 1961 movie Chhaya that was directed by Hrishikesh Mukherjee and starred Sunil Dutt and Asha Parekh whose birthday happens to be today (She was born on 02 Oct 1942).

Asha Parekh – the heart-throb of millions.

Salil Chowdhury composed the songs and these are all beautiful songs indeed:

1. Itna Na Mujhse Tu Pyaar Badha – Talat Mehmood & Lata Mangeshkar
2. Itna Na Mujhse Tu Pyaar Badha (sad) – Talat Mehmood

The above 2 songs are inspired by Mozart’s Symphony No. 40 in G Minor KV 550 since Salil da was very good at Western classical music.
3. Dil Se Dil Ki Dor Baandhe – Mukesh & Lata Mangeshkar
4. Chham Chham Naachat Aayee Bahar – Lata Mangeshkar
5. Ankhon Mein Masti Sharab Ki – Talat Mahmood
6. Ansoo Samajh Ke Kyon Mujhe – Talat Mehmood
7. Ya Keh De Hum Insaan Nahin – Mohd Rafi

Lets start with the enchanting duet picturised on Sunil Dutt as Arun and Asha Parekh as Sarita.

Please enjoy: Itna na mujhse tu pyaar badha…..

ta:
itanaa na mujhase tuu pyaar ba.Dhaa
ke mai.n ek baadal aavaaraa
kaise kisii kaa sahaaraa banuu.N
ke mai.n khud beghar bechaaraa
itanaa na…

ta:
mujhe ek jagah aaraam nahii.n
ruk jaanaa meraa kaam nahii.n
meraa saath kahaa.N tak dogii tum
mai desh videsh kaa ba.njaaraa

la :
is liye tujhase pyaar karuu.n
ke tU ek baadal Avaaraa
janam janam se huu.N saath tere
ke naam meraa jal kii dhaaraa

la:
o niil gagan ke diivaane
tuu pyaar na meraa pahachaane
mai.n tab tak saath chaluu.N tere
jab tak na kahe tuu mai.n haaraa

ta:
kyuu.N pyaar me.n tuu naadaan bane
ik baadal kaa aramaan bane
meraa saath kahaa.N tak dogii tum
mai.n des-bides kaa ba.njaaraa
itanaa na…

The slower/sad version by Talat
ta:
madahosh hameshaa rahataa huu.N
khaamosh huu.N kab kuchh kahataa huu.N
koii kyaa jaane mere siine me.n
hai bijalii kaa bhii a.ngaaraa

ta:
aramaan thaa gulashan par barasuu.N
ek shokh ke daaman par barasuu.N
afasos jalii miTTii pe mujhe
taqadiir ne merii de maaraa
itanaa na…

Song #42
Happy Birthday Asha Parekh
Aaj ki mulaqat bas itni….

His next movie starring Asha Parekh was the 1963 Guru Dutt starrer Bharosa. Rajinder Krishan not just penned the lyrics but also wrote the story and the dialogues. Ravi composed the songs:

1. ” Aaj Ki Mulaqat Bas Itni ” Lata Mangeshkar, Mahendra Kapoor
2. ” Dhadka O Dil Dhadka ” Lata Mangeshkar, Asha Bhosle
3. ” Is Bhari Duniya Mein ” Mohammed Rafi
4. ” Kaahe Itna ” Mohd.Rafi & Asha Bhonsle
5. ” Woh Dil Kahan Se ” Lata Mangeshkar
6. ” Yeh Jhuke Jhuke Naina ” Rafi

We shall be taking up two of these songs. The first one is naturally the duet between Lata ji singing for Asha Parekh and Mahendra Kapoor singing for Guru Dutt. The song was very popular during our days.

Please enjoy: Aaj ki mulaqat bas itni….

f: aaj kii mulaakaat bas itanii,
kar lenaa baate.n kal chaahe jitanii
m: achchhii nahii.n hotI hai zid itanii,
dekho hame.n tumase hai priit kitanii

f: pyaar jo kiyaa hai jataate ho kyuu.n,
baat aisii hoTho.n pe laate ho kyuu.n
m: aur ham jo puuchhe.n sataate ho kyuu.n,
abhii abhii aaye abhii jaate ho kyuu.n

m: kabhii kabhii aise bhii aayaa karo
chaa.Nd nikale to ghar jaayaa karo
f: aaye.nge jaaye.nge marazii se ham
pyaar hai to naaz bhI uThaayaa karo

m: Thaharo mai.n dil ko sambhaaluu.n zaraa
palako.n me.n tumako chhupaa luu.n zaraa
f: samajhe nA ab tak mohabbat hai kyaa
aao tumhe ye bhii samajhaa duu.n zaraa

Song #43
Happy Birthday Asha Parekh
Woh dil kahan se laayun teri yaad jo bhula de….

The second song of 1963 movie Bharosa that is picturised on our birthday lady today is the sad one sung by Lata on Ravi’s composition. Asha was really good on acting on such numbers (Remember Shakeel’s Do Badan Song: Lo aa gayi unaki yaad, woh nahin aaye? This one is similar)

Please enjoy: Woh dil kahan se laayun teri yaad jo bhula de….

(vo dil kahaa.N se laauu.N, terii yaad jo bhulaade)-2
mujhe yaad aane vaale koii raasataa bataade
vo dil kahaa.N se laauu.N, terii yaad jo bhulaade

(rahane de mujhako apane qadamo.n kii Kaak banakar)-2
jo nahii.n tujhe gavaaraa mujhe Kaak me.n milaade
vo dil kahaa.N se laauu.N, terii yaad jo bhulaade

(mere dil ne tujhako chaahaa, kyaa yahii merii Kataa hai)-2
maanaa khataa hai lekin, aisii to naa sazaa de
vo dil kahaa.N se laauu.N, terii yaad jo bhulaade
mujhe yaad aane vaale koii raasataa bataade
vo dil kahaa.N se laauu.N, terii yaad jo bhulaade

Song #44
Is bhari duniya mein koi bhi hamaara na raha….

The 1963 movie Bharosa was the last one of the Asha Parekh movie for which Rajinder Krishan wrote the songs. Hence I cannot give you any more songs picturised on her and penned by him.

The movie, however, had a beautiful song sung by Mohammad Rafi: Is bhari duniya mein koi bhi hamaara na raha. It doesn’t require any guess to know that Ravi composed it in Raag Bhairavi, Tal Dadra.

Please enjoy: Is bhari duniya mein koi bhi hamaara na raha….

is bharii duniyaa me.n, koii bhii hamaaraa na huaa
gair to gair hai.n, apano.n kaa sahaaraa na huaa

log ro-ro ke bhii is duniyaa me.n jii lete hai.n
ek ham hai.n kii ha.nse bhii to guzaaraa na huaa

ik muhabbat ke sivaa aur na kuchh maa.Ngaa thaa
kyaa kare.n ye bhii zamaane ko ga.nvaaraa na huaa

aasamaan jitane sitaare hai.n terii mahafil me.n
apanii taqadiir kaa hii koii sitaaraa na huaa

https://www.youtube.com/watch?time_continue=32&v=4_Nu5_g_sVg

Song #45
Aaj ki raat naya chand leke aayi hai….

The 1962 movie Shaadi for which he penned the songs starred Dharmendra, Saira Bano and Manoj Kumar.

The movie had the following songs composed by Chitragupt:

1. Aaj Ki Raat Naya Chaand Leke Aayi Hai – Lata Mangeshkar
2.Ja Aur Kahi Ro Shehnai Ja Ab Mai Hu Aur Meri Tanhai – Lata Mangeshkar
3.Mukhadaa Teraa Saaf Nahin, Jaisaa Kiyaa Hai Tune – Mohammed Rafi
4.Chhod De Bedardi Chhod De – Lata Mangeshkar
5.Log Toh Baat Ka Afsana Bana Dete Hai – Mohammed Rafi, Manna Dey
6.Na Jane Kaha Mera Bachpan – Lata Mangeshkar
7.Teri Sharan Pada Hua Data Tu Hi Pita Hai Tu Hi Mata – Mohammed Rafi
8.Bhigoi Mori Saadi Re – Khursheed

A. V. Meiyappan, Rajinder Krishan, Madan Mohan, Chitragupt and C Ramchandra (Photo courtesy: cinestaan.com)

I am a Chand songs fan and hence listen to this Chand song sung by Lata Mangeshkar. It is indeed good.

Please enjoy: Aaj ki raat naya chand leke aayi hai….

aaj kii raat nayaa chaa.Nd le ke aa_ii hai -2
chaa.Ndanii chhaa_ii hai
jaane kyaa laa_ii hai
aa.Nkh sharmaa_ii hai
aaj kii raat nayaa chaa.Nd le ke aa_ii hai

ko_ii jab dekhe idhar, haay merii aa.Nkh jhuke -2
chaahuu.N kuchh kahanaa agar
haay mera saa.Ns ruke
rukataa hai jo saa.Ns ruke
jhukatii hai jo aa.Nkh jhuke

aaj kii raat nayaa chaa.Nd le ke aa_ii hai
chaa.Ndanii chhaa_ii hai
jaane kyaa laa_ii hai
aa.Nkh sharmaa_ii hai
aaj kii raat nayaa chaa.Nd le ke aa_ii hai

der se pyaar hu_aa chalo jii ho to gayaa -2
dil ko khonaa thaa jahaa.N chalo wahaa.N kho to gayaa
khone bhii do kho jo gayaa
hone bhii do ho jo gayaa

aaj kii raat nayaa chaa.Nd le ke aa_ii hai
chaa.Ndanii chhaa_ii hai
jaane kyaa laa_ii hai
aa.Nkh sharmaa_ii hai
aaj kii raat nayaa chaa.Nd le ke aa_ii hai

pyaar kaa unape asar kyaa Kabar hai ke nahii.n -2
jo lagii aag idhar wo udhar hai ke nahii.n
unako Kabar hai ke nahii.n
unape asar hai ke nahii.n

aaj kii raat nayaa chaa.Nd le ke aa_ii hai
chaa.Ndanii chhaa_ii hai
jaane kyaa laa_ii hai
aa.Nkh sharmaa_ii hai
aaj kii raat nayaa chaa.Nd le ke aa_ii hai

Song #46
Yaa meri manzil bata ya zindagi ko chheen le….

Resuming from where I left off two days ago.

The next movie for which he penned both dialogues and songs was the 1962 movie Rakhi that starred Ashok Kumar, Waheeda Rehman, Pradeep Kumar and Mehmood.

Once again, Ravi composed the following songs penned by Rajendra Krishan:

1.”Raakhi Dhaagon Kaa Tyauhaar” – Mohammed Rafi
2.”Ya Meri Manzil Bata” – Mohammed Rafi
3.”Saiya Chhod De Baiyan Mori Patli Kalaiyan Mud Jayegi” – Lata Mangeshkar, Mukesh
4.”Ae Ishq Teri Jai Ho” – Mohammed Rafi
5.”Dekho Mehnat Se Daulat Ki Yaari” – Asha Bhosle, Mohammed Rafi
6.”Kab Tak Bol Gori Aise Sharmayegi” – Lata Mangeshkar
7.”Sitaro Aaj To Hum Bhi Tumhare Sath” – Asha Bhosle

We shall be taking up Songs #2 and 3. The first one is picturised on Ashok Kumar who received the Best Actor award for his role in the movie.

First, please enjoy Mohammad Rafi sing: Yaa meri manzil bata ya zindagi ko chheen le….

yaa merii ma.nzil bataa yaa zindagii ko chhiin le -2
jisake piichhe Gam lage ho.n us Kushii ko chhiin le
yaa merii ma.nzil …

de nahii.n sakataa agar aaraam kii ik saa.Ns bhii -2
paa.Nv mere to.D de aavaaraGii ko chhiin le
yaa merii ma.nzil …

aa.Nkh me.n aa.Nsuu kahaa.N ro duu.N jo apane haal par -2
aa ga_ii jo apane Gam par us ha.Nsii ko chhiin le
yaa merii ma.nzil …

https://www.youtube.com/watch?v=rj8po0BG_-Q

Song #47
Sainyya chhod de bainya mori patli kalaianya mud jayegi….

The second song from the 1962 movie Rakhi that I have selected for you is a duet between Lata Mangeshkar and Mukesh and as with many duets between them, it is an enchanting one.

Please enjoy this one put together by Rajinder Krishan and Ravi: Sainyya chhod de bainya mori patli kalaianya mud jayegi….

la : saiyaa.n chho.D de baiyaa.n merii patalii kalaiyaa.n mu.D jaa_egii
mu : teraa haath na chho.Duu.N teraa saath na chho.Duu.N kahaa.N jaa_egii

la : dekho jii dekho kahii.n dekhe na zamaanaa
pyaar hamaaraa ban jaa_e na fasaanaa
mu : achchhaa nikaalaa hai ye jaane kaa bahaanaa
la : saiyaa.n chho.D de …

la : tum mere kaun ho ye duniyaa na jaane
mu : apanii balaa se ko_ii maane yaa na maane
la : pyaar me.n itane bhii bano na diivaane
la : saiyaa.n chho.D de …

Song #48
Yeh mere andhere ujaale na hote…..

And the last song today is from his next movie: the 1962 Bimal Roy movie Prem Patra starring Shashi Kapoor and Sadhana. Following songs penned by Rajinder Krishan were composed by Salil Chowdhury:

1 “Sawan Ki Raaton Mein Aisa” Talat Mahmood, Lata Mangeshkar
2 “Yeh Mere Andhere Ujale Na Hote” Talat Mahmood, Lata Mangeshkar
3 “Ab Aur Na Kuchh Bhi Yaad Raha” Lata Mangeshkar
4 “Do Ankhiyan Jhuki Jhuki Si” Mukesh, Lata Mangeshkar
5 “Khush Ho Rahe The Pahle Thukra Ke” Lata Mangeshkar

Lets take up the duet sung between Talat Mehmood and Lata Mangeshkar: Yeh mere andhere ujaale na hote…..

ta : ye mere a.Ndhere ujaale na hote
agar tum na aate merii zi.ndagii me.n
la : na jaane meraa dil ye kyo.n kah rahaa hai
tumhe.n kho na baiThuu.N kahii.n roshanii me.n

ta : merii aa.Nkh ne tum ko dekhaa nahii.n hai
frdd,km,kq1 magar dil to meraa tumhe.n jaanataa hai
tumhe.n jaanataa hai
to Gam ke safar me.n meraa hamasafar hai
mai.n kyo.n saath us kaa na duu.Ngaa khushii me.n
ye mere a.Ndhere …

la : tumhaarii muhabbat pe mujh ko yakii.n hai
magar apanii qisamat pe hargiz nahii.n hai
hargiz nahii.n hai
muhabbat ke kuchh khel aa.Nkho.n ne merii
biga.Date bhii dekhe ha.Nsii hii ha.Nsii me.n
na jaane meraa dil …

ta : abhii to ummiido.n kii duniyaa javaa.N hai
na chhe.Do ye maayuusiyo.n ke taraane
la : tumhe.n bhii qasam hai ki dil me.n na rakhanaa
Kataa ho ga_ii ho agar bekhudii me.n
agar bekhudii me.n
ta : ye mere a.Ndhere …
la : na jaane meraa dil …

Song #49
Main to tum sang nain milake haar gayi sajana….

Resuming after a break.

On the 16th day, for the last song, we had taken up a song from Bimal Roy’s 1962 movie Prem Patra, that is: Yeh mere andhere ujaale na hote.

Rajendra Krishan’s next movie was the 1962 movie Manmauji for which he penned dialogues as well as lyrics of the songs. The movie was produced by AV Meiyappan and directed by R Krishnan, S Panju as Krishnan-Panju combine. The lead actors were Kishore Kumar, Sadhana, Pran, Durga Khote. Jayalalitha played Krishna in a dance sequence starring Baby Naaz.

Madan Mohan was the composer of songs and these were:

1 Mai Toh Tum Sang Nain Milake Lata Mangeshkar 03:31
2 Chanda Ja, Chanda Ja Re Ja Lata Mangeshkar 03:24
3 Zaroorat Hai Zaroorat Hai Kishore Kumar 04:25
4 Ek Thaa Abdul Rahamaan Kishore Kumar, Lata Mangeshkar 04:10
5 Murge Ne Jhooth Bola (Kamal Barot) Kamal Barot 03:07
6 Aaya Hai Kahan Se Pee Ke Lata Mangeshkar 03:31
7 Buraa Lagataa Hai Kishore Kumar 03:27
8 Murge Ne Jhooth Bola (Asha Bhosle) Asha Bhosle 01:36

We shall be taking up the first three tonight.

Kishore Kumar was a petty thief cum conman in the movie and hence Sadhana, in love with him, had only heart-break waiting for her.

Her heart-break song was sung by Lata Mangeshkar.

Please enjoy: Main to tum sang nain milake haar gayi sajana….

mai.n to tum sa.ng, nain milA ke ##(slow)##
hAr gaI sajanA, ho, hAr gaI sajanA
mai.n to tum sa.ng, nain milA ke
hAr gaI sajanA, ho, hAr gaI sajanA

kyU.N jhUThe se prIt lagAI – 2
kyU.N chhaliye ko mIt banAyA
kyU.N A.ndhI me.n dIp jalAyA
mai.n to tum sa.ng …

sapane me.n jo bAG lagAe
nI.nd khulI to vIrAne the
ham bhI kitane dIvAne the
mai.n to tum sa.ng …

nA milatI.n ye bairan a.NkhiyA.n
chain na jAtA dil bhI ne rotA
kAsh kisI se pyAr na hotA
mai.n to tum sa.ng …

Song #50
Chanda ja, chanda ja re ja re ja….

The second song of the 1962 movie Manmauji that we are taking up tonight is as beautiful as the first one: Main to tum sang nain milake.

Hats off to Madan Mohan for the extraordinarily beautiful composition. Lata, whose best songs were picturised on Sadhana did full justice to this too.

Madan Mohan and Sadhana

This is all the more beautiful for me being a Chand song!

Please enjoy: Chanda ja, chanda ja re ja re ja….

laa laa laa laa laa laa
chandaa jaa chandaa jaa re jaa re -2
kaahe aayaa hai akelaa tujhe maanuu.N alabelaa
mere piyaa ko bhii sa.ng le aa

chandaa jaa …

aa tujhako pahachaan bataa duu.N vo lagataa hai kaisaa
nadiyaa me.n mukh dekh le apanaa vo bhii hogaa waisaa
vo jo aaye to bi.ndiyaa sajaa duu.N
kaalii-kaalii ye laT bikharaa duu.N
meraa itanaa sa.ndesaa de aa

chandaa jaa …

dekh use kahanaa merii ni.ndiyaa ho ga_ii sautan merii
mere sa.ng-sa.ng bairan hogii baaT takat hai terii
chandaa denaa tuu merii gawaahii
ham dono.n hai.n pyaar ke raahii
bas itanaa to saath nibhaa

chandaa jaa …

https://www.youtube.com/watch?v=3BGfr0gZaz4

Song #51
Zaroorat hai zaroorat hai, zaroorat hai, ik shrimati ki….

After I gave the first two songs of the 1962 movie Manmauji starring Kishore Kumar and Sadhana, you must be wondering why no songs picturised on Kishore Kumar. After all, there was no one like him in the light-hearted comic romance.

Well, here it is. It was sung by Kishore Kumar for himself. Please see the versatility of the combine of Rajendra Krishan and Madan Mohan to have come up with this light-hearted song in the same movie which had the likes of the first two songs.

Madan Mohan and Kishore Kumar

This became very popular during our times.

Please enjoy: Zaroorat hai zaroorat hai, zaroorat hai, ik shrimati ki….

zaruurat hai zaruurat hai, saKt zaruurat hai!

(zarUrat hai zarUrat hai zarUrat hai
ek shrImatI kI, kalAvatI kI, sevA kare jo pati kI ) – 2
zarUrat hai zarUrat hai zarUrat hai

hasI.n hazAro.n bhI ho.n kha.De, magar usI par nazar pa.De – 2
ho zulf gAlo.n pe khelatI, ke jaise din raat se la.De
ho ho ho ho
adAo.n me.n bahaar ho, nigAho.n pe khumaar ho
qubUl merA pyAr ho to kyA baat hai
zarUrat hai zarUrat hai zarUrat hai …

itar me.n sA.nse.n basI basI, vo mastiyo.n me.n rasI rasI – 2
zaraa sii palake.n jhukI jhukI, bhave.n ghanerI kasI kasI
ho ho ho ho
phUlo.n me.n gulAb ho Kud apanA javAb ho
vo pyAr kI kitaab ho to kyA baat hai
zarUrat hai zarUrat hai zarUrat hai …

jhaTak ke gesuu jahaa.N chale, to saath me.n aasamaa.N chale -2
lipaT ke kitane bhi paa.Nv se, yah puuchhate ho kahaa.N chale
ho ho ho ho
pyaar se jo kaam le, ha.Ns ke salaam le
vo haath meraa tham le, to kyaa baat hai
zaruurat hai zaruurat hai zaruurat hai

haa.n haa.n! shriimatI kI
ho ho ! kalAvati kI
sevA kare jo pati kI
zarUrat hai zarUrat hai zarUrat hai
sakht zarUrat hai!

There, in Part II of this tribute to a great lyricist Rajinder Krishan, I have given you another twenty-six songs. We have reached half-way through and I cover the remaining about fifty songs in Part III and IV.

I hope you have liked my choices so far. Do leave your comments.

THE BEST SONGS OF KAIFI AZMI – A GREAT LYRICIST AND POET

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 Kaifi Azmi have been reconstructed from the same page. Kaifi Azmi was the master lyricist who could give vent to the most powerful thoughts and strongest emotions by using the simplest of the words.

Song #1
Jaane kyaa dhoondati rehati hain ye aankhen mujh mein….

Sorry for the long break due to my being away to Dehradun, Haridwar and Rishikesh.

So far, other than Shakeel Badayuni whom I haven’t given any number (how can I give a number to my all time favourite and the best poet and lyricist?), we have taken up Shailendra and Rajendra Krishan.

Today, we start with the third great lyricist: Kaifi Azmi.

His real name was Sayyid Akhtar Hussein Rizvi. He was born in a village Mizwaan in the district Azamgarh of Uttar Pradesh. His daughter Shabana is a celebrated actress in Hindi movies and son Baba a cinematographer.

Kaifi Azmi was a known poet in the mushairas of that era and as late as in 1970, when I was studying in Government College Dharamshala in Kangra District of Himachal, I heard him in a mushaira in our college.

I like Kaifi’s lyrics and poetry for one unique quality: he’d use very simple words to convey very strong and deep thoughts. Rather than trying to impress you with the different and complex words in the Urdu language, he’d rely more on the play of words.

I am fond of giving this example from Hanste Zakhm:

Dil ki naazuk ragen tootati hain,
Yaad itana bhi koi na aaye.

Or, from Kohra (the song picturised on Biswajeet’s first licentious wife, before he married Waheeda rehman):

Haal ye hai masti kaa, saans lagi thamane
Utane rahe pyaase ham jitani bhii pi hamane

Or from Guru Dutt’s movie Kaagaz Ke Phool:

Jaaenge kahaan poochhataa nahin
Chal pade magar raastaa nahin
Kyaa talaash hai kuchh pataa nahin
Bun rahe hain dil khvaab dam-ba-dam

Let me take you now to the 1961 movie Shola Aur Shabnam, which had the first major role by Dharmendra though he had acted in two movies before that: Dil Bhi Tera Ham Bhi Tere and Boy Friend.

The film, directed and written by Ramesh Saigal was about a young man (my namesake Ravi played by Dharmendra) torn between love for his long lost childhood sweetheart (Tarla Mehta), and devotion towards a friend (M Rajan) who has helped set him up in his career.

This song brings out the feelings of Ravi (Dharmendra) so well in such simple words. Pay particular attention to the last lines:

Kaise baazaar ka dastoor tumhen samjhaayun,
Bik gaya jo woh khareeddaar nahin ho sakta.

Khaiyyam, who was known to give the gentlest of the music, made equally gentle music for these powerful lyrics of Kaifi Azmi. Hats off to Dharmendra that in his first major movie he should attempt such serious and sad role. He is the handsomest man who ever joined Hindi movies and this song in his very first major movie brings out the intensity of his serious acting.

By this time, you would have already seen my bias towards the Raag of the hills, my home station, and I am not going to deny it. This too has been set by Khaiyyam in Raag Pahadi in Tal Dadra.

Please enjoy one of Kaifi’s best: Jaane kyaa dhoondati rehati hain ye aankhen mujh mein….

Jaane kyaa Dhuu.NDhatii rahatii hai.n ye aa.Nkhe.n mujhame.n
raakh ke Dher me.n sholaa hai na chi.ngaarii hai
ab na vo pyaar na usakii yaade.n baakii
aag yuu.N dil me.n lagii kuchh na rahaa kuchh na bachaa
jisakii tasviir nigaaho.n me.n liye baiThaa ho
mai.n vo diladaar nahii.n usakii huu.N khaamosh chitaa

zi.ndagii ha.Ns ke na guzaratii to bahut achchhaa thaa
khair ha.Ns ke na sahii ro ke guzar jaayegii
raakh barabaad muhabbat kii bachaa rakhii hai.n
baar-baar isako jo chhe.Daa to bikhar jaayegii

aarazuu jurma vafaa jurma tamannaa hai gunaaha
ye vo duniyaa hai jahaa.N pyaar nahii.n ho sakataa
kaise baazaar kaa dastuur tumhe.n samajhaauu.N
bik gayaa jo vo khariidaar nahii.n ho sakataa …

https://www.youtube.com/watch?v=SyFo6IIlCL4

Song #2
Itna to zindagi mein kisi ki khalal padhe……

I hope you enjoyed the first song: Jaane kya dhoondti rehti hain ye aankhen mujhmein from the 1961 movie Shola Aur Shabnam. I hope you stayed till the end of the video with tributes to Kaifi Azmi and Mohammad Rafi.

“At age eleven, Azmi wrote his first ghazal Itna To Zindagi Mein Kisi Ki Khalal Pade and somehow managed to get himself invited to a mushaira and over there, he recited a ghazal, rather a couplet of the ghazal which was very much appreciated by the president of the mushaira, Mani Jaisi, but most of the people, including his father, thought he recited his elder brother’s ghazal. When his elder brother denied it, his father and his clerk decided to test his poetic talent. They gave him one of the lines of a couplet and asked him to write a ghazal in the same meter and rhyme. Azmi accepted the challenge and completed a ghazal. This particular ghazal was to become a rage in undivided India and it was immortalised as it was sung by legendary ghazal singer, Begum Akhtar.”

Young Kaifi (Pic courtesy: azmikaifi.com)

 

Please enjoy this ghazal sung by Begum Akhtar and written by Kaifi Azmi at the age of eleven only!: Itna to zindagi mein kisi ki khalal padhe……

Itna to zindagi me kisi ki khalal pade
hansne se ho sukun na rone se kal pade

jis tarah hans raha hun mai pi pi ke ashk-e-gam
yu dusra hanse to kaleja nikal pade

ekk tum ke tum ko fikre nashibo faraz hai
ekk ham ke chal pade to beharhal chal pade

muddat ke bad us ne jo ki lutf ki nigah
ji khush to ho gaya magar aansu nikal pade

saqi sabhi ko hai game tashnalabi magar
may hai usi ke naam pe jiis ke ubal pade

Song #3
Aaj socha to aansu bhar aaye….

You must have seen in the last ghazal Itna to zindagi mein kisi ki khalal pade that at the very small age of just eleven years, Kaifi Azmi had already got two things: sensitivity of a great poet and the ability to use simplest words to describe the strongest emotions.

Here is, as I mentioned in the introduction itself, a favourite of mine from the 1973 movie Hanste Zakham directed by Chetan Anand.

Kaifi Azmi worked with many music directors. But, the music director who took his lyrics to even greater emotional peaks was Madan Mohan. Madan Mohan had a quality that his notes gnawed on your heart and made you feel as if the lyrics had come alive.

This phenomenon occurred in this song sung by Lata Mangeshkar. Look at the lyrics: the simplest of the words to convey the most powerful thoughts.

Chetan Anand, Priaya Rajvansh, Lata Mangeshkar, Madan Mohan and Kaifi Azmi

Please enjoy: Aaj socha to aansu bhar aaye….

aaj sochaa to aa.Nsuu bhar aae
mud.hdate.n ho ga_I.n muskuraae

har kadam par udhar mu.D ke dekhaa -2
unakii mahafil se ham uTh to aae
aaj sochaa …

dil kii naazuk rage.n TuuTatii hai.n -2
yaad itanaa bhii koI na aae
aaj sochaa …

rah ga_ii zi.ndagii dard banake -2
dard dil me.n chhupaae chhupaae

Song #4
Rote rote guzr gayi raat re….

Kaifi Azmi made himself famous not just as a lyricist and poet but also as a writer and dialogue writer and actor in two movies: Yeh Nazdeekiyan (1982) and Naseem (1996). He won two awards for the 1975 MS Sathyu movie Garam Hawa: for the screenplay, as well as for dialogues. One of the dialogues from the movie is my most unforgettable dialogue and I shall get to that later.

He penned his first lyrics for the Shaheed Latif’s 1951 movie Buzdil that were composed by SD Burman. He penned most of the songs and the great Shailendra penned two. It was his song that was the most popular song of the movie.

Lata Mangeshkar sang it. The song was picturised on Nimmi who had perfected acting on such songs wherein she was either dumped or deceived.

SD Burman and Lata Mangeshkar

Please enjoy: Rote rote guzr gayi raat re….

rote rote guzar gayii
rote rote guzar gayii raat re
aayii yaad terii har baat re
rote rote guzar gayii

nii.nd bhii merii na merii ho sakii
roke shabanam bhii na ye Gam dho sakii
thii mai.n terii par na terii ho sakii
rote rote guzar gayii

Kvaab kii duniyaa uja.Dakar rah gayii
chhiin lii suraj ne ghar kii roshanii
chaa.Nd se hotii hai duur ab chaa.Ndanii
rote rote guzar gayii

pyaar kii gha.Diyaa.N bahut yaad aaye.ngii
yaad aakar raat din ta.Dapaaye.ngii
tumako ye tanhaa_iyaa.N Das jaaye.ngii
rote rote guzar gayii

Song #5

For the 1952 movie Zamane Ki Hawa, Kaif penned two songs. One was a forgettable: Malan to aayi Bikaner se and the other was Akele his tadpata hai zamaana composed by Gulshan Shufi and sung by Talat Mehmood. This too is not much remembered.

For the 1952 movie Bahu Beti (not to be confused with 1965 movie of the same name starring Joy Mukherjee and having lyrics by Sahir including Sab mein shamil ho magar sabse juda lagti ho), Kaifi Azmi penned as many as seven songs, all composed by SD Batish and all sung by Geeta Dutt.

Geeta Dutt with the music director Pandit Shiv Dyal Batish

Here is a song with signature Kaifi Azmi lyrics.

Please enjoy: Khata ho kisi ki saja do kisi ko….

diljala ya diljali ek ek tamanna jal gayi
aag ghar me kya lagi
duniya se duniya jal gayi
haye khata ho kisi ki kisi ko saza do
khata ho kisi ki kisi ko saza do
ye insaf kaisa hai itna bata do
khata ho kisi ki

baharo ke mausam me rona pada hai
zara mujhko rona tadapna sikha do
khata ho kisi ki

bahut yaad aayega bita zamana
mera kya mujhe tum bhula do bhula do
khata ho kisi ki

basai thi kisne murado ki duniya
ha murado ki duniya
agar chahate ho mitana mita do
khata ho kisi ki

bade kimti hai mohabbat ke aansu
mohabbat ke aansu
koi jake un par ye moti luta do
khata ho kisi ki kisi ko saza do
ye insaf kaisa hai itna bata do
khata ho kisi ki

https://www.youtube.com/watch?v=F0-F-oLQSKQ

Song #6

For the next three years he didn’t write any lyrics (it is to be remembered tghough that Kaifi was more famous as a poet and writer than as lyricist in the Hindi movies).

The next movie for which he wrote lyrics was the 1955 movie Sakhi Hatim, for which he penned five songs and Shewan Rizvi one song. All songs were composed by Alla Rakha Qureshi.

Please enjoy Mohammad Rafi sing: Har gareeb ki dua tumhaare saath hai…

har fakeer ki duaa tunhare sath hai
har fakeer ki duaa tunhare sath hai
ruke na raho me kadam khuda tumhare sath hai
ruke na raho me kadam khuda tumhare sath hai

sabi pe maharban tum sabi ke kherva tum
sabi pe maharban tum sabi ke kherva tum
jaha bhi jaoge tum ban ke rahoge badshah tum
jaha bhi jaoge tum ban ke rahoge badshah tum

sabi ke dard gam ki dava tumhare pas hai
sabi ke dard gam ki dava tumhare pas hai
ruke na raho me kadam khuda tumhare sath hai
ruke na raho me kadam khuda tumhare sath hai

luta ke apna takhat taj dilo me kar kiya ghar
luta ke apna takhat taj dilo me kar kiya ghar
lagege motiyo ke dhere najar utaoge jidar
ki rahmato ki jumti gata tumhare sath hai
ki rahmato ki jumti gata tumhare sath hai
ruke na raho me kadam khuda tumhare sath hai
ruke na raho me kadam khuda tumhare sath hai

banegi shyam bin ki banege ke sab bigde kam
banegi shyam bin ki banege ke sab bigde kam
rahega har juba par sada tumhara nek naam
rahega har juba par sada tumhara nek naam
daga hai gair ke liye wafa tumhare sath hai
daga hai gair ke liye wafa tumhare sath hai
ruke na raho me kadam khuda tumhare sath hai
ruke na raho me kadam khuda tumhare sath hai

Song #7
Hai kali kali ke lab par….

Last night we finished with a song from his 1955 movie Sakhi Hatim. Today, we start with his next, the 1957 movie Jannat for which he penned the lyrics of as many as six songs. One of India’s first music duos Husnlal Bhagatram composed the songs:

1. Dil Kiska Hai
2. Gulo Se Khushbu Udayi Tune
3. Khil Gayi Chandni Pyar Ki
4. Mast Ankhen Hai Ki
5. Mera Pyar Hai Yahi Dildar Hai
6. Rang Phulo Me Nahi

Regrettably, I could neither find the lyrics of the songs nor any videos.

That brings us to his 1958 movie Lala Rukh that starred Talat Mahmood and Shyama. Kaifi Azmi paired, for the first time, with music director Khaiyyam, which started a long association between them.

Mohammad Zahur Khayyam – the gentlest composer

Here are the songs that they created:

1. Hai kali kali ke lab par tere husn ka fasaana.
2. Pyaas kuchh aur bhi bhadka di khalak dikhla ke.
3. Tujhko parda rukh-e-roshan se hataana hoga.
4. Leja meri duaayen daaman chhudane waale.
5. Thi ek shehzaadi.
6. Udaas udaas nigaahon mein noor chhalkaao.
7. Alvida jaane wafa tera nigaheban khuda.

Lets take up the ever so popular: Hai kali kali ke lab par….

It was sung by Mohammad Rafi. It is a tavern song.

hai kalii kalii ke lab par, tere husn kaa fasaanaa
mere gulsitaa.N kaa sab kuchh, teraa sirf muskuraanaa

ye khule khule se gesuu, uThe jaise badaliyaa.n sI,
ye jhukii jhukI nigaahe.n, gire jaise bijaliyaa.n sI
tere naachate kadam me.n hai bahaar kA khazaanaa
hai kalii kalii ke lab par, tere husn kaa fasaanaa …

terA jhUmanaa machalanaa, jaise sar (?) badal badal ke
merA dil dha.Dak rahaa hai, tU lachak sambhal sambhalake
kahii.n ruk nA jaaye zaalim is mo.D par zamaanaa
hai kalii kalii ke lab par, tere husn kaa fasaanaa …

https://www.youtube.com/watch?v=4TmtrMFveks

Song #8
Are dekhi zamaane ki yaari, bichhade sabhi baari baari….

That brings us to the 1959 Guru Dutt classic Kaagaz Ke Phool. The movie flopped though in later years it achieved a cult status. Kaifi Azmi came on his own in the movie and he penned the all time best classic song: Waqt ne kiya kyaa haseen sitam sung by Geeta Dutt.

(Poster courtesy: The Quint)

Eventually, Kaagaz Ke Phool came to occupy #160 in best movies of all times.

Kaagaz Ke Phool portended the events to come in Guru Dutt’s real life. In the movie he was a film director whose liaison with Waheeda Rehman was talk of the gossip columns, even though he was a married man. Eventually, he took to alcohol and that’s how Guru Dutt killed himself in real life too.

Look at the songs of the film penned by Kaifi Azmi and composed by SD Burman:

“Dekhi Zamane Ki Yaari” – Mohammad Rafi
“Waqt Ne Kiya Kya Haseen Sitam” – Geeta Dutt
“San San Woh Chali Haawa” – Mohammad Rafi, Asha Bhosle
“Hum Tum Jise Kehta Hain” – Mohammad Rafi
“Ek Do Teen Chaar aur Paanch” – Geeta Dutt
“Ulte Seedhe Dao lagaye” – Mohammad Rafi, Asha Bhosle

We shall be taking up the first two songs tonight.

Lets take up Mohammad Rafi sing the first one and really marvel at the excellence of the lyrics.

Please enjoy: Are dekhi zamaane ki yaari, bichhade sabhi baari baari….

are dekhii zamaane kii yaarii
bichha.De sabhii, bichha.De sabhii baarii baarii
kyaa le ke mile.n ab duniyaa se, aa.NsU ke sivaa kuchh paas nahii.n
yaa phUl hI phUl the daaman me.n, yaa kaa.NTo.n kii bhii aas nahii.n
matalab kii duniyaa hai saarii
bichha.De sabhii, bichha.De sabhii baarii baarii

vaqt hai maharabaa.n, aarazU hai javaa.n
fikr kal kii kare.n, itanii fursat kahaa.N

daur ye chalataa rahe ra.ng uchhalataa rahe
ruup machalataa rahe, jaam badalataa rahe

raat bhar mahamaa.N hai.n bahaare.n yahaa.N
raat gar Dhal gayii phir ye khushiyaa.N kahaa.N
pal bhar kii khushiyaa.N hai.n saarii
ba.Dhane lagii beqaraarii ba.Dhane lagii beqaraarii
are dekhii zamaane kii yaarii
bichha.De sabhii, bichha.De sabhii baarii baarii

u.D jaa u.D jaa pyaase bha.Nvare, ras naa milegaa Kaaro.n me.n
kaagaz ke phUl jahaa.N khilate hai.n, baiTh naa un gulazaaro me.n
naadAn tamannaa retii me.n, ummId kI kashtii khetii hai
ik haath se detii hai duniyaa, sau haatho.n se letii hai
ye khel hai kab se jaarii
bichha.De sabhii, bichha.De sabhii baarii baarii

https://www.youtube.com/watch?v=CAGqPIki0vI

Song #9
Waqt ne kiya kyaa haseen sitam….

I end with the best song ever penned by Kaifi Azmi. It is still counted amongst the most immortal songs ever made. Hats off to Guru Dutt who in 1959 produced the light and shade effect in the movie without having advanced technical equipment during those days.

It is also the best of the singer Geeta Dutt, Guru Dutt’s wife who too killed herself in a few years after she lost Guru Dutt.

The songs lyrics reflect their story more than the story between Guru Dutt playing Suresh Sinha and Waheeda Rehman playing Shanti in the movie.

Guru Dutt with his wife Geeta Dutt and screen-love of several movies Waheeda Rehman

Please enjoy: Waqt ne kiya kya haseen sitam….

vaqt ne kiyaa kyaa ha.nsii.n sitam
tum rahe na tum ham rahe na ham
vaqt ne kiyaa…

beqaraar dil is tarah mile
jis tarah kabhii ham judaa na the
tum bhii kho gae, ham bhii kho gae
ek raah par chalake do qadam
vaqt ne kiyaa…

jaae.nge kahaa.N puuchhataa nahii.n
chal pa.De magar raastaa nahii.n
kyaa talaash hai kuchh pataa nahii.n
bun rahe hai.n dil Kvaab dam-ba-dam
vaqt ne kiyaa…

https://www.youtube.com/watch?v=MZ3S4-bm70s

Song #10
Dekho ye taare khoye khoye…

The next movie for which he penned songs was the 1959 movie Forty Days starring Premnath and Shakila.

All the songs were composed by Babul except one that was composed by Bipin Babul. Here is the list:

  1. Baithe hain rehguzr par dil ka diya jalaye – Asha Bhosle.
  2. Kahjo aake bahaar kare mera singaar – Asha Bhosle, Mukesh.
  3. Main deewana mastana, mushkil bhed mera pa jaana – Mukesh.
  4. Naseeb hoga mera meharbaan kabhi na kabhi – Manna Dey, Asha Bhosle.
  5. Jhooti mohabbat jhootio adayen – Asha Bhosle.
  6. Dekho yeh taare khoye khoye – Asha Bhosle.
  7. Dhadhke dil dildaar ka – Asha Bhosle.
  8. Parbat parbat dera daala, basti basti ghume – Mahendra Kapoor, Asha Bhosle.

Please enjoy: Dekho ye taare khoye khoye….

dekho ye tare khoye khoye,
phulo me sapne soye soye
rut hansi ki aayi haye
aise me dil kyu roye
dekho ye tare khoye khoye,
phulo me sapne soye soye
rut hansi ki aayi haye aise me dil kyu roye
dekho ye tare khoye khoye

dil me khili hai nayi kaliya,
ho jage hai naye naye armaa
dil me khili hai nayi kaliya,
ho jage hai naye naye armaa
tum jara muskurao tum par bahare kurba
dekho ye tare khoye khoye,
phulo me sapne soye soye
rut hansi ki aayi haye
aise me dil kyu roye
dekho ye tare khoye khoye

jiwan ke chalte firte saye,
kho kho ke na koi kuch paye
jiwan ke chalte firte saye,
kho kho ke na koi kuch paye
jab talak aankh uthao duniya badal na jaye
dekho ye tare khoye khoye,
phulo me sapne soye soye
rut hansi ki aayi haye
aise me dil kyu roye
dekho ye tare khoye khoye

https://www.youtube.com/watch?v=jlg8cHa0uO4

Song #11
Batao kya karungi main jab gam ki raat aayegi….

The next movie in which he penned the lyrics was the 1960 Raj Rishi movie Ek Ke Baad Ek that starred Dev Anand and Sharda. Being a Dev Anand movie, you are bound to ask me, if the songs were composed by SD Burman. The answer is yes. After the 1959 Guru Dutt movie Kaagaz Ke Phool, he was back with SD Burman.

SD Burman and Geeta Dutt (Pic courtesy: learningandcreativity.com)

Meanwhile, if the movies appear to be few and far between, please remember that he was active as a writer. His early work as a writer was mainly for Nanubhai Vakil’s films like Yahudi Ki Beti (1956), Parvin (1957), Miss Punjab Mail (1958) and Id Ka Chand (1958).

Returning to Ek Ke Baad Ek, he penned the following songs composed by SD Burman:

1. Ye jhijhakne thumak thumak hai chali hai.
2. Pagli hawa jaane re bairi ghata jaane re.
3. Haath pasaare raste raste sabko sadaaye dete hain.
4. Aao yaaro aao pyaaro dekho khel nirala.
5. Batao kya karungi main jab gam ki raat aayegi.
6. Chali ye fauj hamari re chal.
7. Na tel aur na baati.

Lets listen to this duet between Geeta Dutt and Mohammad Rafi singing for Sharda and Dev Anand: Batao kya karungi main jab gam ki raat aayegi….

batao kya karungi mai jo gum ki raat aayegi
batao kya karungi mai jo gum ki raat aayegi
jo gum ki raat aayegi mai chand banke aaunga
tamam raat khwaab me tumhare jagmagaunga

dikha sakoge khwaab kya jo nind hi na aayegi
dikha sakoge khwaab kya jo nind hi na aayegi
na aaye nind gum nahi mai nind ban ke aaunga
or aake in gulabi akhadiyo ko chum jaunga

jo nind tut jayegi jo subah ji jalayegi
jo nind tut jayegi jo subah ji jalayegi
mai chori chori subah ki hawa ke sath aaunga
or in ghani ghani lato me phul gund jaunga

jo subah bit jayegi jo dhup tan jalayegi
jo subah bit jayegi jo dhup tan jalayegi
jo dhup tan jalayegi ghataye leke aaunga
bhigounga tujhe bhi or khud bhi bhig jaunga

bas intzaar me yuhi ye umar beet jayegi
bas intzaar me yuhi ye umar beet jayegi
ye intzaar ki ghadi kategi baat baat me
magar ye sart hai yuhi rahe ye hath hath me
rahe ye hath hath me
rahe ye hath hath me

Song #12
Zindagi ye usiki hai jo zindagi se khele…

You won’t believe that there was a movie titled Apna Haath Jagannath for which he penned the lyrics in 1960. The movie starred Kishore KLumar and Leela Chitnis and had the following songs, once again composed by Sachin Dev Burman:

1. Tujhe mili roshni mujhko andhera.
2. Apne haathon ko pehchaan.
3. Ghanshyam Ghanshyam, Shyam Shyam re.
4. Banke gulgule jal ke bulbule.
5. Chal ghata bijli kadki.
6. Permit bina is jahan mein.
7. Zindagi ye usiki hai jo zindagi se khele.
8. Tum jahan jahan ham wahan wahan.

Lets listen to this playful song penned by Kaifi sung by and picturised on Kishore Kumar: Zindagi ye usiki hai jo zindagi se khele…

dil ko sambhal tu gum na pal
dabe dade soye soye armaa nikal
jindagi ye uski hai jo jindagi se khele
jindagi ye uski hai jo jindagi se khele
dunia unke pichhe holi jo chal pade akele
dunia unke pichhe holi jo chal pade akele
jindagi ye uski hai jo jindagi se khele

he jaag uthe arman sare raat gum ki biti
dard hara ranj hara dil ne baji jiti
he jaag uthe arman sare raat gum ki biti
dard hara ranj hara dil ne baji jiti
apne aasu mujhko de de mere hasi tu le le
meri hasi tu le le
jindagi ye uski hai jo jindagi se khele

he humne chunri rang ya rang di takdire
chhap di aachalo par dil ki bhi tasvire
he humne chunri rang ya rang di takdire
chhap di aachalo par dil ki bhi tasvire
odh ke ek din dekh le gori mele lagenge mele
mele lagenge mele
jindagi ye uski hai jo jindagi se khele

karke tona totka tab tune himmat hari
bas me tere aaj tak aayi na chanchal nari
dede sadi ek tapa ke baat bane albeli
jindagi ye uski hai jo jindagi se khele
dunia unke pichhe holi jo chal pade akele
jindagi ye uski hai jo jindagi se khele

https://www.youtube.com/watch?v=deN1FC99wVo

Song #13
Jeet hi lenge baazi hum tum…

Yesterday was Navy Day and I was off to Gateway of India for Beating Retreat and Tattoo ceremonies and At Home at C-in-C’s. I am back with you tonight for the fifth day of Kaifi Azmi penned songs.

The last song that we had taken up was for the 1960 movie Apna Haath Jagannath.

The next movie for which he penned songs was the 1961 movie Shola Aur Shabnam, the first major movie of the handsomest actor in Hindi movies: Dharmendra and we have already taken up the song: Jaane kyaa dhondati rehti hain ye aankhen mujh mein on day one itself.

The movie had as many as nine songs, all composed by Khaiyyam including Mummy aur Daddy mein ladayi ho gayi.

This other song, however, is dear to me and many of you and is there in the cover picture of this theme itself. Lata and Mohammad Rafi have sung this. The actress is Tarla Mehta.

And guess what? Dharmendra’s name in the movie was Ravi!

Here is the story from Wiki to know about both the songs:

(Poster courtesy: en.wikipedia.org)

“Ravi or “Bunnu” (Akashdeep) as he’s called at home and Sandhya (Chandrakala) are childhood sweethearts despite Ravi being poor, and Sandhya being rich. Sandhya’s father who is a senior official in the Railways is posted to a distant location, Ravi and Sandhya are separated and out of contact.

Many years later, Ravi (Dharmendra) has matured into a strapping young man. Not being rich or influential, Ravi finds it hard to find a job and decides to approach his friend Prakash (played by M.Rajan). Prakash is a happy-go-luck rich kid, whose family runs a large timber factory amid lush jungles, and is only too happy to hire Ravi at a generous salary (Rs.300 per month, although Ravi asks for only Rs.100).

Prakash’s elder brother is Aakash played by the veteran character actor Abhi Bhattacharya. Aakash is a bachelor, his devious father having caused the suicide of his paramour, a poor village girl. Aakash is often drunk, pining for his lost love, but loves his younger brother dearly and generally spoils him.

Prakash is smitten with and soon to be engaged to, his father’s friend’s daughter Sandhya (Tarla Mehta), who arrives at their jungle home. This is the same Sandhya who had betrothed herself to Ravi in her childhood. Ravi does not recognize her at first, but the moment of truth comes when Prakash asks Ravi to sing a song. This was the same song that Ravi and Sandhya sang in childhood (Jeet hi lenge baazi hum tum), and they both realize it, though neither reveals this secret.

Ravi is still in love with the girl he was separated from in childhood, but does not wish to come in the way of his friend Praskash’s happiness. Sandhya also loves Ravi, and wants to marry him instead of Prakash. Till the climax of the movie, Prakash remains oblivious of the special relationship that Ravi and Sandhya have. Ravi’s feelings for Sandhya are sensed by Aakash who has lost in love himself. Aakash is now faced with a choice: either ignore Ravi and Sandhya’s true love and proceed with the union of Sandhya and Prakash, or break his brother’s Prakash’s heart and side with Ravi & Sandhya.

Oblivious of Ravi’s feelings for Sandhya, Prakash keeps asking him to entice Sandhya towards him. Ravi smilingly soldiers on, trying to find his own happiness in his friend’s. Until, Sandhya threatens to reveal all to Prakash, and break off their engagement (Jaane kya dhoondati rehti hain ye aankhen mujh mein). Faced with this catastrophe, Ravi decides to leave his job with Prakash, and return to his village, but Aakash steps in and persuades him not to leave. Aakash has finally decided to defend the childhood love, against the will of his father.

The seemingly complex love triangle, reaches a climax, with the childhood sweethearts being united, but at the cost of Aakash losing his life in the same manner as his beloved did.”

Please enjoy Lata and Mohammad Rafi sing for Tarla Mehta and Dharmendra this song penned by Kaifi Azmi and composed by Khaiyyam in Raag Bhairavi: Jeet hi lenge baazi hum tum…

rafii:
jiit hii le.nge baazii ham tum, khel adhuuraa chhuuTe na
pyaar kaa ba.ndhan, janm kaa ba.ndhan, janm kaa ba.ndhan TuuTe na

milataa hai jahaa.N dharatii se gagan, aao vahii.n ham jaae.n
tuu mere liye, mai.n tere liye – 2
is duniyaa ko Thukaraaye.n – 2
duur basaa le dil kii jannat – 2
jisako zamaanaa luuTe nA, pyaar kA ba.ndhan

lataa:
milane kii khushI nA milane kA gam, khatm ye jhaga.De ho jaae.n
tU tU nA rahe, mai.n mai.n nA rahuu.N – 2
ik duuje mai.n kho jaae.n – 2
mai.n bhI nA chho.Duu.n pal bhar daaman – 2
tU bhI pal bhar ruuThe nA, pyaar kA ba.ndhan …

https://www.youtube.com/watch?v=wrFAUJADF1c

Song #14
Dhadakte dil ki tamanna ho mera pyaar ho tum….

In the last song from Shola Aur Shabnam, after I gave you the background and the story, you must have had goose pimples when, in the second stanza, she starts singing with him, her childhood love, after they accidentally meet after years. That’s Kaifi Azmi for you. Unlike many of the lyricists of present day who have already penned thousands of songs, Kaifi penned very few but these are memorable.

It must be becoming more and more interesting for you. And I can hear a sigh from you as I turn to the next song: Dhadakte dil ki tamanaa ho mera pyaar ho tum from Lekhraj Bhakri’s 1961 movie: Shama that starred Suraiya and Nimmi. The story is that of a woman who experiences total heartbreak after arranging the marriage of her love to another woman (Nimmi often played those roles).

The movie had a number of songs composed by Ghulam Mohammad:

1. Aapase pyaar huaa jaataa hai.
2. Dha.Dakate dil kii tamannaa ho meraa pyaar ho tum.
3. Dil Gam se jal rahaa hai jale, par dhuaa.N na ho.
4. Dil gayaa to gayaa dilarubaa mil gayaa.
5. Ek jurm karake hamane chaahaa thaa muskuraanaa.
6. Insaaf teraa dekhaa ai saaqii\-e\-mayaKaanaa.
7. Mast aa.Nkho.n me.n sharaarat kabhii aisii to na thii.
8. Mere mahabuub tujhe pyaar karuu.N yaa na karuu.N.
9. Unakaa ba.Dhaa jo haath yahaa.N dil luTaa diyaa.
10. Wo saadagii kahe.n ise diiwaanagii kahe.n.
11. Yaas ke dar pe jhukaa jaataa hai sar aaj kii raat.

We shall be taking up the first three songs; two tonight and one tomorrow.

Lets take this ever popular number composed by Ghulam Mohammad in Raag Pilu, Tal Kaherava, to which Suraiya lent her voice: Dhadakte dil ki tamanna ho mera pyaar ho tum….

dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(mujhe qaraar nahii.n) – 2
(jab se beqaraar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

(khilaao phuul kisii ke kisii chaman men raho) – 2
jo dil kii raah se (guzarii hai vo bahaar ho tum) – 2

(zah-e-nasiib ataa kii jo dard kii sauGaat) – 2
vo Gam hasiin hai jis (Gam ke zimmedaar ho tum) -2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

cha.Daauu.N phuul yaa aa.Nsuu tumhaare qadamo.n me.n
merii vafaao.n ke (ulfat kii yaadagaar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum

https://www.youtube.com/watch?v=M64silP33xY

Song #15
Dil gam se jal raha hai, par dhuaan na ho….

Ghulam Mohammad, at that time, was a protege of Naushad Ali even though older to the latter by nine years. His last movie Pakeezah’s unfinished songs, after his death, were finally composed by Naushad!

We take up just one more song tonight; a very sad song picturised on the “other woman” in the movie: Nimmi, in the title role of Shama.

This was sung by Suman Kalyanpur.

In all these songs, and particularly in this one, you will immediately identify that attribute of Kaifi Azmi: powerful thoughts in simple and smallest words.

Please enjoy: Dil gam se jal raha hai, par dhuaan na ho….

dil Gam se jal rahaa hai jale, par dhuaa.N na ho
mumakin hai isake baad koii, imtehaa.n na ho

(knock knock! “Shama, Shama darwaaza khol do” )
duniyaa to kyaa Kudaa se bhii ghabaraake kah diyaa -2
woh maharbaa.n nahii.n to koii maharbaa.n na ho
dil Gam se …

luuTaa Kushii ne aag lagaa dii bahaar ne -2
barabaad is tarah bhii kisii kaa jahaa.N na ho
dil Gam se …

ab to vahii.n sukuu.n milegaa mujhe jahaa.N -2
ye sa.ngadil zamii.n na ho, aasmaa.n na ho

dil Gam se jal rahaa hai jale, par dhuaa.N na ho

Song #16
Aap se pyaar huaa jaata hai….

Last night, before packing up, we had taken up two out of the three songs that we had selected from the 1961 movie Shama starring Nimmi in the title role and Suraiya as the other woman whose marriage with her (Nimmi’s) love was arranged by Nimmi herself, rendering her totally broken-hearted.

We resume today (we start early as I shall be going in the evening to watch Kahaani – 2; the other movie Dear Zindagi totally avoided by me being a Karan Johar movie and I having not forgiven him for insulting Mohammad Rafi in his Ae Dil Hai Mushkil and hence having decided never to see anything remotely connected with Karan Johar) with the third song from Shama.

This too has been sung by Suraiya on the lyrics of Kaifi Azmi and composition of Ghulam Mohammad. Think of ‘simple words describing powerful feelings’, a trait perfected by Kaifi ji.

Please enjoy: Aap se pyaar huaa jaata hai….

aap se pyaar huaa jaataa hai
khel dushvaar huaa jaataa hai

tumane kyo.n pyaar se dekhaa mujhako – 2
dard bezaar huaa jaataa hai

is tamanna me.n ki tum doge sazaa, tum doge sazaa
dil gunaahaGaar hu_aa jaataa hai

dil jo har qaid se ghabaraataa thaa, ghabaraataa thaa
Kud hii giraftaar huaa jaataa hai

Song #17
Ye nayan dare dare…..

In the next movie, the 1961 Devender Goel movie Razia Sultan, starring Nirupa Roy in the title role, with Jairaj, most of the songs were penned by Anand Bakshi and Asad Bhopali and Kaifi Azmi had just one song: Aaja re deewane.

In the next movie, the 1962 movie Naqli Nawab, the credit for writing the songs went equally to Raja Mehdi Ali Khan and Kaifi Irfani. Kaifi Azmi penned only one: Tum poochhate ho ishq bhala hai ki nahin picturised on Manoj Kumar.

And that brings us to the 1964 movie Kohraa, one of the gems in the lyrical crown of Kaifi Azmi. My favourite Hemant Kumar composed the following and sang the best (first one) of them:

1. Ye nayan dare dare.
2. Jhuum jhuum dhalti raat.
3. O beqraar dil.
4. Raah bani khud manzil.
5. Kaahe bajayi tune.

We shall be taking up the first four; two today and two tomorrow.

Lets first listen to one of the best of Hemant Kumar on his own composition and lyrics of Kaifi Azmi.

Please enjoy: Ye nayan dare dare…..

ye nayan Dare Dare, ye jaam bhare bhare
zaraa piine do
kal kii kisako khabar, ik raat hoke niDar
mujhe jiine do
ye nayan Dare Dare …

(raat hasii.n ye chaa.Nd hasii.n
par sabase hasii.n mere dilabar ) – 2
aur tujhase hasii.n, aur tujhase hasii.n terA pyaar
tU jaane nA
ye nayan Dare Dare …

(pyaar me hai jiivan kii khushii
detii hai khushii kaI gam bhii ) – 2
mai maan bhii luu.N, mai maan bhii luu.N kabhii haar
tU maane nA
ye nayan Dare Dare …

Song #18
Jhuum jhuum dhalti raat…..

The last song today is also from the 1964 movie Kohraa starring Biswajeet and Waheeda Rehman. He is the jagirdaar of a riyaasat and seeks to marry Waheeda after his first wife passes away. It seems that the haveli is totally in the grip of the first wife who had rich and polished ways. Waheeda knows that Biswajeet loves her a lot but she still passes her days in the haveli in the shadow of his dead wife. It is slowly and most beautifully revelealed that she, the first wife, had her licentious ways and Biswajeet actually hated her like anything.

It appears to Waheeda Rehman that the shadow of Biswajeet’s first wife is always there in the haveli

The one song that keeps recurring in the movie is this and it became very popular when the movie was released. Hats off to Kaifi Azmi to so ably describe, through this song, the licentious ways of Biswajeet’s first wife.

Once again, the marvelous composition is that of Hemant Kumar and the voice is that of Lata Mangeshkar.

Please enjoy: Jhuum jhuum dhalti raat…..

jhuum jhuum Dhalatii raat
leke chalii mujhe apane saath
jhuum jhuum Dhalatii raat …

jaane kahaa.N le jaaye dard bharaa ye dil
jaise sadaa detii hai kho_ii huii ma.nzil
jaise sadaa detii hai…
chho.Do piyaa meraa chho.Do haath
jhuum jhuum Dhalatii raat …

haal ye hai mastii kaa, saa.Ns lagii thamane
utane rahe pyaase ham jitanii bhii pii hamane
utane rahe pyaase ham…
Gam ko ba.Dhaa ga_ii Gam kii raat
jhuum jhuum Dhalatii raat …

jisako ko_ii samajhe naa, baat na vo doharaa
meraa teraa jiivan kyaa, chhaayaa hu_aa koharaa
meraa teraa jiivan kyaa …
kisane sunii kabhii dil kii baat
jhuum jhuum Dhalatii raat …

https://www.youtube.com/watch?v=ctJF3Cm2atQ

Song #19
O beqraar dil…..

We took up two songs from the 1964 movie Kohraa yesterday with the promise that we shall return tonight with two more.

Before that, here is a gem of information about Kaifi Azmi from his official website:

“Kaifi Azmi was a rare poet who practiced what he preached. A brain hemorrhage on 8th February 1973 paralysed him and rendered his left hand and left leg incapacitated for life. Instead of giving up in despair he decided to leave the comforts of Bombay and settle in Mijwan the tiny village in Azamgarh Eastern UP in which he was born. Mijwan was an obscure village untouched by development and didn’t even have a pin code. Today it is known all over the world because of Kaifi’s untiring efforts to uplift the village. He set up an NGO Mijwan Welfare Society for the empowerment of women with a focus on the girlchild.”

Imagine that!

O beqraaraar dil was composed by Hemant Kumar in Lata‘s favourite raaga: Raag Bhimpalasi, Tal Dadra and she sang it well for the heroine Waheeda Rehman.

The song’s lyrics are, you guessed it, so powerful that they gnaw at your inner spaces and make a place for themselves even if you ain’t a woman. It takes a sensitive poet/lyricist to write in this vein. You will also agree with me that even my favourite Hemant Kumar has handled it with great sensitivity to bring out her mixed feelings at being asked by Biswajeet to marry him even though she has been brought up as and hence used to being a lonely child.

Please enjoy: O beqraar dil……AND PLEASE DO NOT OMIT TO SEE THE ORIGINAL BENGALI SONG SUNG BY HEMANT KUMAR FROM WHERE THIS TUNE WAS TAKEN BY HEMANT DA! (It is at the end of the video that I have given you)

ahaa haa haa …
ahaa haa haa

o beqaraar dil
ho chukaa hai mujhako aa.Nsuuo.n se pyaar
mujhe tuu Kushii na dena
na_ii zi.ndagii na de

milii chaman ko bahaar
ha.Nsii phuul ko milii
giit koyal ko mile
aur mai.n ne paa_ii Kaamoshii
mujhe baa.Nsurii na de ko_ii raaginii na de
o beqaraar dil …

kaalii ghaTaa ghir ke ghaTaa chhaaye
aur pyaasii kalii Gam kii jalii taras taras jaaye

rahe sadaa jo meraa
vahii merii zi.ndagii
hai roz a.ndheraa
aur chaar din kii chaa.Ndanii
mujhe chaa.Ndanii na de mujhe raushanii na de
o beqaraar dil …

Song #20
Raah bani khud manzil…

And now the last song from the 1964 movie Kohraa whose songs were penned so well by Kaifi Azmi that these are amongst his immortal songs.

There is no greater enchantment than Hemant Kumar singing on his own composition. Raah bani khud manzil has that quiet resolve about it, the kind of dignified resolve that suits both the greats: Kaifi and Hemant da.

Please enjoy: Raah bani khud manzil…..

raah banii Kud ma.nzil piichhe rah ga_e mushkil
saath jo aa_e tum
raah banii Kud ma.nzil …

dekho phuul ban ke saarii dharatii khil parii
guzare aarazuu ke raaste.n the jis gha.Dii
jis me churaa_e tum
raah banii Kud ma.nzil …

jharanaa gaa rahii hai merii dil kii daastaa.N
merii pyaas lekar chhaa rahii hai.n mastiiyaa.N
jin me nahaa_e tum
raah banii Kud ma.nzil …

pa.nchhii uu.D ga_e sab gaa ke naGamaa pyaar kaa
lekin dil ne aisaa jaal phekaa pyaar kaa
u.Dane na paa_e tum
raah banii Kud ma.nzil …

https://www.youtube.com/watch?v=DZeW52TQrUE

Song #21
Hoke majboor mujhe usne bhulaya hoga…

In Chetan Anand’s 1964 movie Haqeeqat, Kaifi Azmi was back with what is regarded as his best pairing: with Madan Mohan.

The movie starring Balraj Sahni, Dharmendra, Priya Rajvansh, Sanjay Khan, Vijay Anand, Jayant and Sudhir is often quoted as a war movie (about 1962 Sino-Indian War) that was made with great sensitivity and broughout out the truth (Haqeeqat) of the conditions in which our soldiers had to fightr in Ladakh; a war having been imposed by and resulted into a debacle by the faulty policies of Pandit Jawahar Lal Nehru.

Kaifi Azmi and Madan Mohan created the following immortal songs for the movie:

1 Hoke Majbur Mujhe Usne Bhulaya Hoga Mohammed Rafi, Talat Mahmood, Manna Dey & Bhupinder Singh
2 Ab Tumhare Hawale Watan Sathiyon Mohammed Rafi
3 Zara Si Aahat Hoti Hai To Dil Sochta Hai Lata Mangeshkar
4 Masti Me Chhedke Tarana Koi Dil Ka Mohammed Rafi
5 Khelo Naa Mere Dil Se O Mere Saajanaa Lata Mangeshkar
6 Aai Ab Ki Saal Divaali Munh Par Apane Kun Male Lata Mangeshkar
7 Main Ye Sochkar Uske Dar Se Uthaa Thaa Mohammed Rafi

The song Hoke majboor mujhe usne bhualaya hoga has been sung by Mohammad Rafi, Talat Mehmood, Manna Dey and Bhupinder for four different soldiers expressing their feelings of hopelessness in a desolate place in Ladakh. Not just the singing and composition by Madan Mohan, if you listen to the song carefully, it would occur to you that Kaifi Azmi has indeed used words with great sensitivity indeed at two planes: One, he has expresed the feelings of the soldiers and through them the emotions of their wives and beloveds.

Please enjoy: Hoke majboor mujhe usne bhulaya hoga….

hoke majabuur mujhe usane bhulaayaa hogaa
zahar chupake se davaa jaanake khaayaa hogaa
hoke majabuur…

bhuupi.ndar: dil ne aise bhii kuchh afasaane sunaae ho.nge
ashq aa.Nkho.n ne piye aur na bahaae ho.nge
band kamare me.n jo khat mere jalaae ho.nge
ek ik harf jabii.n par ubhar aayaa hogaa

rafii: usane ghabaraake nazar laakh bachaaii hogii
dil kii luTatii huii duniyaa nazar aaii hogii
mez se jab merii tasviir haTaaii hogii
har taraf mujhako ta.Dapataa huaa paayaa hogaa
hoke majabuur…

talat: chhe.D kii baat pe aramaa.N machal aae ho.nge
Gam dikhaave kii ha.Nsii ne na chhupaae ho.nge
naam par mere jab aa.Nsuu nikal aae ho.nge – (2)
sar na kaa.Ndhe se sahelii ke uThaayaa hogaa

mannaa De: zulf zid karake kisii ne jo banaaii hogii
aur bhii Gam kii ghaTaa mukha.De pe chhaaii hogii
bijalii nazaro.n ne ka_ii din na giraaii hogii
ra.Ng chahare pe ka_ii roz na aayaa hogaa
hoke majabuur…

Song #22

Last night we had started taking up songs of the 1964 Chetan Anand movie Haqeeqat in which Kaifi Azmi paired with the maestro Madan Mohan to create some of his most memorable songs.

We took up one sung by Bhupinder, Rafi, Talat and Manna Dey for the four soldiers in the wilderness of Ladakh whilst fighting a war against the Chinese from 20th to 21st Nov 1962: Hoke majboor mujhe..

I had told you that we would be taking up four.

We start with a song that doesn’t return to mukhada after every antara but is continuous like a nazm. Yes, I am talking about Main ye soch kar uske dar se utha tha. Equal credit for the song goes to all three: Kaifi for the remarkably beautiful and rueful lyrics, Madan Mohan for the exact composition that the lyrics deserved and Mohammad Rafi for its soulful singing.

The effect of the violin played by Music Director Pyarelal in this song also takes the song to a new height.

Please enjoy: Main ye soch kar uske dar se utha tha….

mai.n ye sochakar usake dar se uThaa thaa
ke vo rok legii manaa legii mujhako

havaao.n me.n laharaataa aataa thaa daaman
ke daaman paka.Dakar biThaa legii mujhako

kadam aise a.ndaaz se uTh rahe the
ke aavaaz dekar bulaa legii mujhako

magar usane rokaa
na usane manaayaa
na daaman hii paka.Daa
na mujhako biThaayaa
na aavaaz hii dii
na vaapas bulaayaa

mai.n aahistaa aahistaa ba.Dhataa hii aayaa
yahaa.N tak ke usase judaa ho gayaa mai.n …

https://www.youtube.com/watch?v=6p6VvdCuxJM

With this we finish with Part I of the best songs of Kaifi Azmi, our third lyricist, after Shailendra and Rajinder Krishan in the great lyricist series on my Facebook page Lyrical.

I shall be giving you another 44 songs in the next two parts.

Please remain tuned in.

THE BEST SONGS OF RAJENDRA KRISHAN, THE RICHEST LYRICIST

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 Rajendra Krishan have been reconstructed from the same page. Rajendra Krishan was considered the richest lyricist, writer and poet not only because he won a jackpot of Rupees 46 Lakhs in horse-racing.

Song #1
Mujhase mat poochh tere ishq mein kyaa rakha hai….

The era in which Shakeel Badayuni was active, belonged to Lyricists. Since the success of the movies’ success primarily depended upon their songs, and since songs were appreciated for their lyrics, the Lyricists were centre stage. One such lyricist of that era was Rajinder Krishan (he preferred to write his name with these spellings though his titles used various combos, the most frequent being Rajendra Krishan). I think of him as ‘Simla boy’ (my home station) since although he was born in Jalalapur Jatan (that part of Gujarat, which is now in Pakistan), his boyhood and early manhood was spent in Simla where he was a clerk in the elctricity department.

Rajendra Krishan1

I share another interesting thing with him, in that a quarter of century later after he was born, I too was born on the 6th of June!

Even before I was born, he left Simla (now Shimla) and came to Bombay (now Mumbai) to try his luck in the Hindi film industry that had shifted there from Calcutta (now Kolkata).

One of the first music directors that he was associated with as Lyricist (initially, he tried his hand as a screenwriter) was C Ramchandra.

The movie from which I have taken this song to tell you about matching lyrics with Shakeel Badayuni was the 1953 movie Anarkali (earlier he wrote lyrics for the songs of Amar Kahani (1949; with MD Husanlal Bhagatram), Albela (1951; with C Ramchandra), Araam (1951; with Anil Biswas) and Ladki (1953; with R. Sudarsanam and Dhaniram).

Ananrkali was his second movie with C Ramchandra. Initially the MD was Vasant Prakash and after his death C Ramchandra took over. Its 11 songs were penned by four lyricist: Rajinder Krishan penned four of them and the others were by Shailendra, Hasrat Jaipuri and Jaan Nisar Akhtar (Jawed Akhtar’s father).

Some of you would tell me that Rajinder Krishan’s best lyrics are to be found in Adaalat (1958) and Jahan Ara (1964). But, those we shall come to later. Lets get on with 1953 movie Anarkali.

The story is thew same as that of Mughal-e-Azam (which came later) and hence I shall not repeat that. Pradeep Kumar acted as Prince Salim, Bina Rai as the courtesan Anarkali in the court of Emperor Akbar and Noor Jahan as Nur Jehan.

I feel that Rajinder Krishan excelled in the lyrics of this song in the very early stages of his career. The third stanza is so exquisite that at least I am rendered speechless with its simple beauty.

One more thing. Seven years later, Shakeel and Naushad created the songs of Mughal-e-Azam and they became iconic. However, Anarkali songs are as fondly remembered as of Mughal-e-Azam.

Please enjoy: Mujhase mat poochh tere ishq mein kyaa rakha hai….

dil kii lagii hai kyaa, ye kabhii dil lagaake dekh
aa.Nsuu bahaake dekh kabhii muskaraake dekh
paravaanaa jal rahaa hai magar jal rahaa hai kyaa
ye raaz jaananaa hai to khud ko jalaake dekh

mujh se mat puuchh mere ishq me.n kyA rakhaa hai
ek sholaa hai jo siine me.n chhuupaa rakhaa hai

daag-e-dil daag-e-jigar daag-e-tamannaa lekar (2)
mai.n ne viiraan bahaaro.n ko sajaa rakhaa hai
mujh se mat puuchh

hai zamaanaa jise betaab miTaane ke liye (2)
mai.nne us yaad ko siine se lagaa rakhaa hai
mujh se mat puuchh

bhUlanevaale tujhe dard-e-muhabbat kii kasam (2)
mai.n ne is dard me.n duniyA ko bhulaa rakh hai
mujh se mat puuchh

Song #2
Shola jo bhadke…

The 1951 movie Albela was another one in which Rajinder Krishan paired with C Ramchandra to make some very memorable songs. The movie was written and directed by Bhagwan Dada who became famous for his moonwalk style of dancing in the movie. Geeta Bali acted opposite him. Two years after its Hindi release The film was later dubbed in Tamil as Nalla Pillai in 1953.

(Pic courtesy: wbmallindia)

Rajinder Krishan and C Ramchandra created the following songs:

1 Dil Dhadke Nazar Sharmaye Lata Mangeshkar Rajinder Krishan 03:07
2 Dheere Se Aaja Ri Ankhiyon Mein Lata Mangeshkar & Chitalkar Rajinder Krishan 03:21
3 Shola Jo Bhadke Lata Mangeshkar & Chitalkar Rajinder Krishan 03:31
4 Shaam Dhale Khidki Tale Lata Mangeshkar & Chitalkar Rajinder Krishan 03:42
5 Balma Bada Nadan Hai Lata Mangeshkar Rajinder Krishan 02:57
6 Deewana Parwana Lata Mangeshkar & Chitalkar Rajinder Krishan 04:58
7 Bholi Soorat Dil Ke Khote Lata Mangeshkar & Chitalkar Rajinder Krishan 03:54
8 Devta Mana Aur Pooja Lata Mangeshkar Rajinder Krishan 03:35
9 Qismat Ki Hawa Kabhi Naram Chitalkar Rajinder Krishan 03:53
10 Haseenon Se Muhabbat Ka Bura Anjaam Chitalkar Rajinder Krishan 02:59
11 Diwana Aagaya Lata Mangeshkar & Mohammed Rafi Rajinder Krishan 03:07
12 Teri Yaad Ne Mara Lata Mangeshkar & Chitalkar Rajinder Krishan 03:44

All songs of the movie became very popular. Shola jo bhadke was the most popular and has been recently remixed with Vidya Balan.

Please enjoy: Shola jo bhadke…..

Sholaa jo bha.Dake dil meraa dha.Dake
dard javaanii kaa sataae ba.Dh-ba.Dh ke

mahakii havaae.n bahake kadam mere
aise me.n thaam lo aa ke balam more
pattaa bhii kha.Dake to bijalii sii ka.Dake, dard …

pyaar ko mere kisane pukaaraa
dil me.n utar gayaa kisakaa ishaaraa
yaad ye kisakii laa_I paka.D ke, dard …

dekhaa jo tumako dard huaa kam
ab to na ho.nge tumase judaa ham

https://www.youtube.com/watch?v=FkXVfGi7QVg

Song #3
Chup chup khade ho

Badi Behan was only his second movie, after Amar Kahani, for which he wrote songs. He shared credit for writing songs for the movie with Qamar Jalalabadi; he wrote 5 of the 8 songs. Whilst Qamar penned Woh pass rahen ya door rahen, Rajinder too penned some really beautiful numbers. Husnlal Bhagatram, Hindi movies’ first music duo, composed the songs.

Husnlal Bhagatram, Hindi movies’ first music duo (Pic courtesy: Bollywooddirect)

Have a look a the list of the songs:

1 Ho Likhnewale Ne Likh Di Suraiya Rajinder Krishna
2 Bigdi Bananewale Suraiya Qamar Jalalabadi
3 Chup Chup Khade Ho Lata Mangeshkar & Premlata Rajinder Krishna
4 Woh Paas Rahe Ya Door Suraiya Qamar Jalalabadi
5 Mohabbat Ke Dhoke Mein Mohd. Rafi Rajinder Krishna
6 Jo Dil Mein Khushi Ban Kar Aai Lata Mangeshkar Rajinder Krishna
7 Chale Jana Nahin Lata Mangeshkar Rajinder Krishna
8 Tum Mujh Ko Bhool Jao Suraiya Qamar Jalalabadi

Please enjoy a very popular song of our days sung by Lata Mangeshkar and Premlata: Chup chup khade ho zaroor koi baat hai….

Chup-chup kha.De ho zarUr koI bAt hai
pahalI mulAqAt hai jI pahalI mulAqAt hai – 2
chup-chup kha.De ho …

(sAjan kI bAt par, gussA jo A gayA
zulfo.n kA bAdal, gAlo.n pe chhA gayA – 2 ) – 2
abhI-abhI din thA abhI-abhI rAt hai – 2
pahalI mulAqAt hai jI pahalI mulAqAt hai – 2
chup-chup kha.De ho …

(pahalI mulAqAt me.n, bAt aisI ho gaI
rAjA bhI kho gayA, (rAnI bhI kho gaI – 2 )) – 2
dono ko na patA chalA maze kI ye bAt hai – 2
pahalI mulAqAt hai jI pahalI mulAqAt hai – 2
chup-chup kha.De ho …

Song #4
Remembering Sadhana on Her Birth Anniversary
Love ka matlab hai pyaar….

Sadhana had left us on the Christmas morning of 2015. I started giving you these songs yesterday, 01 Sep 16; and today, 02 Sep happens to be her first birth anniversary after her demise. Today, I shall give you three songs of Sadhana penned by Rajinder Krishan.

As luck would have it, Rajinder Krishan penned the songs for Sadhana’s debut movie in 1960: Love in Simla (the place where Rajinder Krishan was working as a clerk before going to Bombay to join Hindi movies) that was produced by Sashadhar Mukherjee and hence starred his son Joy Mukherjee in the lead role. The movie was directed by RK Nayyar. He and Sadhana fell in love during the making of the movie and married thereafter.

Sadhana’s wedding picture with Ram Krishan Nayyar (Pic courtesy: cineplot.com)

Iqbal Qureshi composed the songs:

  1. “A Be Baby A A Ji” – Asha Bhosle, Mohammed Rafi
  2. “Alif Zabar Aaa Alif Zer Ae Alif Pesh O” – Mohammed Rafi, Sudha Malhotra
  3. “Dar Pe Aaye Hain” – Mukesh
  4. “Dil Tham Chale Hum Aaj Kidhar” – Mohammed Rafi
  5. “Dil Tham Chale Hum Aaj Kidhar v2” – Mohammed Rafi
  6. “Gaal Gulabi Kiske Hai” – Mohammed Rafi
  7. “Hasinon Ki Sawari Hai” – Mohammed Rafi, Suman Kalyanpur
  8. “Husnwale Wafa Nahi Karte” – Mohammed Rafi, Shamshad Begum
  9. “Kiya Hai Dilruba Pyar Bhi Kabhi” – Mohammed Rafi, Asha Bhosle
  10. “Love Ka Matlab Hai Pyar” – Mohammed Rafi, Asha Bhosle
  11. “Muskuraye Khet Payse Tarse Tarse” – Mohammed Rafi, Suman Kalyanpur
  12. “Wo Zindagi Ke Raaste” – Mohammed Rafi
Iqbal Qureshi with Mohammad Rafi

Please enjoy Mohammad Rafi and Asha Bhosle sing for Joy Mukherjee and Sadhana respectively: Love ka matlab hai pyaar….

l o v e love, love## kaa matalab hai pyaar
pyaar dilo.n kaa qaraar -2

baat ek nazar kii khel ek adaa kaa
gul khilaane vaalaa pyaar jho.nkaa havaa kaa
dil milaakar dil se dekho kyaa hai ra.ng-e-bahaar -2
##love## kaa matalab hai …

ek ha.Nsii ho.nTho.n pe ik hayaa aa.Nkho.n me.n
jo vafaa na ho to ye dil do gha.Dii kaa khumaar
##love## kaa matalab hai …

Kuubasuurat baate.n aur khud bhii hasii.n ho
tum bhii saare jahaa.N me.n kisii se kam nahii.n ho
husn dhokhaa aa.Nkh kaa hai aise dhokhe hazaar -2
##love## kaa matalab hai …

Song #5
Remembering Sadhana on Her Birth Anniversary
Main to tum sang nain milake….

Sadhana was established as a fine actress in her debut film itself that had songs penned by Rajinder Krishan. Two years later Rajinder Krishan repeated the magic for her 1962 movie Manmauji that starred Kishore Kumar opposite her. Rajinder Krishan paired with Madan Mohan, a pairing that created some of the best songs of Lata Mangeshkar. It is also a fact that some of Lata’s best songs have been lip-synced by Sadhana.

Rajinder Krishan always preferred to be low-profile. Here is a rare picture of his with Sadhana

Here is the list of songs created by Rajinder Krishan and Madan Mohan:

1 Mai Toh Tum Sang Nain Milake Lata Mangeshkar 03:31
2 Chanda Ja, Chanda Ja Re Ja Lata Mangeshkar 03:24
3 Zaroorat Hai Zaroorat Hai Kishore Kumar 04:25
4 Ek Thaa Abdul Rahamaan Kishore Kumar, Lata Mangeshkar 04:10
5 Murge Ne Jhooth Bola (Kamal Barot) Kamal Barot 03:07
6 Aaya Hai Kahan Se Pee Ke Lata Mangeshkar 03:31
7 Buraa Lagataa Hai Kishore Kumar 03:27
8 Murge Ne Jhooth Bola (Asha Bhosle) Asha Bhosle 01:36

The song Main to tum sang nain milake is one of the top songs of Lata for Sadhana, the top most being O sajana barkha bahaar aayi for the movie Parakh that was penned by Shailendra and composed by Salil Chowdhury.

Please enjoy: Main to tum sang nain milake….

mai.n to tum sa.ng, nain milA ke
hAr gaI sajanA, ho, hAr gaI sajanA
mai.n to tum sa.ng, nain milA ke
hAr gaI sajanA, ho, hAr gaI sajanA

kyU.N jhUThe se prIt lagAI – 2
kyU.N chhaliye ko mIt banAyA
kyU.N A.ndhI me.n dIp jalAyA
mai.n to tum sa.ng …

sapane me.n jo bAG lagAe
nI.nd khulI to vIrAne the
ham bhI kitane dIvAne the
mai.n to tum sa.ng …

nA milatI.n ye bairan a.NkhiyA.n
chain na jAtA dil bhI ne rotA
kAsh kisI se pyAr na hotA
mai.n to tum sa.ng …

Song #6
Remembering Sadhana on Her Birth Anniversary
Chanda ja, Chanda ja re ja….

The 1962 movie Manmauji that starred Sadhana and Kishore Kumar had another Lata Mangeshkar song that was penned by Rajinder Krishan and composed by Madan Mohan.

Rajinder Krishan, Madan Mohan and Lata Mngeshkar (pic courtesy: cinestaan.com)

Please enjoy: Chanda ja, Chanda ja re ja…

laa laa laa laa laa laa
chandaa jaa chandaa jaa re jaa re -2
kaahe aayaa hai akelaa tujhe maanuu.N alabelaa
mere piyaa ko bhii sa.ng le aa

chandaa jaa …

aa tujhako pahachaan bataa duu.N vo lagataa hai kaisaa
nadiyaa me.n mukh dekh le apanaa vo bhii hogaa waisaa
vo jo aaye to bi.ndiyaa sajaa duu.N
kaalii-kaalii ye laT bikharaa duu.N
meraa itanaa sa.ndesaa de aa

chandaa jaa …

dekh use kahanaa merii ni.ndiyaa ho ga_ii sautan merii
mere sa.ng-sa.ng bairan hogii baaT takat hai terii
chandaa denaa tuu merii gawaahii
ham dono.n hai.n pyaar ke raahii
bas itanaa to saath nibhaa

chandaa jaa …

Song #7
Dheere se aaja ri akhiyan mein…

On the first day, we had just started taking on songs of 1951 movie Albela and then since it was Sadhana’s first birth anniversary after her demise on 25th Dec last year, I took up three songs that he wrote for her movies.

Lets now take up the lullaby song of Albela: Dheere se aaja ri akhiyon mein that has been sung in the movie twice; once solo by Lata Mangeshkar and then as a duet with Chitalkar just singing the mukhada and Lata singing the rest. C Ramchandra composed it in Raag Pilu, Tal Dadra and here it is the version sung by Lata Mangeshkar.

Please enjoy: Dheere se aaja ri akhiyan mein…..

Dhiire se aajaa rii a.Nkhiyan me.n
ni.ndiyaa aajaa rii aajaa, dhiire se aajaa
chhoTe se nainan kii bagiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa

o …
lekar suhaane sapano.n kii kaliyaa.N, sapano.n kii kaliyaa.N
aake basaa de palako.n kii galiyaa.N, palako.n kii galiyaa.N
palako.n kii chhoTii sii galiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …

o …
taaro.n se chhup kar taaro.n se chorii, taaro.n se chorii
detii hai rajanii cha.Ndaa ko lorii, cha.Ndaa ko lorii
ha.Nsataa hai cha.Ndaa bhii nindiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …

Sad / Duet version
dhiire se aajaa rii a.Nkhiyan me.n
ni.ndiyaa aajaa rii aajaa, dhiire se aajaa
chhoTe se nainan kii bagiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa

o …
aa.Nkhe.n to sab kii hai.n ik jaisii
jaisii amiiro.n kii, gariibo.n kii vaisii
palako.n kii suunii sii galiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …

o …
jagatii hai a.Nkhiyaa.N sotii hai qismat, sotii hai qismat
dushman gariibo.n kii hotii hai qismat, hotii hai qismat
dam bhar gariibo.n kii kuTiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …

sholaa jo bha.Dake dil meraa dha.Dake
dard javaanii kaa sataae ba.Dh-ba.Dh ke

mahakii havaae.n bahake kadam mere
aise me.n thaam lo aa ke balam more
pattaa bhii kha.Dake to bijalii sii ka.Dake, dard …

pyaar ko mere kisane pukaaraa
dil me.n utar gayaa kisakaa ishaaraa
yaad ye kisakii laa_I paka.D ke, dard …

dekhaa jo tumako dard huaa kam
ab to na ho.nge tumase judaa ham

https://www.youtube.com/watch?v=8h94Qg1g-JI

Song #8
Sham dhale khidake tale…

Patrons of Lyrical would tell me that it has been a long time since I gave a song in the Raag of my home station: Raag Pahadi, that is. The fact is that I am holidaying here and Pahadi is never too far from me.

In this, in addition to the lyrics of Rajinder Krishan, one has to give to C Ramchandra that he gives a song like Shola jo bhadake with typical western instruments and next he gives a song in Raag Pahadi, both in the same movie Albela and both starring Geeta Bali and Bhagwan Dada.

And, to bring out the versatility of the singers too, this too has been sung by Lata Mangeshkar and C Ramchandra.

Please enjoy in Raag Pahadi and Tal Dadra: Shaam dhale khidaki tale tum seeti bajaana chhod do…..

la: shaam Dhale, khi.Dakii tale
tum siiTii bajaanaa chho.D do

chi: gha.Dii-gha.Dii khi.Dakii me.n kha.Dii
tum tiir chalaanaa chho.D do

la: roz-roz tum merii galii me.n
chakkar kyo.n ho kaaTate
ajii, chakkar kyo.n ho kaaTate
chi: sachchii-sachchii baat kahuu.N mai.n -2
ajii tumhaare vaaste, tumhaare vaaste
la: jaao, jaao, hosh me.n aao
yuu.N aanaa-jaanaa chho.D do -2

la: mujhase tumhe.n kyaa matalab hai
ye baat zaraa batalaao -2
chi: baat fakat itanii sii hai
ki tum merii ho jaao
aao aao tum merii ho jaao
la: aisii baate.n, apane dil me.n
ai saahib tum laanaa chho.D do -2

chi: chaar mahiine mehanat kii hai
ajii ra.Ng kabhii to laaegii -2
la: jaao-jaao jii yahaa.N tumhaarii
daal kabhii galane na paaegii
ajii daal kabhii galane na paaegii
chi: dilavaalo.n, matavaalo.n par tum
raub jamaanaa chho.D do
ajii raub jamaanaa chho.D do

shaam Dhale …

Song #9
Balma bada nadaan re…

I can put up another few songs of 1951 movie Albela. However, I end with this classic song that Geeta Bali sings for Bhagwan Dada when the naive guy from a poor family that he is (he has a double role in the movie; the other being rich and famous guy working in the same entertainment company wherein Pyarelal (Bhagwan Dada) found a job as a singer-dancer), he doesn’t understand that she has fallen in love with him.

Lata Mangeshkar sang this song on a composition by C Ramchandra.

Please enjoy: Balma bada nadaan re…

balamaa ba.Daa naadaan, re balamaa ba.Daa naadaan

bedad.rii sa.ng naataa laagaa
mere priit kaa bhaag na jaagaa
binatii karuu.N mai.n, pai.nyaa pa.Duu.N mai.n
ab to merii maan re
balamaa ba.Daa naadaan re …

bai.nyaa paka.Duu.N haath dabaa_uu.N
samajhat naahi kaise samjhaa_uu.N
laakh jatan kar, haar gayii mai.n
rogii ho gayii jaan re
balamaa ba.Daa naadaan re …

Song #10
Shukriya, shukriya, ai pyaar tera shukriya….

If Rajinder Krishan – C Ramchandra combine regaled us with their enchanting duets and delightful solos in 1951 movie Albela, in the movie Aaram starring Dev Anand, Madhubala, Pran and Talat Mehmood, the same year, Rajinder Krishan combined with Music Director Anil Biswas to give us some serious songs.

This one has been sung by Talat Mehmood and it is….well, typical Talat Mehmood.

Anil Biswas and Talat Mehmood

Please enjoy: Shukriya, shukriya, ai pyaar tera shukriya….

shukriyA, shukriyA ai pyAr terA, shukriyA
shukriyA, shukriyA
dil ko kitanA khUbasUrat Gam diyA, shukriyA
shukriyA ai pyAr terA …

A.Nkho.n ko A.NsU diye jo motiyo.n se kam nahI.n
dil ko itane Gam diye ki ab koI bhI Gam nahI.n
meharabA.n jo kuchh diyA achchhA kiyA, shukriyA
shukriyA ai pyAr terA …

zi.ndagI ko dard me.n DUbe tarAne de diye
hasarato.n ko ArazU ke khajAne de diye
ye navAzish hai terA kyA kyA diyA, shukriyA
shukriyA ai pyAr terA …

Song #11
Ye zindagi hai yo-yo….

I gave you a serious song from 1951 movie Aaram: shukriya shukriya ai pyaar tera shukriya. This doesn’t mean that the movie had only serious songs.

I remember this song was western and light-hearted and sung by Manmohan Krishna on Anil Biswas’s music.

Manmoham Krishna – the singer, actor

Here is a bet: I bet none of you will watch it only once, if you watch it at all. Anyone who would watch it just once, can send me a message with your email address and I shall send you a gift for having lost the bet. Your time is in the next three days,

In the meanwhile, please enjoy a song that we used to freak out on when we were small: Ye zindagi hai yo-yo….

ma : ye zindagii hai yo-yo -5
ye
zindagii hai yo-yo
ko : yo-yo yo-yo yo-yo yo-yo
ye zindagii hai yo-yo -4
ma : ye
zindagii hai yo-yo

ma : yo-yo kii beqaraarii hissaa hai zindagii kaa -2
yo-yo kii garadisho.n qissaa hai zindagii kaa
ko : qissaa hai zindagii kaa
ma : garadish to zahar piinaa (?)
jiinaa nahii.n hai pyaare
garadish me.n hii mazaa hai
ye kah rahii hai yo-yo
ko : ( garadish me.n hii mazaa hai
ye kah rahii hai yo-yo ) -2

ma : ye
zindagii hai yo-yo
ko : yo-yo yo-yo yo-yo yo-yo
ye zindagii hai yo-yo -4
ma : ye
zindagii hai yo-yo

ma : ( chhe.De ko_ii taraanaa
aur ko_ii ro rahaa hai ) -2
din-raat ik tamaashaa
duniyaa me.n ho rahaa hai
ko : duniyaa me.n ho rahaa hai
ma : jo kuchh bhii ho rahaa hai
hotaa rahegaa pyaare
chal tuu bhii aise jaise
ye chal rahii hai yo-yo
ko : ( chal tuu bhii aise jaise
ye chal rahii hai yo-yo ) -2

ma : ye
zindagii hai yo-yo
ko : yo-yo yo-yo yo-yo yo-yo
ye zindagii hai yo-yo -8
ma : ye
zindagii hai yo-yo

Song #12
Baat chalat naii chunari rang daari….

For the last song of the day, I move on to the 1953 romantic comedy film: Ladki. The film was an AVM production starring Vyjayanthimala, Kishore Kumar, Bharat Bhushan, Anjali Devi and Chittor V. Nagaiah.

The film’s music was directed by R. Sudarsanam and Dhaniram and they composed six songs in the movie.

I am going to give you a song now that would be very nostalgic for old-timers like me. It was sung by Geeta Dutt on a composition of R Sudarsanam and Dhaniram. They did it in Raag Bhairavi and Tal Tintal.

Some of you have guessed it by now and so here it is.

Please enjoy: Baat chalat naii chunari rang daari….

baaT chalat na_ii chunarii ra.Ng Daarii -2
he .a .a aiso hai bedardii banawaarii
baaT chalat

aiso hai niDar he rii bR^ij kaa gvaalaa
biich Dagar chherat matavaalaa
he more raam, he more raam, he more raam
araj na maane morii, deve re deve gaarii -2
ho .a .a aiso hai bedardii banawaarii
baaT chalat

karat ThaTholii he rii nand kaa chhoraa -2
dekh akelii raamaa Daalat Doraa
laaj kii maarii mar jaauu.N
kaisii ye khelii holii, mai.n to kachhu naa bolii
haay re bhigoyii cholii
nii saa ga ma pa dha nii saa re ga re saa nii dha
pa dha pa nii dha pa ma pa ma dha pa ma ga re saa
baaT chalat na_ii chunarii ra.Ng Daarii …

pa, pa dha pa dha ma pa ga ma pa
ma pa dha, ga ma dha nii saa,
re saa re nii saa dha nii, saa nii saa dha nii pa dha
nii dha nii pa dha ma pa ga ma re ga sa
nii saa ga ma pa dha nii dha saa, dha nii dha saa,
dha nii dha saa, dha nii dha saa

Song #13
Shaadi shaadi

In the same movie Ladki, there was another song that was sung by Kishore Kumar that became equally famous.

Please enjoy: Shaadi shaadi….

shaadii! shaadii! shaadii! shaadii! shaadii! shaadii!

a_ii a_iiyo

qisamat kii baat hai maalik ke haath hai (2)
qismat kii baat maalik ke haath jiivan kaa saath hai
shaadii! shaadii! shaadii!

sunataa hai sabakii jag kaa vo daataa
shaadii karaane me.n us kaa kyaa jaataa
– are bha_ii us kaa kyaa jaataa
duniyaa me.n dekho qadam qadam par koii na koii
koii na koii baaraat hai
qismat kii baat hai
qismat kii baat maalik ke haath
jiivan kaa saath hai
shaadii! shaadii! shaadii!

haay! gorii gorii kaalii kaalii
patalii kamar vaalii
illii-billii khaalii piilii
pyaarii pyaarii aa.Nkho.n vaalii
shaadii! shaadii! shaadii!

maalik ne chaahaa to apanii bhii hogii
jaisii bhii hogii achchhii hii hogii
– are bha_ii achchhii hii hogii
maalik ne chaahaa to apanii bhii hogii
jaisii bhii hogii achchhii hii hogii

bimalaa yaa kamalaa
amalaa yaa ramalaa
bholii ho bhaalii
yaa nakaharevaalii
bim bolii bimbalabolii
igalaapaa porii
gaa.Nv kii gorii naTakhaT chhorii
haath me.n ka.ngan kaan me.n baalii
karamo.n kaa khel jiivan kaa saath
maalik ke haath hai
shaadii! shaadii! shaadii!

haa.N! qismat kii baat maalik ke haath
jiivan kaa saath
shaadii! shaadii! shaadii!

Song #14
Ye zindagi usi ki hai…

Now that we are reminiscing about the year 1953, we have reached the Nandlal Jaswantlal movie Anarkali whose song Mujhase mat poochh mere ishq mein kya rakha hai was given by me as Song #1 on Day #1 as introduction to Rajinder Krishan’s music.

Anarkali preceded K Arif’s Mughal-e-Azam by seven years. Rajinder Krishan penned some of his finest songs for the movie and they all became iconic. Vasant Prakash composed just one song of the movie Aa Jaane Wafa, which was retained even though sung by Geeta Dutt when the new MD C Ramchandra wanted all female voiced songs to be sung by Lata Mangeshkar.

A. V. Meiyappan, Rajinder Krishan, Madan Mohan, Chitragupt and C Ramchandra (Pic courtesy: cinestaan.com)

Lets restart Ananrkali’s songs with this classic sung by Lata Mangeshkar and picturised on Bina Rai who acted as Nadira in the movie who was nicknamed Anarkali as a court-dancer in the court of Emperor Akbar and who Prince Salim (played by Pradeep Kumar) fell in love with.

This is the last song in her life Anarkali would sing before being buried alive in a wall for the crime of being in love with a prince.

Please enjoy: Ye zindagi usi ki hai jo kisi ka ho gaya….

ye zi.ndagii usii kI hai, jo kisii kaa ho gayaa
pyaara hii me.n kho gayaa, ye zi.ndagI …

ye bahAr, ye samA, kah rahA hai pyAr kar
kisI kI ArazU me.n apane dil ko beqarAr kar
zi.ndagii hai bevafaa…
zi.ndagii hai bevafaa, luuT pyaar kaa mazaa
ye zi.ndagI …

dha.Dak rahA hai dil to kyA, dil kI dha.Dakane.n nA sun
phir kahA.n ye fursate.n, phir kahA.N ye rAt-din
aa rahii hai ye sadaa…
aa rahii hai ye sadaa, mastiyo.n me.n jhuum jaa
ye zi.ndagI …

do dila yahaa.N na mila sake, mile.nge us jahaan me.n
khile.nge hasarato.n ke phuula, mauta ke aasmaana me.n
ye zi.ndagii chalii gaI jo pyaara me.n to kyaa huaa
ye zi.ndagii …

sunaa rahii hai daastaa.n, shamaa mere mazaara kii
fizaa me.n bhii khilI rahii, ye kalii anaara kii
ise mazaara mata kaho, ye mahala hai pyaara kaa
ye zi.ndagii …

ai zi.ndagii kii shaama aa, tujhe gale lagaauu.n mai.n
tujhii me.n DUba jaauu.n mai.n
jahaa.N ko bhuula jaauu.n mai.n
basa ek nazara mere sanama, alvidaa, alvidaa
alvidaa … alvidaa …
alvidaa … alvidaa …

Song #15
Zindagi pyaar ki do chaar ghadi hoti hai…

I am deleting a post of yesterday: Muhabbat aisi dhadkan hai since that was put up by mistake; the song having been penned by Hasrat Jaipuri.

I am replacing it with this one:

And the last song tonight is also from one of the best movies of Rajinder Krishan as lyricist, the 1953 movie Anarkali starring Bina Rai in the title role and Pradeep Kumar as Prince Salim (later to become Jehangir). He rebelled against his father Emperor Akbar for his love for a courtesan in his very court.

This is the song on Love even 63 years after the movie was made. C Ramchandra composed it. If the song reminds you of Lily of the Day, well that’s it. Life might be short but a life spent in Love is enough.

Rajinder Krishan with his son Rajiv and C Ramchandra (Pic courtesy: cinestaan.com)

Please enjoy Hemant Kumar sing a song that is the equivalent of Jab raat ho aisi matwaali to subah ka aalam kyaa hoga. It is poignant even though she smiles because as per her promise to Emperor Akbar, after spending the night with Prince Salim she would be put in the dungeon and then die: Zindagi pyaar ki do chaar ghadi hoti hai…

zi.ndagii pyaar kii do chaar gha.Dii hotii hai
chaahe tho.Dii bhii ho ye umr ba.Dii hotii hai

taaj yaa takht yaa daulat ho zamaane bhar kii
kaun sii chiiz muhabbat se ba.Dii hotii hai
zi.ndagii …

do muhabbat bhare dil khaak dha.Dakate ho jahaa.N
sabase lambii vo muhabbat kii gha.Dii hotii hai
zi.ndagii …

https://www.youtube.com/watch?v=HCViCUyk9-g

Song #16
Jaag dard-e-ishq jaag….

I have given you the following songs from the movie, penned by Rajinder Krishan so far:

1. Mujhase mat poochh mere ishq mein kyaa rakha hai – on Day #1 itself.
2. Ye zindagi usi ki hai – yesterday.
3. Zindagi pyar ki do chaar ghadi hoti hai – yesterday.

I am giving you now the last song penned by Rajinder Krishan in the movie. This too has been sung by Hemant Kumar and Lata Mangeshkar on the composition by C Ramchandra in Raag Bageshri, Taal Dadra.

Hemant Kumar recording a song with Lata Mangeshkar

Please enjoy: Jaag dard-e-ishq jaag….

he: jaag dard-e-ishq jaag, jaag dard-e-ishq jaag
dil ko beqaraar kar, chhe.D ke aa.Nsuo.n kaa raag
jaag dard-e-ishq jaag, jaag dard-e-ishq jaag
jaag…, jaag…

la: aa aa…
kisako sunaauu.N daastaa.n, kisako dikhaauu.N dil ke daaG
jaauu.N kahaa.N ki duur tak, jalataa nahii.n koii chiraaG – 2
raakh ban chukii hai aag, raakh ban chukii hai aag
he: dil ko beqaraar kar, chhe.D ke aa.Nsuo.n kaa raag
jaag dard-e-ishq jaag, jaag…

he: aisii chalii havaa-e-Gam, aisaa badal gayaa samaa – 2
ruuTh ke mujh se chal diye …
ruuTh ke mujh se chal diye, merii khushii ke kaaravaa.n
Das rahe.n hai.n Gam ke naag
dono: jaag dard-e-ishq jaag, jaag dard-e-ishq jaag
dil ko beqaraar kar, chhe.D ke aa.Nsuo.n kaa raag
jaag dard-e-ishq jaag, jaag…

he: aa.Nkh zaraa lagI terii, saaraa jahaan so gayaa
ye zamiin so gaI, aasamaan so gayaa
so gayaa pyaar kaa chiraaG
jaag, jaag, jaag, jaag

https://www.youtube.com/watch?v=VzXrJ3DzMsE

Song #17
Man dole mera tan dole……..

Nandlal Jaswantlal followed the success of 1953 movie Anarkali by directing Nagin the next year, in 1954. In Anarkali, he had songs penned by Shailendra, Hasrat Jaipuri and Jaan Nisar Akhtar, in addition to Rajinder Krishan. However, in Nagin, all twelve songs were penned by Rajinder Krishan. These songs, just like those of Anarkali, are still fondly played even today.

Here is the list of songs:

1 Been Music Kalyanji, Ravi
2 Man Dole Mera Tan Dole Lata Mangeshkar
3 Tere Dwar Khada Ek Jogi Hemant Kumar
4 Sun Rasiya Man Bhasiya Lata Mangeshkar
5 Yaad Rakhna Pyar Ki Nishani Hemant Kumar, Asha Bhosle, Chorus
6 Sun Ri Sakhi Lata Mangeshkar, Chorus
7 Mera Dil Ye Pukare Aaja Lata Mangeshkar
8 Jadugar Saiyan Lata Mangeshkar
9 Ari Chhod De Patang Lata Mangeshkar, Hemant Kumar
10 Mera Badli Mein Chhup Gaya Chand Lata Mangeshkar
11 O Zindagi Ke Denewale Hemant Kumar, Chorus
12 Teri Yaad Mein Jalkar Dekh Liya Lata Mangeshkar
13 Oonchi Oonchi Duniya Ki Deewarein Lata Mangeshkar

Hemant Kumar was the Music Director and Composer of the songs. Kalyanji and Ravi were his assistants in the movie.

We shall go on with the sequence as given above.

The first one became a super hit. It has the popular ‘been’ music that Kalyanji composed on clavioline and Ravi on harmonium. The mismatch in the movie is that Rajinder Krishan calls this ‘been’ as ‘bansuriya’. Other than that, it is a very fine song.

Please enjoy Lata Mangeshkar sing one of the best songs of 1954 movie Nagin: Man dole mera tan dole……..

(man Dole meraa tan Dole
mere dil kaa gayaa karaar re
ye kaun bajaaye baa.nsuriyaa ) – 2

madhur madhur sapano.n me.n dekhii maine raah navelii
chho.D chalii mai.n laaj kaa paharaa jaane kahaa.N akelii
chalii re mai.n jaane kahaa.N akelii
ras ghole dhun yuu.N bole
jaise Tha.nDii pa.De phuhaar re
ye kaun bajaaye baa.nsuriyaa

man Dole meraa tan Dole …

kadam kadam par ra.ng sunaharaa ye kisane bikharaayaa
naagan kaa man bas karane ye kaun saperaa aayaa
na jaane kaun saperaa aayaa
pag Dole dil yuu.N bole
teraa hoke rahaa shikaar re
ye kaun bajaaye baa.nsuriyaa

man Dole meraa tan Dole
mere dil kaa gayaa karaar re
ye kaun bajaaye baa.nsuriyaa

Song #18
Tere dwar khada ek jogi

And the last song for today is the second song in the list of 12 songs that Rajinder Krishan penned for the 1954 movie Nagin starring Vyjayanthimala and Pradeep Kumar.

Since I am a fan of Hemant Kumar, both for his singing as well as his music, this is a favourite of mine since it has both. Watching this song you will know that whether it is Raj Kapoor or Pradeep Kumar, they can’t resist singing when Vyjayanthimala is bathing in a pond; the only place she had for bathing, from Nagin to Sangam!

Please enjoy: Tere dwaar khada ik jogi….

kaashii dekhii, mathuraa dekhii, dekhe tiirath saare
kahii.n na man kaa miit milaa to aayaa tere dvaare

tere dvaar kha.Daa ek jogii – 2
na maa.Nge yah sonaa chaa.Ndii maa.Nge darshan devii
tere dvaar …

(duniyaa se mukh mo.Daa tere liye jag chho.Daa
chho.D diyaa ghar-baar) – 2
ban-ban chhaanaa mai.nne, tujhe devii maanaa mai.nne
sun le merii pukaar – 2
na maa.Nge yah sonaa chaa.Ndii maa.Nge darshan devii
tere dvaar …

(karake jatan aayaa, man me.n agan laayaa
akhiyo.n me.n darshan-pyaas) – 2
priit kii bhiikshaa, prem kii diikshaa
maa.Ng rahaa yah daas – 2
na maa.Nge yah sonaa chaa.Ndii maa.Nge darshan devii
tere dvaar …

Song #19
Jadugar sainyan, chhod meri bainyan, ho gayi aadhi raat, ab ghar jaane de…..

The second day of the 1954 movie Nagin starring Pradeep Kumar and Vyjayanthimala, and directed by Nandlal Jaswantlal who directed the 1952 movie Aanrkali.

Nagin had twelve super hit songs and tonight we shall have three of them. We took up three yesterday and one day before. So by the time we finish tonight, we shall have seven songs in all from this movie.

The movie’s story has two snake charmer (or specifically poison collector) tribes who have considerable animosity between them. However, the siblings of the two tribal chiefs: Sanatan (Pradeep Kumar) and Mala (Vyjayanthimala) fall in love with each other and that creates problems.

They start meeting in a clandestine way.

This is my favourite song from the movie. It was composed by Hemant Kumar in Raag Brindavani Sarang, Tal Kaherava and sung by Lata Mangeshkar.

The lovers are at their place of tryst and she is reminding him that it is late and to let her go. It is very very enchanting indeed. Hats off to Rajinder Krishan for the super romantic lyrics.

Please enjoy: Jadugar sainyan, chhod meri bainyan, ho gayi aadhi raat, ab ghar jaane de…..

jaaduugar sai.nyaa, chho.Do merii bai.nyaa
ho ga_ii aadhii raat, ab ghar jaane do

jhukii-jhukii a.Nkhiyaa.N dekhe.ngii saarii sakhiyaa.N
de.ngii taanaa tere naam kaa
(aise me.n mat rok bedardii
le le vachan kal shaam kaa) -2
kal ho.nge phir ham saath
ab ghar jaane do

jaaduugar sai.nyaa …

jaane de o rasiyaa, mere man basiyaa
gaa.Nv meraa ba.Dii duur hai
(terii nagariyaa ruk na sakuu.N mai.n
pyaar meraa majabuur hai) -2
za.njiir pa.Dii mere haath
ab ghar jaane do

jaaduugar sai.nyaa …

https://www.dailymotion.com/video/x3bz48j

Song #20
Mera dil ye pukaare aaja….

We are taking up the songs of the 1954 movie Nagin that has some of the best songs penned by Rajinder Krishan and composed so well by Hemant Kumar (with Ravi and kalyanji assisting him) that had almost all of them becoming super-hits.

Sanatan and Mala are in love but they are of two different snake-poison collector tribes who are at each other’s throats. Hence, there are many obstacles in the paths of the lovers.

Separation is therefore on the cards.

Mala is put in a confinement never to meet Sanatan again and that’s when this song comes about.

Hemant da composed it in Raag Kirvani, Taal Kaherava.

Please enjoy another favourite of mine: Mera dil ye pukaare aaja….

meraa dil ye pukaare aa jaa
mere Gam ke sahaare aa jaa
bhiigaa bhiigaa hai samaa
aise me.n hai tuu kahaa.N
meraa dil ye pukaare aajaa …

tuu nahii.n to ye rut, ye havaa kyaa karuu.N, kyaa karuu.N
tuu nahii.n to ye run, ye havaa kyaa karuu.N
duur tujh se mai.n rah ke bataa kyaa karuu.N, kyaa karuu.N
suunaa suunaa hai jahaa.N, ab jaauu.N mai.n kahaa.N
bas itanaa mujhe samajhaa jaa
bhiigaa bhiigaa …

aa.Ndhiyaa.N vo chalii.n, aashiyaa.n luT gayaa, luT gayaa
aa.Ndhiyaa.N vo chalii.n, aashiyaa.n luT gayaa
pyaar kaa muskuraataa jahaa.N luT gayaa, luT gayaa
ek chhoTii sii jhalak mere miTane talak
o chaa.Nd …
o chaa.Nd mere dikhalaa jaa
bhiigaa bhiigaa …

mu.Nh chhupaa ke merii zi.ndagii ro rahii, ro rahii
din Dhalaa bhii nahii.n, shaam kyo.n ho rahii, ho rahii
terii duniyaa se ham, le ke chale teraa Gam
dam bhar ke liye to aa jaa
bhiigaa bhiigaa …

https://www.youtube.com/watch?v=uq8EuSuSGMc

Song #21
O zindagi ko dene wale, zindagi ko lene wale, preet meri chheen ke bataa tujhe kyaa mila…..

And the last song for tonight is one of the several sung by Sanatan to revive Mala when she is bitten by a dangerous King Cobra in order to save his life.

Regrettably, it is also the last song from me until we meet again after a week since I am going holidaying to Kulu, Manali.

This was sung by Hemant Kumar on his on his composition. Lyrics by our great lyricist #2 Rajinder Kumar are simply awesome.

Please enjoy: O zindagi ko dene wale, zindagi ko lene wale, preet meri chheen ke bataa tujhe kyaa mila…..

o, zi.ndagii ke dene vaale, zi.ndagii ke lene vaale – 2
priit merii chhIn ke bataa tujhe kyaa milaa
zi.ndagii ke dene vaale, zi.ndagii ke lene vaale
prIt merii chhiin ke bataa tujhe kyaa milaa

kahaa kare diip jab bujh gaI baatii
bichha.D gayaa meraa saathii
tUne to.Dii merii viiNaa, deke sahAraa chhiinaa
laaj tujhe kyU.N na aatii
chain meraa lUT ke bataa tujhe kyaa milaa

o… zi.ndagii ke dene vaale…

(maine kab to.De bhalaa chaa.Nd sitaare tere
phir kyo.n bujhaae tUne dil ke ujaale mere ) – 2
mujhe merii jaan dede priit ko ye daan dede
khoe hue mere praaN dede
dil meraa to.D ke bataa tujhe kyaa milaa

o… zi.ndagii ke dene vaale…

Song #22
Zamin chal rahi hai aasman chal raha hai

Okay, ladies and gents, I am back from a holiday to Manikaran, Manali, Rohtang Pass, Mandi, Rewalsar, Hamirpur and Bilaspur; and here I am recommencing the tribute to the lyricist Rajinder Krishan, leading to his death anniversary on the 23rd of September.

I was regaling you with the songs of the 1954 movie Nagin that he penned and which were composed by Hemant Kumar with Kalyanji and Ravi being his assistants.

From his next movie, the 1955 movie Pehli Jhalak, I like this song (a little rare) sung by Hemant Kumar on the composition of C Ramchandra.

Please enjoy: Zamin chal rahi hai aasman chal raha hai…

zamii.n chal rahii hai aasamaa.N chal rahaa hai
zamii.n chal rahii hai aasamaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai
zamii.n chal rahii hai aasamaa.N chal rahaa hai

yah kisake ishaare jahaa.N chal rahaa hai
zamii.n chal rahii hai aasamaa.N chal rahaa hai

## flute interludes ##

chalii jaa rahii hai zamaane kii naiyyaa
chalii jaa rahii hai zamaane kii naiyyaa
nazar se na dekhaa kisii ne khevaiyyaa
nazar se na dekhaa kisii ne khevaiyyaa

na jaane yah chakkar kahaa.N chal rahaa hai
na jaane yah chakkar kahaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai

zamii.n chal rahii hai aasamaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai
zamii.n chal rahii hai aasamaa.N chal rahaa hai

## flute interludes ##

yah ha.Nsanaa yah ronaa yah aashaa niraashaa
yah ha.Nsanaa yah ronaa yah aashaa niraashaa
samajh na aaye yah kyaa hai tamaashaa
samajh na aaye yah kyaa hai tamaashaa

yah kyo.n raat din kaaravaa.N chal rahaa hai
yah kyo.n raat din kaaravaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai

zamii.n chal rahii hai aasamaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai
zamii.n chal rahii hai aasamaa.N chal rahaa hai

## flute interludes ##

ajab hai yah mahafil ajab daasataa.N hai
ajab hai yah mahafil ajab daasataa.N hai
na ma.nzil hai ko_ii na ko_ii nishaa.N hai
na ma.nzil hai ko_ii na ko_ii nishaa.N hai

to phir kis liye kaaravaa.N chal rahaa hai
to phir kis liye kaaravaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai

zamii.n chal rahii hai aasamaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai
zamii.n chal rahii hai aasamaa.N chal rahaa hai

## flute interludes ##

bhaTakte to dekhe hazaaro.n sayaane
bhaTakte to dekhe hazaaro.n sayaane
magar raaz kudarat ka ko_ii na jaane
magar raaz kudarat ka ko_ii na jaane

yah sab silasilaa benishaa.N chal rahaa hai
yah sab silasilaa benishaa.N chal rahaa hai
yah kiske ishaare jahaa.N chal rahaa hai

zamii.n chal rahii hai aasamaa.N chal rahaa hai
yah kisake ishaare jahaa.N chal rahaa hai
zamii.n chal rahii hai aasamaa.N chal rahaa hai

Song #23
Kitana haseen hai mausam, kitana haseen safar hai

His next movie was the 1955 movie Azaad starring Dilip Kumar and Meena Kumari. The songs that were penned by him and composed by C Ramchandra included the following:

1. Aapalam chapalam chap laayii re.
2. Dekho jii bahaar aayi, baaGo.n me.n khilii.n kaliyaa.N.
3. Jaa rii jaa rii o kaarii badariyaa.
4. Kabhii Kaamosh rahate hai.n … pii ke daras ko taras rahii.n a.nkhiyaa.N.
5. Kitanaa hasii.n hai mausam, kitanaa hasii.n safar hai.
6. Kitanii javaa.N hai raat koii yaad aa gayaa.
7. Maranaa bhii mohabbat me.n kisii kaam na aayaa.
8. Na bole, na bole, na bole re, ghuu.NghaT ke paT naa khole re.
9. O baliye o baliye chal chaliye kahaa.N chale.n.

We shall be taking up two of these tonight and the first one is this delightful romantic duet between Lata Mangeshkar and C Ramchandra. Normally the tragedy king and queen have been singing serious and sad songs in their movies. This was one movie (just like Kohinoor) in which they lip-synced some really light-hearted numbers. This was composed by C Ramchandra in Raag Darbari Kanada and Tal Kaherava.

Lata Mangeshkar and C Ramchandra

Please enjoy: Kitana haseen hai mausam, kitana haseen safar hai….

l: kitanaa hasii.n hai.n mausam, kitanaa hasii.n safar hai
chi: sAthI hai khUbasuurat, ye mausam ko bhI khabar hai
kitanaa hasii.n …

chi: milatii nahii.n hai.n ma.nzil, rAhI jo ho akelaa
do ho to phir jahaa.N bhI, chaahe lagaa lo melaa
dil mil gaye to phir kyA, j.ngal bhI ek ghar hai
sAthI hai khUbasuurat, ye mausam ko bhI khabar hai
kitanaa hasii.n …

l: nA jaane havaae.n kyA kahanaa chaahatii hai.n – 2
pa.nchhii terI sadaaye.n kyA kahanaa chaahatii hai.n – 2
kuchh to hai aaj jisakaa, har chiiz par asar hai
chi: sAthI hai khUbasuurat, ye mausam ko bhI khabar hai
kitanaa hasii.n …

chi: kudarat ye kah rahii hai, aa dil se dil milaa le
ulafat se aag lekar, dil kA diyaa jalaale
sachchii agar lagan hai, phir kisakaa tujhako Dar hai
sAthI hai khUbasuurat, ye mausam ko bhI khabar hai
kitanaa hasii.n …

Song #24
Radha na bole, na bole, na bole re…..

And the last song tonight is also from the 1955 movie Azaad starring Dilip Kumar and Meena Kumari in light-hearted roles for a change. All songs of the movie were composed by C Ramchandra and this one was a super-hit during our days.

This was composed by C Ramchandra in Raag Bageshri and Tal Dadra. Lata Mangeshkar sang it.

Please enjoy: Radha na bole, na bole, na bole re…..

naa bole, naa bole, naa bole re – 2
(ghuu.NghaT ke paT naa khole re
raadhaa naa bole, naa bole, naa bole re ) – 2

raadhaa kii laaj bharii a.Nkhiyo.n ke Dore
dekhoge kaise ab gokul ke chhore
dekho mohan kaa manavaa Dole re
raadhaa naa bole, naa bole, naa bole re
naa bole, naa bole, naa bole re
ghuu.NghaT ke paT naa khole re
raadhaa naa bole, naa bole, naa bole re

yaad karo jamunaa kinaare, saa.Nvariyaa – 2
o.Dhii thii raadhaa kii kaahe gagariyaa
is kaaran naa tum sa.ng bole re
raadhaa naa bole, naa bole re
naa bole, naa bole, naa bole, naa bole re
ghuu.NghaT ke paT naa khole re
raadhaa naa bole, naa bole, naa bole re

ruuThii huii yuu.N naa maanegii chhaliyaa
charaNo.n me.n raadhaa ke, rakh do muraliyaa – (2)
baat ban jaayegii haule haule re
raadhaa naa bole, naa bole, naa bole re
naa bole, naa bole, naa bole re
ghuu.NghaT ke paT naa khole re
raadhaa naa bole, naa bole, naa bole re

Song #25

Mori binati suno bhagwaan…..

For his next movie, the 1956 movie Taj, Hemant Kumar was once again the composer, just as in Nagin. Here is the list of songs they created together:

1. Aayii huu.N sajaane balam terii galiyaa.N (ba.nsii kii dhun sun)
2.Baa.Nsuriyaa phir se bajaao, kaanhaa
3. Balamaa jaa mai.n tose haarii
4. Gorii bulaaye teraa saa.Nvariyaa
5. Ik baat bataa de jogii
6. Jahaa.N me.n aayii diivaalii ba.De charaaG jale
7. Jhuum jhuum kar chalii akelii
8. Mohe chho.D gayo moraa saa.Nvariyaa
9. Morii binatii suno bhagavaan
10. Raham kar aasamaa.N (yah kaisaa tuufaan uThaa hai)
11. Tum sa.ng laage piyaa more nainaa

I am going to give you just one since now I am getting worried that I shall not be able to complete the task by 23rd Sep, his death anniversary.

This has been sung by Mohammad Rafi.

Please enjoy: Mori binati suno bhagwaan…..

aa~
morii binatii suno bhagavaan, ab morii binatii suno bhagavaan
aaj merii TuuTii biinaa me.n phir se Daaro praaN

na maa.Nguu yah mahal-khazaane naa maa.Nguu yah taaj
aaj bhare darabaar me.n svaamii rakhiyo merii laaj
raagi ko bas saat suro.n kaa daataa de varadaan
ab morii binatii suno bhagavaan …

suuraj kii raftaar badal de, maan tuu rakh le meraa
jab tak TuuTaa taar na bole, jag me.n rahe a.Ndheraa
shabanm se nikale a.Ngaare Daal-Daal jal jaaye
kaa.NTo se bhar jaaye bagiyaa, retii phuul khilaaye
jis jag me.n sa.ngiit nahii.n vah ho jaaye shamashaan
vah ho jaaye shamashaan (4)

Ladies and gentlemen, I hope you liked my choice of best songs of Rajinder Krishan so far. I have given you 25 songs in this part. I shall give you another 75 of them in the next three parts. As you go along, you will be stunned that some of the most beautiful Hindi songs have been penned by this lyricist who became rich both money-wise as well as because of the richness of his lyrics.

Please await Part II.

THEY ALSO SERVE WHO ARE IN NAVAL HEADQUARTERS!

If you are amused at the title of this post being similar to the 17th century poet John Milton’s famous last line in the sonnet ‘When I Consider How My Light is Spent’, the similarity, I hasten to add, is intentional. As we go along, you will understand.

The business end of the navy is at sea and that is where you want to be; that’s where there is life, order, sanity and some justification for being what you are: a sea-warrior. However much you dislike, you can’t be at sea all the time and have to serve ashore some time or the other. And whilst ashore, you have to either serve at headquarters or deal with one. That’s the time you learn, if you are doing it for the first time, how different navy life can be; you acquire a totally different perspective and environment (Earlier, I have written two articles on the subject: ‘The Tail Wags The Dog And How!’ and ‘The Tail Wags The Dog And How! – Part II’)

Ten days ago, the Navy was in the news for having appointed a Flag Officer Delhi Area (FODA) without the consent of the Ministry of Defence (MoD). MoD, unlike what people think, is actually a fighting or combat organisation. It is at all times at war with the armed forces. Here, however, it patted itself on the back (something that it has mastered over years) for having caught the Navy on the wrong foot. The Navy justified the appointment, but, insisted that FODA is now to be called Flag Officer Administration:

“We required such an office as we are very soon going to start work on the construction of Nau Sena Bhawan which will be a big task and otherwise also, the workload had gone up quite considerably in the national capital,” senior Navy sources explained. (The pic on top is of the foundation stone laying ceremony on 20 Aug 14).

The tail is now considerably larger and the poor dog at sea (sea-dog) is ready to be wagged violently and continuously.

In the Naval Headquarters at New Delhi the phrase Navy is not a vocation but a way of life is not entirely reflective of the true picture; for most it is a nine-to-five office job. The gap between theory and practice there is even greater than between the peninsular India and the land-locked capital. One of my course-mates, for example, landed up at NHQ immediately after undergoing the Staff Course at DSSC, Wellington (Nilgiris). In the staff course, he was converted into a Sahib with such theoretical things as Whitehall system of filing and other norms of handling correspondence. At the end of his first day, as he approached me in my ramshackle office (I had joined about a year before him and hence knew my way around there), he had tears in his eyes. Let alone not being able to locate a single file as per the Whitehall system, he was unable to find a chair or table for himself.

They also serve who are in Naval Headquarters!

I remember how amused I myself was when I attended my first meeting at NHQ on the all important topic of ‘The use of Hemp ropes on board ships’. The meeting was to start at 2:30 PM immediately after lunch. By about 3 PM everyone had trickled in except Commander A Singh. The chairman of the meeting, a senior Commodore, waited for everyone without once losing his temper. On the ships, he would have taken everyone’s pants off for keeping him waiting even for five minutes. Now, here, he was just drumming his table and asking, “Should we wait for A Singh or start the meeting?” and the senior officers around him kept saying, “Lets wait for A Singh”. By 3:15 PM, the Commodore’s limit of patience had been reached and he said, “Lets not wait for A Singh anymore. Lets start the meeting. He can join in when he comes.” Everyone acquiesced with this decision. The Commodore began the meeting by welcoming everyone and then he asked for someone to read out the minutes of the last meeting. Everyone said that there was a problem here since the minutes had not been circulated by A Singh (In NHQ, I quickly learnt that the absent member is to be blamed for everything. After leaving the Navy, when I joined the corporate sector, once I attended a meeting in the North Block (the business end of the government; the MoD and the armed forces headquarters are in the South Block) on the issue of ‘Security of SBMs’ (Single Buoy Moorings; whereat great percentage of crude oil is received from VLCCs or Very Large Crude Carriers). The chairman kept saying that this security had been handed over to XYZ. No one had any objection to it. I was quick to notice that the XYZ representatives weren’t attending the meeting. When I pointed this out, it was explained to me that it was deliberate since if the XYZ reps were to attend the meeting, they would have serious objections to it; now, they would learn of the decision through the minutes of the meeting. Naturally, in Naval Headquarters, we quickly learn the ways of our civilian counterparts rather than making them learn our disciplined and orderly ways). After an hour of the meeting on the subject of ‘Use of hemp ropes on ships’ the meeting was called off since A Singh, the most important member of the meeting hadn’t arrived.

They also serve who are in Naval Headquarters!

If you are wondering what I alluded to by the ways of the civilians in the last paragraph, I would like to point out that these are not just to be seen at the top levels. At the ground level (almost all the secretarial staff in the directorates is civilians), it is to be seen to be believed. My office clerk, for example, vanished for 114 days without informing me and I had to do most of my typing myself. When I pointed this to the DOA (Directorate of Administration) guys, they said due to manpower shortages, no relief could be provided. How about taking action against the clerk? They said this would be possible when the clerk would report back on duty. There is never any urgency for anything at the headquarters; things get sorted out on their own.

What about the gallant sailors who do wonders on the ships, who produce results against all odds? Well, in Naval Headquarters, these are mostly from North Indian states who are on home or closer-to-home postings. They are, therefore, least likely to complain about anything even if asked to fetch canteen items or movie tickets.

If I have painted a somewhat dismal environment of Naval Headquarters, I hasten to correct the view that great and difficult things actually happen at the headquarters. Whilst the Navy at sea is only preparing or training to fight against the enemy, in Naval Headquarters, the guys are actually fighting to obtain things for the Navy from the Ministry or ministries. How important this exercise is can be made out from the awards and honours list: a large percentage of those serving in Naval Headquarters find their names in the list.

They also serve who are in Naval Headquarters!

A few years back, when I was still in the Navy, the citation of a Commodore for Nausena Medal (Devotion to Duty) actually read that: “He obtained sanction for ‘ABC’ from the ministry against all odds, thereby accomplishing something beyond the ordinary call of duty.”

The Navy is a combat service, indeed; the MoD ensures we stay that way.

“ARE YOU GOING TO RUBI’S PARTY?”

A news item, at the end of the year 2016, from a small village called La Joya in Mexico is probably manifestation of a phenomenon that has had far-reaching effects that the world has seen lately, in the fields of popularity, talent and fame. The invitation for ‘quinceanara‘ party or coming-of-age party of a 15 years old Rubi Ibarra by her father Crescencio went viral (the expression used in the Internet age for something that spreads with the speed of the viral fever from person to person). Whilst Crescencio meant by the words: Everyone is invited, people in the neighbouring communities, the local event photographer who posted the invitation video on Facebook omitted to mention that. The result: everyone landed up for the birthday party. The media and social media, both domestic and international, covered it as the event of the year.

Rubi Ibarra, not seen, arrives at the site of a mass that is part of her down-home 15th birthday party, surrounded by a horde of journalists and a drone flying overhead, in the village of La Joya, San Luis Potosi State, in Mexico, on Monday, December 26, 2016. Photo: AP

Five years ago, at the end of the year 2011, we had a variation of this phenomenon in India. A Tanglish (a hybrid of Tamil and English) song titled ‘Why this Kolaveri Di?‘ The song was sung by Dhanush on his own lyrics and composed by Anirudh Ravichander. Outside Tamil films, no one would have heard of them, not even the name of the 2012 psychological thriller simply called: ‘3’ (the shortest name of a movie in the world!). However, the success of this song on YouTube made it phenomenal (here is it from Wikipedia):

“Upon release, the hashtag #kolaveri topped the Indian trends in Twitter on the evening of 21 November 2011. Within a week of the official release of the video, it received more than 3.5 million views on YouTube, more than 1 million shares on Facebook, while trending in India on Twitter the whole time. By 30 November 2011, it had more than 10,500,000 YouTube views. By the start of 2012, it had crossed 30 million YouTube views. The song and versions of it account for more than 75 million of YouTube’s total views. The song became the top downloaded song on mobile with 4,100,000 downloads within the first 18 days of release.”

Dhanush, the singer, was invited as a guest of honour by the Prime Minister. Various parodies of the song also became viral (You can read my own parody: ‘Why This Valentine Valentine Di?’ on the subject of opposition to celebrating a foreign fest in India). Here is the song for you, again: Why this Kolaveri, Di? (Why this killing rage girl?):

What do these two phenomenal events tell us? Simply this that there is – what I term as – democratisation of talent – and one can be a star overnight. First, lets compare it with the olden times:

Even if one were very talented, it would be years before one became popular or achieved fame. William Shakespeare, the greatest author in English language, for example, during his years of struggle, used to go incognito to various bookshops in London, asking for his plays, so as to influence demand for his works. There are many factual stories of actors around the world who paid (instead of being paid) for acting in movies and plays before they became famous.

And, very few became popular and famous. For authors, poets, playwrights, speakers and actors, one had to wait for years before their works were noticed; sometimes merely by fluke. Ordinary people – except for the rare ones who made big – couldn’t even dream that someone, other than in their immediate and local community, would see or read the product of their art or skill. Overnight success was a rare occurrence. As an example, in the 16th century, just think of an ordinary street play in Bengal becoming famous all over India, let alone world-wide or for that matter a bard in say, Punjab.

Similarly, amongst the great speeches of the world, we only had to read about great personalities delivering these and at best we could read the text unless parts of such speeches found their way into some documentary or movie.

Nowadays, everyone, is a writer, actor, speaker, singer, photographer, poet and playwright (‘All Photographers And Writers, No Viewers And Readers‘). And if you have talent, suddenly the social media makes you famous without your having to stand on your head to be noticed. Everyone of us, for example, sees a number of videos everyday of unknown authors, actors, speakers and singers. As another example, earlier ordinary people would not have access to worldwide listeners and viewers until platforms like TED Talks made it possible. Recently, we heard an Indian Army major convincing us of the rationale of deploying army in Kashmir.

One of the valid critical observations on this phenomenon is that media-savvy people (that being their only talent) can make themselves or others famous who have little or no talent. Conversely, there are still many talented people still to be discovered. I have only this to say to it that any new video game that you buy also has a cheat program. In democracy, talent would sometimes suffer because it is based on majority acceptance and majority is not always the best judge of the quality of art, skill or talent.

However, the chances of ordinary but talented men and women being watched everyday by millions have increased manifold. How many of us, for example, listened live to Beatles or Mohammad Rafi or seen live great dancers like Gene Kelly? However, these days, ordinary but talented singers and dancers reach us on the telly, cellphones and other devices and we watch with bated breath to see their talent on, say, America’s Got Talent or Sa Re Ga Ma; literally millions of us, many more than those who watched the famous and the popular in the olden days.

What about the dilution of real talent due to this democratisation of talent? Well, there are both sides of the coin here. The good view is that excellence is pegged even higher than earlier since you can instantly see who are better and worse. The reverse view is that popularity often gets the mask of fame and excellence.

Lastly, whilst it is easy to be Good these days, it is equally easy to be Bad and Evil. One can learn, in fairly easy steps on the net, how to make a molotov cocktail or even a dirty bomb. Similarly, one can visit darknet or tor browser with impunity leaving no footprints to be traced whilst engaged in sinister things.

However, with some exceptions, I feel that democratisation of talent is a good thing, indeed. Whilst we, keep saying, largely erroneously, that God made all men and women equal (Please read: ‘Debatable Philosophies Of Life’ that I wrote on the last day of last year), the fact is that those who were born with silver spoons in their mouths often achieved success, fame and popularity. However, now, there is the beginning of an effort to make all men and women equal. Who knows, a time will come, when evolutionary changes would make everyone equally good singer, writer, actor, player or speaker?

And then, perhaps, everyone would be invited for and attend everyone’s party rather than being asked, just by accident: “Are you going to Rubi’s party?

VOTE-BANDI, NOT NOTEBANDI, IS THE NEED OF THE HOUR

खुश थे जब जेब में न होते थे पैसे,
अब हैं तो कुछ अजीब लोग मिले हैं ऐसे I

हर चीज़ खरीदने पे लगा दिया है महसूल,
और कहा के यही है कफ़ायत का असूल,
तुम्हारे पैसे पे मुल्क का भी उतना ही है हक़,
जितना औरत का मर्द की कमाई पे है मरने तक I
देश को ज़रुरत है देश वासी हों तुम जैसे I
खुश थे जब जेब में न होते थे पैसे,
अब हैं तो कुछ अजीब लोग मिले हैं ऐसे I

पहले थोड़े में गुज़ारा था, ज़रूरतें भी थीं कम,
बीवी को रोज़ सैर पे ले जाया करते थे हम,
अब ब्यूटी पार्लर का हो गया है आना जाना,
मल्टी प्लेक्स में पिक्चर और होटलों में खाना I
क्या सुहाने दिन थे गरीबी के, बीत गए वह कैसे?
खुश थे जब जेब में न होते थे पैसे,
अब हैं तो कुछ अजीब लोग मिले हैं ऐसे I

पहले वज़ीर आज़म दूर से ही नज़र आते थे,
मुँह पे लगा के ताला, कुछ भी न सुनाते थे I
उनका मुँह न खुला जब वज़ीर पूरा खेत चर गए,
और देश की जागीर अपनी तजोरियों में भर गए I
अब जाने मन की बात सुनाने आ जाते हैं कैसे?
खुश थे जब जेब में न होते थे पैसे,
अब हैं तो कुछ अजीब लोग मिले हैं ऐसे I

पहले होनहार पुलिस वालों को सौ दो सो का था इंतज़ार,
अब उन्हें पता है जेब में नोट हैं गुलाबी दो हज़ार I
पहले बद-अमली नेता और उनके मुलाज़िम भी थे भोले,
अब हमारे पुराने हज़ार ओ पांच सौ के नोट देख कर बोले:
“लगता है खाली हाथ आ गए हो जैसे I”
खुश थे जब जेब में न होते थे पैसे,
अब हैं तो कुछ अजीब लोग मिले हैं ऐसे I

क्या होगा इस मुल्क का, कभी आता है ख़याल,
हर एक के होंठों पे बस एक ही है सवाल:
क्या हमारा किरदार नोटबंदी से बदल जाएगा,
या कुछ सालों बाद वह पल भी आएगा,
जब इंक़लाब के बिना कुछ न बदलेगा ऐसे,
खुश थे जब जेब में न होते थे पैसे,
अब हैं तो कुछ अजीब लोग मिले हैं ऐसे I

उठो तुम्हें तुम्हारा ईमान बुला रहा है,
मुल्क की सरहद पे खड़ा जवान बुला रहा है:
“मुल्क की हिफाज़त सिर्फ मेरा ही नहीं है फ़र्ज़,
मुल्क और भारत माँ का तुम पे भी है क़र्ज़ I ”
आओ सब मिल के देश को बचाएं,
जितना हमारे हक़ का है बस उतना ही खाएं I
बद इखलाकी लोगों की कर दो वोट – बंदी,
ता के दुबारा न आये इस मुल्क में नोटबंदी I

(Cartoon courtesy: indiandefencenews.com)

Khush the jab jeb mein na hote the paise,
Ab hain to kuchh ajeeb log mile hain aise.

Har cheez khareedne pe laga diya hai mahsool,
Aur kaha hai ke yahi hai kafaayet ka asool,
Tumhaare paise pe mulk ka utna hi hai haq,
Jitna aurat ka mard ki kamaayi pe hai marne taq,
Desh ki zaroorat hai desh waasi hon tum jaise,
Khush the jab jeb mein na hote the paise,
Ab hain to kuchh ajeeb log mile hain aise.

Pehle thode mein guzaara tha, zaroorten bhi thin kam,
Biwi ko roz sair pe le jaaya karte the ham,
Ab Beauty Parlour ka ho gaya hai aana jaana,
Multiplex mein picture aur hotlon mein khaana.
Kyaa suhaane din the gareebi ke, beet gaye woh kaise?
Khush the jab jeb mein na hote the paise,
Ab hain to kuchh ajeeb log mile hain aise.

Pehle wazeer azam door se hi nazar aate the,
Moonh pe laga ke taala, kuchh bhi na sunaate the.
Unka moonh na khula jab wazeer pura khet char gaye,
Aur desh ki jaagir apni tajoriyon mein bahr gaye.
Ab jaane Man Ki Baat sunaane aa jaate hain kaise?
Khush the jab jeb mein na hote the paise,
Ab hain to kuchh ajeeb log mile hain aise.

Pehle honhaar police waalon ko sau do sau ka tha intezaar,
Ab unhen pata hai jeb mein note hain gulaabi do hazaar.
Pehle bad-amli neta aur unke mulazim bhi the bhole,
ab hamaare puraane hazaar aur paanch sau ke note dekh kar bole:
“Lagta hai khaali haath aa gaye ho jaise”.
Khush the jab jeb mein na hote the paise,
Ab hain to kuchh ajeeb log mile hain aise.

Kya hoga is mulk ka, kabhi aata hai khyaal,
Har ek ke honthon pe bus ek hi hai sawaal:
Kya hamaara kirdaar notebandi se badal jaayega,
Yaa kuchh saalon ke baad woh bhi pal aayega,
Jab inqlaab ke bina kuchh na badlega aise.
Khush the jab jeb mein na hote the paise,
Ab hain to kuchh ajeeb log mile hain aise.

Utho tumhen tumhaara imaan bula raha hai,
Mulk ki sarhadd pe khada jawan bula raha hai:
“Mulk ki hifaazat sirf mera hi nahin hai farz,
Mulk aur Bharat Maa ka tum pe bhi hai karz.”
Aao sab milke desh ko bachaayen,
Jitna hamaare haq ka hai bus utna hi khaayen.
Bud-ikhlaaqi logon ki kar do vote-bandi,
Taa ke dobaara na aaye is mulk mein notebandi.

NOT LETTING THE GOVERNMENT WORK – INDIAN OPPOSITION STYLE

Finally, last week, we had Shri Pranab Mukherjee, telling the Indian parliamentarians that continued disruption of parliament by the opposition to protest against demonetisation is not acceptable at all. He reminded them that the ways of the street are ill-suited for the parliament and that crores of rupees are wasted when the parliament is disrupted in this manner.

The fact is that the Congress has been so used to ruling the country that it has come close not to believe in democracy at all. Hence, whenever it loses elections, it wants to believe that the people have made a terrible mistake in electing an alternative and that the country should get back to being ruled by it as quickly as possible. And, if the people can’t do it on their own, it would leave no stone unturned to facilitate conditions for its rightful return to ruling the country. In this it has been helped by various factors:

  • The country-wide movement against the imposition of Emergency in the country by Prime Minister Indira Gandhi after Allahabad court found her guilty of electoral malpractices although succeeded in installing a non-Congress government (Janata Government) for the first time in 1977, it lasted for only two years due to various factors such as internal squabbles, and the Hindu-Muslim riots due to external machinations by the Congress trying to portray that it was the only secular front in the country and that the country was doomed if it was to go the RSS way.
  • Generations of bureaucrats in the government have obtained reflected glory, power and influence by being as loyal to Congress governments as wazirs have been to the rajas. The Congress kept them in good humour soon as it was elected or re-elected to power. This arrangement worked so fine that I remember when in 1978 the first non-Congress was formed in Maharashtra, there was a news item that brought out that the babus, loyal to generations of Congress MLAs, didn’t let the newly elected non-Congress MLAs to transact any meaningful business.
  • Successive Congress governments shared the largesse with a number of think-tanks in the capital and elsewhere who mastered the art of pleasing their masters by carefully concocted theories that only secular (read Congress led) government would be the country’s saviour. And this, even after it facilitated the massacre of thousands of Sikhs in the capital and elsewhere after Indira Gandhi was killed by her own security-guard, a Sikh. Predictably, after Modi government was installed, Congress engineered the people’s movement against intolerance. At this juncture, it was helped in no mean measure by the Hindu revanchists who translated BJP victory as their licence to have a Hindu rashtra with supremacy of cow and other purely religious ideas. (Please read: ‘Is Communal Disharmony A Challenge To India’s March To Greatness?’ that I wrote in Feb 2015).

And just a week before I write, there is a newspaper item about Prime Minister Modi directly reaching out to the people since, he says, he is not allowed to speak in the parliament. It seems that the governments in India and the opposition take turns in denigrating the parliament. It also appears that the Indian parliamentarians take the word opposition very seriously and feel compelled to oppose anything and everything that the other party or front proposes, even if the idea was mooted by them in the past.

Why does the opposition feel compelled not to let the government duly elected by the people to function thereby questioning democracy as well as people’s verdict? I think the precedence of obtaining independence by disobedience movement engineered by Mahatma Gandhi goads it to employ similar tactics against all rulers as the father of the nation employed against the British. That we are already an independent country doesn’t direct it to change tactics more readily suitable and even acceptable in a functioning democracy. Hence, many a times, the opposition doesn’t mind putting the ruling party or even the nation to shame internationally as long as it can score points with the voters as an opposition. Consider the following:

  • In order to infuse new thought in a stalemated Indo-Pak diplomacy, when the BJP PM, Atal Bihari Vajpayee, started a Sada-e-Sarhand (Call of the Frontier) Delhi-Lahore Bus on 19 Feb 1999 (on the inaugural day as the world watched agog, the Prime Minister Vajpayee traveled by the bus to attend a summit in Pakistan and was received at Wagah Border by Pakistan PM Nawaz Sharif), the opposition, as soon as the Kargil War started, protested on Delhi streets by displaying a large rubber-inflated bus, upside down. Even some of its own party men felt that it was in very poor taste; it showed as if it hated the enemy of the country less than the BJP:
(Pic courtesy: India Today)
  • In order to prove that despite people’s verdict a non-Congress government wasn’t qualified (read experienced; since the only party that had any experience of ruling the country was the Congress), when Vajpayee government took over, it rejoiced in onions (staple food for the poor in the country) being made scarce by hoarders loyal to it and put his government to shame for mishandling the onion-crisis in 1998. The BJP, having quickly learnt from the opposition (Congress) how to bring the government to heel on the issue of onions, returned the favour in 2013:
BJP workers protest onion price rise in 2013
  • After the Uri terror attack on 18 Sep 16, the opposition took the Modi government to task for not coming equal to its pom-pomed speeches when it was in opposition to the effect that if voted to power it would teach a lesson to Pakistan if it indulges in proxy-war that it had got used to. So, on 29 Sep 16, eleven days after the terror attack at Uri that killed 19 Indian soldiers, Indian Director General of Military Operations (DGMO) Lt Gen Dilbir Singh declared it in a press statement that the Indian Army had made a preemptive strike against “terrorist teams” who were preparing to “carry out infiltration and conduct terrorist strikes inside Jammu and Kashmir and in various metros in other states.” (Please read: ‘Cross- LOC Surgical Counter-Terrorism Strikes, A New Indian Psyche And Resolve?’) Seeing this as a national issue of high-import internationally, the opposition (led by Congress) initially declared full support to the government, but later relentlessly made a mockery of the government for its false assertion. What was the trigger? The BJP government tried to get credit for the surgical strikes so as to sway the voters in the largest Indian electoral state of Uttar Pradesh. In retaliation, the Congress very quickly showed the government and hence the nation in poor light globally (Please also read: ‘ “India Retaliates” – The Aftermath And The Consequences’).
  • After the so called ‘Surgical Strikes’ by the Modi government, the Congress and any number of  think-tanks that it had so assiduously promoted during its tenures (which I mentioned in the beginning of this essay) including retired armed forces officers, claimed that such strikes had been carried out many times earlier too under Congress rule except that the Congress never talked about it in national interest (Ha! Ha! How the average Indian hopes that sometime or the other the political parties (all of them) would actually be guided by national interests and not electoral gains).
  • The Congress led opposition ensured that the complete winter session of the parliament was a wash-out on the issue of protesting against demonetisation of high-value currency notes of 1000 and 500 rupees, announced by PM Modi on the night of 08 Nov 16. That its Manmohan Singh government had mooted this in 2012 was soon forgotten. As far as Modi government is concerned, it took enormous credit for the courage to go in for demonetisation in order to rid the country of corruption and cross-border terrorism conveniently forgetting that in 2012, when in opposition, it had opposed it tooth and nail on the issues of distressing the common man and doing nothing to net the big fish who would, in any case, find ways and means to circumvent such demonetisation.

It can be seen with these examples that there is no consistent policy with any of our major political parties. The only consistent policy that it has is to denigrate the other party for whatever it does even if when it was in power it did or mooted exactly what it is opposing now. It ridicules the government when it is in opposition to have come up with some hare-brained idea but, finds merit in the same idea when it comes to power.

Who suffers? We, the people of India, suffer irrespective of who is in power and who is in opposition. And, this suffering is in many different ways:

  • First of all, our political polarisation makes us divided as people as we or they; either you are with us or against us. The politicians of all hues and parties rejoice in such divide and rule policy that was mastered by our erstwhile rulers: the British, and now perfected by our own rulers. The real issues facing our country are lost track of when we make everything into political or worse, electoral issues (Please read ‘How Proud Should We Be Of Indian Republic At 62?’ an essay written by me on Republic Day in 2011 and bringing out how Indian democracy and elections work and make us at the bottom of human growth indices.)
  • Such polarisation also ensures that we are unable to discuss the merits or otherwise of issues without taking sides. The debate on the television is all about the opposition holding a charge against the government about their wrong-doings and the government spokesperson bringing out that the opposition, when they were in power, did worse. It is as if all is forgiven and forgotten in the light of the misdeeds of the previous government.
  • Take the present issue of demonetisation for example. The country is divided squarely into mainly two types of people: the Modi-Bhakats (Disciples or Worshippers of Modi who feel that even at times when people are put into extreme hardships, Modi can’t do any wrong and will ultimately lead us all to pots-of-gold as soon as achhe-din (good days) are ushered in) and the Congress-Bhakats (Disciples or Worshippers of Congress) who feel that the sooner the nation returns to Congress rule and normalcy, the better. Very few have discussed, at any length, the merits or demerits of it objectively and whether there were other and better means available to achieve the same objective. Indeed, the objective (or the goal post) itself is still not clear: from tackling corruption to cashless society, the goal-past has been frequently shifted.
  • Granted that corruption in our society has reached such gargantuan proportions that some extreme measures were required, why is it that the Modi-Bhakats are silent about Modi government having exempted political parties from any adverse effects of possession of 1000 and 500 rupee notes? Doesn’t it realise that the mother or gangotri of all corruption in India is funding of political parties? Doesn’t it make mockery of the claim of Modi government that the travails undergone by the common man due to demonetisation would be well worth it since it would largely do away with corruption?
  • The common man, therefore, always makes sacrifices and the big fish (such as the political parties) laugh all the way to the bank or wherever they store their money, at his cost.

I would want the Modi government to be given a chance to prove its credentials. I salute the people’s verdict in its favour in the last Lok Sabha elections in April-May 2014. Afterall, before that the country had been plunged into a morass of almost total corruption, inefficiency, hopelessness and cynicism. The majority voted Modi into power to bring about a change. However, most Indians tend to forget that once brought into power the Prime Minister or the government ceases to represent only those (often as little as 9 percent of the electorate; please see these calculations in the article quoted earlier:  ‘How Proud Should We Be Of Indian Republic At 62?’ ) that voted for him or it. The PM or the government when in power represents and is answerable to all the people of the country who have every right to discuss every issue on its own merit, without taking sides. For example, however fond I may be of Modi’s promise to bring about changes, as a retired defence forces person, I can never forget the fact that he and his government allowed the armed forces personnel to be denigrated, publicly abused and assaulted on the issue of OROP? How can I forget that whilst finding faults with the Congress for superseding LtGen SK Sinha in favour of Gen AS Vaidya, it did exactly the same with LtGen Bipin Rawat superseding two others?

In all these issues, follies and announcements, this time, though, there are bigger stakes. The people gave Modi government a clear majority to bring the country out of the pit of hopelessness that it had plunged into before him. If he fails and/or made to fail, we have a revolution waiting around the corner that is likely to be bloody, brought about by the people who are fed up of all governments and oppositions in the country; whose numbers include the vast majority of Indians.

Lets hope the government and the opposition keep this ominous warning in mind whilst blithely reducing every issue that the country faces into crass politics.

 

 

 

HOW WE SHOT STARS WHEN WE WERE YOUNG NAVY OFFICERS

If the title suggests to you that we went around with our Kodak or Agfa cameras (the prevalent models in the 1970s) to take pictures of our favourite film-stars like Dilip Kumar, Dev Anand, Vyjayanthimala or Nutan, you are as far away from the mark as someone who thinks pineapple is an apple-like fruit that grows on the pine trees. Worse, if you think, we – the navy officers – had decided to get rid of the bad guys or the villains in the Indian movies from Jeevan to Pran to Amjad Khan in Sholay and carried guns for that specific purpose, once again, you are wrong.

Shooting Stars is simply the process of bringing down to the horizon the images with the help of a marine sextant (see picture) of some of the 57 navigational stars given in the nautical almanac at the times of morning and evening nautical twilights (when both the stars and the horizon can be seen by the naked eye), thus measuring their exact angle with the earth’s horizon in degrees, arcminutes and arcseconds. The idea was to fix the position of a ship at sea, far from shore objects, in comparison to the known position of some of these 57 navigational stars. Naturally, in order to fix the position of the ship with some accuracy, one would have to get more than two bearing lines. The accuracy and the fastness of the observations would ensure that most of the bearing lines (from more than two stars) would meet at a point and that would be the fixed position of the ship. Without boring you with complex details, this in essence is the theory of the celestial navigation, also known as astronavigation. During our formative years in the navy, all of us had to learn the intricacies of the astronavigation.

Shooting the sun (Pic courtesy: wpclipart.com)

What about daytime? you will ask me. Well, one would shoot the sun! Aha, but sun is only one, you will persist. Yes, thank God, it is only one. However, if you measure the angle of the sun at different times of the day, allow for the changes in dead-reckoning (or DR) positions of the ship, you will get as many bearing lines as the number of times you shoot the sun, and then, once again, you can fix the ship. Fair enough, you will now ask, but, what exactly is a dead reckoning (DR) position. If you ain’t seeing the stars until now, a DR position is:

DR Position (Pic courtesy: sailtrain.co.uk)

the process of calculating one’s current position by using a previously determined position, or fix, and advancing that position based upon known or estimated speeds over elapsed time and course. The corresponding term in biology, used to describe the processes by which animals update their estimates of position or heading, is path integration.

I remember the time, when I underwent my higher-command course with the army at Mhow, and we joked about army in the mountains advancing with the speed of the mules (they provide logistic support to the army and no army can reach a place or sustain itself unless and until the mules carrying the logistics have cought up). We used to have any number of cartoons about the pongos (naval slang for army infantry guys) and mules. Little did the army guys know that some of our own methods also originated from the animals!

If you are with me so far, with or without stars in your eyes, you would then ask me if we already have the DR position, why to then further fix the ship? Well, DR positions are nowhere near being accurate. As with the animals, you would have to track all the various paths and speeds that the animal took and then arrive at his/her final position after a few hours. First of all it would depend upon the accuracy of the initial position and then on the accuracy of measurement of all the courses and speeds and drifts due to currents and winds and then arrive at the final position.

For example, lets say, the three or more plotted lines if they don’t meet at one point, they would form between them a figure called cocked-hat. Most often than not, all of us busying ourselves in astronavigation would land up with more cocked-hats than in the complete wardrobe of, say, Nelson.

 

Hence, astronavigation was for us the process of finding the ship’s position more accurately than the dead-reckoning (DR) position. A final question that you would ask me is that weren’t there modern technological means available to fix the ship? Well, there were, but, we were to learn astronavigation just-in-case in the same manner as we kept learning sails and masts even after the advent of steam-ships.

Finally, I might as well tell you that being at sea is very much different from anything that you can imagine. You have no idea of how lost you can get after spending a few hours or days at sea. All directions appear the same and there is nothing to differentiate one from the other. The only analogy that I can give you is the one given by my armoured course mates (how the poor guys miss out on becoming the army chiefs unless it is by accident!) in desert warfare; at times you have no idea of whether you are coming or going. Anyway, let me add that this confusion of being at sea has led Fleet Navigating Officers (the most qualified navigators in the fleet) of leading an entire fleet into waters and even harbours different from the ones that they had intended (as an example, please read: ‘Poor Communicator Had The Last Laugh’). In a major tactical exercise at sea, as another example, when the fleet at sea was divided into Red (enemy) and Blue (own) forces, two ships of the Blue forces encountered each other after going on different tracks and shot missiles at each other thinking of the other as Red ship.

A navy officer, of my era or earlier, would therefore be well versed with recognising navigational stars at sea and would rattle out star names such as Sirius, Rigel, Betelgeuse, Pollux, Aldebaran, Capella, Spica, Arcturus and the Belt of Orion simply by looking at the sky.

Other than that, let me assure you, there is a vast difference between the theory and the practice. For those of you who think it is ancient and outdated, let me tell you that the most modern navy in the world – the US Navy – discontinued (in part only) celestial navigation being taught to its officers in formative years only. And what is the part that they discontinued? Well, the part of physically calculating and drawing bearing lines ( a 22 step process that we all learnt). Instead, nowadays, the shooting star data (the physical data) is fed into a computer and a fix is obtained almost instantly. There are clearly advantages in astronavigation such as its signals cannot be jammed or stopped (unlike that of a radar or even satellite), it is globally available (stars and sun are available everywhere) and the process doesn’t give out any signals that can be detected by the enemy.

However, the inaccuracies of the process (two people are required at the same time to shoot stars: one for bringing the star to the horizon and the other for accurately noting the time of the observation with a chronometer) are many such as inaccurately calibrated sextant or chronometer, great inaccuracies in the last known position, misidentified stars, horizon not being clear due to many reasons (such as choppy seas) and inaccuracies in calculating and plotting. And these led to some hilarious situations at sea.

One that we had often heard was about these young Royal Navy officers trying out celestial navigation in the Thames river in the olden days. After the position calculated by them was plotted on the chart, the Navigator told them gravely that they would have to remove their hats as the ship had landed up in the middle of Saint Paul’s Cathedral.

In our case too, many a times the fix was plotted on the land. Minutes and even hours of shooting stars or the sun, calculating and plotting, would be of no use to the ship.

During my higher command course with the army, the only use for the navy that my army course mates found was to help them in their operations on land. Little did they know how often we had been helping them during the course of astronavigation by landing our ships just next to where they were busy fighting land battles!

 

SAB AJANABEE HAIN PAR KUCHH TO HAI APNA

रोने से कुछ न बन सका तो हसने की आयी बारी,
कुछ इस तरह से हमने है ज़िन्दगी गुज़ारी I

वह जब करीब आये तो हम दूर हो गए,
जीती हुयी ये बाज़ी खुद से है हमने हारी I

ज़िन्दगी की कश्म-ओ-कश में यह भी भुला दिया,
फिर कभी न मिल पायेगी, यह ज़िन्दगी हमारी I

साये बढ़ते गए आफताब चले जाने के बाद I
महताब की किरण भी दिखा गयी लाचारी I

दुनिया के शोर-ओ-गुल में परायों से क्या हो शिकवा,
अपने तो जान लेते मेरी यह बेक़रारी I

चमन के फूलों की यादें भी अब मुरझा गयीं हैं,
अब तो खिज़ा ही लेकिन लगती है मुझको पयारी I

सब अजनबी हैं, रवि, पर कुछ तो है अपना,
तन्हाई की यह दौलत मेरी ही तो है सारी I

Rone se kuchh na ban saka to hasne ki aayi baari,
Kuchh is tarah se hamne hai zindagi guzaari.

Woh jab kareeb aaye to ham door ho gaye,
Jeeti huyi ye baazi khud se hai hamne haari.

Zindagi ki kashm-o-kash mein yah bhi bhula diya,
Phir kabhi na mil paayegi, yah zindagi hamaari.

Saaye badhte gaye aftaab jaane ke baad,
Mehtaab ki kiran bhi dikha gayi lachaari.

Duniya ke shor-o-gul mein paraayon se kyaa ho shikwa,
Apne to jaan lete meri yah beqraari.

Chaman ke phoolon ki yaadein bhi ab murjha gayin hain,
Ab to khiza hi lekin lagti hai mujh ko pyaari.

Sab ajanabee hain, Ravi, par kuchh to hai apna,
Tanhayi ki yeh daulat meri hi to hai saari.

RIVER RAFTING DOWN THE GANGES

I had never done this before even though I always wanted to. I have spent 37 years in the Navy; but, that’s like a person joining the air force on the strength of his having travelled on the upper deck of a double-decker bus.

My wife and I were visiting Haridwar and Rishikesh after our Course Get-together at Dehradun. The day before attempting to make true our fantasy we visited the place called Shivpuri (23 Kms from Rishikesh towards Badrinath), the launching ground of most river rafting done in that area except for the really intrepid ones who go much further up the river.

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Next day, we decided that we had to undertake a rapid quickly enough so as to get over the fear rather than launch ourselves from this location. So we went a kilometre further up and came to this spot:img_20161120_100243 img_20161120_100250 img_20161120_102806 img_20161120_105204

We were staying with the army at Raiwala and with their help, it wasn’t difficult to book the rafts at reasonable prices. There are of course a number of rafting operators readily available charging you as little as Rupees 500 per head and about Rupees 3000 for the entire raft. We had a little difficulty because on the morning of our adventure, the operator told me that we (my wife and I) were both on the other side of sixty and regulations permitted him to permit people up to 38 years of age to undertake the rafting. He somberly added that a few years back a qualified rafting guide had lost his life when the raft toppled (capsized) in a rapid. Even the Wikipedia talks about whitewater rafting as extreme sports that may result in fatality.

Lyn (short for Marilyn) and I however convinced the operator that we would be very very careful. With me being from the Navy, our guide soon gained confidence and I negotiated one of the rapids standing up in the raft. I also enjoyed jumping in the river and swimming.

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Lyn and I with a person from the army (Parmeswaran) to help us and our guide (Aryan) and his assistant soon formed a reliable team (the primary spirit of the rafting) and trusted one another with our lives. I learnt that the international rafting association, the governing body of rafting anywhere classifies the rapids into six classes with Class 1 being those rapids that require slight manoeuvering, with small rough areas, and not requiring  anything more than basic skills to the most dangerous rapids being of Class 6 with risk of serious injury and death being very high. But then, if there is no risk, there is no fun (Please read my: ‘The Lure Of Going On A Limb’ after my rappelling experience). They say only the most tortuous paths lead to the most beautiful destinations and in case of whitewater rafting, it is very true.

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There are of course a number of rapids by the time you get to the destination (Ram Jhoola at Rishikesh) and one of the fearful ones is called Roller Coaster. Here is a video made by me of other rafts going through this rapid (whilst you are in the raft and negotiating it, clicking videos is the last thing that you’d want to do. Hence, I don’t have videos of our negotiating these rapids):

Here is the first of the rapids called ‘Camel Top’ that we negotiated (the video is shot by me of another boat doing the same thing):

It is not just the rapids that give you thrill. Every once in a while you come across calmer waters (of course with strong under currents) and then you get to look out and admire the scenery and your other mates in the raft:

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In the above pics, you would have noticed a man on the bank, in maroon robes playing on the flute. He was playing the popular arti Raghupati Raghav Raja Ram. My video couldn’t capture the notes but I could capture the atmosphere:

Whilst paddling through the rapids, the technique that we used more often than not was to continue with the momentum as much as possible by rapid paddling called punching. High siding (leaning out as much as possible on the higher side in order to right the raft going through the rapid) was used only once or twice and we didn’t use low siding at all. For a navy-man, who has done these enough at sea in a sailing boat, there was nothing new, however. I must, at this stage, have a word of praise for my partner, my wife, for not just the daring but enjoying the adventure thoroughly:

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I was reminded of the time, seven years ago, when we went to Andaman and Nicobar islands and I offered her to do snorkelling with me in Chidhiya Tapu. She was apprehensive of lowering herself into the sea because she doesn’t know swimming. However, after she learnt the technique and saw the beautiful choral underwater, she didn’t want to get out:

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Rafting can actually be that kind of fun and more. One doesn’t ever want it to get over. It is like going through the river of life with all its ups and downs, dangerous and risky times, calm and happy occasions and of course the joy of having been there and done that.

Soon we had crossed the last of the rapids called Doble Trouble, the name having derived from the rocks in the middle of the river, dividing the river into two. At this point we started seeing first the Laxman Jhoola and then our destination the Ram Jhoola:

We had had an experience of a lifetime and as we saw the Ram Jhoola and the places around, wanted it to go on and on and never finish:

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The notes of the final part of the aarti of the evening before for Gange Maa echoed in our hearts and ears and we felt fortunate that Ganga Mata (Mother Ganga) gave us the opportunity to be with her and witness her kindness, loveliness and enchantment even if for just two and half hours:

Be part of this enchantment and do this adventure at least once in your life. As far as my wife and I are concerned, it has prepared us for bigger and greater adventures.

Zindagi na milegi dobara (You can’t get your life again).

PAISA FAINKO, TAMASHA DEKHO

क्या अजब है मेरे देश में ये पैसे का खेल?
अमीर की बद-अमली ग़रीब रहा है झेल I

आज़ादी के वक़्त से वह खड़ा है कतार में,
कोई तो होगा कभी किसी भी सरकार में,
जो उसके दिन भी वैसे ही बदल डाले,
जैसे नेताओं के बदलते हैं एक ही चुनाव में I
क्या अजब है मेरे देश में ये पैसे का खेल?
बद उनवान को नहीं, ईमानदार को मिली है जेल I

यह वोटों और नोटों वाले आम आदमी को पूजते हैं,
पर अकेले में तो यह भगवान् को भी लूटते हैं,
कहो इनसे कभी यह भी ख़ुदा के ही बन्दे हैं,
इनके महल बनाने में जिनके हाथ पैर सूजते हैं I
क्या अजब है मेरे देश में ये पैसे का खेल?
इनसानियत ओ इख्लाकियत की जैसे लगी हुई है ‘सेल’ I

“ग़रीबी हटाओ” “जम्होरीअत बचाओ” के नारे बहुत सुन लिए,
जागते सोते इन्साफ-ओ-खुशहाली के ख्वाब बहुत बुन लिए,
अब इंक़लाब आने का माहौल बना जाता है,
इन्तेख़ाब आते गए और हर दफा खुदगर्ज़ ही चुन लिए I
क्या अजब है मेरे देश में ये पैसे का खेल?
अमीर की बद-अमली ग़रीब रहा है झेल I

atm2
(Pic courtesy: news18.com)

Kya ajab hai mere desh mein ye paise ka khel?
Ameer ki bad-amli gareeb raha hai jhel.

Azaadi ke waqt se woh khada hai qataar main,
Koi to hoga kabhi kisi bhi sarkaar mein,
Jo uske din bhi waise hi badal daale,
Jaise netaayon ke badlate hain ek hi chunaav mein,
Kya ajab hai mere desh mein ye paise ka khel?
Bad unwaan ko nahin, imaandaar ko mili hai jail.

Yeh voton aur noton waale aam aadmi ko poojte hain,
Par akele mein to yeh bhagwaan ko bhi lootte hain,
Kaho inse kabhi yeh bhi khuda ke hi bande hain,
Inke mahal banane mein jinke haath pair soojte hain.
Kyaa ajab hai mere desh mein ye paise ka khel?
Insaaniyat o ikhlaqiyat ki jaise lagi hui hai ‘sale’.

“Gareebi hataao” “Jamhoriyat bachaao” ke naare bahut sun liye,
jaagte sote insaaf-o-khushaali ke khwaab bahut bun liye;
Ab inqlaab aane ka mahaul bana jaata hai,
Intekhaab aate gaye aur har dafaa khudgarz hi chun liye.
Kyaa ajab hai mere desh mein ye paise ka khel?
Ameer ki bad-amli gareeb raha hai jhel.

HIMACHAL THE BEAUTIFUL STATE, PART IV – RENUKA LAKE

My Fantasy Place

It is within three hours of drive from my place in Kandaghat (Please read: ‘Home Is Where The Heart Is – Kandaghat In Shimla Hills’) and yet, I hadn’t been there except with my parents when I was small.

It is my fantasy place. My fantasy is all about a boat in a lake on a moonlit night with a partner. So what if this time the boat happened to be not a rowing boat but a paddle-boat with a dragon face and so what if the moon was out in the forenoon itself? It was still my fantasy place.

The Journey to and from Renuka

My wife and I were on return passage to Kandaghat from Haridwar. We spent the night at the Special Forces Training School Mess at Nahan and started from there after breakfast. The distance of 38 Kms from Nahan was spent looking at the beautiful scenery:

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On the way back from Renuka to Kandaghat via Kumhar Hatti, we realised that even if we had gone straight from Kandaghat, we would have been blessed with equally beautiful sights:

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Largest Natural Lake in Himachal

Renuka Lake is the largest natural lake in Himachal (the Gobind Sagar Lake in Bilaspur being the largest man-made reservoir in Himachal). We took a Golf Kart to go on the track around the lake and the driver told us that it is about 3.5 Kms (the actual circumference of the lake being 3.214 Kms). Many people feel that the Khajiar Lake near Dalhousie is most serene and isolated. Well, you have to be at Renuka to experience the quiet. You can hear the birds, the fish (the lake is house to large Mahseer fish), and even the dry leaves fall from the trees. You can whisper to your inner self; it is so quiet.

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Religious Significance

Renuka Lake is not just a tourist spot of outstanding and enchanting beauty, it is a place of great religious significance. The lake is named after the goddess Renuka or Renu who is the avatar of goddess Parvati or Shakti, the wife of Lord Shiva. Indeed when we went boating, we had to do so bare feet as the lake is considered the abode of Renuka ji (the name literally meaning Mother of the Universe).

The temple of Lord Parshuram stands on the bank of the lake. Lord Parshuram was the sixth incarnation of Lord Vishnu. Bhagwati Renuka Ji, Lord Parshuram’s mother and her husband Maharishi Jamdagni performed deep meditation (known in Hindi as Tapa or तप, from the Hindi word Tapsaya और तपस्या) at a place appropriately called Tape Ka Tibba (Meditation Hillock). Lord Vishnu was pleased with their meditation and took birth as their son. He was named Ram by his parents but came to be known as Parshuram because he in turn pleased Lord Shiva with his meditation (Tapa) and received the divine weapon Parshu from him.

The temple of Lord Parshuram stands at the bank of Renuka Lake
The temple of Lord Parshuram stands at the bank of Renuka Lake

On the opposite side of the temple, across the lake is the holy spot where there is an icon of Renuka ji:

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Renuka ji resides permanently in the lake after she took Jal Samadhi (meditative absorption in water) after King Sahastrabahu killed Maharishi Jamdagni for the latter’s refusal to hand over the Kamdhenu cow as the Maharishi explained that it was the property of Lord Indra given to him in trust. Renuka ji promised her son Lord Parshuram that every year on the occasion of Devprabodhini Ekadashi she would emerge from the lake to meet him. A five day international festival is held in Renuka on this occasion every year. This is immediately after Diwali and my wife and I missed it by a few days. A visit to the temple of Lord Parshuram is a must. You would be served with free Langar (community kitchen) whilst you are there:

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Tourist Interest

There is a HPTDC hotel and restaurant at the entrance itself. Both the rooms and food are available at reasonable prices (Rooms ranging from Rupees 2500 to 3500 per day and night).

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To go around the lake, one can hire boats and these are reasonably priced too (A four seater paddle boat costs Rs.250 and six seater Rs.350). There is a Security or Guard Boat on duty to help in case of distress.

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Boating in the lake is an unforgettable experience. My wife and I did it starting 11 AM to noon on 22 Nov. The sky was totally blue, the sun shone pleasantly and as its rays shimmered on the surface of the lake, these were reflected into the branches of the trees around. Whilst boating, if you keep hearing the words: “this is heaven on earth“, chances are that you yourself are saying them as a litany as you go from one enchanting sight to another:

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One can go on the 3.5 Kms track around the lake in the HPTDC provided Golf-Kart. They charge Rs. 50 per head. My wife and I took the trip by ourselves. There are pens of a mini-zoo all along this track:

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Parshuram Sarovar and Renuka Temple

Both are right next to the lake. Indeed, the way to the lake is through the Sarovar on the bank of which is the temple and a Forest Rest House:

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Memories Forever

Renuka Lake is definitely the place to spend a day and night and make precious memories that will last you a lifetime. In the end, here are some that we made:

Sunbyanyname brings you personalised experiences of travel. Please await my next destination.

THE SUPER COOL SUBMARINERS’ SUPER COOL WAYS

Submariners are a class apart. They are cooler than the arctic ice that you saw in the movie Ice Station Zebra in which Rock Hudson played Commander James Ferraday, Captain of the US attack submarine USS Tigerfish. Some of you who saw the movie would recall that the movie was ostensibly about rescuing British personnel on a drifting ice weather station in the arctic but actually about a classified intelligence mission. There was this scene in the movie when Commander Ferraday welcomes ‘Mr. Jones‘, the British intelligence agent on board by telling him, “Here on this boat, we are very informal. Everyone is known by his first name. My first name is ‘Captain’.”  How cool that sounded. Well, submariners are like that.

Before they join the branch, there is a special psychology and psychiatrist test for them to qualify; for, if they ain’t the cool type, amongst other attributes, they can commit fatal mistakes in the closed confines of a submarine (In the F class of submarines, for example, the sailor on watch in the DG compartment didn’t have space enough to stand erect). Our famous tall submariner is Admiral VS Shekhawat. His bunk was extended by more than a foot on the submarine so that he could at least sleep properly. He was my CO on a ship and he was cooler than any cucumber.

Anyway, I hope you got the point about the submariners being the coolest of the cats.

What do all of us in the Navy do when we are not at sea? You would expect us to be enjoying life (“Coolex” as the navy men say it; the suffix ‘ex’ is used for exercises. Hence, TACEX would be a tactical exercise. In the same manner, ‘Coolex‘ would mean an exercise in cooling one’s heels!) or twiddling our thumbs. Far from it. Half of us are busy writing reports of the exercises done at sea (most of us return ashore bleary-eyed since the naval authorities are convinced that the time at sea is very costly for the nation and every minute must be made use of). The other half is given to such tasks as the ones ashore should have been doing but being overworked, they have to reluctantly pass it on to the people on the ships after they have enjoyed themselves doing nothing at sea.

One of the tasks given to me when I was commanding my boat Vipul was to conduct a Board of Inquiry into circumstances leading to an Assistant Logistic Officer (ALO) by the name of Lieutenant Devgun having walked away with Rupees 33 Lakhs from the accounts of the Submarine Base in Mumbai (COMCOS (West)). I was one of the members (a BoI normally has three members including the President). Our President was then Captain (later Rear Admiral) Kochhar, CO of the carrier Vikrant. And then we had a Logistic Officer, Commander Anand, who had all rules and regulations concerning accounts at the back of his hand.

To complete the background, I must mention that the rear wall of any BoI and Court Martial room has to have a picture of the President of India in his capacity as the Supreme Commander of the armed forces.

As we commenced the BoI, we realised that the cool submariners had left everything to the super cool Devgun. The Logistic Officer, Devgun’s immediate boss, for example, had become an expert at solving crosswords since he totally trusted his assistant Devgun to handle accounts, cash, money warrant, ledgers, and locking unlocking of the money safe held in his personal custody. All the others in the Base were equally cool about trusting Devgun with even surprise muster of accounts. He not just maintained Imprest Account but others, busy as they were, coolly disposed off even the handling of their Non-Public Fund accounts to him. The more we went into their coolness, the more we realised that anything and everything had been left to the man with a gun and the Hindi name for god in his name.

Indeed, the President of the BoI mentioned during one of the tea-breaks conjectured as to why couldn’t they have madee him the COMCOS (Commodore Commanding Submarines) since Devgun virtually did everything as a Lieutenant; and, he had risen to this rank from being a sailor?

More and more skeletons came out of the submariners’ cupboards as we took up one thread or the other. As an example, lets say there was a party at the Submarine Base. Who do you think did the local purchase of things required for the party? Well, you have easily guessed it; the cool submariners’ most trusted officer Devgun did it and made underhand money there too (as if 33 Lakh rupees (a huge sum during those days) wasn’t enough). Finally, we decided that we would have to restrict the scope of the BoI since it was otherwise becoming gargantuan with no end in sight. We informed the command headquarters accordingly.

One day, one of the witnesses (a woman) brought out that Devgun was also running a Chit Fund with the promise of making everyone rich. Whilst her evidence was being recorded, we had a tea-break. During the tea-break, the President enquired from the lady stenographer given to us to record the proceedings (in shorthand) (she was a steno at the submarine base itself) about this Chit Fund. She mentioned that many women employees of the Base had given him money for the Chit Fund so as to become rich. She also shyly suggested that many had even illicit relations with him.

On an impulse, the President BoI asked her if she too had lent money to him for the Chit Fund. She lowered her eyes and nodded.

After she went out, the President asked if we should remove the President’s picture from the rear wall and put up that of Devgun because he was the only one who had succeeded in even making women to pay for the fun he had.

Aftermath

After months of the BoI, once, by sheer accident, Devgun was caught and they put him in custody in a cell whilst awaiting court-martial. It is customary to put the personnel from the same unit as guards as well as officers to keep a watch and so the cool submariners guarded Devgun in sharp contrast to how he used to guard their interests in the past.

After being in the cell for a day or two, he mentioned to the cool officer on duty that both he and the officer could take a break and paint the town red. His I-Card and wallet were hence given back to him by this cool officer and as promised, Devgun took him to the apartment of a woman of ill repute. She lived on a higher floor in a multi-story building. Devgun handed over his I-Card, wallet and gold-chain etc to the officer waiting down there in his jeep whilst he went to have fun (as John Milton famously said: They also serve who sit in the jeep and wait). After 30 minutes or so Devgun emerged and told the officer that she was waiting for him. So now it was the turn of the officer to give him his I-Card, wallet etc whilst he (the officer) too went to taste the paradise.

That was the last that was seen of Devgun!

Kya Cool Hain Hum?!

“I Hate Your Blog, I Don’t Know Why”

Some of your friends who don’t exactly say it but mean it nevertheless remind you of people who are quite at home with stray dogs but cannot stand your pet-dogs. Why this strange-sounding simile? Well, on social-media discussions, the same people, would quote from little known, pedestrian authors and indeed from recirculated internet stuff that goes by the misnomer of ‘knowledge’, but readily ignore your well researched essay. There must be some psychology, some reasons behind this secret hatred for blogs. Let me examine some of these.

1. Mujhe Bhi Kuchh Kehna Hai (I too have something to say). In an essay titled ‘All Photographers And Writers, No Viewers And Readers’, I brought out that the biggest two techno-social changes that have affected our lives in the last decade or so are that everyone is a photographer and everyone can write and instantly publish. Hence, there is nothing unique or extraordinary about anyone who writes or clicks pictures. Lets take the latter first; if someone puts up pictures of his family trip to London, you can put up pictures of your trip to Rio. “London is really a destination where people used to go in the last century; it is time that these commoners now learn to go to more exotic locales. But, frankly, they don’t have it in them; for them, London is still abroad“. Now, let’s get to writing blogs: “What’s so special about what he has written? I don’t have time, else, I could have written ten such articles and with better English and humour”. If you ever visit largest Indian Blogging site Indiblogger, you will discover that they maintain a ranking of blogs dependant upon people voting for blog posts. And who are the people who vote? Well, other bloggers. Everyone, therefore, follows the tenet: ‘You scratch my back, I scratch yours‘.

2. Ghar Ki Murgi Dal Barabar (Home-grown chicken is worth (lowly) dal (cereal) only). Ah, the time when we used to read the brilliant stuff of really intelligent men and women in newspapers and magazines. Somehow the stuff that the boy or the girl next door writes does not sound that erudite or good. It is almost like discovering your son paints as good as Picasso or Rembrandt! How can that be? Yes, we want social media revolution to change governance in the country, our surroundings, world politics and community religion. However, our next door blogger doesn’t have the calibre to take on anything even close to it. In any case, having heard and read him a few times, we already have good knowledge of what he/she is going to say.

(Carton courtesy: allthingslearning.wordpress.com)
(Carton courtesy: allthingslearning.wordpress.com)

3. Quantity Has Made Quality Suffer. You can gather all kinds of arguments to support your theory. One of them is that delightful cuisine cannot be made for millions. Yes, blue jeans was an invention that changed the way masses dressed and really well to do people spent their lifetime. thereafter, in Levis. However, you cannot go to a gourmet dinner dressed in blue jeans, can you? Naturally, as seen by you since you make all the arguments to suit your bias, quality has certainly suffered now that everyone who has Internet can publish. In the words of the Urdu poet:

Barbad gulistaan karne ko to ek hi ullu kaafi tha,
Yahan..har shaakh pe ullu baitha hai anjam-e-gulistan kya hoga?

(For destroying the wonderful garden, even one owl is sufficient,
Here there is an owl on each branch, wonder what would happen to the garden?)

4. I Know The Author Well; He/She Can’t Write For Nuts. Whilst with the author in a novel, newspaper or periodical there was no personal linkages, more often than not, with a blogger, you are one to one. Hence, your mind works overtime to remember how he was a nincompoop when you were with him in school or college or elsewhere. He couldn’t make a sentence in English properly. Then there is another bigger problem, which is, that one reads so that one can quote in good company. People are taken aback when you suddenly quote a verse of Coleridge or some other quote of say, Tolstoy. But, imagine trying to impress a company by saying that your friend, the blogger wrote it. Naturally, you can’t even impress people by quoting him/her. Perhaps, if it makes a lot of sense, you can say Vikram Seth said it! In any case, who would have read all that Seth wrote?

5. Who Has The Time? The race for time is similar to Mumbai traffic or for that matter traffic in any other Indian city. Once, when a motorist overtook me in very slow moving traffic, by hook or crook, and I came parallel to him at the next traffic lights, I lowered my window and asked him, “भाई साहिब, मान लो आप मुझसे दो तीन मिनट पहले अपने ठिकाने पर पहुँच जाओगे; पर उस दो तीन मिनट में आप करने क्या वाले हैं?” (Brother, supposing that you reach your destination two or three minutes ahead of me; but, what exactly are you going to do in those two or three minutes). He laughed and laughed and said, “क्या करें? आदत पढ़ गयी है?” (What to do? It has become a habit). The same people who complain about lack of time spend hours solving the Sudoku.

6. He Is Only Promoting His Blog. In a way, unless you believe in literary masturbation, you write so that people would read. You don’t make any money writing your blog; however, they make it look like as if blogs are similar to prostitution in which you woo your clients by selling your body and soul. Recently, I had this experience when a friend used these exact words to win an argument that he was otherwise trying to win through profanity.

(Cartoon courtesy: paintermommy.com)
(Cartoon courtesy: paintermommy.com)

7. I Can’t Be Forced Into Reading Anything; I Choose To Read What I Want To. For heavens sake, our choices over a period of time are dwindling. With the onslaught of advertisements, we don’t ever have a choice of what we buy and use; we don’t have a choice in government making even though we vote election after election: many of us don’t have a choice of partner for life,and so on. At least, let me exercise choice in reading what I want to read rather than being forced to read something sent by a friend.

8. Why Can’t He Write ‘Short-and-Sweet’? Most highly popular blogs have just a picture or two or a quote or a paragraph of recirculated stuff. People immediately identify with such stuff. Such stuff also meets the demands of some of the reasons that I have given above, especially lack of time. A few years ago I started a number of groups on Facebook on various themes ranging from ‘Laugh With The Punjabis‘ and ‘Humour In And Out Of Uniform‘ to ‘Yaad Kiya Dil Ne‘ (a group for sharing music) and ‘Main Shayar To Nahin‘ (a group for sharing poetry). I insisted that people would write as per the theme of the group, write original, and steer clear of posting greetings, religious messages, political messages, and other such nonsense. I wrote my experiences in an essay titled: ‘Want To Start A Facebook Group? Have A Reality Check‘. Soon, all groups on Facebook become Friends Circles wherein everything and anything is posted. No one reads serious poetry either written by friends or by recognised poets, for example. People are happy to write, like and comment on such gibberish as:

जब तुम्हारी याद आती है तो बहुत दर्द होता है,
जब दर्द होता है तो तुम्हारी याद आती हैI

This is short and sweet. I accessed this site and found this s & s piece had 453 likes and 117 comments.

There you are: I have tried to find reasons as to why blogs are hated and disliked. If you are a blogger and you have some other reasons to add, please go ahead and share in the comments.

'It's so refreshing to meet someone who doesn't blog.' (Cartoon courtesy: jantoo.com)
(Cartoon courtesy: jantoo.com)

MOHAMMAD RAFI, DID HE SING OR CRY?

Blasphemy sells and sells big time. Karan Johar, the producer (alongwith Apoorva Mehta and Hiroo Yash Johar), director, story-writer and with dialogue writer (Niranjan Iyengar) of the movie Ai Dil Hai Mushkil (ADHM) is laughing all the way to the bank in having made yet another hit movie. However, a dialogue in the movie when the actress Anushka Sharma, playing the role of Alizeh, tells Ranbir Kapoor as Ayan Sanger about the god of songs (as held by millions of his fans) Mohammad Rafi that ‘Woh gaate kam, rotey zyada the’ has angered his fans. They protested and demanded an apology. However, Karan Johar with an eye on the box office (the more controversy a film gathers, the better it does at box office) has declined to tender apology or to blot out the offending dialogue. This confirms that unlike what the Censor Board people feel about it, this dialogue didn’t appear there accidentally but was a deliberate move to profit from such cheap, despicable and highly offensive stunt.

I am one of the affected fans of Mohammad Rafi. With his seemingly limitless range of singing encompassing romantic numbers, enchanting duets, comic songs, children’s songs, bhajans, ghazals, happy and lighthearted songs, songs in the vernacular, songs for the elderly, poor, men and women on the street, patriotic songs, rebellious songs and sorrowful songs, wedding and bidai songs, party songs and even pop songs (in each one of these he being the best), I am at a loss as to how this dialogue makes any sense.

Here, it is not my intention to give examples of songs that were not the so called crying songs, or to bring out what a wonderful person in real life our most beloved singer was. This piece has limited purpose. It is to prove to Karan Johar (I shall never again see any of his movies or television appearances) that he wasn’t right even in the essence of the most ridiculous lament: ‘Woh gaate kam, rotey zyada the’.

An artiste’s work speaks for itself and here I present to you some of my most revered idol’s so called crying songs just to bring home one small point to Karan Johar: Mohammad Rafi’s singing wasn’t crying but on those rare occasions when he cried, it was singing of outstanding excellence. It is fashionable these days to make the movie titles as the titles of old and popular songs and Karan Johar has his share of movies with such titles. He chose the title of a peppy and popular song sung by Mohammad Rafi himself as the title of his movie and then went about denigrating the singer.

Shame!

Song #1
O duniya ke rakhwaale, sun dard bhare mere naale…

Mister Karan Johar should know that, in this song, Mohammad Rafi actually cried so beautifully that it is one of the best ever bhajans ever made. Even today, 64 years after the 1952 movie Baiju Bawra was made, we cry not just at the emotions of the song (I maintain that the best Hindi songs ever have been made by Shakeel Badayuni as lyricist, Naushad Ali as Music Director, Mohammad Rafi as singer and Dilip Kumar as actor.  Though in Baiju Bawra, Bharat Bhushan was the actor but the other three proved their magic. Please read: ‘The Best Of Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’) but also for the fact that we shall never have this voice again. I can imagine not just people crying with the song but perhaps even God doing so. In the finale of the song when the throat bleeding pitch reaches a crescendo, you feel drained out listening to it but Rafi ji did it with his customary ease.

The makers of best songs in Hindi movies: Mohammad Rafi with Naushad Ali and Shakeel Badayuni
The makers of best songs in Hindi movies: Mohammad Rafi with Naushad Ali and Shakeel Badayuni

The song was composed by Naushad in Raag Darbari, Tal Kaherava (Naushad is credited with having brought Raaga based compositions in Hindi movies and each one of the Baiju Bawra’s thirteen songs (including Sargam) was based on a Raaga. Rafiji’s genre’ of singing included Raaga based songs and he did an outstanding job of singing them all.

Please enjoy a tour de force of a song and help revise Karan Johar’s views about Rafi ji’s singing and crying: O duniya ke rakhwaale, sun dard bhare mere naale …

Bhagavaan, bhagavaan … bhagavaan
O duniyaa ke rakhavaale, sun dard bhare mere naale
Sun dard bhare mere naale
Aas niraash ke do ra.ngo.n se, duniyaa tuune sajaaI
Nayyaa sa.ng tuufaan banaayaa, milan ke saath judaaI
Jaa dekh liyaa harajaaI
O… luT gaI mere pyaar kii nagarii, ab to niir bahaa le
ab to niir bahaa le
O… ab to niir bahaa le, o duniyaa ke rakhavaale …

Aag banii saavan kii barasaa, phuul bane a.ngaare
Naagan ban ga_ii raat suhaanii, patthar ban gae taare
Sab TuuT chuke hai.n sahaare, o … jiivan apanaa vaapas le le
Jiivan dene vaale, o duniyaa ke rakhavaale …

Chaa.nd ko Dhuu.NDhe paagal suuraj, shaam ko Dhuu.NDhe saveraa
Mai.n bhii Dhuu.NDhuu.N us priitam ko, ho naa sakaa jo meraa
Bhagavaan bhalaa ho teraa, o … qismat phuuTii aas na TuuTii
Paa.nv me.n pa.D gae chhaale, o duniyaa ke rakhavaale …

Mahal udaas aur galiyaa.n suunii, chup-chup hai.n diivaare.n
Dil kyaa uja.Daa duniyaa uja.Dii, ruuTh gaI hai.n bahaare.n
Ham jiivan kaise guzaare.n, o … ma.ndir girataa phir ban jaataa
Dil ko kaun sambhaale, o duniyaa ke rakhavaale …

O duniyaa ke rakhavaale
Rakhavaale
Rakhavaale
Rakhavaale …  (throat bleeding pitch)

Song #2
Ye aansu mere dil ki zubaan hain….

Here is another one of those rare occasions when Mohammad Rafi expressed his emotions throught the medium of tears. Hasrat Jaipuri, the great lyricist who worked with the best music duo ever: Shankar Jaikishan, called these tears as the language of the heart (Dil ki zubaan). If Anushka Sharma or Karan Johar would pay attention to the lyrics and their superb rendition by Mohammad Rafi, they would instantly feel ashamed about passing off Rafi’s singing as crying. Each word in the song assumes greater meaning with the effect of his singing.

Mohammad Rafi with Hasrat Jaipuri, Shashi Kapoor and Jaikishan
Mohammad Rafi with Hasrat Jaipuri, Shashi Kapoor and Jaikishan (the song is picturised on Rajendra Kumar and Jamuna)

Pleaase enjoy: Ye aansu mere dil ki zubaan hain….

Ye aa.Nsuu mere dil kii zubaan hai.n -2
Mai.n ro_uu.N to ro de.n aa.Nsuu
Mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu
Ye aa.Nsuu mere dil kii zubaan hai.n -2

Aa.Nkh se Tapakii jo chi.ngaarii, har aa.Nsuu me.n chhabii tumhaarii
Chiir ke mere dil ko dekho, bahate lahuu me.n priit tumhaarii
Ye jiivan jaise sulagaa tuufaan hai
Ye aa.Nsuu mere dil ki zubaan hai.n -2
Mai.n ro_uu.N to ro de.n aa.Nsuu
Mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu
Ye aa.Nsuu mere dil kii zubaan hai.n -2

Jiivan-path par jiivan saathii, saath chale ho mu.Nh na mo.Do
Dard-o-Gam ke doraahe par, mujhako ta.Dapataa yuu.N na chho.Do
Ye naGamaa mere Gam kaa bayaan hai
Ye aa.Nsuu mere dil kii zubaan hai.n -2
Mai.n ro_uu.N to ro de.n aa.Nsuu
Mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu
Ye aa.Nsuu mere dil kii zubaan hai.n -2

Song #3
Kabhi khud pe kabhi halaat pe rona aaya…

Mister Karan Johar, after you have made your millions blaspheming our most revered singer ever, please give it a thought that the song that I am giving you now is amongst the best of one of the best lyricists ever: Sahir Ludhianvi. Music Director Jaidev composed it in Raag Gara, Tal Dadra and after both of them did their bit to make this song great, finally it was the extraordinary rendition by Mohammad Rafi that made the emotions of Dev Anand on celluloid come alive.

Mohammad Rafi with Dev Anand
Mohammad Rafi with Dev Anand

Please enjoy: Kabhi khud pe kabhi halaat pe rona aaya…

Kabhii Kud pe, kabhii haalaat pe ronaa aayaa
Baat nikalii, to har ik baat pe ronaa aayaa

Ham to samajhe the ki ham bhuul gae hai.n unako
Kyaa huaa aaj, ye kis baat pe ronaa aayaa

Kis liye jiite hai.n ham kisake liye jiite hai.n
Baarahaa aise savaalaat pe ronaa aayaa

Kaun rotaa hai kisii aur kii Kaatir ai dost
Sabako apanii hii kisii baat pe ronaa aayaa

Song #4
Ye hanste hue phool…

The 1957 movie Pyaasa has the most crying songs of Mohammad Rafi in a single movie and the songs are as much classic as the movie is. Time magazine ranked it in 2005 as one of the Top 100 movies of all times and the same magazine, in 2011, ranked it as one of the Ten Most Romantic movies in the world. And guess what? Guru Dutt plays a poet Vijay in the movie (Sahir Ludhianvi‘s poetry) whose poetry is considered pedestrian by people until later they realise that it is poetry of the highest excellence. Similarly, Karan Johar and Anushka would think it is mere crying when the rest of the world thinks of it as singing of great skill and brilliance. He sang those songs because the story demanded it and each one is a masterpiece composed by SD Burman.

Mohammad Rafi with Guru Dutt and SD Burman
Mohammad Rafi with Guru Dutt and SD Burman

For your information, Mister Karan Johar and Ms Anushka, when Mohammad Rafi through Vijay (Guru Dutt) sang in an audience in early stages of his poetry-writing in the movie: Tang aa chuke hain qash-ma-qash-e-zindagii se ham, thukaraa na dein jahaan ko kahiin bedilii se ham, one of the men in the audience, as ill-informed as you both are about real value of Rafi’s singing, used a variation of your blasphemous dialogue: “Aji janaab, khushii ke mauke par kyaa bedili kaa raag chhedaa huaa hai? Koi khushii kaa giit sunaaiye“, he replied in his singing voice: Ham gam-zadaa hain laayen kahaan se khushi ke geet, denge wohi jo paayenge is zindagii se ham. It was a brilliant reply as good in its lyrical value as in singing eminence.

And for irreverant people like you, Rafi had a beautiful reply in another song: Gam is qadar badhe, ke main ghabaraa ke pii gayaa; is dil kii bebasii pe
taras khaa ke pii gayaa. And a female voice commented: Achchhaa to ye shaayar bhii hain, in the same mocking way that you feel he was less a singer than a crier, Rafi, once again through Vijay (Guru Dutt) responded brilliantly in the end: Thukaraa rahaa thaa mujhako badi der se jahaan, main aaj sab jahaan ko thukra ke pi gaya!

Rafi would have had something to say, in his singing voice to you too, Mister Karan Johar except that he had already concluded in the movie that he was above all this: Ye duniya agar mil bhi jaaye to kyaa hai?

Pyaasa was the last time when the pair of Sahir Ludhianvi and SD Burman were together and this is what they made Rafi sing. Please enjoy: Ye hanste hue phool…

Ye ha.Nsate huye phuul
Ye mahakaa hu_aa gulashan
( Ye ra.ng me.n aur nuur me.n
Duubii hu_ii raahe.n ) -2

(Ye phuulo.n kaa ras pii ke
machalate huye bha.Nware ) -2

Mai.n duu.N bhii to kyaa duu.N tumhe.n
Ai shoK nazaaro.n
Le de ke mere pass
Kuchh aa.Nsuu hai.n kuchh aahe.n

All I can say is that happy songs are much easier to sing. The sad songs of Pyaasa are amongst the most difficult songs that he sang.

Song #5
Woh jab yaad aaye bahut yaad aaye….

On a rough count, Lata Mangeshkar and Mukesh would have sung many more cryingly sad songs than Mohammad Rafi. However, in case of Lata, Karan Johar would have been politically correct never to compare her singing with her crying. He would have known that his film would have been forced to be banned rather than his making millions by mocking her. Also, the fact is that Mohammad Rafi put his heart and soul into any type of songs including sad ones and his songs are the ones that are remembered most for their heart rending quality. In many of these, that were duets, Lata ji matched him ably just as she did with romantic and peppy duets.

Amongst Rafi and Lata’s most popular duets of all times is this crying song, in which she rightly says: Magar rote rote hansi aa gayi hai, khyaalon mein aake woh jab muskaraye.

This also happens to be one of the best remembered songs in Raag Kalyan, Tal Kaherava, composed by Laxmikant Pyarelal on the excellent lyrics of Asad Bhopali. One of Rafi’s qualities was that even if the actors were of lesser calibre, he covered up for them by the depth of his singing. In the 1963 movie Parasmani, for example, he sang for Mahipal whilst Lata sang for Geetanjali.

Mohammad Rafi with Laxmikant Pyarelal
Mohammad Rafi with Laxmikant Pyarelal

Please enjoy: Woh jab yaad aaye, bahut yaad aaye….

Wo jab yaad aae bahut yaad aae
Gam-e-zi.ndagii ke a.ndhere me.n hamane
Chiraag-e-muhabbat jalaae bujhaae

AahaTe.n jaag uThii.n raaste ha.ns diye
Thaamakar dil uThe ham kisii ke liye
Ka_ii baar aisaa bhii dhokhaa huaa hai
Chale aa rahe hai.n vo nazare.n jhukaae

Dil sulagane lagaa ashq bahane lage
Jaane kyaa-kyaa hame.n log kahane lage
Magar rote-rote ha.nsii aa ga_ii hai
Khayaalo.n me.n aake vo jab muskuraae

Wo judaa kyaa hue zi.ndagii kho ga_ii
Shammaa jalatii rahii roshanii kho ga_ii
Bahut koshishe.n kii.n magar dil na bahalaa
Ka_ii saaz chhe.De ka_ii giit gaae

Song #6
Hum tumse judaa ho ke mar jaayenge ro ro ke…

Talking about Asad Bhopali, two years after Parasmani he repeated the magic of his lyrics in the 1965 movie Ek Sapera Ek Lutera with Feroze Khan playing both the title roles. This time the music director was Usha Khanna, the only female music director of contemporary fame (though earlier there were two others too: Jaddan Bai and Saraswati Devi) in a male dominated Hindi films music scene. She composed the song in Raag Darbari Kanada, Tal Kaherava. I was not yet in my teens when I saw the movie with my parents and I do remember that this was the most popular song of the movie at that time.

rafi-with-usha-khanna-and-kishore-kumar

Please enjoy: Hum tumse judaa ho ke mar jaayenge ro ro ke….

Ham tumase judaa ho ke mar jaa_e.Nge ro-ro ke -2
Mar jaa_e.Nge ro-ro ke

Duniyaa ba.Dii zaalim hai dil to.D ke ha.Nsatii hai -2
Ik mauj kinaare se milane ko tarasatii hai
Kah do na ko_ii roke -2
Ham tumase judaa …

Vaade nahii.n bhuule.nge kasame.n nahii.n to.De.nge -2
Ye tay hai ki ham dono.n milanaa nahii.n chho.De.nge
Jo rok sake roke -2
Ham tumase judaa …

Sochaa thaa kabhii do dil milakar na judaa ho.nge
Maaluum na thaa ham yuu.N naaqaam-e-vafaa ho.nge
Qismat ne.n di_e dhokhe
Ham tumase judaa …

Song #7
Tere bin soone nayan hamaare….

Jag mein rahaa main jagase paraayaa
Saayaa bhii meraa mere saath na aayaa
Hansane ke din bhi roke guzaare
Haay! tere bin suune …

One of the greatest lyricists of all times – Shailendra (Please read: ‘The Best Songs Of Shailendra, The Lyricist Beyond Compare – Part I’ and ‘Part II’) penned those lyrics for the 1963 RK Rakhan movie Meri Soorat Teri Aankhen, which had Ashok Kumar in the most challenging role of his life (No successful actor of Karan Johar movies would ever take up such a role in which he is to be shown as dark and ugly; which only goes to prove that Karan Johar and his ilk are as devoid of reality around them as they are of respect for the finest singer on earth: Mohammad Rafi). These lyrics tell the story of some of the unfortunate people of India before (suddenly) everyone started moving in their cloistered and make believe world of riches, splashes of colour, skirts, jeans and fornication created by Karan Johar and the like. And, Mohammad Rafi was there to sing those emotions of the poor, the deprived and the victimised.

The great composer Sachin Dev Burman composed these lyrics in Raag Pilu (the favourite raaga of his contemporary OP Nayyar) and Tal Dadra. The last stanza has been sung by Lata Mangeshkar for Asha Parekh who was visiting that hilly and isolated locale with her lover Pradeep Kumar and who was visibly affected by the beauty of the singing.

Mohammad Rafi with Ashok Kumar
Mohammad Rafi with Ashok Kumar

Please enjoy: Tere bin soone nayan hamare….

Tere bin suunii, nain hamaare
Haay! tere bin suunii
BaaT takat gaye saa.Njh sakhaare
Haay! tere bin suunii

Raat jo aaye Dhal jaaye pyaasii
Din kaa hai duujaa naam udaasii
Nindiyaa na aaye ab mere dvaare
Haay! tere bin suunii …

Jag me.n rahaa mai.n jagase paraayaa
Saayaa bhii meraa mere saath na aayaa
Ha.Nsane ke din bhii roke guzaare
Haay! tere bin suunii …

O anadekhe, o anajaane
Chhup ke na gaa ye prem taraane
Kaun hai tuu mohe ab to bataa re
Haay! tere bin suunii …

Song #8
Tum mujhe youn bhula na paaoge…

Finally, Mister Karan Johar, Anushka Sharma and party, this is as if directly sung by Mohammad Rafi for you. However much you try, you cannot forget Mohammad Rafi. Whenever you hear his songs, you too hum and will continue humming! Rafi ji had that quality. Even those who, for reasons known best to them, mock him, love Mohammad Rafi’s songs; there is no getting away from this reality.

This has been composed by my favourite music duo Shankar Jaikishan in my favourite Raag Jhinjhoti. Why is Jhinjhoti my favourite? Simple, because what I consider as the greatest song ever made in Hindi movies was sung in this Raag: Mere mehboob tujhe meri mohabbat ki kasam that was put together by the fabulous trio of Shakeel-Naushad-Rafi. Of course, S-J composed this song in Tal Dadra whereas Naushad’s song is in Tal Kaherava.

Mohammad Rafi sang it for Shammi Kapoor who admitted that this was the most challenging role of his career as Pagla Kahin Ka (the title of the 1970 movie).

Crying, Mister Karan Johar? Crying isn’t how you jeeringly put it in the movie; crying is empathising, crying is emotions melted into hot liquid, and in the case of Mohammad Rafi, crying is melody of the most outstanding refrain.

Once again Hasrat Jaipuri penned these powerful lyrics that have raw emotions hanging from hooks of despondency.

Mohammad Rafi with Shammi Kapoor, Hasrat Jaipuri and Shankar Jaikishan (Pic courtesy: mohdrafi.com)
Mohammad Rafi with Shammi Kapoor, Hasrat Jaipuri and Shankar Jaikishan (Pic courtesy: mohdrafi.com)

Please enjoy: Tum mujhe youn bhula na paaoge…

Tum mujhe yU.N bhulaa naa paaoge
Haa.N tum mujhe yU.N bhulaa naa paaoge
Jab kabhii bhii sunoge giit mere
Sa.ng sa.ng tum bhii gunagunAoge
Haa.N tum mujhe yU.N bhulaa naa paaoge
Ho tum mujhe yU.N …

(Wo bahaare.n vo chaa.ndanii raate.n
Hamane kii thii jo pyAr kii baate.n ) – 2
Un nazaaro.n kii yaad aaegii
Jab khayaalo.n me.n mujhako laaoge
Haa.N tum mujhe yU.N bhulaa naa paaoge
Ho tum mujhe yU.N …

(Mere haatho.n me.n teraa cheharaa thaa
Jaise koI gulaab hotaa hai ) – 2
Aur sahaaraa liyaa thaa baaho.n kaa
Wo shaam kis tarah bhulaaoge
Haa.N tum mujhe yU.N bhulaa naa paaoge
Ho tum mujhe yU.N …

(Mujhako dekhe binaa qaraar naa thaa
Ek aisaa bhii daur guzaraa hai ) – 2
JhUTh maanU.N to pUchhalo dil se
Mai.n kahU.ngaa to rUTh jaaoge
Haa.N tum mujhe yU.n bhulaa naa paaoge

Jab kabhii bhii …

Perhaps now Mister Karan Johar, you would realise that all you did with that cheap and jeering dialogue of yours was akin to a man spitting at the moon.

How does it feel now, Mister Karan Johar, that the gooey stuff has landed on your own face? Apologise and help remove the blot from your own face and make millions of Mohammad Rafi fans happy. We pray that good sense would visit you soon and be your guest, even if for limited time.

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