In my earlier article: ‘Himachal The Beautiful State, Part I – Rewalsar’, I had brought out the journey to this beautiful lake town, 24 kms from Mandi. I had also brought out that Rewalsar is a confluence of three religions: the Hindu, the Sikh and the Buddhist.
I had covered the Guru Gobind Singh Gurudwara of the Sikhs and the three main temples of the Hindus: the temple of the Lomush sage, the Shiv temple and the Krishna temple.
I had then just embarked on the Buddhist shrines when I ended the article to be covered in this part.
The local name for Rewalsar (called Tso Pema by the Tibetans) is Trisangam (confluence of three). Right now, the most prominent and most impressive structures are the ones put up by the Tibetans. We went to three of them.
The first one is the shrine and the statue of Padmasambhava on the hill opposite to the Gurudwara Hill. Here is a picture of these taken by me from the Gurudwara:
And then a closer picture from the lake. Unfortunately the sun was against me even though I tried various angles.
Why is this place so important to the Tibetans that they would go about erecting an 123 feet high statue of Padmasambhava at this sight that was inaugurated by the Dalai Lama on 01 Apr 2012 and also go about making an impressive and ornate shrine for him? Padmasambhava was an Indian ‘Tantric’ who left from here for Tibet to spread Buddhism. He was and is known as Rinpoche (the Precious one). It is, thanks to him, that Buddhism spread to Tibet.
There is a local belief that the islands of reed found in the lake are the ones in which his soul resides. This belief has its origin in the legend that the king of Mandi had Padmasambhava burnt alive after rumours that he had tried ‘Tantras’ with his daughter. Padmasambhava or Guru Rinpoche’s pyre burnt for a full week with billows of smoke. After this period, a lake (Tso Pema) appeared at the spot and the Guru appeared as a young boy, sitting on a lotus in the middle of the lake. The king, in repentance, married his daughter to the Guru.
Islands of reeds in the lake with the holy Tibetan buntings
After climbing the small hill, one has to undertake these steps (62 of them) to reach the first stage of the shrine:
As you reach the top, on the right side of the shrine, somewhere near the steps is the commemoration stone of the shrine.
Rinpoche is the recognised avatar of Buddha. One of the locals from whom I asked for the way to the shrine told me that the local population has gone crazy by going to the court and getting a stay-order for opening anything but the ground floor to the public since permission was taken for a shrine of Buddha but the shrine is a tribute to Padmasambava!
The first thing that you notice about the shrine is how immaculate it is. The second is the imposing statue of Padmasambhava and the third is the beautiful entrance:
As we entered the shrine, we observed the chanting by the monks to the beat of a drum and the maginificent statues of Buddha, and the beautiful paintings on the walls and the ceiling.
We left the shrine saddened that we could not proceed to the first and second floors because of the court-order. Before we go any further, here is what you can expect in Rewalsar as far as Buddhist shrines are concerned:
Next we went to the Zigar Drupka Kargyud Institute, within walking distance (five minutes walk). We couldn’t go around the entire institute but we could see the shrine and once again took in the exquisite and splendid beauty of the shrine:
By now, you must be wondering if anything can be as beautiful as the interior of this shrine or monastery. Well, you haven’t seen enough yet.
We went back to the Gurudwara hill (by our car) to have a look at this most beautiful monastery of the three in Rewalsar. Here is our first look as soon as we stopped the car:
Here is how the Gurudwara appears from there:
By the way, I made a number of videos about our visit to Rewalsar and I shall put them on You Tube under the same name: Sunbyanyname. Our first visit in the monastery was to the wax-lamps room and there is only a video about it which I shall put on later. Have a look at the imposing entrance and pay attention to the most enchanting mudras of dancing-girls at the bottom of the shrine walls:
In one of the pics above you would have seen a small Gompa on one end of the monastery. Here is a large prayer wheel on the other end:
Now that we have seen the exterior, lets see the interior on the ground floor:
Here are the stairs we climbed to go to the first floor:
And here is what we say (You must remember that most of what we saw is available on the videos and would be put up on the You Tube. This is only an introduction):
The spiral stairs leading to the second floor are simply awesome and a bit scary too:
You are breathless when you reach the top and not only because of all the physical work you put in to reach there:
As you come down, you can’t keep your eyes off the beautiful exterior of the shrine (in addition to the most beautiful interior) and you have one last look at the giant prayer wheel:
As you leave with all that beauty in your eyes, heart, mind and of course the camera, you wonder if you can get a cup of hot tea or coffee and you discover that they have provided that too free of cost:
As we drove away from Rewalsar, there were many thoughts in our mind; the foremost being of course that Himachal is a beautiful state indeed. The second was about the beauty of the Buddhist shrines in this part (in the first part I described the Sikh and Hindu shrines). And the third, naturally was that Emperor Ashoka (a Maurya king) and his successors did a lot about the spread of Buddhism in India and abroad and it prospered in India for twelve centuries before Mahmud of Ghazni and his successors arrived in Indian sub-continent and used violence to do away with this religion from most parts of the sub-continent. Padmasambhava took the religion to Tibet and from there it returned to India and it is alive in Rewalsar. On the birth anniversary of Padmasambhava in 2004, for example, the Tsechu fair was held and attended by 50, 000 Buddhists from all over the world.
I am sure I must have convinced you to visit this extraordinarily beautiful town of Rewalsar just 24 kms from Mandi.
Please await my next edition of beautiful Himachal.
Mu’izz ad-Din Muhammad Ghori, also known as Muhammad of Ghor, was a Sultan of the Ghurid Empire (The Ghurids were a Persian dynasty from Ghor region that is presently in Afghanistan). The dynasty was originally Buddhist but they converted to Sunni Islam after the conquest of Ghor by Mahmud of Ghazni in 1011 (Kashmir, Doab, Rajasthan and Gujarat were never conquered by Mahmud of Ghazni and remained Hindu dynasties). Mahmud of Ghazni specialised in extreme cruelty, treachery, looting and plunder and extended his empire in the north-western part of Indian sub-continent. He was particularly devoted to the spread of Islam and the tales of his demolitions of Hindu temples can still be seen in many dilapidated structures.
Despite all the cruelties and plunders done in the region by Mahmud of Ghazni, Pak military named its short-range ballistic missile as Ghazanvi missile to honour (!) Mahmud of Ghazni.
The foundation of Muslim rule in India was however laid by Muhammad Ghori. He extended the Ghurid Empire to Delhi and then all the way to Bengal (present day Bangladesh) and greater part of Indian peninsula.
During his conquest of Hindustan, in 1191, Muhammad Ghori captured Bhatinda and planned to take over the neighbouring kingdom of Prithviraj Chauhan. In the First Battle of Tarain (now near Thanesar in Haryana), he was roundly defeated by Prithviraj and was seriously wounded. The Rajput king declined to conduct a hot-pursuit of the retreating Muhammad Ghori’s army as it was considered against the accepted norms of battle that Rajputs believed in.
Mu’izz ad-Din Muhammad Ghori and his army, however, didn’t suffer from any of these armed conflict ethics. So, in the Second Battle of Tarain, in 1192, they defeated Prithviraj’s army through guile and deceit (Prithviraj’s army was used to battle between sunrise and sunset whereas Muhammad Ghori’s army carried out successful surprise attacks pre-dawn). Also, since Prithviraj had fought against all his neighbouring Hindu kingdoms, none of them came to his rescue even though he called for help. Prithviraj was defeated, captured and finally executed.
Pak military named three of its medium-range ballistic missile Ghauri-I, Ghauri-II and Ghauri-III, in the memory of Mu’izz ad-Din Muhammad Ghori.
The conquest of India by an Islamic Sultan led to, in the ensuing centuries, large-scale forced conversions of Indians. It also coincided with the defeatist attitude by Indians so much so that many Indians fondly recall the greatness and splendour of the Islamic rulers including the Taj Mahal and the Lal Qila.
The last of the Mughals: Bahadur Shah Zafar surrendered to British forces led by Maj William Hodson on 20th Sep 1857 and thus ended the Mughal Empire in India.
The British too not just enslaved us but ensured that in our mindset we would remain enslaved forever. Even after acquiring independence, we had the defeatist attitude that many things such as railways and post & telegraph were done better by the British and that we have to bow to the superior workmanship, doctrine and principled ways of doing things of our erstwhile rulers.
With this national psyche our resolve to do things decisively, on our own, went down gradually until it was literally in our shoes.
The Indian armed forces, on the other hand, refused to have this defeatist attitude and gloriously proved themselves in all wars except in the 1962 war with China wherein Pandit Jawahar Lal Nehru considered his becoming a statesman more important than the national strategic interests and succumbed to this honed defeatist attitude and thus ensured our defeat even before the war.
Many historians believe that in 1191, after decisively defeating Mohammad Ghori, had Prithviraj Chauhan carried out a hot-pursuit of the retreating defeated army, perhaps the events that followed later could have been avoided.
Last night, ladies and gentlemen, after 825 years of this tactical mistake by Prithviraj Chauhan (By the way, we named our own SRBM Prithvi. Though it means Earth, but, the fact is that we still adhered to the disciplined and principled way of fighting adopted by Prithviraj Chauhan), our gallant armed forces crossed the LOC and did what Prithviraj should have done to Mohammad Ghori after the First Battle of Tarain.
Terrorists don’t follow rules taking a cue from the tactics of Muhammad Ghori. But, we had a national psyche of restraint despite repeated attacks by the Pak supported terrorists. Our countrymen often wondered what would be the limit of our self-imposed restraint. The Americans, on the other hand, exercised what they termed as Right of Self-Defence thousands of miles away by carrying out relentless drone strikes against terrorist hide-outs in Waziristan.
Last night’s surgical strike, I feel, is a seminal change in Indian psyche and perhaps the beginning of the end to our slavish and defeatist attitude of centuries. As I listen to the news I find all opposition parties (coming out of the mould of the neighbouring Hindu kings of Prithviraj Chauhan) supporting Narendra Modi’s government and saluting the Indian army for a precision, successful and effective cross-LOC surgical strike that should have been first conducted years back.
She was born on this day (28th Sep) in 1929. She is 87 years old today.
Childhood photo of Lata Mangeshkar (Pic courtesy: wn.wikipedia.org)
What do you say or write about a legend? You just bow your head in respect and of course thank God that you have lived through most of the era when she sang.
Lata Mangeshkar is to us what breathing is to all beings in the universe: she keeps us alive and kicking.
To many of us she is of our mother’s age. To the younger generation, she is of grand-mother’s and even great-grand-mother’s age.
One can write pages and pages about the number of awards that she has won starting with the highest in India: the Bharat Ratna, as well as the highest in Indian cinema: the Dadasaheb Phalke Award. One can even write about the number of awards that she has graciously declined so as to give the other singers a chance.
Everytime you write about her, you discover something new and yet, she is not just a phenomenon but an era, there is no way that you can ever do justice to a write-up on her. No one can.
All one can say is to play and listen to one’s favourite songs. My list of her top ten favourites has been ready for ages. How are one’s favourites different from hers and anyone else’s? I have explained it several times but here it is again: Your favourite may not have anything to do with the real or acknowledged worth of a singer’s singing prowess. Your favourite evokes the kind of emotions within you that others can’t.
Song #1
Rasik balma dil kyun lagaaya tose dil kyun lagaaya…
She was the favourite of Shankar Jaikishan (and vice-versa) and indeed, the first time that she was credited as a playback singer on screen was in their 1949 movie Barsaat, in a song penned by the great Shailendra.
Shankar-Jaikishan with Lata Mangeshkar (Pic courtesy: www.songsofyore.com)
It is therefore no surprise that my Choice #1 of her songs for decades now has been a song composed by S-J in Raag Shuddha Kalyan, Tal Kaherava. I happily lived the memories of this song without ever seeing the movie: the 1956 Raj Kapoor movie Chori Chori. I saw the movie last year on my computer but if you really ask me I don’t remember the scene in the movie when Nargis lip-syncs this song; so strong is my own imagined scene of the song!
This one was not penned by Shailendra but by Hasrat Jaipuri.
Lata with Jaikishan (on her left) and Hasrat Jaipuri on her right (Pic courtesy: www.sjmusic.org)
What feelings the songs evoke in me? Well, Lata Mangeshkar’s singing represented the feelings of all the women of that era who were left to pine for their lovers; and she did it so well. When the pardesi or the balma went away (even if in misunderstanding), they had nothing left with them except yaad. Lata sang her best songs in that era whence, sadly, women were not considered the equivalent of men and indeed all the heroines for whom she sang were paid much less than their male counterparts. It is another thing that in the movie, she (Nargis) is the daughter of a millionaire and Raj Kapoor the hero is the poor journalist.
Please enjoy my #1 favourite (consistently) amongst tens of thousands of Lata Mangeshkar’s songs (Some of you who do Cost-Benefit analysis of your time spent on the net in general and on my Facebook group Yaad Kiya Dil Ne in particular would say (secretly though): “In this much of description, I would have put all the five, if not ten!” But then, you are you and I am I and I have never been hard pressed for time!) (I remember the time when by hook and crook a driver overtook me in Mumbai traffic and we stopped parallel to each other on the next traffic light. I lowered my window and asked him, “Bhai sahib, ye jo aap ne peechhe kiya, us se aap ek do minute pehle pahunch jaayenge. Par us ek do minute mein aap kyaa zabardast cheez karne waale hain?” He laughed and laughed and when the lights turned green he saluted me and drove off!): Rasik balma, dil kyun lagaaya tose dil kyun lagaaya; jaise rog lagaaya……
rasik balamaa, haay, dil kyo.n lagaayaa
tose dil kyo.n lagaayaa, jaise rog lagaayaa
jab yaad aaye tihaarii
suurat vo pyaarii pyaarii
nehaa lagaa ke haarii
aa~
nehaa lagaa ke haarii
ta.Dapuu.N mai.n Gam kii maarii
rasik balamaa …
Dhuu.Ndhe hai.n paagal nainaa
paaye na ik pal chainaa
Dasatii hai ujda.Dii rainaa
aa~
Dasatii hai ujda.Dii rainaa
kaase kahuu.N mai.n bainaa
rasik balamaa …
Song #2
Jaa jaa re jaa baalmava…
Lata ji is as rooted in Raagas as were Shankar Jaikishan. After the Shankar Jaikishan Music Federation Mumbai Meet in Jul this year, my friend Anand Desai gifted us each a CD with 500 of S-J’s Raaga based songs. Quite a few of these have been sung by Lata Mangeshkar.
Not surprisingly then, that the second most favourite Lata song has also been composed by S-J. They chose the same raaga in which my most favourite song ever of any artiste has been composed: Raag Jhinjhoti (and the song everyone in my Facebook group Yaad Kiya Dil Ne knows is Mere mehboob tujhe meri mohabbat ki kasam). Jhinjhoti is a raaga named after an apsara and Hindi films songs based on it (my own observation) often bring in feelings of self-pity such as in “Tum mujhe youn bhula na paaoge” and “Mere mehboob tujhe” and of course the Mamta song picturised on Suchitra Sen: “Rehte the kabhi jinake dil mein hum jaan se bhi pyaron ki tarah“.
The song is from the 1956 movie Basant Bahaar and its lyrics are a marvel produced by the great Shailendra. Its tal is Tintal.
Why would a song picturised on a courtesan evoke such strong feelings in me? Well, courtesans were essentially a part of our culture. One of them (Anarkali) nearly married a would be emperor. In Shashi Kapoor’s movie Utsav, he brought out how important a courtesan (Rekha as Vasantsena) was in our society. In the movie Amrapali (based on a true story), the king Ajatashatru wages a war to get her (Vyjayanthimala in the title role) and she finally takes to Buddhism! By the way, Amrapali had some of her best songs including the iconic Tumhen yaad karte karte jaayegi rayn saari (also created for her by the team of Shailendra and Shanakar Jaikishan).
Vyjayanthimala lip-synching Lata’s Tumhe yaad karte karte in the 1966 movie Amrapali based on true story.
Hindi films directors of yore, often used the courtesans to express the feelings of the heroines (eg in Chhote Nawab song, the first song of RD Burman with Lata ji (composed in Raag Malgunji): Ghar aaja ghir aaye badraa saanwariya.
I can go on and on but the song is dear to me. Kumkum as Radhika does a very becoming dance on the song.
Please enjoy: Jaa jaa re jaa baalmwa…….
jaa jaa re jaa, baalamavaa
sautan ke sa.ng raat bitaa_ii
kaahe karat ab jhuuTii batiyaa.N
jaa jaa re jaa, baalamavaa
Gair ke ghar karii raat jagaa_ii
mose kahe tere binaa nii.nd na aayii
kaiso harajaa_ii daiyyaa
jaa jaa re, jaa baalamavaa …
kaa.Ndhe lagaa laayii bindiyaa kisiikii
jaanuu.N mai.n churaayii tuune nindiyaa kisiikii
laaj na aayii tohe
jaa re jaa, jaa re jaa, jaa re jaa, baalamavaa …
Song #3
Unako ye shikayat hai ke hum kuchh nahin kehate…
What is the common thread that you have noticed in the first two songs that I put up? Naturally, the first thing is Raaga based. Then that the lyrics are very beautiful. So that’s it; my choice of songs is always based on lyrics since I am indeed a Lyrical man.
Talking about good lyrics, some of the best songs of Lata ji have been penned by Rajendra Krishan and Raja Mehdi Ali Khan and in the next two songs I shall give you both.
Rajendra or Rajinder Krishan (Pic courtesy: travel.sulekha.com)
Rajendra or Rajinder Krishan’s 1958 movie Adalat was a major success for him and he cemented his pairing with Madan Mohan to create some of the best Lata Mangeshkar songs. As I never grow tired of saying it, the Top 10 Lata songs have Rajinder Krishan and Madan Mohan in large measure.
Lata ji with her “Madan bhaiyya”
Adalat starred Pradeep Kumar, Nargis and Pran and the story of her having been forced to become a courtesan is the same as Suchitra Sen’s Mamta or dozens of other pics that Hindi films dished out.
The songs of the movie were not as commonplace as the story and are amongst the best of Lata. Have a look:
1. “Zameen Se Hamen Aasmaan Par” Asha Bhosle, Mohammad Rafi 03:44
2. “Yun Hasraton Ke Daag Mohabbat Mein” Lata Mangeshkar 04:00
3. “Dupatta Mera Malmal Ka” Asha Bhosle, Geeta Dutt 02:49
4. “Jaana Tha Humse Door Bahaane Bana Liye” Lata Mangeshkar 03:20
5. “Unko Yeh Shiqaayat Hai Ki Hum Kuchh Nahin Kehte” Lata Mangeshkar 04:31
6. “Ja Ja Re Ja Saajna (slow)” Lata Mangeshkar
7. “Ja Ja Re Ja Saajna (fast)” Asha Bhosle 05:50
8. “Jab Din Haseen Dil Ho Jawaan” Asha Bhosle, Mohammad Rafi 04:07
Lets start with the lyrics of top most: Youn hasraton ke daag mohabbat mein dho liye. Marvel at the outstanding beauty of the lyrics:
Ghar se chale the ham to khushi ki talaash mein, Gham raah mein padhe the wahin saath ho liye
And then take up the 4th one: Jaana tha humse door bahaane bana liye and look at these outstanding lyrics:
dil ko mile jo daaG jigar ko mile jo dard un daulato.n se hamane khazaane banaa liye
But the song with the most powerful lyrics is the 5th one: Unako yeh shikayat hai ke hum kuchh nahin kehate.
This was composed by Madan Mohan in Raag Malgunji, Tal Dadra, the same raag in which RD Burman composed his first Lata song: Ghar aaja ghir aaye badra saanwariya in Chhote Nawab.
Please enjoy: Unako ye shikaayat hai ke ham kuchh nahin kehate….
un ko ye shikAyat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat hai ke ham, (kuchh nahI.n kahate – 2)
majabUr bahaut karatA hai ye, (dil to zubaa.n ko – 2)
kuchh aisI hI haalat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …
kahane ko bahaut kuchh thA agar, (kahanepe aate – 2)
duniyA kI inaayat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …
kuchh kahanepe tUfAn (uThA letI hai duniyA – 2)
ab isape qayAmat hai ke ham, (kuchh nahI.n kahate – 2)
apanI to ye aadat …
Song #4
Aap ki nazaron ne samajha pyaar ke kaabil mujhe…
The fourth, as I have already let you know has been penned by Raja Mehdi Ali Khan who started giving us good songs when he was just about 17 years old, viz the 1947 movie Do Bhai (the same year when Shakeel penned his first song Afsaana likh rahi hoon) song sung by Geeta Dutt and composed by SD Burman: Mera sundar sapana beeta gaya, main prem mein sab kuchh haar gayi, bedard zamaana beet gaya.
Why do I like this song from the 1962 movie Anpadh (Illiterate) even though the movie, as seen by me, was just an average movie and the heroine was Mala Sinha who is as far from being my favourite heroine as you can get?
The reason are three. One, the lyrics by Raja are just superb. Look at this expression:
Padh gayi dil pe mere aap ki parchhayiyan, Har taraf bajane lagi sainkadon shahnaayiyan.
Second is the composition by the maestro Madan Mohan whom Lata ji used to call “Madan bhaiyya”. Some of her best songs have been composed by him including Lag jaa gale se phir ye haseen raat ho na ho (I never get tired of telling you that it is is in Raag Pahadi), Naino mein badra chhaye (Raag Bhimpalasi) and Bairan neend na aaye mohe (Raag Kafi).
Raja Mehdi Ali Khan with Madan Mohan
And lastly, the singing by her in her young voice has made this song not only my favourite but that of millions. Madan Mohan composed it in Raag Adana, a raag of late night (the raag being a blend of Raag Darbari Kanada and Malhar) and in Tal Rupaktal.
Please enjoy: Aap ki nazaron ne samajha pyaar ke kaabil mujhe….
aap kii nazaro.n ne samajhaa, pyaar ke kaabil mujhe
dil kii ai dha.Dakan Thahar jaa, mil ga_ii ma.nzil mujhe
aap kii nazaro.n ne samajhaa
jii hame.n ma.nzuur hai, aapakaa ye faisalaa – 2
kah rahii hai har nazar, ba.ndaa-paravar shukariyaa
do jahaa.N kii aaj khushiyaa.N ho ga_ii.n haasil mujhe
aap kii nazaro.n ne samajhaa …
aap kii ma.nzil huu.N mai.n merii ma.nzil aap hai.n – 2
kyuu.N mai.n tuufaan se Daruu.N mere saahil aap hai.n
koii tuufaano.n se kah de, mil gayaa saahil mujhe
aap kii nazaro.n ne samajhaa …
pa.D ga_ii dil par merii, aap kii parchhaa_iyaa.N – 2
har taraf bajane lagii.n saika.Do.n shahanaa_iyaa.N
ha.Nsake apanii zi.ndagii me.n, kar liyaa shaamil mujhe
aap kii nazaro.n ne samajhaa …
Song #5
Aaja re pardesi…
I seem to have my head on the chopper-block in selecting just five of her songs as my favourite. What about all those songs picturised on Sadhana, you will ask me? What about her pairing with my favourite Hemant da to produce some of the best duets in Hindi movies, eg, Aa neele gagan tale pyaar hum karen or Chhupa lo dil mein youn pyaar mera?
Well, when you have to select only five, you have to let go some outstanding songs too, some excellent ones and some endearing songs.
I am a great fan of Bengalis in Hindi movies, eg, Bimal Roy, Hemant da, SD Burman and Salil Chowdhury and I have written a few posts about this love of mine (Please read, for example: Bengal Based Hindi Movies From Anuradha To Piku). Somehow, there is always this feeling of enigma or mystery about their songs; as if something is missing and yet there is joy. The other day I explained this attribute of the Bengali song makers in a comment. There are quite a few of my favourite singer Hemant da’s songs: Ye raat ye chandini phir kahan, Beqraar karke hamen youn na chaahiye, and Ya dil ki suno duniyawaalon.
This song from the 1958 movie Madhumati (many of Bimal Roy movies had the heroine as the main protagonist ssuch as Sujata, Bandini and this one) falls squarely into this bracket.
First of all, have a look at all the songs of Madhumati, put together by Shailendra and Salil da:
1. “Aaja Re Pardesi” Lata Mangeshkar 04:26
2. “Chadh Gayo Papi Bichhua” Lata Mangeshkar, Manna Dey 05:23
3. “Dil Tadap Tadap Ke” Mukesh, Lata Mangeshkar 03:27
4. “Ghadi Ghadi Mora Dil Dhadke” Lata Mangeshkar 03:11
5. “Hai Bichhua Hai Re Hai” Lata Mangeshkar 01:55
6. “Ham Haal-e-Dil Sunaenge” Mubarak Begum 03:26
7. “Jungle Mein Mor Naacha” Mohammad Rafi 03:07
8. “Kancha Le Kanchi Lai Lajo” Asha Bhonsle, Sabita Chowdhury & Ghulam Mohammad 03:24
9. “Suhana Safar Aur Yeh Mausam” Mukesh 03:44
10. “Tan Jale Man Jalta Rahe” Dwijen Mukherjee 03:22
11. “Toote Huye Khwabon Ne” Mohammad Rafi 03:42
12. “Zulmi Sang Aankh Ladi” Lata Mangeshkar 04:05
These were amongst the most popular songs of our times.
Salil da was normally associated with songs based on western beat but he too was pretty strong in Raaga based songs, eg, O sajana barkha bahaar aayi in Raag Khammaj in Bimal Roy’s movie Parakh for which he wrote the story too.
Lata ji with Salil Chowdhury (Pic courtesy: learningandcreativity.com)
This one is a gem composed in Raag Bageshri, the raag of such songs as Ghadi ghadi mera dil dhadake (from the same movie), Jaag dard-e-ishq jaag (from Anarkali) and Maayi ri main kaase kahun peedh apne jiya ki (Dastak). The Tal is a faster version of Kaherava.
Please enjoy my last favourite of Lata today: Aaja re pardesi…..
aa jaa re .a.a.a paradesii
mai.n to kab se kha.Dii is paar
ye a.Nkhiyaa.N, thak ga_ii pa.nth nihaar
aa jaa re, paradesii
(tum sa.ng janam janam ke phere
bhuul gaye kyuu.N saajan mere ) – 2
ta.Dapat huu.N mai.n saa.njh savere, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
(mai.n nadiyaa phir bhii mai.n pyaasii
bhed ye gaharaa baat zaraa sii ) – 2
bin tere har raat udaasii, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
mai.n diye kii aisii baatii
jal na sakii jo bujh bhii na paatii
aa mil mere jiivan saathii, o …
aa jaa re, mai.n to kab se kha.Dii is paar …
How can anyone stop at just five whilst listening to Lata Mangeshkar. It is like saying that in the seventy plus years of her enthralling us with her songs, she sang just five outstanding songs. Hence, whilst ending I just want to remind you that these are only my top five favourites. Surely, millions of others would have tens of thousands of other lists.
And, they’d all be right!
Happy Birthday Lata Mangeshkar. May you live for centuries and yet we would say in one voice: we haven’t had enough.
I stay in Kandaghat, Shimla Hills, Himachal Pradesh (Please read: ‘Home Is Where The Heart Is – Kandaghat In Shimla Hills’). Earlier because of my job (I served as an officer in the Indian Navy and retired as a Commodore and then took up job as a Senior VP in RIL) I was able to spend only my leave holidays in Kandaghat. But, now that recently I am fully retired from all jobs, I have started rediscovering the state wherein I have lived all my life. It is possible that through my own visits, you may too discover/rediscover this state that introduces you to beauty that you may not have seen elsewhere. I was recently in Manali and met an erstwhile Austrian Martin (now Indian; he runs a watering hole and eatery by his name) who married a pahadi woman just so that he would continue enjoying the enchantment of Manali hills.
My wife’s and my visit took us this time from Kandaghat to our first halt at Raju Bharti Guest House in Gushaini (near Banjar in Manali Hills) next to Tirthan River and next to The Great Himalayan National Park, Manali Hills.
A write up about this guest house would follow later. Next we went to Manikaran to see the historical Sikh Gurudwara and Hindu Mandir co-located in the same complex there. Then we went to Manali via Out, Bhuntar, Nagger and stayed with the Army there in their Palchan Transit Camp. We visited Rohtang Pass, Solang Valley, Nagger Castle, Roerich Art Gallery, Museum, Memorial and House, the ancient Hidimba Temple, Vashisht Temples and Hot Springs. Thereafter we visited Mandi whereat I had spent seven years of my childhood from 1959 to 1966. The write-ups about all these places would follow.
Why am I starting with Rewalsar? Well, for one thing, Himachal is known as the Dev Bhoomi (The land of gods) and Rewalsar is one place wherein there is a confluence of three major religions: the Hindu, the Sikh and the Buddhist.
We took the direct 25 Kms route from Mandi, close to the school wherein I studied: Vijay High School (now Vijay Senior Secondary School). In this way we avoided the Ner Chowk way where the road is bad due to four-laning work in progress. Also, this isolated stretch of road is very picturesque:
The middle picture shows you a roadside pooja (prayer) place, in the wilderness, which is the speciality of Himachal (you can pray anywhere anytime).
And soon we were there in Rewalsar (the last three letters indicating a lake). The Tibetans call it Tso Pema (though in the vidoes that I shot I mispronounced it as Tsang Po). Here is our first view of this serene, beautiful and remarkably clean lake:
Our first stop was at the Gurudwara (Sikh Temple). This Gurudwara was erected by Raja Joginder Sen of Mandi in the year 1930 to honour the tenth Guru of the Sikhs, Guru Gobind Singh, who visited Rewalsar and stayed here for a month seeking support from the Hill Rajas in fight against the atrocities leashed on Hindus by the Mughal Emperor Aurangzeb (the cruelest of them all).
Naturally, as you would have seen in one of the pics above, we partook of the Langar (24 hours free community kitchen as per Sikh traditions).
From the height of the Gurudwara, we descended to the lake and admired its beauty:
Of course, next to the lake is the Hindu Havan Kund (for performing the fire-ritual) and the Temple for the Rishi Lomush (Sage Lomush) who meditated in these hills (there are other seven lakes on the heights; but, we didn’t go there):
The meditation done by Rishi Lomush enabled him to be favoured by Shiva and Parvati to reveal the secrets of gods and heavens. Next to this temple are thus located the temples of Shiva and Krishna:
Having visited the Sikh and Hindu holy shrines, our next visits were to Buddhist or Tibetan shrines, However, before that, we climbed up to the Lake View Hotel to have a breathtaking view of the lake:
You can see various Buddhist shrines along the lake. The most prominent of this is not seen here since we were at that end. It is a huge (123 feet high) statue of Padmasmabhava (Rinpoche) that was inaugurated by the Dalai Lama on 01 Apr 2012.
Rumour has it that the king of Mandi had Padmasambhava burnt alive on the suspicion that he had tried to convert his daughter to Buddhist ways. Even after burning for days, the Padmasambhava appeared as a boy from within a lotus in the middle of the lake.
I shall stop here now and cover the other most ornate and beautiful Buddhist shrines in the next part.
I hope I have aroused your curiosity enough to visit the place called Rewalsar and Tso Pema as the Tibetans call it.
What a long-lasting affair?
What a long wait for her?
She has been chasing me
Ever since I was a boy
Perhaps she liked my daring even then
Dangling from rocks
Diving into a raging river naked
To flirt with her
Even when I didn’t know swimming.
During my youth
She knew she had got me
On many an occasion
When I was careless, reckless
But, only nearly
I flirted, she came closer
I never wanted to capitulate totally
But, now that I am confessing
I might as well tell all.
The fact is, being a woman
She too flirted with me
Knowing I was going to marry
Another woman; she didn’t care
On that night, when next morning
My wife was going to join me
I was drunk and I drove my bike
And she sat as pillion
Clutching and feeling me everywhere.
As some sense came into me
And more because I was married
I started keeping distance
Barely acknowledging her presence
Even when I could see her from a distance
And anyone could have seen me
In her bewitching eyes
Waiting to get me
Waiting to hold me in her arms.
I became more careful
More artful about hiding our affair
She was forever in my heart
In my conscious mind
When I retired, she again came closer
I will get you, she whispered publicly
She was as young as when
I was a little boy
And I was the one who had become old.
How long can I resist her?
Her love has grown, but, mine
Mine has nearly died
I don’t flirt with her anymore
I want to run away from her
To a quiet, secluded place
Where she can’t find me
I admire her patience, though
A lifelong wait to have me.
A number of times she’s beckoned me
I too am adamant not to give in
She has everything ready
The flowers, the music, the feast
But can’t she sense, though she’s young
She is not even half as adorable
As when I flirted with her in my youth?
Can’t she sense I don’t
Want to be hers anymore?
Doesn’t she know
I don’t want her anymore?
I love my wife, my kids
My family, my friends
And she doesn’t even fit in
All daring has left me now
I even cross the road
When the walk light is green
I don’t want her anymore.
Shouldn’t she too abandon
The plans to wed me?
Knowing I have become a good guy
Brushing my teeth, twice a day
Taking my pills regularly
Shunning all excitement and evil stuff
For the good of my heart.
Look for someone else, my love
I actually want to live.
Now that I have joined the Veterans’ community six years ago (We wear a badge to that effect in all our gatherings; we in the armed forces have always taken badges so seriously that many of us gave up our lives to earn two inches of ribbon and a badge (medal)), I find that not only that ailments are a constant companion with most of us, talking about our ailments is an irresistible hobby.
Here is how two Veterans meet:
Veteran 1 (heartily): Nice to see you, buddy (it is almost an exclamation at finding him still alive). Veteran 2 (equally heartily): Nice to see you too, ole chap (“I am also stunned that you can still be seen”). Veteran 1 (coming straight to the important issue): So how is your gall-bladder these days? (This in the tone of one inquiring about a close family member). Veteran 2 (wistfully, as if missing the loss): I had it removed. How is your Psoriasis? Veteran 1 (as if talking about a pet dog): Behaving. I have to keep visiting Asvini. But, it is great fun meeting all the old friends there.
Veterans are at, what the author James Michener used to call as, the age of metal; that is, silver in their hair, gold in their teeth, and lead in their walk (though James used a more disparaging term).
Hence, whatever be the original topic of discussion between them, it is dexterously steered to the most significant issue of ailments and solutions. I am reporting an actual conversation (the names ain’t actual):
VeteranA: I heard the good news about your daughter Nalini getting married last month. Veteran B: Yeah, she and Vikas are quite happily settled in the USA. Veteran A: USA is the place to be. What does Vikas do? Veteran B: He is a doctor. Veteran A: A doctor, is it? Somehow the best of our doctors have all gone abroad. The other day I went to Asvini to see a urologist; this b—-r didn’t know his ass from his elbow and I had gone all the way from Kandivli to see him. Veteran B: You are telling me? I had gone to get medicines for my cardiac condition and this chap was simply clueless. On top of that, at the ECHS clinic they didn’t have the requisite medicines after making me – a cardiac patient – wait in the queue for over an hour. Veteran A: Ahh ECHS. They never have the medicines and the guys there talk so rude too. I keep telling them, “Wait till you retire beta; then you will know“.
ECHS or Ex-Servicemen Contributory Health Scheme is the second most favourite topic with us. Gone are the days when we used to be fitness freaks and talk at length about climbing this hill or that or trekking or going for cross-country runs. Earlier, our contribution towards our post-retirement health was to pay in advance for the treatment. Now, it is to go from pillar to post fetching medicines.
In the Annual General-body Meetings (AGMs) of the Navy Foundation, just about the only agenda items are those related to ECHS. It appears that happiness is spelt with a capital E; the moment we have sorted out all our ECHS problems, this bird called Happiness would sit on our window-sill and tweet our favourite tunes. Have a look at one of the AGMs in progress with this singular agenda point in various garbs:
In AGM after AGM we listen intently to how “in the near future” our ECHS problems would be sorted out.
With all our focus on medical and ECHS issues, one would feel that most veterans would look frail and ailing and as the saying goes one foot in the grave and other on a banana peel. Surprisingly, the number of octogenarians honoured every year during the AGMs is rather large:
(Octogenarians of 2015 AGM with the Navy Foundation (Mumbai) office-bearers.
Perhaps all the running around to get ECHS and medical issues sorted out and to obtain the treatment and medicines actually keeps them fit! They fully deserve the memento that’s given to them:
Memento given to honour the octogenarians.
This year the AGM was held in Lonavala. At the end of energetically discussing all the ECHS problems, our dedicated and forever witty Secretary informed the members that there is indeed good news: the Command Headquarters have informed the Navy Foundation that they would send a wreath (free of cost) for any veteran kicking the bucket and in case he is a gallantry award winner, then a bugle would be sent to play at his funeral. Needless to say this brought unrestricted smile to the faces of all veterans. Wow, a wreath and (in the case of lucky ones) a bugle!
If you see in the picture ladies smiling more than the men, it is because they would actually get to hear the bugle!
Life in the armed forces, for the veterans, was full of challenges and joys. Life after the armed forces is still full of challenges and joys. However, the most welcome and joyous part of the armed forces, as laid out for us, is death ushered in with flowers and bugles.
I find Human Evolution as a very fascinating subject. Humans or homo sapiens, as we see them around now, at some point of history of primates, separated themselves from the apes (hominids). Genetic studies bring out that the history of primates is older than 85 million years ago. There have been many theories (in the absence of recorded history we have either theories or gospel (word of mouth)) regarding the Evolution of Man, the foremost or the most accepted being the Darwinian theory. All these theories explore only the anatomical aspects; for example, the origin of man standing and walking on two feet and legs (bipedalism). Nothing has yet brought out the evolution of emotions and relationships, except in gospel. And that is the aspect that fascinates me most. For example, who was the first man or woman to fall in love? Or was it at the great ape stage or even earlier? When, how and why did the first man get angry and who triggered those emotions in him?
From emotions, relations and relationships are just the next logical steps, provided there has been some logic in evolution of these things. It is quite reasonable to assume that relations as we see them today have undergone dynamic changes in the thousands of years of evolution. Even if we believe gospel, for example, and assume that Adam and Eve were the only homo sapiens that were sent on Earth, their procreation, in terms of today’s relations would have produced only brothers and sisters. It would have stopped any further evolution of human-kind if they had considered procreation between brothers and sisters as sinful.
Family and Genes
It would be easy to consider that family and genes (both related to heredity) wouldn’t be exclusively human concepts. As humans, we are told (by sages and spiritual/religious leaders) that a feeling of I, My, Mine is the biggest obstacle that keeps us from true happiness and God (Sri Guru Granth Sahib refers to it as haume’) (Please read ‘Debatable Philosophies Of Life’). I had argued it out in the essay (that I have quoted above) that a feeling of myness is the most natural feeling in primates. No one needs to teach it even to apes and animals; they are naturally rejoicing in and protective of their progeny. So strong is this myness that it is imprinted on our genetic cells over generations; for example, we belong to a larger family having similarity of genes (heredity).
Even at that all-encompassing relationship of myness, it would be interesting to imagine the origin of specific familial relations, say, between father and son, husband and wife, uncles, aunts, brothers and sisters.
When did the concept of familial relations originate? (Pic courtesy: io9.gizmodo.com)
Blood Relations
Just as we have seen in the story of Adam and Eve, the concept of familial relations too has gone innumerable changes and modifications to arrive at the present accepted concept. The fact is that the present accepted concept is just a majority concept and is certainly not universal. In certain races or religions, for example, marriages are to take place within the family of blood relations only.
I have covered the concept of Religion and God in my essay ‘Whose God Is It Anyway?’ Lets, therefore, only ponder the concept of blood relations. It has become an important concept in legal circles and various tests are defined to prove blood relations. It would be easy to understand that the concept draws heavily from sexual reproduction (a physical phenomenon) and has nothing to do with one’s beliefs, biases and proclivities. Most often than not you don’t have to prove that you are brother and sister, mother and son, father and daughter. However, if inheritance, as seen by the law is at stake, you may have to prove that. It is another thing that at one time all of us may have belonged to one family. But, then, historically, as families became larger and larger, the concept of blood relations became narrower.
Human Relations Beyond Blood Relations
The fact is that increasingly human relations and relationships have become significantly more important than blood relations. One of the first ones to help propagate this concept was Lord Krishna. Even those who feel these tales are merely mythological (and have little historical basis), we are here talking about a concept that originated in India, which for the first time, more than 3000 years before Christ, made sacred a relationship beyond blood relation, even if forced by events or imagined events of that era. I am talking about the relationship between mother and child. Krishna was born to Devaki, the wife of Vasudeva. During the wedding of Krishna’s parents there was a prophecy that the eighth son of Devaki would kill the cruel Kansa. Since this prophecy was announced in the presence of Kansa (Devaki’s brother), he killed six sons that were born to Devaki. The seventh one Balarama escaped death by being transferred to the womb of Vasudeva’s other wife Rohini. Krishna escaped death by Vasudeva, his father, carrying him across Yamuna to his foster mother Yashoda (a wife of Nanda). In Hindu scriptures, Yashoda, the foster mother (not a blood relation) is far more important and revered than Devaki. In tales of Krishna-Leela, his childhood spent with Yashoda, is the most important period of episodic enchantment. Yes, this is not recorded history but gospel. However, this is the first time (even in folklore) that anyone called a relationship far more important than blood relation; the relationship of pure love that is.
Yashoda, the foster mother of Krishna playing with him (Pic courtesy: www.iskconbangalore.org)
Two important things to note here are (whether or not it is historical) is that the concretisation of the concept of blood relations in later-day India and the legal wranglings to prove blood relations (for inheritance) have radically moved away from this concept. This is all the more ironical since the Law itself has been an evolution over centuries and not something writ in stone. And the other follows from the first one itself, which is that even those who believe in Krishna, move the courts to prove blood relations. Hence, religion is not a way of life all the way but merely a philosophy of convenience; we believe in some parts and ignore others that stand in the way of pragmatism.
Husband – Wife Relationship
In Hinduism there is no relationship more sacred than the one between Krishna and Radha; so much so that Radha Krishna is considered as one name rather than a combination of two. And yet, though the concept of marriage was prevalent in that period (such as Devaki marrying Vasudeva; Krishna’s parents, that is), Krishna and Radha never married.
Some four thousand years (or more) after Krishna was believed to have been born to Devaki and Vasudeva, the Sanskrit poet Jayadeva (recorded history) wrote a famous poem Gita Govinda in the 12th century AD, and then the spiritual love between Radha and Krishna became the subject of intense folklore. Hence whilst Krishna is shown not as deity but God Himself, Radha, His devotee, is shown as the embodiment of love by a devotee towards God. The Hindus raised this Love by Radhe as even more important than God Himself (Krishna). And that’s why it is always Radha Krishna or Radhe Krishna and never Krishna Radha.
Human and God Relationship
The Adi Granth, the predecessor of present day Guru Granth Sahib, was compiled by the fifth Guru of the Sikhs – Guru Arjan Dev – in the sixteenth century. Thereafter, every Guru added something to it. The tenth and the last Guru, Guru Gobind Singh (whose name was one of the names of Krishna) didn’t add anything of his own but added all 115 hymns of his father Guru Teg Bahadur. In the year 1708, he decreed that after him there won’t be a human Guru but the Sikhs are to consider Guru Granth Sahib as their Guru.
The relationship between a devotee and God has been described in the Guru Granth Sahib by the first Guru – Guru Nanak – and curiously, it has drawn from the Radhe Krishna relationship: of between a wife and her husband. Guru Nanak portrayed the love of a suhagan (wife) for her husband as the purest form of devotion. He, of course, stressed upon the adornments for the suhagan being not material things like gold jewellery and diamonds but purity of heart and thoughts.
Take the case of Meerabai (born 1498). Meera Bai was born into a Rathore (Rajput) royal family of Kudki district of Pali, Rajasthan. Although born a princess, she renounced everything and became a devotee of Lord Krishna and considered herself married to Him. Since she flouted social and familial norms, she was persecuted by the society and especially by her in-laws. However, she didn’t desist from her chosen path. The Hindu scriptures, considering Devotee-God relationship as the one between wife and husband (Radhe Krishna), have widespread mention of the bhakti of Meera for Krishna as her husband, more than four thousand years after Krishna lived on earth.
More than four thousand years after Krishna, Meera again embodied the relationship between Devotee and God as being between wife and husband (Pic courtesy: lovekanha.blogspot.com)
Evolution of Modern Thought Process on Relations
Various rituals have been evolved over centuries to cement husband-wife relationship, the origin of all other familial relations.
The Saptapadi (Sanskrit for seven steps/feet), is the most important ritual of Vedic Hindu weddings, and represents the legal part of Hindu marriage. Sometimes called Saat Phere (seven rounds), couple conduct seven circuits of the Holy Fire (Agni), which is considered a witness to the vows they make to each other.
The Sikhs have Anand Karaj (blissful union introduced by Guru Amar Das (the third Guru) and involves four circuits around the Guru Granth Sahib (four lavan). Here God’s embodiment in the form of Guru Granth Sahib is considered witness to the holy marriage.
There are rituals in various other religions and castes most of them having some embodiment of God (such as agni, Guru Granth Sahib, Bible and other holy documents) as witness to the sacred marriage.
Guru Nanak, in his famous ‘Gagan mein thaal….’ arti in Jagannath Puri exhorted people to directly worship God (contained in His naam) rather than through any embodiment of God or deity (he refused to offer arti to Lord Krishna being only a deity when God Himself could be approached directly. Please read: ‘Nanak Shah Fakir – The Movie And Its Message‘). Curiously, this is one common element of all religions: they all know and feel that there is One God but the only real God is what they worship and all others are merely deities.
So the point is that the process of marriage is merely a ritual. Even if you want to make your marriage as sacred (marriages are, as is talked about in most religions and beliefs, made in heaven and then you are together for several lives (janam janam ka saath), merely chanting the name of God whilst accepting a person as your partner should be adequate for all purposes except for inheritance for which you have to legally prove your marriage.
Talking about dynamism or forever evolving concept of relationships, on the lighter side, in Mumbai (they must be elsewhere too) I have come across many couples whose male partners started off being Rakhi-Brothers (not blood brothers) (especially to widows) and who finally married their Rakhi Sisters.
Continuing with the lighthearted approach towards relations, I remember this anecdote of a divorced husband having to pay the bringing-up charges for his son (as part of alimony) until adulthood. On the first of every month, the son used to come calling at his blood father’s house, collect the alimony and go. On the first of a month just before the son’s 18th birthday, the father derisively told him, “Well, go back and tell your mother I am not your father anymore.” At this the son responded, “Mom wanted me to tell you that you never were”. Light-hearted alright, but that opens our eyes to the so called blood relations.
More and more people are now moving away from the religious rituals of weddings and for the purpose of legality of marriages for inheritance and other purposes getting married in courts (My son Arjun and daughter-in-law Samira did. Please read ‘Loveapalooza Arjun And Samira’s Lifetime Music Fest‘). Love is the strongest thread that need to be tied in order to complete the nuptials. Please recall that Guru Nanak, being a Hindu at that time, refused to wear the holy thread Janeyu as he said that no material symbols could replace oneness with God in thoughts.
Have the Hindi Movies Got it Right?
I am a fan and you would have seen it extensively in my blog posts. Whether or not the Hindi movies have got it right in other aspects of the movies, as far as evolution of relationships is concerned they seem to have kept pace and in many cases, several paces ahead.
Let me just give you three cases.
The first one is that of 1972 Shakti Samanta movie Amar Prem (Immortal Love) starring Rajesh Khanna and Sharmila Tagore. The film portrays the decline of human values and relationships (in blood relations, that is; Sharmila Tagore’s uncle sells her off as a courtesan) and contrasts it by presenting an outstanding example of a boy’s innocent love (Rajesh Khanna legally married to a wife who doesn’t care for him at all) for the same courtesan. A song about the decline of these relationships and double standards of people is a favourite of mine. It was penned by Anand Bakshi and composed by RD Burman in Raag Khammaj, Tal Kaherava. You must go through the lyrics in order to get the full meaning of these in the wake of discussions on relationships so far:
(kuchh to loga kahe.nge, logo.n kaa kaama hai kahanaa chho.Do bekaara kii baato.n me.n kahii.n biita naa jaae rainaa ) – 2 kuchha to loga kahe.nge, logo.n kaa kaama hai kahanaa
kuchha riita jagata kii aisii hai, hara eka subaha kii shaama huii – 2 tU kauna hai, teraa naama hai kyaa, siitaa bhii yahaa.N badanaama huii phira kyuu.N sa.nsaara kii baato.n se, bhiiga gaye tere nayanaa kuchha to loga kahe.nge, logo.n kaa kaama hai kahanaa chho.Do bekaara kii baato.n me.n kahii.n biita naa jaae rainaa kuchha to loga kahe.nge …
hamako jo taane dete hai.n, hama khoe hai.n ina ra.ngaraliyo.n me.n – 2 hamane unako bhii chhupa chhupake, aate dekhaa ina galiyo.n me.n ye sacha hai jhuuThii baata nahii.n, tuma bolo ye sacha hai naa kuchha to loga kahe.nge, logo.n kaa kaama hai kahanaa chho.Do bekaara kii baato.n me.n kahii.n biita naa jaae rainaa kuchha to loga kahe.nge
The second one is this 1969 Asit Sen movie Khamoshi (Silence) starring Rajesh Khanna and Waheeda Rehman. She is a nurse in the hospital where he is admitted with mental disorder caused by having been deceived in love by his beloved he wanted to marry. This song penned by Gulzar and composed by Hemant Kumar says it all as far as relationships are concerned; it suggests that the only true relationships are those of love:
Hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do sirf ehasaas hai ye ruuh se mahasuus karo pyaar ko pyaar hii rahane do koii naam na do hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do hamane dekhii hai
Pyaar koii bol nahii.n, pyaar aavaaz nahii.n ek Kaamoshii hai sunatii hai kahaa karatii hai na ye bujhatii hai na rukatii hai na Thaharii hai kahii.n nuur kii buu.Nd hai sadiyo.n se bahaa karatii hai
sirf ehasaas hai ye ruuh se mahasuus karo pyaar ko pyaar hii rahane do koii naam na do hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do hamane dekhii hai
muskuraahaT sii khilii rahatii hai aa.Nkho.n me.n kahii.n aur palako.n pe ujaale se jhuke rahate hai.n ho.nTh kuchh kahate nahii.n, kaa.Npate ho.nTho.n pe magar kitane Kaamosh se afasaane ruke rahate hai.n
sirf ehasaas hai ye ruuh se mahasuus karo pyaar ko pyaar hii rahane do koii naam na do hamane dekhii hai un aa.Nkho.n kii mahakatii Kushabuu haath se chhuu ke ise rishto.n kaa ilzaam na do hamane dekhii hai
Surprisingly, the third one that I am giving is also from a Rajesh Khanna movie: the 1971 Hrishikesh Mukherjee movie Anand (Bliss). The song in which the truth about relationships occurs was also sung by Hemant da in Bengali. Here, it was penned by Yogesh and composed by Salil Chowdhury. Here are very meaningful lines about relationships:
Kahii.n to ye, dil kabhii, mil nahii.n paate Kahii.n se nikal aae, janamo.n ke naate
Love is the Greatest Relationship
Three months back I wrote an essay titled ‘Love – The Greatest Feeling On Earth‘. The relationship of Love is indeed the greatest relationship. And, it need not be between a husband and wife. Look at the relationship that a soldier has for the motherland (a son’s dedication for Bharat Mata). He is prepared to give his life for her and often does. There is a relationship of love between us and animals. Take this about our dog Roger and us:
The most important relation or relationship is not by virtue of rituals and ceremonies but what a person actually means to you. Rituals and ceremonies are for societal and legal purposes, for example for inheritance. And why should inheritance be the consideration in relationships since after you are gone, you don’t own anything anymore? As Shakeel Badayuni wrote:
Yeh zindagi ke mele,
Duniya mein kam na honge,
Afsos ham na honge.
You can go narrower and narrower in relations and relationships. The fact is that every man is a variation of yourself and you are indeed related to every person on earth by the colour of his or her blood. If you want to seek more refinement in this God made relationship, you can seek a relationship of Love.
Today happens to be the canonisation of Mother Teresa. She is now onwards Saint Teresa of Calcutta. Here is the relationship that made that possible:
One oft-repeated comment that I received on my ‘Olympics Are Biased Against Indians’ has been that I should write a fresh one for the just concluded Olympics. The article, people wrote, is hilarious; but, they want a fresh one too. So here it is, not during but after the Olympics. It is not hilarious but in my own straight-bat manner, I have tried to hit the nail on the head.
Whenever we as Indians discuss and debate any issue, just like in Arnab Goswami’s telly debates, we divide ourselves into we versus they; we are the good people with best interests of the country with us and they are the evil, inefficient, and corrupt lot who are hell-bent to take the country backwards. Shobha De, for example is us and the politicians and ministers who didn’t let Sakshi (a Bronze Medal winner in wrestling in Rio Olympics) speak in her own felicitation function (because they wanted to grab the limelight themselves) are they. And, these we and they keep changing places depending upon the flavour of the day; for, if there is one word that describes Indians, it is opportunists. We ain’t good competitors; but we are good opportunists. All of us.
‘One reason for evil to last is for good men to do nothing about it’. This should lead us to realise that not just they but we too are responsible for the situation we are in.
Nearly a year back I wrote an article in this blog titled: ‘Indians – Poor In Record – Keeping; Armed Forces No Exception’. In this, amongst other things, I had brought out that after the 1999 Kargil War, the citation for Grenadier Yogendra Singh Yadav, who received the highest military gallantry award that the country had to offer – the Param Vir Chakra, that is, read that he was being awarded this medal posthumously. The poor Grenadier went on record saying that he didn’t want a medal that killed him even when he was still alive. This is how much we cared about the medal given for the highest in gallantry. Reacting to this article, some of my army friends emotionally brought out that this happens in fog of war. For heavens sake we are talking about the highest gallantry award and the army didn’t know whether the recipient was dead or alive.
We Are Like That Only. There are no we versus they. All of us including me are to be blamed. I remember the time when the Anna Hazare movement was at its peak. Everyone expected that once we would sort out the corrupt politicians and bureaucrats through such instruments as Lokpal Bill, India would suddenly emerge as a corruption free nation. We conveniently forgot our own involvement in making the babus and netas corrupt and our penchant to seek short-cuts to success through greasing palms of these worthies.
We are indeed like that only.
Thus, before and during the Olympics, it is made to appear that medal-winners are worthy of our respect and emulation, except that we don’t seem to be having many.
First, lets take a quick count of medals won by us in all the Olympics so far. The modern version of Summer Olympics started in 1896 and India sent just one athlete Norman Gilbert Pritchard (later as Hollywood actor Norman Trevor) to the second of those in the year 1900. He won two Silver medals. But, he was of British parentage, born in Calcutta and in 1905 went to settle in Britain.
We didn’t send a team until the sixth Olympics in 1920 when a team of six men (four athletes and two wrestlers) and two managers participated. We drew a blank. We drew a blank again in 1924 when we sent a team of 14 (seven athletes and seven tennis players) with one manager.
Our first Olympic Gold came in the year 1928, in the eighth Olympics, when we sent a team of 21 (seven athletes and 14 hockey players with the manager GD Sondhi. We won the hockey finals. We won the hockey gold for the next five Olympics in succession. Hockey also helped us get our first Olympic Gold as an independent nation in the 1948 London Olympics.
The first Indian (and not of British parentage who just happened to be born in India when India was under the British) to win an individual medal was in the the twelfth Olympics, the 1952 Summer Olympics in Helsinki. Khashaba Dadasaheb Jadhav won a wrestling bronze in the Bantam Weight category. Despite his sterling performances in national events he nearly missed a berth for the Helsinki Olympics due to nepotism, the bane of Indian sports. He didn’t bow down to corruption in Indian sports but appealed to Maharaja of Patiala, himself a sports enthusiast. The Maharaja felicitated his entry in Olympic trials where Jhadav defeated his opponent who was otherwise billed to go to Olympics!
Jadhav in the centre in Helsinki Olympics 1952 (Pic courtesy: www.karad.mazegav.com)
What was the honour bestowed on him being the first Indian individual medal winner in Olympics? None, since he had earned the ire of the officials. Three years after the Helsinki Olympics, he joined as a sub-inspector in police. He continued winning domestic competitions. He was also a wrestling coach. He served in the police for 27 years and retired as Assistant Police Commissioner and since he had learnt to fight in wrestling, they made him fight for his pension. He was a pariah of the sports federations and thus neither a Padma Shri nor any riches were bestowed on him. He died of a tragic accident in 1984. In the last few years of his life and until his death, he was a poor man. That is India’s first individual medal winner. Do you think any industry in India, any organisation, any philanthropist supported him? The answer is none.
The last Olympics before India became independent were held in 1936 in Berlin and our team size was 27 competitors (four athletes, three wrestlers, one Burmese weight-lifter, and a hockey team of 19) and three officials including manager G D Sondhi. As soon as we became independent, our team size bulged to 79 and from 3 sports and we suddenly started taking part in ten sports. In 1952 Helsinki Olympics, for the first time we sent 3 women. Thus, after their inception in 1896, it is only in the twelfth Olympics that we sent women (there were no Olympics held in 1916 due to World War I and 1940 and 1944 due to World War II).
In Hockey, we have won a total of 11 medals including 8 Golds, 2 Silver and 1 Bronze. In individual medals, thanks to the deplorable treatment meted out to Khashaba Dadasaheb Jadhav, our next individual medal came only in 1996 (23rd Olympics) when Leander Paes won a Bronze in Tennis (men’s Singles). Leander Paes competed in consecutive Olympics from 1992 to 2016 making him the only tennis player in the world to have participated in seven Olympics.
He has been bestowed with many awards. He has received the Rajiv Gandhi Khel Ratna award, India’s highest sporting honour, in 1996–97; the Arjuna Award in 1990; the Padma Shri award in 2001 and its 3rd Highest Civilian Award the Padma Bhushan in January 2014 for his outstanding contribution to tennis in India.
At this juncture let me bring out that there is money in tennis and cricket. Yuvraj, for example, instantly won a crore rupees for hitting six sixes in an over. The reason is that both these sports are well suited for advertisements in between the overs and the games and there are huge advertisement budgets and sponsorships involved in both the games.
Compare these with an event that both our men and women have been winning since its inception in 2004, the Kabaddi World Cup, that is. So far, there have been seven world cups for men and three for women (since 2012). We have won all the seven golds for men and all the three golds for women. But, have a look at the women waiting for and finally getting into an auto-rickshaw after winning the World Cup:
(Pic courtesy: www.sportskeeda.com)
If you go on the net or check the newspapers, you would get to see our former sports persons who brought glory to the nation languishing in poverty. Here are a few of those pics:
I am not going to fill this entire blog with numerous stories of neglect of sports persons even after they made the country proud.
Lets take one of the most famous: Shankar Lakshman who was the goalkeeper of the Indian team in the 1956, 1960 and 1964 Olympics, that won two gold medals and one silver medal. He was the first goalkeeper to become Captain of an international hockey team and was awarded the Arjuna award and the Padma Shri by the Indian government. He was Captain of the Indian team which won the gold in the 1966 Asian Games. After missing the selection for the 1968 Olympics, Lakshman quit hockey. He remained with the Army, retiring in 1979 as a Captain of the Maratha Light Infantry. He lived the final years of his life in poverty, and died in 2006 after suffering gangrene in one leg, in Mhow.
Shankar Lakshaman, the Indian hockey goalkeeper, with whom we won two Golds and one Silver died in poverty
Lets take just one more case, that of Sita Sahu. This intrepid 15-year-old at the time of 2011 Special Olympics at Athens won for the country two Bronze medals: in 200 m relay race and in 1600 m race. What does she do now? She still lives in abject poverty and sells golgappas and paapdi chaats.
Sita Sahu, winner of two Bronze medals at Special Olympics in Athens in 2011, selling golgappas and chaats to survive
In our characteristic style we blame the netas and the babus and the self-serving officials of sports federations in India, very sure in our minds that we ourselves have no role to play in this rot. And then we blame the money spinning games of cricket and tennis for the neglect of other sports.
Who goes to see the cricket and tennis matches? We do. Who goes and spends hours and days watching tamasha (spectacle) at the IPL? We do. Indian sports persons have won a total of only 28 medals in all the Olympics so far that include two of Norman Pritchard and 11 of Hockey; a miserable 15 medals in 28 Olympics. Six of these were won in London Olympics and two in Rio. This means that we just had seven individual medals to our credit in 26 Olympics.
“At the present juncture, I am sorry to say, we are doomed to be what we bemoaned at one time: ‘a rich country inhabited by the poor’; except that now, poor is defined as ‘poor in character‘.
Everyone of us has to bring in (and do so proudly) discipline in our individual and collective lives.”
Lets face it; we love tamasha (spectacle) whether in sports or in religion or in anything we do. Everything has to be seen in money terms. IPL interests us because it is a media-made tamasha, that makes us feel great just like three hours spent watching a Hindi movie takes us away from the reality of the squalor and misery that we still live in.
And if we feel that the political leaders are responsible for this mess, think again. Who elects them? We do.
During the height of Anna Hazare movement, I wrote several articles as to why the movement would fail unless we are involved in clearing the mess and not leave it to them to do so. My only poem in Punjabi (my mother tongue) was ‘Anne Na Raho (Don’t Remain Blind)’ bringing out our own responsibility in electing the right people and not just toss a coin and vote or not to wait at all.
And, mind you, we are talking about medals won in sports. As a nation we don’t have respect for those who won gallantry medals at the risk of their lives or often sacrificing their lives for the country.
Here is a spectacle of veterans returning their medals in protest against the non-implementation of One Rank One Pension. Who cares? We don’t.
Veterans returning their hard-earned medals during an OROP Rally (Pic courtesy: timesofindia.indiatimes.com)
Next time, following the advice of our former and most respected President: Dr. APJ Abdul Kalam, rather than pointing finger at the political bosses and some other officials, lets point a finger at ourselves and begin with ourselves to set things right. Lets take a pledge, for example, that we shall desist from such tamasha as IPL and encourage our athletes and other sportsmen, even if the current entertainment value of watching them is little.
Lets all win together and not make it look like that they are us if they win and they are they if they lose.
The ghazal spread into South Asia in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of the Indian sub-continent.
I gave you 18 Ghazals in Part I starting with Shakeel Badayuni‘s Na milata gham to barbaadi ke afsaane kahan jaate, to Rajinder Krishan‘s Jahan Ara ghazal sung by Talat Mahmood: Phir wohi shaam wohi gham wohi tanhaayi hai. In between I packed ghazals by Kaifi Azmi, Sahir Ludhianvi, Bahadur Shah Zafar, Muztar Khairabadi, Hasrat Mohani, Hasrat Jaipuri, Jaan Nisar Akhtar, Majrooh Sultanpuri, and Farooq Qaiser.
I followed it up with another 18 Ghazals in Part II starting with Mohammad Rafi singing Sahir Ludhianvi‘s ghazal Tum ek baar mohabbat ka imtehaan to do for the 1960 movie Babur, to Lata Mangeshkar singing Jaan Nisar Akhtar‘s Aap youn faaslon se guzarte rahe for the 1977 movie Shankar Hussain. In between I gave you ghazals sung by Mubarak Begum, and ghazals of Mirza Ghalib, Raja Mehdi Ali Khan, Majrooh Sultanpuri, Rajinder Krishan, Gulzar, Bashar Nawaz and Mir Taqi Mir.
I followed the second part with another 16 Ghazals in Part III, starting with Talat Mehmood singing Sardar Jafri’sShaam-e-gham ki kasam, aaj gamgeen hain ham, Aa bhi jaa, aa bhi jaa, aaj mere sanam…. modified by Majrooh Sultanpuri for the 1953 movie Footpath and ending with Lata Mangeshkar singing Sahir Ludhianvi’s Jurm-e-ulfat pe hamen log saza dete hain, Kaise nadaan hain sholon ko hawa dete hain… for the 1963 movie Taj Mahal. In between I gave you three more ghazals by Talat Mehmood, one sung together by Mohammad Rafi and Mahendra Kapoor, a ghazal of Hassan Kamal, a few of Majrooh sultanpuri, one of Anand Bakshi and a few for which the great music director Roshan composed music.
In Part IV, I gave you 17 Ghazals, starting with Mahendra Kapoor singing Qamar Jalalabadi’s most famous ghazal: Rafta rafta woh hamare dil ke armaan ho gaye for the 1966 movie ‘Hum Kahan Jaa Rahe Hain’ to Shahryar‘s 1981 movie Umrao Jaan‘s ghazal sung by Asha Bhosle: Ye kyaa jagah hai dosto, ye kaun sa dyaar hai. In between, I gave you ghazals by SH Bihari, Shakeel Badayuni, Hasrat Jaipuri, Naqsh Lyallpuri, and Shahryar‘s other ghazals.
In the part immediately before this, Part V that is, I gave you 14 ghazals, starting with Noor Jahan sung ghazal penned by Faiz Ahmed Faiz, for the 1940 movie Qaidi (Mujhase pehle si mohabbat mere mehboob na maang) to Mahendra Kapoor sung ghazal of Hasan Kamaal for the 1982 movie Nikaah (Beete huye lamahon ki kasak saath to hogi). In between I gave you some more ghazals by Noor Jahan, Gulzar, Qamar Jalalabadi, three of them either sung or composed by Hemant Kumar before ending with Mahendra Kapoor.
Lets resume our journey into the fascinating world of Ghazals for the final part containing 16 ghazals.
Ghazal #85
Jagjit Singh
Now that we are getting close to the 100 mark, my anxiety is increasing; there are quite a few excellent ones still not having been put up.
This includes most of the ghazals of the Ghazal King Jagjit Singh who left us on 10th Oct 2011, having been born on 8th Feb 1941 in Sri Ganganagar earlier in Bikaner state and now part of Rajasthan.
Singh was still struggling to make a living in 1967 when he met the Bengali-born Chitra Dutta. She divorced her husband and married Singh in December 1969. Following the birth of their son, Vivek, the couple performed as a singing duo but it was not until the 1976 release of the album The Unforgettable that they found significant, and surprising, success. In the interval, the primary difficulty for them had been that the ghazal music genre was dominated by Muslim artists and especially those from Pakistan.
(Pic courtesy: jagjitchitra.wordpress.com)
Anyway, to cut a long story short, he finally emerged as the finest and most unique singer of ghazals in the sub-continent.
I have already given you a famous ghazal of his, penned by Kaifi Azmi, on the music of Kuldeep Singh for the 1982 movie Arth: Jhuki jhuki si nazar beqraar hai ki nahin (Ghazal #2 in the present series)
Here is another of his ghazals from the same movie. This too has been penned by Kaifi Azmi. Here Jagjit Singh has sung on his own music.
Please enjoy: Tum itana jo muskara rahe ho….
tum itanaa jo muskuraa rahe ho
kyaa Gam hai jisako chhupaa rahe ho
tum itanaa…
aa.Nkho.n me.n namii ha.Nsii labo.n par
kyaa haal hai kyaa dikhaa rahe ho
kyaa Gam hai…
ban jaaye.nge zahar piite piite – (2)
ye ashq jo piite jaa rahe ho
kyaa Gam hai…
rekhaao.n kaa khel hai muqaddar – (2)
rekhaao.n se maat khaa rahe ho
kyaa Gam hai…
Ghazal #86
Jagjit Singh
Another famous ghazal of Jagjit Singh. This was penned by Javed Akhtar for the 1982 movie Saath Saath starring Farooq Sheikh and Deepti Naval. Jagjit Singh sang it on Kuldeep Singh’s music.
Please enjoy: Tum ko dekha to ye khayal aaya….
tum ko dekhaa to ye Kayaal aayaa
zi.ndagii dhuup tum ghanaa saayaa
tum ko…
aaj phir dilane ek tamannaa kii – (2)
aaj phir dilako hamane samajhaayaa
zi.ndagii dhuup tum ghanaa saayaa…
tum chale jaaoge to soche.nge – (2)
hamane kyaa khoyaa, hamane kyaa paayaa
zi.ndagii dhuup tum ghanaa saayaa…
ham jise gunagunaa nahii.n sakate – (2)
vaqt ne aisaa giit kyuu.N gaayaa
zi.ndagii dhuup tum ghanaa saayaa…
https://www.youtube.com/watch?v=-GRqHkV9Bls
Ghazal #87
Jagjit Singh
The unique style of Jagjit Singh’s ghazal singing at its best in the 2002 movie Leela. It is a Gulzar’s ghazal sung by Jagjit Singh on his own music.
Khumaar-e-gham hai, mahekti fiza mein jeete hain -2
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Bade itafaak se milte hain milne waale mujhe -2
Woh mere dost hai, teri wafa mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Firaaq-e-yaar mein saanson ko rok ke rakhte hain -2
Harek lamha guzarti qaza mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Na baat poori huwi thi, ke raat toot gayi -2
Adhure khwaab ki aadhi saza mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Tumhaari baaton mein koyi masiha basta hai -2
Haseen labon se barasti shabha mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Khumaar-e-gham hai, mahekti fiza mein jeete hain
Tere khayaal ki aab-o-hawa mein jeete hain
Ghazal #88
Kishore Kumar
Impossible, you are bound to tell me; Ravi old chap, you found three ghazals of Hemant Kumar…but you can’t find a single one of Kishore da. Kishore da was as far from ghazals as chalk is from cheese.
Well, don’t be too sure. Here is one from the 1985 movie Alag Alag starring Rajesh Khanna and Tina Munim. It has RD Burman‘s music and Anand Bakshi‘s lyrics.
(Pic courtesy: hindilyrics.tv)
Please enjoy: Kabhi bekasi ne maara….
haai ho, oh ho ho, oh oh ho ho ho
ye gazal hai na geet hai koi
ye mere dard ki kahani hai
mere seene me sirf, ho
mere seene me sirf shole hai
meri aankho me sirf pani hai
kabhi bekasi ne mara, kabhi bekasi ne mara
oh, kabhi bebasi ne mara, kabhi bekasi ne mara
oh, kabhi bebasi ne mara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara oh, kabhi bebasi ne mara
muqaddar pe kuch jor chalta nahi
wo mausam hai ye jo badalta nahi
muqaddar pe kuch jor chalta nahi
wo mausam hai ye jo badalta nahi
kahi thi ye badnaseebi oh, kahi thi meri garibi
oh, kahi thi meri garibi
kis kis ka naam lu mai oh, kis kis ka naam lu mai
mujhe har kisi ne maara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara oh, kabhi bebasi ne maara
bemurawwat bewafa duniya hai ye
hai ye duniya to kya duniya hai ye
bemurawwat bewafa duniya hai ye
hai ye duniya to kya duniya hai ye
na kami thi dosto ki, na kami thi dushmano ki
oh, na kami thi dushmano ki
kahi dushmani ne luta, kahi dushmani ne luta
kahi dosti ne mara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara, kabhi bebasi ne mara
ujalo se veshat mujhe ho gayi hai
andhero ki aadat mujhe ho gayi hai
ujalo se veshat mujhe ho gayi hai
andhero ki aadat mujhe ho gayi hai
raha jab talak andhera oh, kata khub waqt mera
oh, kata khub waqt mera
mujhe chaandni ne luta oh, mujhe chaandni ne luta
mujhe roshni ne mara
gila maut se nahi hai, gila maut se nahi hai
mujhe zindagi ne mara
kabhi bekasi ne mara, kabhi bebasi ne mara
kabhi bekasi ne mara oh, kabhi bebasi ne mara
https://www.youtube.com/watch?v=RfxGw3F4Ecg
Ghazal #89
Kishore Kumar
Can a truck driver have such finer feelings as to think of a ghazal whilst driving? Well, only Kishore Kumar can make it possible!
This too is on the music of RD Burman but it has Gulzar‘s lyrics.
The name of this 1982 movie is Namkeen and the truck-driver is Sanjeev Kumar.
Two Kumars, one Dev and one Singh (Sampooran Singh, alias, Gulzar) making a Ghazal!
Please enjoy: Raah pe rehate hain, yaadon pe basar karate hain…
raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
jal gaye jo dhUp me.n to sAyA ho gaye – 2
AsamA.N kA koI konA le tho.DA so gaye
jo guzar jAtI hai bas usape guzar karate hai.n
ho raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
u.Date pairo.n ke tale jab bahatI hai.n zamIn – 2
mu.Dake hamane koI ma.nzil dekhI hI nahI.n
raat din rAho.n pe ham shAmo sahar karate hai.n
ho raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
aise ujA.De AshiyA.N me.n tinake u.D gaye
ho aise ujA.De AshiyA.N me.n tinake u.D gaye
bastiyo.n tak aate aate rAste mu.D gaye
ham Thahar jAye.n jahA.N usako shahar kahate hai.n
ho raah pe rahate hai.n yAdo.n pe basar karate hai.n
khush raho ahale vatan ho ham to saphar karate hai.n
Ghazal #90
Chitra Singh
Day before yesterday I gave you a popular ghazal of Jagjit Singh for the 1982 movie Saath Saath starring Farooq Sheikh and Deepti Naval: Tumako dekha to yeh khayal aaya.
Now I give you one by Chitra Singh for the same movie. This too has Javed Akhtar’s lyrics and Kuldeep Singh’s music. Chitra, of course, never sang in a concert on her own. She was so much in love with her second husband Jagjit Singh that after his death on 10th Oct 2011, she lost all interest in singing and became a recluse. Of course, the couple only sang sad, tragic numbers after they lost their son Vivek in a road accident at the age of 20.
Anyway, enjoy one of her most popular ghazals: Kyon zindagi ki raah mein majboor ho gaye….
kyo.n zindagii kii raah me.n majabuur ho gae
itane hue kariib ki ham duur ho gae
aisaa nahii.n ki hamako koii bhii khushii nahii.n
lekin ye zindagii to koI zindagii nahii.n
kyo.n isake faisale hame.n ma.nzuur ho gae,
itane hue …
paayaa tumhe.n to hamako lagaa tumako kho diyaa
ham dil pe roe aur ye dil ham pe ro diyaa
palako.n se Kvaab kyo.n gire kyo.n chuur ho gae,
itane hue …
https://www.youtube.com/watch?v=JyXSPgFaioM
Ghazal #91
Suresh Wadkar
Talking about the gentleman actor Farooq Sheikh, takes me to another contemporary singer Suresh Wadkar who too has sung some fine ghazals in addition to scores of songs from his debut in Krodhi in 1981. His ghazal in concert with Bhupinder shall be put up by me later (picturised on Sayyeed Jafri and Naseeruddin Shah).
(Pic courtesy: chiloka.com)
At the present juncture I want to give you this ghazal penned by someone who wrote all of Umrao Jaan’s ghazals: Shahryar. It has Jaidev’s music. The name of this 1978 movie is Gaman.
siine me.n jalan aa.Nkho.n me.n tuufaan saa kyo.n hai
is shahar me.n har shaKs pareshaan saa kyo.n hai
dil hai to dha.Dakane kaa bahaanaa koI Dhuu.NDhe
patthar kii tarah behis-o-bejaan saa kyo.n hai
tanahaaI kii ye kaun sii ma.nzil hai rafiiqo
taa-hadd-e-nazar ek bayaabaan saa kyo.n hai
kyaa koI naI baat nazar aatii hai ham me.n
aaInaa hame.n dekh ke hairaan saa kyo.n hai
Ghazal #92
Jagjit Singh and Chitra Singh
Keeping the last nine ghazals (from the Top 100 Ghazals in Hindi Movies) for the three days leading to the death anniversary of the greatest poet and lyricist of all times: Shakeel Badayuni. And then, on 20th April, after we finish with the current theme, we shall have a full day of tribute to Shakeel.
I have already introduced Jagjit and Chitra Singh to you. Let me introduce Sudarshan Faakir, the lyricist to you. He was born in Ferozepur in Punjab in 1934.
(Pic courtesy: alchetron.com)
NCC cadets and officers know him very well since the NCC song (the best song of all the uniformed services!) Ham sab bhartiya hain was penned by him.
Beghum Akhtar and Jagjit and Chitra sang some of his ghazals.
Here is the most famous one for the 1987 movie Aaj; the one immortalised by the couple. It not just fills all of us with nostalgia about childhood but also wets the eyes of most of us.
(Pic courtesy: musicmylifelyrics.blogspot.com)
Please enjoy: Ye daulat bhi le lo, ye shohrat bhi le lo…
ye daulat bhii le lo, ye shoharat bhii le lo
bhale chhiin lo mujhase merii javaanii
magar mujhako lautaa do bachapan kaa saavan
vo kaagaz kii kashtii, vo baarish kaa paanii
–Jagjit–
muhalle kii sabase nishaanii puraanii
vo budhiyaa jise bachche kahate the naanii
vo naanii kii baaton mein pariyon kaa deraa
vo chahare kii jhuriryon mein sadiyon kaa pheraa
bhulaae nahiin bhuul sakataa hai koi
vo chhotii sii raaten vo lambii kahaanii
–Chitra–
kadii dhuup mein apane ghar se nikalanaa
vo chidiyaa vo bulabul vo titalii pakadanaa
vo gudiyaa kii shaadii mein ladanaa jhagadanaa
vo jhuulon se giranaa vo gir ke sambhalanaa
vo piital ke chhallon ke pyaare se tohafe
vo tuutii hui chuudiyon kii nishaanii
–Jagjit–
kabhii ret ke unche tiilon pe jaanaa
gharaunde banaanaa banaake mitaanaa
vo maasuum chahat kii tasviir apanii
vo kvaabon khilaunon kii jaagiir apanii
na duniyaa kaa gam thaa na rishton ke bandhan
badii khuubasuurat thii vo zindagaanii
Ghazal #94
Bhupinder and Asha Bhosle
Bhupinder and Asha Bhosle again (as earlier in Aitbaar: Kisi nazar ko tera intezzar aaj bhi hai). This time on a ghazal by Nida Fazli.
Nida Fazli is an Urdu poet who was born in Delhi to a Kashmiri family on 12th Oct 1938. During the partition, his parents decided to go to Pakistan but he stayed in India. Besides being awarded the Sahitya Akademi award in 1998, the government of India honoured him by conferring the award of Padma Shri on him.
(Pic courtesy: radioandmusic.com)
This is from the 1981 movie Ahista Ahista. Such poetry when it would have Khaiyyam’s music, comes alive gently.
Please enjoy: Kabhi kisi ko mukammal jahan nahin milata….
kabhii kisii ko mukammal jahaa.N nahii.n milataa
kahii.n zamiin to kahii.n aasamaan nahii.n milataa
jise bhii dekhiye vo apane aap me.n gum hai
zubaa.N milii hai magar hamazubaa.N nahii.n milataa
kabhii …
% (sung to a somewhat different tune)
bujhaa sakaa hai bhalaa kaun vaqt ke shole
ye aisii aag hai jisame dhuaa.N nahii.n milataa
kabhii …
% (saving the best one for the end)
tere jahaa.N me.n aisaa nahii.n ki pyaar na ho
jahaa.N ummiid ho isakii vahaa.N nahii.n milataa
kabhii …
https://www.youtube.com/watch?v=k82SZZaWgtU
Ghazal #95
Mohammad Rafi
God of Songs, Greatest Singer in Indian Cinema, Greatest Ghazal, Bhajan, Sad Songs Singer; well, these are some of the epithets that come to your mind when you think of Mohammad Rafi.
His mellifluous voice was so well suited for Ghazals that even the songs that he sang came out as Ghazals.
In any case, those were the days of great lyricists and they all excelled in Ghazals and Mohammad Rafi sang them with excellence.
Let me begin with Hasrat Jaipuri‘s since it was his birth anniversary three days back. Predictably, the music was by Shankar Jaikishen and the name of this 1965 movie was Aarzoo.
Some of the best Ghazals of Mohammad Rafi in the Hindi movies are picturised on Rajendra Kumar and so is this except that he is disguised as an old man. I cannot give the best picturised on him and the best of Mohammad Rafi: Mere mehboob tujhe…
A scene from the 1965 movie Arzoo starring the Mere Mehboob pair Rajendra Kumar and Sadhana
Please enjoy: Chhalake teri aankhon se sharaab aur ziyaadah….
chhalake terii aa.Nkho.n se sharaab aur ziyaadaa – 3
khilate rahe.n ho.nTho.n ke gulaab aur ziyaadaa – 2
kyaa baat hai jaane terii mahafil me.n sitamagar – 3
dha.Dake hai dil-e-khaanaa-kharaab aur ziyaadaa – 2
is dil me.n abhii aur bhii zaKmo.n kii jagah hai – 3
abaruu kii kaTaarii ko do aab aur ziyaadaa
tuu ishq ke tUfaan ko baa.Nho.n me.n jaka.D le – 2
allaah kare zor-e-shabaab aur ziyaadaa
khilate rahe hoTho.n ke gulaab aur ziyaadaa
https://www.youtube.com/watch?v=M2Ihu_yoixs
Ghazal #96
Mohammad Rafi
If you were a woman and Mohammad Rafi was to sing this to you on a full moon night, what would you do, even if you were invalid and in bed? Well, you would want to see him even on a wheel chair!
That’s exactly what Nanda did for Sunil Dutt in the 1963 movie Aaj Aur Kal.
It is a beautiful ghazal penned by Sahir Ludhianvi with equally enchanting music by Ravi.
Caution: Do not watch the last part of the video!
Please enjoy: Itani haseen itani jawan rat kyaa kare….
saa.nso.n me.n ghul rahii hai kisii saa.ns kii mahak – 2
daaman ko chhuu rahaa hai koI haath kyaa kare.n – 2
itanI hasiin itanI javaa.n raat kyaa kare.n
shaayad tumhaare aane se ye bhed khul sake – 2
hairaan hai.n ki aaj naI baat kyA kar.n – 2
itanI hasiin itanI javaa.n raat kyaa kare.n
Ghazal #97
Shakeel Badayuni Mohammad Rafi
To talk about Mohammad Rafi without talking about Shakeel Badayuni is as impossible as to talk about Chandini without thinking of Chand.
That means, with just two days to go for the death anniversary of the greatest poet and lyricist in the Hindi movies: Shakeel Badayuni, it is slowly getting to be time to restart talking about him!
This is not an ordinary ghazal; it is the best ghazal to describe the beauty of a woman on a full moon night. As Shakeel himself said (and no one can say things better than him!):
Yaa zindagi ke saaz pe chhedi hui ghazal!
Only Shakeel could do it!
The same Mohammad Rafi and Ravi who created magic in Sahir’s ghazal: Itani haseen itani jawan raat, crossed all boundaries of excellence in this because the lyricist was Shakeel!
As I mentioned several times (countless times), Shakeel means ‘Handsome’, ‘Good Looking’……as if you had any dount!!
Please enjoy the title ghazal song of Guru Dutt’s 1960 movie Chaudhvinh ka chaand ho…..
chaudahavii.n kaa chaa.Nd ho, yaa aafataab ho
jo bhii ho tum khudaa ki qasam, laajavaab ho
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
Ghazal #98
Shakeel Badayuni and Mohammad Rafi
Two of the brightest stars in the sky! Decades after they are gone, the world of songs, ghazals, geet and poetry is as alive as when they were there. Yes, Beghum Akhtar was Shakeel’s voice in non-Hindi films ghazals; but, when it came to movies, the voices of Mohammad Rafi and Lata Mangeshkar sang his finest ghazals.
I have given quite a few of them to you. In the end there is only Yaad! I would have given Mili Khaak mein mohabbat; but that was put up by Evani Leela yesterday.
Here is one on Ravi’s music from the 1964 movie Door Ki Awaz starring Joy Mukherjee and Saira Bano.
Please enjoy: Kyaa younhi rooth ke jaane ko mohabbat ki thi….
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
Ghazal #99
Shakeel Badayuni, Naushad, Lata, Dilip Kumar and Madhubala
Shakeel Badayuni formed a quartet with Naushad, Mohammad Rafi and Dilip Kumar to create the finest songs in Hindi movies. However, as I have mentioned several times earlier, Lata Mangeshkar came equal to the task and sang some of his very good ghazals.
Lata Mangeshkar with Mohammad Rafi and Shakeel Badayuni (Pic courtesy: rckapoor.wordpress.com)
This one was deleted from the colour version of Mughal-e-Azam but I have selected it here because the lyrics of this have real life between Madhubala and Dilip Kumar mirror the reel life!
Without much ado, please enjoy: Hamen kaash tumase mohabbat naa hoti……
hame.n kaash tum se muhabbat na hotii
kahaanii hamaarii haqiikat na hotii
na dil tum ko dete na majabuur hote
na duniyaa na duniyaa ke dastuur hote
qayaamat se pahale qayaamat na hotii
hamii.n ba.Dh gaye ishq me.n had se aage
zamaane ne Thokar lagaayii to jaage
agar mar bhii jaate to hairat na hotii
tumhii.n phuu.Nk dete nasheman hamaaraa
muhabbat pe ahasaan hotaa tumhaaraa
zamaane se koi shikaayat na hotii
https://www.youtube.com/watch?v=BvNKAZtGyas
Ghazal #100
Shakeel Badayuni, Naushad Ali, Mohammad Rafi and Dilip Kumar
Shakeel Badayuni, Naushad, Rafi, and Dilip Kumar….the last time they were together….their 1968 movies Sunghursh and Aadmi were the last time the quartet was together. Aadmi had a famous ghazal that I have already given you: Kaisi haseen aaj baharon ki raat hai. So, I end four weeks of Ghazals in Hindi movies with this one from Sughursh.
Relive the magic!
It is picturised on Dilip Kumar and Vyjayanthimala.
Please enjoy: Ishq deewana husn bhi ghayal dono taraf ik dard-e-jigar hai….
ishq diivaanaa husn bhii ghaayal dono.n taraf ik dard-e-jigar hai
dil kii ta.Dap kaa haal na puuchho jitanii idhar hai utanii udhar hai
ishq diivaanaa husn bhii …
apane fasaane dil ke taraane yaa tum samajho yaa ham jaane.n
tumako hamaare dil kaa pataa hai hamako tumhaare dil kii Kabar hai
ishq diivaanaa husn bhii …
bikharii zulfe.n aa.Nchal Dhalakaa lab pe tabassum halkaa-halkaa
pyaar me.n ham to kho_e hai.n lekin aaj tumhe.n bhii hosh kidhar hai
dil kii ta.Dap kaa …
chaa.Nd-sitaare shoK nazaare sab hai.n tumhaare husn ke ghaayal
husn ko rakhanaa apane bachaa ke dekho tumhii.n par sabakii nazar hai
ishq diivaanaa husn bhii …
There then, in six parts, I have given you my selection of 100 ghazals in Hindi movies. I started with my favourite Shakeel Badayuni and ended with him.
It is quite possible that you would have a list of your own favourites. You may mention to me in the comments below if I have missed out on anything. But, only remember this: these are not the best ghazals of all fora; these are the best in Hindi movies only.
Let me say good-bye to you at this stage: Alvida, Shabba Khair, Khuda Hafez.
As I brought out in the introduction of ‘A Hundred Ghazals In Hindi Movies – Part I’, ‘A Hundred Ghazals In Hindi Movies – Part II’, ‘A Hundred Ghazals in Hindi Movies – Part III’, and ‘A Hundred Ghazals In Hindi Movies – Part IV’, the ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in ancient Arabic poem in Arabia long before the birth of Islam. The term Ghazal is of North African and Middle Eastern origin. Its root term in Arabic is “gh-zl” and is derived from the Arabian panegyric qasida.
The ghazal spread into South Asia in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of the Indian sub-continent.
I gave you 18 Ghazals in Part I starting with Shakeel Badayuni‘s Na milata gham to barbaadi ke afsaane kahan jaate, to Rajinder Krishan‘s Jahan Ara ghazal sung by Talat Mahmood: Phir wohi shaam wohi gham wohi tanhaayi hai. In between I packed ghazals by Kaifi Azmi, Sahir Ludhianvi, Bahadur Shah Zafar, Muztar Khairabadi, Hasrat Mohani, Hasrat Jaipuri, Jaan Nisar Akhtar, Majrooh Sultanpuri, and Farooq Qaiser.
I followed it up with another 18 Ghazals in Part II starting with Mohammad Rafi singing Sahir Ludhianvi‘s ghazal Tum ek baar mohabbat ka imtehaan to do for the 1960 movie Babur, to Lata Mangeshkar singing Jaan Nisar Akhtar‘s Aap youn faaslon se guzarte rahe for the 1977 movie Shankar Hussain. In between I gave you ghazals sung by Mubarak Begum, and ghazals of Mirza Ghalib, Raja Mehdi Ali Khan, Majrooh Sultanpuri, Rajinder Krishan, Gulzar, Bashar Nawaz and Mir Taqi Mir.
I followed the second part with another 16 Ghazals in Part III, starting with Talat Mehmood singing Sardar Jafri’sShaam-e-gham ki kasam, aaj gamgeen hain ham, Aa bhi jaa, aa bhi jaa, aaj mere sanam…. modified by Majrooh Sultanpuri for the 1953 movie Footpath and ending with Lata Mangeshkar singing Sahir Ludhianvi’s Jurm-e-ulfat pe hamen log saza dete hain, Kaise nadaan hain sholon ko hawa dete hain… for the 1963 movie Taj Mahal. In between I gave you three more ghazals by Talat Mehmood, one sung together by Mohammad Rafi and Mahendra Kapoor, a ghazal of Hassan Kamal, a few of Majrooh sultanpuri, one of Anand Bakshi and a few for which the great music director Roshan composed music.
In Part IV, I gave you 17 Ghazals, starting with Mahendra Kapoor singing Qamar Jalalabadi’s most famous ghazal: Rafta rafta woh hamare dil ke armaan ho gaye for the 1966 movie ‘Hum Kahan Jaa Rahe Hain’ to Shahryar‘s 1981 movie Umrao Jaan‘s ghazal sung by Asha Bhosle: Ye kyaa jagah hai dosto, ye kaun sa dyaar hai. In between, I gave you ghazals by SH Bihari, Shakeel Badayuni, Hasrat Jaipuri, Naqsh Lyallpuri, and Shahryar‘s other ghazals.
Lets resume our journey into the fascinating world of Ghazals.
Ghazal # 71
Noor Jehan
She was born as Allah Wasai on 21 Sep 1926 in Kasur, Punjab
now in Pakistan). She was one of the gretatest and most influential singers of her times and earned the honorific title of Mallika-e-Tarunnam (Queen of Melody). Even though Lata Mangeshakr later emerged as a very versatile singer, Lata would have given anything to have the range of singing that Noor Jehan naturally possessed. She learnt singing under Ustad Bade Ghulam Ali Khan, himself a genius.
Malika-e-Tarannum Noor Jahan (Pic courtesy: pics.urduwire.com)
Lets start with her rendition of Faiz Ahmed Faiz’s famous ghazal that is still regarded as the best rendition ever by Noor Jehan (next only to Awaaz de kahan hai). Her singing style was unmatched.
The ghazal appeared in the 1940 movie Qaidi. Music was composed by Rashid Atre.
Please enjoy: Mujhase pehli si mohabbat mere mehboob naa maang….
mujh se pahalii sii mohabbat, mere mahabuub, na maa.Ng – 4
mai.nne samajhaa thaa ke tuu hai to daraKshaa.n hai hayaat
teraa Gam hai to Gam-e-dahar kaa jhaga.Daa kyaa hai
terii suurat se hai aalam me.n bahaaro.n ko sabaat
terii aa.Nkho.n ke sivaa duniyaa me.n rakhaa kyaa hai – 2
tuu jo mil jaae to taqadiir nigo.n ho jaae
yuu.N na thaa, mai.nne faqat chaahaa thaa yuu.N ho jaae
% aur bhii dukh hai.n zamaane me.n mohabbat ke sivaa
% raahate.n aur bhii hai.n vasl kii raahat ke sivaa
mujh se pahalii sii mohabbat, mere mahabuub, na maa.Ng
anaginat sadiyo.n ke taariik bahimaanaa talism
resh-o-aThalas-o-kamaKaab-o-baazaar me.n jism
Kaak me.n lita.De hue Kuun me.n nahalaae hue
% jism nikale hue amaraaz ke tanavvuro.n se
% piip bahatii huii galate hue naasuuro.n se
lauT jaatii hai idhar ko bhii nazar kyaa kiije
ab bhii dilakash hai teraa husn, maGar kyaa kiije – 2
aur bhii dukh hai.n zamaane me.n mohabbat ke sivaa
raahate.n aur bhii hai.n vasl kii raahat ke sivaa
mujh se pahalii sii mohabbat, mere mahabuub, na maa.Ng
https://www.youtube.com/watch?v=Tpd6C_9uFRY
Ghazal # 72
Noor Jehan
Since in 1947, she decided to join Pakistan, in order that her ghazals should qualify for Hindi Movies (the current theme of Lyrical), I have to put up her ghazals before partition (though it is a fact that her ghazals sung in Pakistan are also gems).
Here is her most famous one from the 1946 movie Anmol Ghadi in which she acted together with Suraiya and Surendra. It has Naushad’s music. Surendra joins in the second stanza.
(Poster courtesy: en.wikipedia.org)
The gahazal is considered by many as the ultimate standard in ghazal singing.
Please enjoy: Awaaz de kahan hai, duniya meri jawan hai…
aavaaz de kahaa.N hai duniyaa merI javaa.N hai
aabaad mere dil me.n ummiid kaa jahaa.N hai
duniyaa merI javaa.N hai …
aa raat jaa rahI hai
yuu.n jaise chaa.Ndanii kI
baaraat jaa rahI hai
chalane ko ab falak se
taaro.n kaa kaaravaa.N hai
aise me.n tU kahaa.N hai
duniyaa merI javaa.N hai …
kismat pe chhaa rahI hai
kyo.n raat kii siyaahii
vIrA.N hai merI nii.nde.n
taaro.n se le gavaahii
barabaad mai.n yahaa.N huu.N
aabaad tU kahaa.N hai
bedard aasamaa.N hai …
aavaaz de kahaa.N hai …
Ghazal # 73
Suraiya
It was only later that the honorific title of Mallika-e-Tarunnam was given to Noor Jehan. The original Melody Queen was Suraiya or Suraiya Jamaal Sheikh born on 15th June 1929 in Gujaranwala in Punjab (now in Pakistan).
She continued to stay in India and her love affair with Dev Anand almost ended in their marriage.
Dev Anand and Suraiya in happy times (Pic courtesy: www.pinkvilla.com)
She has acted in many movies that she has sung songs for.
Her most famous ghazal has been penned by Kaifi Azmi and has Ghulam Mohammad’s music (he gave music for Pakeezah). It has been sung for the 1961 movie Shama.
Please enjoy: Dhadakte dil ki tamanna ho mera pyaar ho tum….
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(mujhe qaraar nahii.n) – 2
(jab se beqaraar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(khilaao phuul kisii ke kisii chaman men raho) – 2
jo dil kii raah se (guzarii hai vo bahaar ho tum) – 2
(zah-e-nasiib ataa kii jo dard kii sauGaat) – 2
vo Gam hasiin hai jis (Gam ke zimmedaar ho tum) -2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
cha.Daauu.N phuul yaa aa.Nsuu tumhaare qadamo.n me.n
merii vafaao.n ke (ulfat kii yaadagaar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
https://www.youtube.com/watch?v=M64silP33xY
Ghazal # 74
Gulzar
Sampooran Singh Kalra was born on 18th Aug 1934 in Jhelum district (now in Pakistan). He started his career as a lyricist at the age of 29 and is the most versatile personality in Hindi movies having tried his hand at direction, story and dialogue writing. He assumed the pen name Gulzar (Rose Garden) and is known widely by that name.
Gulzar (Pic courtesy: www.indiatvnews.com)
He has written some very fine ghazals in the Hindi movies.
Lets start with his ghazal duet sung by Kishore Kumar and Lata Mangeshkar for the 1978 movie Ghar starring Vinod Mehra and Rekha (it is nice to observe the chemistry between them). Music has been composed by RD Burman.
lataa: aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
aap se bhii khuubasuurat aapake a.ndaaz hai.n
aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
aap kii baato.n me.n phir koI sharaarat to nahii.n – 2
bevajah taarif karanaa aap kii aadat to nahii.n
aap kii badamaashiyo.n ke ye naye a.ndaaz hai.n
kishor: aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
lataa: aap se bhii khuubasuurat aapake a.ndaaz hai.n
aap kii aa.Nkho.n me.n kuchh mahake hue se raaz hai
https://www.youtube.com/watch?v=NbqCWwlNKrA
Ghazal # 75
Gulzar
Here is another of Gulzar’s ghazals composed by RD Burman. This is for the 1987 movie Ijaazat starring Naseeruddin Shah, Anuradha Payel and Rekha. The singer is Asha Bhosle.
Naseeruddin Shah and Rekha in the 1988 movie Ijaazat. The scene is of the railway waiting room wherein the separated couple accidentally meet and discover the truth of their lives without each other. The story was based on a Bengali story Jatugriha by Subodh Ghosh
Please enjoy: Mera kuchh samaan tumhaare paas padha hai….
meraa kuchh saamaan tumhaare paas pa.Daa hai – 2
o o o ! saavan ke kuchh bhiige bhiige din rakhe hai.n
aur mere ek khat me.n lipaTii raat pa.Dii hai
vo raat bhulaa do, meraa vo saamaan lauTaa do – 2
meraa kuchh saamaan tumhaare paas pa.Daa hai – 2
patajha.D hai kuchh … hai naa ?
o ! patajha.D me.n kuchh patto.n ke girane kii aahaT
kaano.n me.n ek baar pahan ke lauT aaI thii
patajha.D kii vo shaakh abhii tak kaa.np rahii hai
vo shaakh giraa do, meraa vo saamaan lauTaa do – 2
ek akelii chhatarii me.n jab aadhe aadhe bhiig rahe the – 2
aadhe suukhe aadhe giile, sukhaa to mai.n le aayii thii
giilaa man shaayad bistar ke paas pa.Daa ho !
vo bhijavaa do, meraa vo saamaan lauTaa do
ek sau solaa chaa.nd ki raate.n ek tumhaare kaa.ndhe kaa til – 2
giilii me.nhadii ki khushabuu, jhuTh-muuTh ke shikave kuchh
jhuuTh-muuTh ke vaade sab yaad karaa duu.N
sab bhijavaa do, meraa vo saamaan lauTaa do – 2
ek ijaazat de do bas, jab isako dafanaauu.Ngii
mai.n bhii vahii.n so jaauu.ngii
mai.n bhii vahii.n so jaauu.ngii
Ghazal #76
Qamar Jalalabadi
Sorry for the three days break necessiated by my being very busy. I return to tell you about another great poet and lyricist Qamar Jalalabadi. You know him best as the lyricist of the songs of the 1958 movie Howrah Bridge starring Ashok Kumar and Madhubala that included the iconic song ‘Aaiye mehrabaan‘ and the best Hindi song with whistling: ‘Dekh kar teri nazar‘.
He was born in Jalalabad near Amritsar in 1919 as Om Prakash Bhandari. He started writing Urdu poetry at the age of seven. In the year 1940 he cane to Poona to try his hand at being lyricist in Hindi movies. His songs in 1942 movie Zamindar were well received especially the one sung by Shamshad Beghum: Duniya mein ghareebon ko aaraam nahin milata.
He shot to fame in 1958 with Howrah Bridge. In addition to the two songs that I have given you above, Mera naam chin chin choo became super hit.
His song for the 1954 movie Pehali Tarikh: Aaj pehali tarikh hai was played by Radio Ceylon on the first of every month for decades.
He wrote some fine ghazals. His most famous ghazal: Ghazab kiya tere waade pe aitbaar kiya was sung as a non-filmy ghazal by Mohammad Rafi and hence I cannot give you here.
However, the same ghazal was sung by Rajkumari for the 1954 movie Waris starring Talat Mehmood and Suraiyya on Anil Biswas’ s music.
(Pic courtesy: www.indianetzone.com)
Please enjoy: Ghazab kiya tere waade pe aitbaar kiya…..
sautan ghar na jaa o more saiyaa.N -2
sautan ghar na jaa bairan ghar na jaa o more saiyaa.N
sautan ghar na jaa o more saiyaa.N
Kabar na thii ke hame.n ashqabaar kar doge
hamaarii Kushiyaa.N kisii par nisaar kar doge
to.D ke meraa pyaar kaa sapanaa -2
na jaa pa.Duu.N mai.n tore pa_iyaa.N o more saiyaa.N -2
sautan ghar na jaa bairan ghar na jaa o more saiyaa.N
https://www.youtube.com/watch?v=6HP0yR9GmXk
Ghazal #77
Qamar Jalalabadi
In the first post of today I gave you a write-up about this great poet and lyricist who very actively participated in mushairas as a shayar.
Amongst the popular sings he wrote are: Chhaliya mera naam, Ik pardesi mera dil le gaya, Phir tumhaari yaad aayi hai sanam, and Main soya akhiyan meeche.
I have already given you his best ghazal: Ghazab kiya tere waade pe aitbaar kiya.
Here is his ghazal for the 1967 Manoj Kumar movie Upkaar. Even though I am not a fan of Manoj Kumar but Mukesh sung it so well on Kalyanji Ananji’s music.
Please enjoy: Deewaano se ye mat poochho deewaano pe kya guzri hai…
diivaano.n se ye mat puuchho diivaano.n pe kyaa guzarii hai
haa.N unake dilo.n se ye puuchho, aramaano.n pe kyaa guzarii hai
diivaano.n se ye mat puuchho …
auro.n ko pilaate rahate hai.n
aur Kud pyaase rah jaate hai.n
ye piine vaale kyaa jaane
paimaano.n pe kyaa guzarii hai
diivaano.n se ye mat puuchho …
maalik ne banaayaa inasaa.N ko
inasaan muhabbat kar baiThaa
vo uupar baiThaa kyaa jaane
inasaano.n pe kyaa guzarii hai
diivaano.n se ye mat puuchho …
Ghazal #78
Qamar Jalalabadi
This must rank amongst his best ghazals not only because of the beauty of its lyrics but also because Mohamnad Rafi has sung this so well. I am reminded of it because I just gave you a ghazal composed by Kalyanji Anandji. This is another one composed by him.
It is from the 1966 movie Preet Na Jaane Reet starring Shammi Kapoor with B Saroja Devi.
Please enjoy: Main bewafa nahin hoon tere pyaar ki kasam….
mai.n bevafaa nahii.n huu.N tere pyaar kii qasam
ikaraar jo kiyaa hai usii ikaraar kii qasam
mai.n bevafaa nahii.n …
maanaa hamaare pyaar kaa aalam badal gayaa
apane hii dil kii aag se kaashaanaa jal gayaa
dil phir bhii hai vo hii tere diidaar kii qasam
mai.n bevafaa nahii.n …
ulfat ke phuul gir ga_e qismat kii dhuul me.n
Kushbuu hai tere saa.Ns kii har ek phuul me.n
is pyaar ke luTe hu_e gulazaar kii qasam
mai.n bevafaa nahii.n …
https://www.youtube.com/watch?v=9dzzdeeCsLQ
Ghazal #79
Hemant Kumar
“This is too much” you are bound to tell me, “How can Hemant Kumar, an exponent of Rabindra Sangeet, be associated with Ghazals? He would be as far away from Ghazals as Ludhiana is from London”.
I would then point out that when he as a Music Director would pair with the ace poet and lyricist Shakeel Badayuni whose death-anniversary falls in 20th April, even Hemant da would have no choice but to compose the songs as ghazals.
To the best of my knowledge Hemant da has sung only one ghazal though he composed music for three. At the end of it, I would ask a cognoscenti like you to tell me if I am correct.
The ghazal is from 1963 movie Bin Baadal Barsaat (one of three movies in which Shakeel paired with Hemant da) starring Biswajit and Asha Parekh.
ArazUo.n ke diye, Aj raushan kIjiye
Ae hai.n milane ko ham, zi.ndagI ke parade liye (?)
kyA hasI.n rAt kyA muhUrat hai, zi.ndagI kitanI …
yU.N na ab sharamAiye, yU.N na ab ghabarAiye
phUl ke ghU.NghaT se ab, chA.NdanI barasAiye
chA.NdanI rAt kyA zarUrat hai, zi.ndagI kitanI …
https://www.youtube.com/watch?v=QeT3KJp5AxI
Ghazal #80
Hemant Kumar
Now that the surprise at Hemant da singing a ghazal is over, let me give you another composed by him.
This too is penned by the great Shakeel Badayuni whose death anniversary falls on 20th April. It has been sung by Lata Mangeshkar. Hemant da has given the kind of music that can be only expexted from Madan Mohan.
This is from the 1962 movie Bees Saal Baad starring Waheeda Rehman and Biswajit.
Please enjoy: Aye mohabbat meri duniya mein tera kaam na tha…
ai mohabbat merii duniyaa me.n teraa kaam na thaa
tuu naa aa_ii thii to Gam kaa bhii kahii.n naam na thaa
ai mohabbat merii duniyaa …
jaane kyuu.N aaj hai shikavaa mujhe duniyaa bhar se
isase pahale to kisii par ko_ii ilzaam na thaa
ai mohabbat merii duniyaa …
merii qismat ki mujhe ashq hii piine ko mile
mere hisse me.n mohabbat kaa ko_ii jaam na thaa
ai mohabbat merii duniyaa …
dene vaale mujhe kyo.n tuune mohabbat de dii
kyaa mujhe ishq se pahale ko_ii aaraam na thaa
ai mohabbat merii duniyaa …
https://www.youtube.com/watch?v=jPf9T1O8aEI
Ghazal #80
Hemant Kumar
The third surprise ghazal composed by Hemant Kumar was penned by Kaifi Azmi. It appears that when lyricists like Shakeel and Kaifi Azmi wrote, the music directors didn’t have any choice but to compose them into ghazals!
This is from the 1965 movie Faraar and is picturised on Shabnam and Anil Chatterjee. Lata has sung this.
(Poster courtesy: www.lyricsbogie.com)
Please enjoy: Dil-e-nadaan ko sambhalun to chale jaayiyega….
dil-e-naadaa.N ko sa.Nbhaaluu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to chale jaaiyegaa
abhii raaho.n me.n a.ndheraa hii a.ndheraa hogaa
aur a.ndhere me.n chhupaa ko_ii luTeraa hogaa
har taraf diip jalaa luu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to …
jaan pahachaan mulaaqaat hu_ii Kuub hu_aa
merii duniyaa me.n na_ii baat hu_ii Kuub hu_aa
baat se baat banaa luu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to …
rok luu.N aap ko dil me.n nahii.n aramaa.N aise
meri duniyaa me.n kahaa.N aate hai.n mehamaa.N aise
apanii duniyaa ko sajaa luu.N to chale jaaiyegaa
ek zaraa hosh me.n aa luu.N to …
https://www.youtube.com/watch?v=kbYhqSGAoF4
Ghazal #82
Mahendra Kapoor
He was born on 9th Jan 1934 in Amritsar. His hero was Mohammad Rafi. He worshipped him whilst he learnt classical music under classical singers like Pt. Hussanlal, Pt. Jagannath Bua, Ustad Niaz Ahmed Khan, Ustad Abdul Rehman Khan and Pt.Tulsidaas Sharma. He debuted in V Shantaram’s 1958 movie Navrang. From then onwards, until his death in Mumbai on 27th Sep 2008, he sang some 25000 songs in various languages.
His silky smooth voice was very well suited for ghazals and he sang quite a few of them.
I have already given you a famous ghazal of his enacted by Shashi Kapoor for the 1961 movie Dharmaputra: Bhool sakta hai bhala kaun woh pyaari aankhen.
Many of his ghazals have been penned by Sahir Ludhianvi. This one too is penned by Sahir. It has Ravi’s music and it is from the 1965 movie Kaajal.
(Poster courtesy: ravepad.com)
Please enjoy: Aap ke paas jo aayega pighal jaayega….
aap ke bhiige hue jisam se aa.Nch aatii hai
dil ko garmaatii hai, jazbaat ko bha.Dakaatii hai
aap ke paas jo aaegaa, pighal jaaegaa
is haraarat se jo ulajhegaa, vo jal jaaegaa
aap kaa husn vo shabanam hai jo sholo.n me.n pale
garm khushbuo.n me.n tapate hue ra.Ngo.n me.n Dhale
kisakaa dil hai jo sambhaale se sambhal jaaegaa
ho.nTh hai.n yaa kisii shaayar kii du_aao.n kaa javaab
zulf hai.n yaa kisii saavan ke talabagaar kaa Kvaab
aise jalavo.n ko jo dekhegaa machal jaaegaa
is kadar husn zamaane me.n na dekhaa na sunaa
usakaa kyaa kahanaa jise aapane hamaraaz chunaa
usakii taqadiir kaa iinaam badal jaaegaa
https://www.youtube.com/watch?v=9ZFKIVimkNk
Ghazal #83
Mahendra Kapoor
Did he sing any of Shakeel Badayuni? Yes, of course he did. This one is from the 1965 movie Zindagi Aur Maut and it has C Ramchandra’s music.
It also happens to be one of his best.
Please enjoy: Dil laga kar ham yeh samajhe zindagi kyaa cheez hai…
dil lagaakar ham ye samajhe, zi.ndagii kyaa chiiz hai
ishq kahate.n hai.n kise aur, aashiqii kyaa chiiz hai
haay ye ruKasaar ke shole, ye baahe.n marmarii
aapase milakar ye do baate.n, samajh me.n aa ga_ii.n
dhuup kisakaa naam hai aur chaa.Ndanii kyaa chiiz hai
aapakii shoKii ne kyaa-kyaa, ruup dikhalaa_e hame.n
aapakii aa.Nkho.n ne kyaa-kyaa, jaam pilavaa_e hame.n
hosh kho baiThe to jaanaa, beKudii kyaa chiiz hai
aapakii raaho.n me.n jabase hamane rakhaa hai qadam -2
hamako ye mahasuus hotaa hai ki hai.n ma.nzil pe ham
koii kyaa jaane mohabbat kii khushii kyaa chiiz hai
Ghazal #84
Mahendra Kapoor
I end with a ghazal of his for the 1982 movie Nikaah for which I have already given you a ghazal each by Ghulam Ali and Slama Agha.
This too has been penned by Hasan Kamaal and this has Ravi’s music.
Please enjoy: Beete huye lamhon ki kasak saath to hogi…
abhii alavidaa mat kaho dosto.n
na jaane phir kahaa.N mulaaqaat ho, kyo.nki
biite hue lamho.n kii kasak saath to hogii
Kvaabo.n me.n hii ho chaahe mulaaqaat to hogii
ye pyaar ye Duubii huii ra.Ngiin fizaae.n
ye chahare ye nazaare ye javaa.N rut ye havaae.n
ham jaae.n kahii.n inakii mahak saath to hogii
biite hue lamho.n kii …
phuulo.n kii tarah dil me.n basaae hue rakhanaa
yaado.n ke chiraaGo.n ko jalaae hue rakhanaa
lambaa hai safar is me.n kahii.n raat to hogii
biite hue lamho.n kii …
ye saath guzaare hue lamhaat kii daulat
jazbaat kii daulat ye Kayaalaat kii daulat
kuchh paas na ho paas ye saugaat to hogii
biite hue lamho.n kii …
That brings us to the end of Part V of A Hundred Ghazals in Hindi Movies. We have had a total of 84 ghazals so far and in the Part VI, the last part, we are left with only 16 ghazals.
Please let me know in the comments below if some ghazal of yours should appear in the Top 100. I shall try to accommodate in the last part. Only, please remember that these are not the best ghazals in all fora; these are only considered the best that appeared in Hindi movies.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I attempted a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
I completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16, Part III from 17 Jul to 23 Jul and Part IV from 24 Jul to 30 Jul. There were still three days left and I wanted to make it a total of 100 songs in 31 days. Hence, I covered those three days in Part V, giving you ten songs on the final day of the Countdown. Those of you who read all the five parts would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. In Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya). In Part IV, I covered songs from 1962 Guru Dutt movie Sahib Bibi Aur Ghulam (Koi door se awaaz de chale aao) to 1963 movie Bin Baadal Barsaat (Jab jaag uthe armaan). And finally, in Part V, I covered songs from 1963 movie Bin Baadal Barsaat (Ik baar zara phir kah do sharma ke mujhe deewana) to 1965 movie Zindagi Aur Maut (Dil laga ke ham ye samajhe zindagi kyaa cheez hai).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part V, I have covered three more of them making it 31 Lyricists from Shailendra to SH Bihari:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja.
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
30. Asad Bhopali with Woh jab yaad aaye.
31. SH Bihari with Teri yaad ka deepak jalata hai.
Hence, it would be easy to see that even after all the five parts, I still have 13 movies and 35 songs (that I had originally selected) to go until his last: the 1969 movie Beti.
Hence, here I am in Part VI, the Final Part, to cover those 35 songs.
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #101
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday (02 Aug 16) in Countdown to His Birth Centenary)
Yesterday, the final day of the countdown, saw the 100th song being a song from the 1965 Nisar Ahmad Ansari movie Zindagi Aur Maut that starred Bela Bose, Nilofar, Pradeep Kumar, and Johnny Walker.
I also mentioned that in his filmy career of 18 years, it was the first of the two times that he paired with C Ramchandra.
His next movie was the 1965 movie Bedaag, an R Bhattacharya movie starring Manoj Kumar, Nanda and Shashikala. It had the following songs:
01 Zindagi Ke Mod Par Jo Mohammed Rafi
02 Maine Ai Jaan-E-Wafa Tumase Mohabbat Ki Hai Mohammed Rafi, Suman Kalyanpur
03 Aankho Aankho Me Naa Janey Kya Asha Bhosle, Mohammed Rafi
04 Haye Re Mai To Prem Diwana Manna Dey, Manoj Kumar
05 Sachhi Tumhari Preet Ho Ram Mohammed Rafi
06 Nikolasa Mere Sanam Jhum Le Zara Sa Asha Bhosle
07 Bedhadak Dalo Rang Dalo Dalo Asha Bhosle
All songs were composed by Roshan.
(Poster courtesy: ravepad.com)
Please enjoy Mohammad Rafi sing: Zindagi ke mod par jo koi raasta mila, teri gali se jaa mila….
zindagii ke mo.D par jo ko_ii raastaa milaa
terii galii se jaa milaa -2
aaj khaate hai.n Thokare.n shahar me.n zindagii ke ham -2
tujhase chale the duur-duur Gam kii sharaab pii ke ham -2
terii taraf bahak ga_e -2
aisaa hame.n nashaa milaa
teraa Kyaal chho.D ke ba.Dh ga_ii.n aur ulajhane.n
tere hii naam kii sadaa detii hai dil kii dha.Dakane.n -2
ab ye hii sochate hai.n ham ruuTh ke tujhase kyaa milaa -2
tujhase ko_ii garaz nahii.n phir bhii hai terii aarazuu
dil ne tujhe bhulaa diyaa phir bhii hai dil me.n tuu hii tuu -2
tujhase bichha.D ga_e to ab -2
teraa hame.n pataa milaa -2
terii galii se jaa …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #102
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
OP Ralhan’s 1965 movie Phool Aur Patthar was the next movie for which Shakeel Badayuni penned the songs.
This movie was a milestone in the career of Dharmendra. His debut movie was the 1960 movie Dil Bhi Tera Ham Bhi Tere. He worked, thereafter, in such movies as Soorat Aur Seerat (1962), Bandini (1963), Dil Ne Phir Yaad Kiya (1966) and Dulhan Ek Raat Ki (1967) (all with Nutan), and in Anpadh (1962), Pooja Ke Phool (1964), Baharen Phir Bhi Aayengi (all with Mala Sinha), and in Akashdeep with Nanda, with Saira Banu in Shaadi and Ayee Milan Ki Bela (1964) and with Meena Kumari in Main Bhi Ladki Hoon (1964), Kaajal (1965), and Poornima (1965).
With this movie, that is, Phool Aur Patthar, Dharmendra emerged as an actor to reckon with. Indeed, he got his first Filmfare Best Actor nomination for this movie.
The film had the following songs, all penned by Shakeel:
1.”Sheeshe Se Pee Ya” Asha Bhosle Picturized on Shashikala
2.”Sun Le Pukar” Asha Bhosle
3.”Zindagi Mein Pyar Karna” Asha Bhosle Picturized on Shashikala
4.”Mere Dil Ke Andar” Mohammad Rafi This song is a qawwali.
5.”Layi Hai Hazaron Rang” Asha Bhosle Future item queen Laxmi Chhaya is one of the dancers featured in this song.
6.”Tum Kaun? Mamul” Mohammad Rafi
If you recall, when I covered the 1961 movie Ganga Jamuna, I had given in the list of songs a courtesan song: Tora man badha paapi saanwariya re. A beautiful mujra on that song was performed by the cabaret queen Helen. However, I had not given that song that time as I was running out of time.
Here, at least, I am giving you a courtesan song, performed by Shashikala. Phool Aur Patthar was the tenth movie in which Shakeel paired with Ravi after the 1960 movie Ghunghat.
Please enjoy: Sheeshe se pi ya paimaane se pi…..
(shiishe se pii, yaa paimaane se pii
yaa merii aa.Nkho.n ke maiKaane se pii
par pii diivaane, Kushii se jii diivaane) -2
shiishe se pii, yaa paimaane se pii
(husn kha.Daa hai terii raaho.n me.n
Daal de baahe.n zaraa baaho.n me.n) -2
raat suhaanii hai, bahakii javaanii
pii le nigaaho.n hii nigaaho.n me.n
(jaan le aa.Nkho.n ke ishaaro.n ko
luuT le duniyaa kii bahaaro.n ko) -2
mai.n huu.N sanam terii
tujhako qasam merii
chhe.D le tuu bhii dil ke taaro.n ko
(dekh ye gha.Dii phir naa aayegii
zulfo.n kii ghaTaa phir naa chhaayegii
baat samajh merii
kal ye umar terii
mausam kii tarah biit jaayegii
https://www.youtube.com/watch?v=k6TuMP0ynOE
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #103
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
Was Shakeel a natural lyricist for Bhajans? I would think so if you recollect the number of extremely popular bhajans that he penned.
This bhajan is a cry for help by Meena Kumar as Shanti. She doesn’t want the love of her life: Dharmendra as Shaka to die after having been severely beaten up when he wants to abandon his life as a criminal and return to goodness. Shanti owes a lot to Shaka since he, as a criminal, having a heart of gold, takes care of her when he had entered her house to burgle and found that her relatives had left her there alone to die of plague.
Having given credit to Shakeel for this bhajan, we need to now appreciate Asha Bhosle as a singer. I gave you the first song of the movie, Sheeshe se pi, a nautch-girl number sung so sexily by her. And here in this bhajan she brings out the pathos of a woman for her husband.
Lastly, I am sure, you would have noticed that Ravi was a music director who mastered emotions of extreme pain and despondency in his notes beautifully (we are yet to come to his masterly songs in Do Badan) and this is one of those songs.
Please enjoy: Sun le pukaar aayi…..
diyaa naa bujhe mere ghar kaa
merii taqadiir ke maalik
sun le pukaar aa_ii aaj tere dvaar -2
leke aa.Nsu_o.n kii dhaar mere saa.Nvare -2
mai.n to ek bhiikh maa.Nguu.N tose phailaa ke haath re
sun le pukaar …
binatii karuu.N mai.n tose jag ke khivaiyaa -2
Duub na jaa_e merii aashaa kii naiyaa -2
kisako dikhaa_uu.N jaa ke dard mai.n apanaa
ko_ii nahii.n hai meraa ( kR^iShN kanhaiyaa ) -2
sun le pukaar …
maine prabhu aaj tak kuchh nahii.n maa.Ngaa -2
aaj to daan de-de apanii dayaa ke
badale me.n chaahe merii jaan bhii le-le
bachaa le sahaaraa daataa ( is dukhiyaa kaa ) -2
sun le pukaar …
https://www.youtube.com/watch?v=EcjAoTFV-q8
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #104
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
In the last song, we were just talking about Do Badan and the very next movie of Shakeel is Do Badan (1966 movie)!
Do you recall Raj Khosla? Yes, of course you do. He started his career as Assistant to Guru Dutt in the 1954 Dev Anand, Geeta Bali starrer Milap and then got a chance to direct Guru Dutt’s next movie, a crime-thriller, C.I.D. (1956), the debut movie of Waheeda Rehman (wherein she was a prostitute since Guru Dutt wanted her to learn that role for his 1957 movie Pyaasa). He did a triology of crime-thrillers with actress Sadhana: Woh Kaun Thi, Mera Saaya, and Anita.
(Pic courtesy: www.apnironaq.com)
More than anything else, he achieved fame for the picturisation of songs in the movies. All those who saw any of his movies would recall that; eg, Lag jaayo gale ke phir yeh in Woh Kaun Thi.
As for as songs of Do Badan are concerned, Raj Khosla got his hands full since between Shakeel and Ravi, they produced the best songs in this movie. Here is the list:
1. Jab Chali Thandi Hawa Asha Bhosle
2. Bhari Duniya Mein Akhir Dil Mohammad Rafi
3. Raha Gardishon Mein Hardum Mohammad Rafi
4. Naseeb Mein Jiske Jo Mohammad Rafi
5. Lo Aa Gayi Unki Yaad Lata Mangeshkar
6. Mat Jayio Naukariya Chhorh Ke Asha Bhosle
7. Raha Gardishon Mein (Reprise) Mohammad Rafi
8. Lo Aa Gayi unki Yaad (Reprise) Lata Mangeshkar
Do Badan had the same story as 1951 Nitin Bose movie Deedar, which had songs by Shakeel and Naushad. Manoj Kumar, the hero of the movie, took Raj Khosla to watch Deedar starring Dilip Kumar, Nargis and Nimmi and suggested to make a remake of the movie starring him! The only thing that can be said about Manoj Kumar is that his high ambition contrasted with the lowness of his acting. In this movie though, his acting was passable; Shakeel and Ravi and Raj Khosla made this awful actor too passable!
Lets start with the first song; a song sung by Asha Bhosle for Asha Parekh. She has gone for an outing with her friends and she is missing her lover (she must be really desperate to miss someone of the calibre of Manoj Kumar! Anyway, such is love!)
Please enjoy: Jab chali thandi hawa…..
jab chali thadi hawa jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aaye
jab chali thadi havaa jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aaye
zindagi ki daastaa chaahe kitani ho hasi
bin tumhaare kuchh nahi bin tumhaare kuchh nahi
kya maza aata sanam aaj bhule se kahi
tum bhi aa jate yahi tum bhi aajaate yahi
ye bahaare ye fizaa dekhakar o dilarubaa
jaane kyaa dil ko huaa tum yaad aaye
jab chali thadi havaa jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aayei
ye nazare ye samaa aur phir itne javan
haye re ye mastiyaan haye re ye mastiyan
aisa lagata hai mujhe jaise tum nazadik ho
is chaman se jaan-e-jaa is chaman se jaan-e-jaa
sun ke usaki sadaa dil dhadakataa hai mera
aaj pahale se sivaa tum yaad aaye
jab chali thadi havaa, jab uthi kaali ghata
mujhko ai jaan-e-vafaa tum yaad aaye
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #105
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
We have just started taking up the songs of 1966 Raj Khosla movie Do Badan starring Manoj Kumar, Asha Bhosle and Simi Grewal, the movie being a remake of 1951 movie Deedar starring Dilip Kumar, Nargis and Nimmi. Shakeel Badayuni was common for both the movies!
In this movie, Mohammad Rafi ended up singing some of his best Shakeel Badayuni songs for Manoj Kumar who didn’t know A of acting. Anyway, that didn’t take away the intensity of the songs.
This was composed by Ravi in Raag Bhairavi, Tal Kaherava.
Please enjoy a beauty of a song both for its lyics and composition: Bhari duniya mein aakhir dil ko behlaane kahan jaayen…..
bharii duniyaa me.n aaKir dil ko samajhaane kahaa.N jaae.n
muhabbat ho ga_ii jinako vo diivaane kahaa.N jaae.n
lage hai.n shammaa par pahare zamaane kii nigaaho.n ke
jinhe.n jalane kii hasarat hai vo paravaane kahaa.N jaae.n
sunaanaa bhii jinhe.n mushkil chhupaanaa bhii jinhe.n mushkil
zaraa tuu hii bataa ai dil vo afasaane kahaa.N jaae.n
https://www.youtube.com/watch?v=o2MYdf1zQ2Q
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #106
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
One thing remarkable about Shakeel and Rafi was that they made and sang songs for anyone at all. So, if they could make songs for comedians like Johnny Walker, there was absolutely no harm in making songs for a joker like Manoj Kumar too.
Following in the footsteps of the great Naushad Ali, Ravi composed the next song in Raag Darbari Kanada (Recall Naushad’s song in this Raag from Mughal-e-Azam: Muhabbat ki jhooti kahani pe roye in the same Tal and I had mentioned that Tansen from Akbar’s Darbar had brought this Raag from the South and Naushad having selected this Raag to express Anarkali’s feeling of despair in the reign of Akbar was irony indeed). Tal is Kaherava. And the despondency too is comparable to Anarkali’s.
Please enjoy Rafi sing: Raha gardishon mein hardam mere ishq ka sitaara…..
(I hope, ladies and gentlemen, you know the meaning of the word: Gardish. It means Revolution, Rotation, Wandering about in misfortune)
rahaa gardisho.n me.n haradam mere ishq kaa sitaaraa
kabhii Dagamagaayii kashtii, kabhii luT gayaa kinaaraa
koii dil kaa khel dekhe, ki muhabbato.n kii baazii
vo qadam qadam pe jiite, mai.n qadam qadam pe haaraa
ye hamaarii badanasiibii jo nahii.n to aur kyaa hai
ki usii ke ho gaye ham, jo na ho sakaa hamaaraa
pa.De jab Gamo.n ke paale, rahe miTake miTanevaale
jise maut bhii na puuchhaa, use zi.ndagii ne maaraa
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #107
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
If you think that the last two songs of Mohammad Rafi for the 1966 Raj Khosla movie: Bhari duniya mein aakhir dil ko behlaane kahan jaayen, and Raha gardishon mein hardam mere ishq ka sitaara, brought the house down due to the excellence of their lyrics by Shakeel and composition by Ravi, then wait for the next song; a song about the acceptance of the fate by the hero, in this case (sadly) Manoj Kumar.
Mohammad Rafi, once again sang it with his usual passion.
Please enjoy: Naseeb mein jisake jo likha tha….
nasiib me.n jisake jo likhaa thaa
vo terii mahafil me.n kaam aayaa
kisii ke hisse me.n pyaas aaii
kisii ke hisse me.n jaam aayaa
mai.n ik fasaanaa huu.N bekasii kaa
ye haal hai merii zi.ndagii kaa
na husn hii mujhako raas aayaa
na ishq hii mere kaam aayaa
nasiib me.n …
badal ga_ii.n terii ma.nzile.n bhii
bichha.D gayaa mai.n bhii kaaravaa.n se
terii muhabbat ke raaste me.n
na jaane ye kyaa makaam aayaa
nasiib me.n …
tujhe bhulaane ki koshishe.n bhii
tamaam naakaam ho ga_ii hai.n
kisii ne zikr-e-vafaa kiyaa jab
zubaa.N pe teraa hii naam aayaa
nasiib me.n …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #108
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
After watching the sad songs of Shakeel sung by Rafi (made sadder still if one has to watch Manoj Kumar lip-sync them), we come to a song of extreme despondency (sung by Lata Mangeshkar for Asha Parekh; making it one movie in which Asha Bhosle (with her Jab chali thandi hawa) and her sister Lata, both sang for Asha Parekh)
Ravi composed it in Raag Asavari, a raag of the morning signifying here teo things: one, she cannot go to sleep even in the wee hours of the morning, thinking of him; and two, she is hoping for the ‘morning’ in her love when things would become brighter from the dark despondency that hangs around her).
Lying on the bed, Asha didn’t have much to act on and yet she has brought out superb histrionics (in sharp comparison to the other ‘badan’ in the movie: Do Badan).
Please enjoy: Lo aa gayi unaki yaad, woh nahin aaye….
lo aa gayii unakii yaad, vo nahii.n aaye
dil unako dhuundta hai, Gam ke si.ngaar kar ke
aa.Nkhe.n bhii thak gayii hai.n, ab i.ntazaar kar ke
ik aas rah gayii hai, vo bhii na TuuT jaaye
lo aa gayii unakii yaad …
ruuThii hai.n aaj ham se, tanahaa_iyaa.N hamaarii
vo bhii na paaye shaayad, parachhaa_iyaa.N hamaarii
ba.Dhate hii jaa rahii hai.n, maayuusiyo.n ke saaye
lo aa gayii unakii yaad …
lau tharatharaa rahii hai, ab shamm-e-muhabbat kii
uja.Dii huii muhabbat, mahamaa.N hai do gha.Dii kii
mar kar hii ab mile.nge, jii kar to mil na paaye
lo aa gayii unakii yaad …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #109
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
And now we come to the last 1966 movie for Shakeel: Dil Diya Dard Liya; a movie directed by AR Kardar or Abdul Rashid Kardar, who directed the first movie in which Shakeel penned his songs: the 1947 movie Dard with the evergreen Uma Devi number: Afsaana likh rahi hoon.
The movie’s story was based on Emily Brontë’s novel Wuthering Heights; I had read the novel before I joined the Navy in 1973 and saw the movie only this year on my computer.
The movie starred Dilip Kumar, a prince who was lost as an infant in a ship-wreck and found by a poor fisherman who passes him on to a landlord. When this prince grows up (Dilip Kumar as Shankar), he is mercillesly ill-treated by the landlord’s son (Pran as Ramesh) and is in love with the landlord’s daughter and Ramesh’s sister (Waheeda Rehman as Roopa).
One day he is mercillesly beaten again by Ramesh and dropped from the high walls of a fort where Shankar and Roopa used to have their trysts; and left as dead. Sea of course was kinder to him this time. He is picked up by another fisherman and this time recognised as a prince by the faithful prime minister of the now dead king of Belapur.
And now, to take the story to Wuthering Heights, Shankar returns as the king of Belapur and finds that his beloved Roopa has planned to marry Rehman as Satish.
Wuthering Heights was all about the irony of the situation and Shakeel has been knighted by me as the King of Irony. Hence, as we go along, you will find many songs in which Shakeel has brilliantly excelled.
Of course, in this movie, he is back with his mentor Naushad Ali, their 22nd movie together.
Following is the list of songs from the movie:
1. “Koi Saagar Dil Ko Behlata Nahin” Shakeel Badayuni Mohammed Rafi 03:35
2. “Phir Teri Kahani Yaad Aayi” Shakeel Badayuni Lata Mangeshkar 03:30
3. “Saawan Aaye Ya Na Aaye” Shakeel Badayuni Mohammed Rafi, Asha Bhonsle 03:53
4. “Dilruba Maine Tere Pyar Mein” Shakeel Badayuni Mohammed Rafi 04:06
5. “Guzren Hain Aaj Ishq Mein” Shakeel Badayuni Mohammed Rafi 03:49
6. “Dil Harnewale Aur Bhi Hai” Shakeel Badayuni Asha Bhonsle 05:23
7. “Haay Rasiya Tu Bada Bedardi” Shakeel Badayuni Asha Bhonsle
8. “‘Kya Range Mehfil Hai Dildaram O Jane Yaram” Shakeel Badayuni Lata Mangeshkar 03:44
First, lets take a song of Shankar and Roopa in their happy days at the same fort: Rani Roopmati’s palace in Mandu, near Indore. You cannot, of course, fall from there into the sea but then movies are always make-believe.
This song I have given you once before on Lyrical when I took up Raag Sarang (this is in primary form of Sarang called Brindavani Sarang).
The song and its picturisation and the acting of Dilip Kumar and Waheeda Rehman (both Living Legends of Hindi cinema) immediately warms the cockles of one’s heart.
Please enjoy in Raag Brindavani Sarang, a song sung by Asha Bhosle and Mohammad Rafi: Saawan aaye ya na aaye…..
aa: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
ra: saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
do: saawan aaye
ra: taar mile.n jab dil se dil ke
wohii samay man-bhaawan hai
do: wohii samay man-bhaawan bhaawan hai
saawan aaye
aa: jabase piyaa tuu naino.n me.n aayaa
prem ke ra.ng me.n rach gaii kaayaa
ra: aa.a
aa: aa.a
ra: baago.n me.n ban me.n niil gagan me.n
sabame.n hai tere ruup kii chhaayaa
aa: tuu hai mere sa.ng me.n haradam
Kushii kii aawan-aawan hai
do: Kushii kii aawan-aawan aawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan aaye
##sargam##
ra: akhiyaa.N majiire man ikataaraa
iname.n baaje naam tihaaraa
aa: aa.a
ha.Nsate-gaate jiiwan biite
a.nt na ho ye giit hamaaraa
ra: mausam aayaa sukh paawan kaa
dukho.n kii jaawan-jaawan hai
do: dukho.n kii jaawan-jaawan jaawan hai
saawan aaye yaa na aaye
jiyaa jab jhuume saawan hai
saawan aaye
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #110
(Continuing Chronologically for Four Days after Reaching the Mark of 100 Yesterday in Countdown to His Birth Centenary)
As we end tonight, here is the second of the six songs the 1966 AR Kardar movie Dil Diya Dard Liya that we should be taking up. Whilst the excellence of the songs of Do Badan can actually be contrasted with those of this movie, one must heave a sigh of relief that one can watch some superb acting in this movie as compared to pedestrian acting in the previous one.
The next song is about Shankar (Dilip Kumar) having returned as King of Belapur and finding his beloved Roopa (Waheeda Rehman) walking arm in arm with Satish (Rehman). He takes to drinking, much to the ecstasy of Ramesh (Pran) since a drunk king is well suited to squander his money on such luxuries that ramesh can provide.
In this song, however, Dilip Kumar brings out that no wine/liquor can amuse him anymore. The lyrics by the greatest lyricist in the world are crafted to perfection; viz: Main koi patthar nahin insaan hoon, kaise kehdoon gham se ghabraata nahin…
Naushad Ali, the pioneer of having brought songs into the movies. which were based on classical raagas, composed it in little known Raag called Janasamohani, Tal Dadra. Dil Diya Dard Liya songs are amongst the best sung by Mohammad Rafi and this one is particularly beautiful.
Please enjoy: Koi saagar dil ko behlaata nahin….
koii saagar dil ko bahalaataa nahii.n – 2
bekhudii me.n bhii qaraar aataa nahii.n, koI saagar …
kal to sab the kaaravaa.N ke saath saath – 2
aaj koI raah dikhalaataa nahii.n
koI saagar …
zi.ndagii ke aa_ine ko to.D do – 2
isame.n ab kuchh bhii nazar aataa nahii.n
koI saagar …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #111
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Yesterday, we started taking up songs of the 1966 AR Kardar movie Dil Diya Dard Liya starring Dilip Kumar as Shankar, Waheeda Rehman as Roopa, Pran as Ramesh and Rehman as Satish.
This was the seventh movie Shakeel did with Abdul Rashid Kardar, with whom he had done his first movie – the 1947 Dard. His sixth movie with Kardar was the 1953 movie Dil-e-Nadaan. Hence, he was back with AR Kardar after 14 years.
This also happened to be the last movie that he did with him. The songs of the movie are still remembered as some of the best penned by Shakeel, composed by Naushad and sung by Mohammad Rafi.
We took up just two songs yesterday: the happy song, Sawan aaye ya na aaye, and Koi Sagar dil ko behlata nahin.
When Shankar had been dropped from the height of Rani Roopmati palace, by the henchmen of Ramesh (Pran) and he had been revived as the King of Belapur, Roopa (Waheeda) had been patiently waiting for him. Indeed, one reason why she had decided to tie up with Satish (Rehman) was to stop the wagging tongues of people as she was forced to stay in his house due to her poor situation after her brother Ramesh (Pran) had squandered all of their father’s money on wine and women.
This song, sung by Lata Mangeshkar was in those days of intezaar for her love to return.
The mukhada of this song gave rise to the title of a latter day movie.
jalate hai.n chiraago.n kii suurat
har shaam terii ham yaado.n me.n
jab subah ko shabanam rotii hai
kho jaate hai.n ham fariyaado.n me.n – 2
jab dil ne koI aavaaz sunii
jab dil ne koI aavaaz sunii, teraa hii taraanaa yaad aayaa
phir terii kahaanii yaad aaI …
shaayad kabhii milanaa ho jaae
baiThe.n hai.n isii aramaan me.n ham
tuune to kinaare paa hii liye
ulajhe hai.n magar tuufaan me.n ham
ai jaan-e-vafaa phir aaj hame.n
ai jaan-e-vafaa phir aaj hame.n,
pichhalaa vo zamaanaa yaad aayaa
phir terii kahaanii yaad aaI …
https://www.youtube.com/watch?v=4zsjnE7CZmQ
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #112
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
All my boyhood memories of excellent, powerful, heart-touching lyrics with that last song and with other songs of the movie.
Shankar (Dilip Kumar) after seeing Roopa (Waheeda Rehman), his beloved, walking arm in arm with Satish (Rehman) is not just devastated but full of feelings of vengeful regret.
These are reflected superbly in the title song of the movie sung by Mohammad Rafi for Dilip Kumar. Anyone can guess that such a song would be composed in the raag of the evening, Raag Kalyan and that’s exactly what Naushad did. Tal was Kaherava.
Please enjoy: Dilruba maine tere pyaar mein kyaa kyaa na kiya, dil diya dard liya….
dilarubaa maine tere pyaar me.n kyaa-kyaa naa kiyaa
dil diyaa dard liyaa -2
kabhii phuulo.n me.n guzaarii kabhii kaa.NTo.n pe jiyaa
dil diyaa dard liyaa -2
zindagii aaj bhii hai bekhudii aaj bhii hai
pyaar kahate hai.n jise vo Kushii aaj bhii hai
maine din-raat mohabbat kaa terii jaam piyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
kyaa kahuu.N tere li_e maine aa.Nsuu bhii pi_e
kabhii Kaamosh rahaa kabhii shikave bhii ki_e
kar liyaa chaaq garebaa.n kabhii daaman ko siyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
pyaar kii aan hai tuu dil kaa aramaan hai tuu
kaun duniyaa se Dare jab nigehabaan hai tuu
apanii kashtii ko sahaare pe tere chho.D diyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #113
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
The hallmark of a genius is that he is good at all kinds of songs. We have seen earlier even a pop penned by him Ding dong ding lala sung by Geeta Dutt. We have seen children’s songs that he wrote, bhajans, songs of joy, songs of sadness, and songs of mujra.
The second last song from this movie that I am going to give you is a mujra song: Haay haay rasiya tu bada bedardi to depict the profligacy of Pran. Predictably, it has been sung by Asha Bhosle.
Naushad, the pioneer and master of Raaga based songs, composed in Raag Pilu, Tal Dadra.
batiyaa.N jhuuThii torii ( nainaa chhal se bhare ) -2
kohuu naa priit kare tore sa.ng raam kare
tore sa.ng haa haa haa haa raam kare
lobhii torii nazare.n ho lobhii torii nazare.n
lobhii torii nazare.n ho torii nazare.n hai.n khoTii torii marajii
ho rasiyaa tuu ba.Daa …
jiyaa ke bain piyaa kachhahuu jaane nahii.n -2
kachhahuu jaane nahii.n
zulmii moraa kahaa haay zulmii moraa kahaa ekahuu maane nahii.n
kare manamaanii ho kare manamaanii dikhaa_e Kudagarjii
ho rasiyaa tuu ba.Daa …
kaahe kaa maan kare kaahe ko Dhaa_e julam
( priit kii haay pa.De ) -2 to pe o bairii balam
jaa re nahii.n maanuu.Ngii ( jaa re nahii.n maanuu.N ) -2
ho jaa re nahii.n maanuu.Ngii saiyyaa.N torii marajii
ho rasiyaa tuu ba.Daa …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #114
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Up to now, it would have occurred to you that each one of the 1966 movie Dil Diya Dard Liya has been not just a masterpiece but also composed by Naushad in a raaga like the 1952 Baiju Bawra songs. Also, you would have noticed another quality that the lyrics and the notes stay with you long after you have finished listening to the song. How many others had this quality?
Sadly, that brings us to the last song of the movie that I selected for you: Guzre hain aaj ishq mein; the song with an intent to seek revenge for having been betrayed in love.
Once again, by now, knowing Naushad, you can predict the raag. Yes indeed, it is Raag Darbari Kanada, Tal Dadra, which suits Dilip as the king of Belapur. As a king, he uses the pronoun Hum rather than Main of the common man.
This song is immediately after he sees his beloved Waheeda Rehman walking arm in arm with Pran!
Please enjoy: Guzre hain aaj ishq mein hum us mukaam se….
guzare hai.n aaj ishq me.n ham us maqaam se
nafarat sii ho ga_ii hai muhabbat ke naam se
hamako na ye gumaan thaa, o sa.ngadil sanam
raah-e-vafaa se tere bahak jaae.nge qadam
chhalakegaa zahar bhii terii aa.Nkho.n ke jaam se
o bevafaa teraa bhii yuu.N hii TuuT jaae dil
tuu bhii ta.Dap-ta.Dap ke pukaare haay dil
teraa bhii saamanaa ho kabhii, Gam kii shaam se
ham vo nahii.n jo pyaar me.n rokar guzaar de.n
parachhaaI.n bhii ho terii to Thokar se maar de.n
vaaqif hai.n ham bhii Kuub har ek i.ntaqaam se
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #115
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
His next movie was another Nisar Ahamad Ansari movie (earlier I gave a song from his 1965 movie Zindagi Aur Maut composed by C Ramchandra: Dil laga kar ham ye samajhe).
I am not giving you the song that I had selected of the 1967 movie Wahan Ke Log since this song: Ham tumase mohabbat karke sanam duniya ka fasaana bhool gaye was sung by Mukesh and I gave it to you in the same tribute on Mukesh’s Birth Anniversary on 22 Jul.
That brings us to the 52nd movie of Shakeel Badayuni, a movie whose story was based on Alexandre Dumas’s story: The Corsican Brothers. Tapi Chanakya, the director, called it Ram Aur Shyam with Dilip Kumar acting both the roles. Originally, Vyjayanthimala and Mumtaz were cast to do the roles that were eventually done by Waheeda Rehman and Mumtaz.
(Poster courtesy: www.hindilinks4u.to)
The story based on twins was repeated in several Hindi movies: Seeta Aur Geeta, Chaalbaaz, Krishan Kanhaiya to name a few.
This was the 23rd movie in which Shakeel paired with Naushad Ali. Have a look at the songs of the movie:
1.”Aaj Ki Raat Mere” – Mohammad Rafi
2.”Aaj Sakhi Re Piya More Ghar” – Lata
3. “Aayee Hai Bahar Mite Zulmo” – Mohammad Rafi & Chorus
4. “Dheere Dheere Bol Koi Sun Lega” – Asha Bhosle, Mahendra Kapoor
5. “Main Hoon Saqi Tu Hai Sharabi” – Lata, Mohammad Rafi
6. “Maine Kab Tujh Se Kaha Tha” – Lata Mangeshkar
7. “O Balam Tere Pyar Ki Thandi Aa” – Mohammad Rafi & Asha
I love the first song of the movie not just for its lyrics but also because it has been composed in Raag Pahadi, Tal Kaherava. Also, the era of Mohammad Rafi, is the most nostalgical era for most lovers of Hindi songs.
Please enjoy: Aaj ki raat mere dil ki salaami le le….
ye raat jaise dulhan ban gaI hai chiraago.n se
karu.ngaa ujaalaa mai.n dil ke daaGo.n se
aaj kii raat mere, dil kii salaamii le le
dil kii salaamii le le
kal terii bazm se diivaanaa chalaa jaaegaa
shammaa rahe jaaegii paravaanaa chalaa jaaegaa
terii mahafil tere jalave ho.n mubaarak tujhako
terii ulfat se nahii.n aaj bhii inakaar mujhe
teraa may-khaanaa salaamat rahe ai jaan-e-vafaa
muskuraakar tuu zaraa dekh le ik baar mujhe
phir tere pyaar kaa mastaanaa chalaa jaaegaa
maine chaahaa ki bataa duu.N mai.n haqiiqat apanii
tuune lekin na meraa raaz-e-muhabbat samajhaa
merii ulajhan mere haalaat yahaa.N tak pahu.nche
terii aa.Nkho.n ne mere pyaar ko nafarat samajhaa
ab terii raah se begaanaa chalaa jaaegaa
tuu meraa saath na de raah-e-muhabbat me.n sanam
chalate-chalate mai.n kisii raah pe mu.D jaauu.ngaa
kahakashaa.n chaa.nd sitaare tere chuume.nge qadam
tere raste kii mai.n ek dhuul huu.N u.D jaauu.ngaa
saath mere meraa afasaanaa chalaa jaaegaa
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #116
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
This story of Ram (Dilip Kumar) with all his property getting routinely whipped by his cunning brother-in-law Gajendra (Pran) until Ram gets replaced by the street smart, and tough Shyam (Dilip Kumar) became a common story in Hindi films. And then Shyam, in the role of Ram teaches a lesson to Gajendra (Pran) and all those who earlier attacked the docile Ram.
The story calls for certain comicality of role play, which Dilip Kumar, though being a tragedy king, did so superbly that he won the Filmfare Best Actor award that year (all other awards went that year to Upkaar but mercifully Manoj Kumar was spared the mortification of winning Best Actor award with his diastrous acting).
The next song is a happy Dilip Kumar song, Shyam role acting his twin brother Ram.
Please enjoy: Aayi hain baharen mite zulmo sitam….
rafii: ab na ho.nge majabuurii ke is ghar me.n afasaane
koras: ab naa ho.nge majabuurii ke is ghar me.n afasaane
rafii: pyaar ke ra.ng me.n ra.ng jaaye.nge sab apane begaane
koras: pyaar ke ra.ng me.n ra.ng jaaye.nge sab apane begaane
rafii: ho ho ho
sab ke din phir jaaye.nge
ma.nzil apanii paaye.nge
jiivan ke taraane milake gaaye.nge haradam
rafii + koras + #male# koras:
ho
aa_ii hai.n bahaare.n miTe zulm-o-sitam
pyaar kaa zamaanaa aaya duur hue Gam
rafii + #male# koras:
raam kii liilaa ra.ng laa_ii
koras: a-haa haa
rafii + #male# koras:
shaam ne ba.nsii bajaa_ii
koras: a-haa haa-haa
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #117
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Lets us now take up one of the two delightful duets from the movie. This has been sung by Lata for Waheeda Rehman and Mohammad Rafi for Dilip Kumar.
It crossed various boundaries of popularity during those days.
Please enjoy: Main hoon saaqi, tu hai shraabi….
la : mai.n huu.N saaqii tuu hai sharaabii-sharaabii -2
ra : tuune aa.Nkho.n se pilaa_ii vo nashaa hai ke duhaa_ii
har taraf dil ke chaman me.n phuul khile hai.n gulaabii-gulaabii
la : mai.n huu.N saaqii …
ishq me.n jiinaa sa.mbhal ke dil kaa paimaanaa naa chhalake
bahakii-bahakii terii nazare.n Kvaab dikhalaatii hai.n kal ke -2
ra : terii mahafil me.n o saaqii ham chale aa_e nashe me.n
ab to bas ye hai tamannaa umr kaT jaa_e nashe me.n -2
la : ishq hai terii savaalii -2
husn hai meraa javaabii-javaabii
ra : tuu hai saaqii mai.n huu.N sharaabii-sharaabii
mai.n terii duniyaa me.n aa ke rah gayaa khud ko bhulaa ke
kyaa ho anjaam naa jaane hosh ulfat me.n ga.nvaa ke -2
la : bekhudii ke ye taraane yuu.N hii gaa_e jaa diivaane
ishq ra.ng laa_egaa apanaa aa ga_e ab vo zamaane -2
ra : terii mastaanii ye baate.n
do : aa aa
terii mastaanii ye baate.n dil pe laa_e.N naa Karaabii-Karaabii
la : mai.n huu.N saaqii …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #118
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
The last song from the 1967 movie ram Aur Shyam is also a duet; but, between the other pair: that is Dilip Kumar as Ram and Mumtaz. What a challenge it must have been for Dilip Kumar to paly two diametrically opposite roles?
This too is as popular today as it was 50 years ago.
Please enjoy: O balam teri pyaar ki thandi aag mein jalate jalate….
aa : o baalam tere pyaar kii Tha.nDii aag me.n jalate-jalate -2
mai.n to haar ga_ii re -4
ra : luuT liyaa dil tuune meraa raah me.n chalate-chalate -2
nainaa maar ga_ii re -4
aa : mai.n huu.N baavariyaa terii saa.Nvariyaa dil se jaanaa naa
ra : aaj milii ho jaise akelii kal bhii chalii aanaa
aa : chandaa aur suuraj kii tarah roz nikalate-Dhalate
mai.n to haar ga_ii re -2
ra : luuT liyaa dil …
aa : baalam tere …
ra : Daal ke jaaduu ruup kaa tuune dil meraa chhiinaa
aa : priitam tuune priit jagaa dii chhe.D ke man biinaa
ra : naino.n me.n bhar ke pyaar kaa kajaraa akhiyaa.N malate-malate
nainaa maar ga_ii re -2
aa : baalam tere …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #119
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Seven movies and seventeen songs to go now!
His next movie, the 1967 movie Palki was once again with Naushad Ali, their 24th movie together, out of 53; making it approximately half the movies that he did with his mentor.
Palki was directed by Mahesh Kaul and SU Sunny and had the jubilee hero Rajendra Kumar as Naseem Baig acting opposite living-legend Waheeda Rehman as Mehroo.
(Poster courtesy: www.hindilinks4u.to)
Naseem was a poet in the movie and hence one can expect some great lyrics in the songs of the movie. Here is the list:
1. Dil-E-Betaab Ko Sine Se Lagana Hoga
Suman Kalyanpur, Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman
2. Kal Raat Zindagi Se Mulakaat Ho Gayi
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman, Rehman
3. Dil Ki Kashti Bhanwar Mein
Lata Mangeshkar Naushad Shakeel Badayuni
4. Jaane Vaale Teraa Khuda Haafij
Lata Mangeshkar Naushad Shakeel Badayuni
5. Sadka Utariye Ke Na Lage Kahi Nazar, Chehre Se Apne Aaj To Parda Uthayiye – II
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman, Rehman
6. Main Idhar Jaau Ya Udhar Jaau
Mohammed Rafi, Manna Dey, Asha Bhosle Naushad Shakeel Badayuni Johny Whiskey, Rehman, Waheeda Rehman, Rajendra Kumar
7. Aye Shehar-e-lucknow Tujhe
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar
8. Mere Ghar Se Pyar Ki Palki
Lata Mangeshkar, Mohammed Rafi, Manna Dey Naushad Shakeel Badayuni
9. Chehre Se Apne Aaj To Parda Uthayiye
Mohammed Rafi Naushad Shakeel Badayuni Rajendra Kumar, Waheeda Rehman
10. Mere Ghar Se Pyar Ki Palki (male)
Manna Dey Naushad Shakeel Badayuni Rajendra Kumar
I have selected three for you. The first one has been sung beautifully by Mohammad Rafi for Rajendra Kumar as Naseem Baig singing it to Rehman as Nawab Mirza for Waheeda Rehman as Mehroo or Mehrusia, Sultan’s (Johnny Walker’s) sister. It has the lehza of the old time Lucknow.
Lets listen to the best of this movie and my favourite (they don’t make songs like this anymore): Kal raat zindagi se mulakaat ho gayi….
kal raat zindagii se mulaaqaat ho ga_ii
lab tharatharaa rahe the magar baat ho ga_ii
kal raat zindagii …
ek husn saamane thaa qayaamat ke ruup me.n
ek Kvaab jalvaagar thaa haqiiqat ke ruup me.n
cheharaa vahii gulaab kii ra.ngat li_e hu_e
nazare.n vahii payaam-e-muhabbat li_e hu_e
zulfe.n vahii ki jaise dhu.Ndhalakaa ho shaam kaa
aa.Nkhe.n vahii jin aa.Nkho.n pe dhokhaa ho jaam kaa
kuchh der ko tasallii-e-jazbaat ho ga_ii
lab tharatharaa rahe …
dekhaa use to daaman-e-ruKsaar nam bhii thaa
vallaah usake dil ko kuchh ehasaas-e-Gam bhii thaa
the usakii hasarato.n ke Kazaane luTe hu_e
lab par ta.Dap rahe the fasaane ghuTe hu_e
kaa.NTe chubhe hu_e the sisakatii uma.ng me.n
Duubii hu_ii thii phir bhii vo vafaa_o ke ra.ng me.n
dam bhar ko Katm gardish-e-haalaat ho ga_ii
lab tharatharaa rahe …
e merii ruuh-e-ishq merii jaan-e-shaayarii
dil maanataa nahii.n ki tuu mujhase bichha.D ga_ii
maayuusiyaa.N hai.n phir bhii mere dil ko aas hai
mahasuus ho rahaa hai ke tuu mere paas hai
samajhaa_uu.N kis tarah se dil-e-beqaraar ko
vaapas kahaa.N se laa_uu.N mai.n guzarii bahaar ko
majabuur dil ke saath ba.Dii ghaat ho ga_ii
lab tharatharaa rahe …
https://www.youtube.com/watch?v=u3a0TCdSUj4
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #120
(Continuing Chronologically for the Second of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
And the last song for the day, with just two more days and 15 songs to go.
It is a qawwali sung by Mohammad Rafi, Manna Dey and Asha Bhosle.
Please enjoy the ever popular: Main idhar jaaun ya udhar jaayun….
bhari mehfil me chheda hai
kisi ne dil ke taro ko
mubarak ho ye jashn bekarari bekararo ko
hajaro shamme jalkar
dil ko kar deti hai diwana
aur unake bich me ghir kar
yehi kehta hai parwana
main idhar jaau ya udhar jau
main idhar jaau ya udhar jau
badi mushkil me hu ab kidhar jau
badi mushkil me hu ab kidhar jau
mai idhar jaau ya udhar jau
aaj aankho me utar aaya hai
koi tasbir-e-muhabbat bankar
aaj chilman se najar aaya hai
ek afsana hakikat bankar
jindagi mil gayi mujhko lekin
aaj bhi usse badi duri hai
aaj bhi usse badi duri hai
josh kehta hai pakad le daman
hosh kehta hai ki majburi hai
hosh kehta hai ki majburi hai
udhar hai sabar ki manjil
idhar betab yeh dil hai junun-e-shauk me
ye faisala karna bhi mushkil hai
mai idhar jau ya udhar jau
khank bankar hi kyu na bikhar jau
khank bankar hi kyu na bikhar jau
mai idhar jau ya udhar jau
https://www.youtube.com/watch?v=ys7DuVThytA
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #121
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
We were taking up the songs of the 1967 movie Palki, a Mahesh Kaul, SU Sunny movie starring Rajendra Kumar and Waheeda Rehman, together with Rehman and Johnny Walker.
Out of three songs that I intended to give you from the movie, I gave you two yesterday: Kal raat zindagi se mulakaat ho gayi and a qawwali Main idhar jaayun ya udhar jaayun.
Both the song and the qawwali have the lehza of Lucknow and that’s because of the story:
“Naseem (Rajenfra Kumar) lives a poor lifestyle with his widowed mom in Lucknow, India. He is well-known for his poems, and gets invited to a contest hosted by Nawab Naseemuddin (Rehman) who has offered a reward of Rs.5000/- to the winner. Naseem does win this award, but is humiliated as his coat his torn. As a result he refuses to accept the prize money. His to-be brother-in-law Sultan (Johnny Walker), in order to hasten his sister, Mehrunisa’s (Waheeda Rehman’s) marriage to Naseem concocts a plan in which Naseem finds the reward buried in his yard. As a result, Naseem and Mehrunisa get married, but on the very night both find out Sultan’s trick, and postpone the marriage nuptials until such time they are able to return every Paisa to the Nawab. Naseem re-locates to Bombay. Shortly thereafter his money-orders start arriving and within a few years the amount to be returned is almost accumulated. Then the family receive news that there was an explosion in the shipyards where Naseem works, about 300 people are killed, and Naseem is believed to be dead in a fire that lasts for 3 days. A devastated Mehrunisa loses her mind, while Naseem’s mom decides to go on Haj. But Naseem is still alive at Bombay Hospital. When he recovers he returns to Lucknow and is told by Sultan that Mehrunisa has passed away. He goes to pray at her grave-side and this is where he sees a ghost-like apparition resembling Mehrunisa. The question remains did Naseem really see his wife’s ghost or was his tortured mind playing tricks on him?”
This song that I am going to give you now should take you back to the era when a man and woman would talk and sing to each other with adab and elegance. It has been sung by Mohammad Rafi and Suman Kalyanpur for the lead actors.
Besides the adab or tehzeeb, you would enjoy the make-do ‘telephone’ and the sharaarat in Waheeda’s eyes.
Please enjoy: Dil-e-betaab ko seene se lagaana hoga…..
r : dil-e-betaab ko siine se lagaanaa hogaa
aaj pardaa hai to kal saamane aanaa hogaa
s : aapako pyaar kaa dastuur nibhaanaa hogaa
dil jhukaayaa hai to sar ko bhii jhukaanaa hogaa
r : apanii suurat ko tu ai jaan-e-vafaa yuu.N na chhupaa
garmii-e-husn se jal jaaye na aa.Nchal teraa
lag ga_ii aag to mujh ko hii bujhaanaa hogaa
aaj pardaa hai to …
s : aaj aalam hai vo dil kaa ki bataaye na bane
paas aaye na bane duur bhii jaaye na bane
mai.N huu.N madhosh mujhe hosh me.n laanaa hogaa
dil jhukaayaa hai to …
s : aap to itane qariib aa gaye allaah, taubaa!
r : kyaa kare.n aap se Takaraa gaye, taubaa, taubaa
s : ishq in baato.n se rusvaa-e-zamaanaa hogaa
r : aaj parda hai to …
https://www.youtube.com/watch?v=ftwSvlEgUcs
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #122
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Six movies to go until the 1969 movie Beti with just 12 more songs. I am not going to give you Beti’s Mukesh song on Sonik Omi’s composition: Ye kyaa kiya re duniyawaale since I already gave that to you on the Birth Anniversary of Mukesh on 22nd July.
Lets start with the 1967 movie Noor Jehan, directed by M Sadiq, the second movie of M Sadiq for which Shakeel penned the songs, after the 1954 movie Shabaab starring Bharat Bhushan and Nutan, with the ever-enchanting song Chandan ka palna resham ki dori.
The movie starred Pradeep Kumar and Meena Kumari, Johnny Walker, Lalita Pawar, Sheikh Mukhtar and Helen.
(Pic courtesy: bombayfilm.blpogspot.com)
This was the second and the last movie Shakeel did with Roshan after the 1965 movie Bedaag.
The movie had the following songs:
1. Aa gayaa lab pe afasaanaa\-e\-aashiqii
2. Aap jabase qariib aa_e hai.n
3. Mohabbat ho ga_ii hai mere meharabaa.N ko
4. Raat kii mahafil suunii suunii
5. Sharaabii\-sharaabii ye saawan ka mausam
6. Vo mohabbat vo wafaa_e.N kis tarah ham bhuul jaa_e.N
The first one is a beautiful duet between Mohammad Rafi and Asha Bhosle singing for Pradeep Kumar and Meena Kumari.
As in the last movie Palki, the Urdu tehzeeb of addressing between a man and woman is very much present here too. The lyrics are out of this world; especiallu ‘Ham khud apne nahin paraaye hain’!
Please enjoy: Aap jab se kareeb aaye hain….
ra : aap jab se qariib aa_e hai.n
pyaar ke ra.ng dil pe chhaa_e hai.n
jalavaa-e-yaar hai nigaaho.n me.n
phuul bikhare hu_e hai.n raaho.n me.n
duur tak zindagii ke saa_e hai.n
aap jab se qariib …
aa : dil ne halkii sii choT khaa_ii hai
zindagii ab samajh me.n aa_ii hai
ham khud apane nahii.n paraa_e hai.n
aap jab se qariib …
ra : aapase apane dil ko haar ke ham
is qadar Kush hai.n aap hii kii qasam
jaise duniyaa ko jiit laa_e hai.n
aap jab se qariib …
aa : khair ho ishq ke fasaane kii
lag na jaa_e nazar zamaane kii
had se aage qadam ba.Dhaa_e hai.n
aap jab se qariib …
https://www.youtube.com/watch?v=O3yjjserZMU
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #123
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just twelve more songs to go now and soon I am going to be assailed by withdrawal symptoms!
This would rank amongst the best songs sung by Suman Kalyanpur. It is in Raag Malhar, Raag Gaur Malhar to be exact and yes, it is about sawan. Tal is Jhaptal.
The picturisation of the song and the histrionics of Meena Kumari are both superb.
Please enjoy: Sharaabi sharaabi ye sawan ka mausam….
sharaabii-sharaabii ye saawan kaa mausam
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii-sharaabii …
suhaanii-suhaanii ye koyal kii kuuke.n
uThaatii hai.n siine me.n rah-rah ke huuke.n
chhalakatii hai mastii ghane baadalo.n se
ulajhatii hai.n nazare.n hasii.N aa.Nchalo.n se
ye pura_nuur ma.nzar
ye pura_nuur ma.nzar ye ra.ngiin aalam
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii sharaabii …
gulaabii-gulaabii ye phuulo.n ke chehare
ye rimajhim ke motii ye buu.Ndo.n ke sehare
kuchh aisii bahaar aa ga_ii hai chaman me.n
ke dil kho gayaa hai isii a.njuman me.n
ye mahakii nashiilii
ye mahakii nashiilii havaao.n kaa paracham
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii sharaabii …
ye mausam salonaa ajab Gul khilaa_e
uma.nge.n ubhaare ummiide.n jagaa_e
vo betaabiyaa.N dil se Takaraa rahii.n hai.n
ke raato.n kii nii.nde.n u.Dii jaa rahii.n hai.n
ye sahar-e-jawaanii
ye sahar-e-jawaanii ye Kvaabo.n kaa aalam
Kudaa kii qasam Kuubasuurat na hotaa
agar isame.n ra.ng-e-muhabbat na hotaa
sharaabii sharaabii …
https://www.youtube.com/watch?v=UmjOSy_EbxU
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #124
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just eleven more songs to go now.
Jab “aakhri” lafz lab pe aata hai Shakeel ke liye, Aisa lagta hai saans ruk si jaati hai, Dil bekasi se maayus ho uthata hai, Zubaan na jaane kyun ladhkhadaati hai, Shayari o naghmagari aur bhi bahut suni hai lekin, Shakeel ki hai jo hardam yaad aati hai.
You can imagine what must be happeninbg with me as we near the end! With a heavy heart I have to tell you this is the last from the movie Noor Jahan that I am giving you.
And, it is the best! It has been sung by Lata Mangeshkar.
Please enjoy: Raat ki mehfil sooni sooni…..
raat kii mahafil suunii suunii
aa.Nkhe.n puranam dil naakaam
sahame sahame aramaano.n kaa
honaa hii thaa ye a.njaam …
bhuul gaye the apanii hastii
ishq-o-vafaa ke josh me.n ham
sab kuchh khokar bebas hokar
ab aaye hai.n hosh me.n ham
pyaase rah gaye dil ke armaan
chhuuTaa saaqii TuuTaa jaam
honaa hii thaa ye a.njaam …
sar ko jahaa.N Takaraaye jaake
aisii ko_ii diivaar nahii.n
haaye rii qismat ham duniyaa me.n
pyaar ke bhii haqadaar nahii.n
dil hotaa jo apane bas me.n
lete na ham pyaar kaa naam
honaa hii thaa ye a.njaam …
raat ki mahafill suunii suunii …
https://www.youtube.com/watch?v=6LORrizj2Tc
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #125
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just ten more songs to go now.
The 1967 SS Balan movie Aurat had Rajesh Khanna and Padmini in the lead roles, besides Feroze Khan, Pran.
(Poster courtesy: en.wikipedia.org)
This movie is a remake of 1966 Tamil movie Chitthi (meaning ‘step-mother’) played by Padmini in the lead role and R. Muthuraman as her younger brother. It is one of the first significant on screen roles for Rajesh Khanna, then a new comer to screen.
The movie had the following songs penned by Shakeel Badayuni and composed by Ravi, the 12th and the last movie in which they were together:
1 “Humein Tumse Mohabbat Hai” Asha Bhosle
2 “Meri Gaadi Undan Khatola” Mohammed Rafi
3 “Nari Jeevan” Lata Mangeshkar
4 “Nari Jeevan -v2” Lata Mangeshkar
5 “Nindiya Ki Nagri” Lata Mangeshkar
6 “Shola Ulfat Ka” Mohd Rafi, Asha Bhosle
7 “Yeh Kaun Hai” Asha Bhosle, Mahendra Kapoor
Lets listen to the first song picturised on Nazima. The best part is that in order to express her love for Rajesh Khanna, she isn’t singing but plays a record!
Please enjoy: Hamen tumase muhabbat hai magar ham keh nahin sakate……
hame tumse mohabbat hai
magar hum kah nahi sakte
hame tumse mohabbat hai
magar hum kah nahi sakte
juba par ek hakikat hai
magar hum kah nahi sakte
hame tumse mohabbat hai
kabhi hasrat kabhi arman
kabhi dhadkan kabhi uljhan
ajab is dil ki halat hai
magar hum keh nahi sakte
hame tumse mohabbat hai
hamara hale dil sunne ko
tum bechain baithe ho
hamara hale dil sunne ko
tum bechain baithe ho
hame kahne ki fursat hai
magar hum kah nahi sakte
hame tumse mohabbat hai
https://www.youtube.com/watch?v=diXQSGo8fzI
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #126
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just nine more songs to go now from four movies.
We enter the year 1968 and the year had three movies for which Shakeel wrote the songs: Sunghursh, Baazi and Aadmi.
Sunghursh was a movie directed by Harnam Singh Rawail. Now who was Harnam? Forgotten so soon? He was the one who directed 1963 movie Mere Mehboob.
What a coincidence that we have come to this movie today, one week after the death of Mahasweta Devi, since the movie is based on a short story Layli Asmaner Ayna in Bengali written by her. The story is about vendetta within a thuggee cult in Varanasi. The film stars Dilip Kumar, Vyjayanthimala, Sanjeev Kumar, Balraj Sahni, Jayant, Deven Verma, Durga Khote and Iftekhar.
Since I have written a lot about the Best Hindi songs having the quartet of Shakeel, Naushad, Rafi and Dilip Kumar together, this was the second last movie of them being together.
Here is the list of songs in the movie:
1. “Chhedo Na Dil Ki Baat” Lata Mangeshkar 03:43
2. “Ishq Diwana” Mohammad Rafi 03:59
3. “Tasveer-E-Mohabbat” Asha Bhosle 04:15
4. “Mere Paas Aao Nazar To Milao” Lata Mangeshkar 03:36
5. “Mere Pairon Mein Ghunghroo” Mohammad Rafi 04:53
6. “Agar Yeh Husn Mera” Lata Mangeshkar 04:55
7. “Jab Dil Se Dil” Mohammad Rafi 04:20
I have decided to give you three of these.
Lets start with this dancing number of Dilip Kumar that would remind you of the Gunga Jamuna dance he did seven years ago: Nain lad jai hai to.
Like with Nain kad jai hai to, it has been sung by Mohammad Rafi.
Please enjoy: Mere pairon mein ghungru bandha de to phir meri chaal dekh le….
dil paayaa alabelaa mai.n ne
tabiiyat merii ra.ngiilii
haay
aaj khushii me.n mai.n ne bha_iyya
tho.Dii sii bha.ng pii lii
mere pairo.n me.n, haay, mere pairo.n me.n ghu.Ngharuu ba.ndhaa de
to phir merii chaal dekh le
zaraa jam ke bha_iyyaa
mohe laalii chunar, mohe laalii chunariyaa o.Dhaa de
to phir merii chaal dekh le
mere pairo.n me.n …
kyaa chaal hai torii?
zaraa jhuum le gorii
a-haa, vaah
haale Dole kisii kii nathanii
jhuume kisii kaa juhmakaa
har paarii dil thaam le apanaa
aisaa lagaa_uu.N Thumakaa
kaise bhalaa?
aise Di.ng ka TikaT phur.r ka TikaT aa
jab ho kisii kii byaah sagaa_ii
merii javaanii le a.nga.Daa_ii
koii merii bhii shaadii karaa de
to phir merii chaal dekh le
mere pairo.n me.n …
koii ghuu.NghaT vaali mere
dil pe chalaaye chhuriyaa.N
koii naino.n vaalii chho.De
naino.n se phuljha.Diyaa.N
ruup hai laakho.n aur ik dil hai
aape me.n rahanaa bhii mushkil hai
koii akhiyo.n se daaruu pilaa de
to phir merii chaal dekh le
zaraa nain milaa ke
zaraa dil lagaa ke!
ek najar se dil bharamaaye
duujii se le jaaye
tiikhii najar tuu aisii maare
jo dekhe luT jaaye
saarii duniyaa tujhape diivaanii
mai.n bhii to dekhuu.N terii javaanii
zaraa mukha.De se ghu.NghaTaa haTaa de
to phir merii chaal dekh le
mohe laalii chunar …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #127
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just eight more songs to go now from four movies.
Lets take the next song from the 1968 movie Sunghursh, a song that Naushad composed in Raag Bhairavi.
The lyrics are as exquisite as the composition of the pair who made the hit movie Gunga Jamuna seven years before: Dilip Kumar and Vyjayanthimala.
Lata Mangeshkar sang it.
Please enjoy: Mere paas aao nazar to milaao…..
mere paas ao nazar to milao
mere paas ao nazar to milao
in ankho me tumko jawani milegi
mere paas ao nazar to milao
suno to zara dhadkane mere dil ki
inhi me tumhari kahani milegi
mere paas ao nazar to milao
mere thartharate huye in labo par
tumhara hi koyi tarana milega
meri bahki nazro me
meri bahki nazro me khoyi huyi si
tumhari hi koyi nishani milegi
mere paas ao nazar to milao
suno to zara dhadkane mere dil ki
inhi me tumhari kahani milegi
mere paas ao nazar to milao
chalo aaj tumko
chalo aaj tumko gale se laga lu
tumhare liye har qasam tod dalu
kare jo sitam ha
kare jo sitam vo haseen aur honge
yaha husn ki meharbani milegi
mere paas ao nazar to milao
muhabbat ki baho me akar to dekho
kaleje pe mujhko lagakar to dekho
machalta sisakta
machalta sisakta hua dil milega
tadapti huyi zindgani milegi
mere paas ao nazar to milao
suno to zara dhadkane mere dil ki
inhi me tumhari kahani milegi
mere paas ao nazar to milao
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #128
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just seven more songs to go now from four movies.
I hate to use the word ‘last’ pertaining to anything to do with Shakeel Badayuni. However, here is the last song that I have planned to give you from the 1968 movie Sunghursh.
Sunghursh had only solo numbers as you must have seen in the list that I gave you in the beginning. This has been sung by Mohammad Rafi.
Please enjoy: Ishq deewana husn bhi ghayal….
ishq divana husn bhi ghayal
ishq divana husn bhi ghayal
donon taraf ik dard-e-jigar hai
dil ki tadap ka hal na puuchho
dil ki tadap ka hal na puuchho
jitani idhar hai utani udhar hai, ishq divana
apane fasane dil ke tarane
ya tum samajho ya ham jane
tumako hamare dil ka pata hai
hamako tumhare dil ki kabar hai
ishq divana husn bhi ghayal, ishq divana
bikhari zulfe anchal dhalaka
lab pe tabassu halka halka
pyar me ham to khoye hai lekin
aaj tumhe bhi hosh kidhar hai
dil ki tadap ka hal na puchho
dil ki tadap ka hal na puchho
jitani idhar hai utani udhar hai, ishq divana
chand-sitare shok nazare
lutna le sab ruup tumare
husn ko rakhana sabse bacha ke
dekho tumhin pe sabaki nazar hai
ishq divana husn bhi ghayal
ishq divana husn bhi ghayal
dono taraf ik dard-e-jigar hai
dil ki tadap ka hal na puuchho
dil ki tadap ka hal na puuchho
jitani idhar hai utani udhar hai, ishq divana
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #129
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just six more songs to go now from three movies: Baazi, Aadmi and Beti, other than the 1969 movie Beti Mukesh song that I have already given you on Mukesh’s birth anniversary on 22nd Jul.
Baazi was a unique movie in that for the first and the last time Kalyanji Anandji paired with Shakeel Badayuni.
It was a movie directed by Moni Bhattacharya and starred Dharmendra, Waheeda Rehman, Mehmood, Johnny Walker, Helen, Keshto Mukherjee and Chand Usmani.
It had the following songs:
1 “Dil Toota Roye Naina” Asha Bhosle
2 “Ek Anar Do Bimar” Manna Dey
3 “Main Hasina Nazneena” Lata Mangeshkar, Asha Bhosle
4 “Aa Mere Gale Lag Ja” Lata Mangeshkar
5 “Pyar Ki Baaten Hamko Na Samjhao” Asha Bhosle
I have kept this song especially for you since it has the two sisters: Lata Mangeshkar and Asha Bhosle singing for the dancing duo on stage: Waheeda Rehman and Helen, in competition with each other.
Please enjoy: Main haseena nazneena koi mujhasa nahin….
mai hasina naznena mai hasina naznena
koi mujhsa nahi koi mujhsa nahi nahi
mai samina mah jabina mai samina mah jabina
mujhme kya kya nahi mujhme kya kya nahi nahi
mai kayamat ki pahchan hu ek biijli or tufan hu
mai mohabbat hu iman hu ek ashik ka arman hu
jo mere paas aye sukune dil paye
fir jaye na wo kahi kahi mai hasina naznena
koi mujhsa nahi koi mujhsa nahi nahi
mai hasu to chaman bhi khile pyar ki jindagi bhi mile
mai jalu to patanga jale maut mere kahe par chale
nigaho se mai khelu are jisko bhi mai dekhu
wo jaan dede wahi wahi mai samina mah jabina
mujhme kya kya nahi mujhme kya kya nahi nahi
pyar ki mai hu ek dasta mere dam se hai dunia jawa
mai nahi to bahare kaha mere bas me hai sara jaha
mai hu shola mai hu shabnam
mai hu nagma mai hu sargam
haar chuke hai mere aage ye chand or sitare
ye asma ye zami mai hasina mai shamina
koi mujhsa nahi mujhme kya kya nahi nahi
mai hasina mai shamina koi mujhsa nahi
mujhme kya kya nahi nahi
https://www.youtube.com/watch?v=aaz75nazARM
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #130
(Continuing Chronologically for the Third of Four Days after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Just five more songs to go now from last two movies: Aadmi and Beti, other than the 1969 movie Beti Mukesh song that I have already given you on Mukesh’s birth anniversary on 22nd Jul.
Aadmi 1968 was the last time in the history of Hindi cinema when we saw the best quartet in movies together: Shakeel Badayuni as lyricist, Naushad as Music Director, Mohammad Rafi as Singer and Dilip Kumar as Actor.
The film stars Dilip Kumar, Waheeda Rehman, Manoj Kumar, Simi Garewal and Pran; and was directed by A Bhimsingh.
(Poster courtesy: en.wikipedia.org)
Ladies and gentlemen, do you remember that last scene in the 1975 movie Sholay when Sanjeev Kumar as Thakur tells Amjad Khan as Gabbar Singh: Tere liye to mere pair hi bahut hain.
Well, Aadmi had Dilip Kumar on the wheel-chair and he acted so superbly that the bozo Manoj Kumar would have wanted to be in a coffin.
The movie had the following songs:
1.Aaj purani raahon se – Mohammad Rafi
2. Kal ke sapne aaj bhi – Lata Mangeshkar
3. Kaisi Haseen Aaj – Mohammad Rafi and Talat Mahmood
4. Kaari badariya – Lata
5. Mein tooti hui ek naiya – Mohammad Rafi
6. Na aadmi ka koi bharsa – Mohammad Rafi
I have decided to give you four songs from the movie. Lets take the first song and then we shall have remaining three tomorrow.
Please enjoy: Aaj puraani raahin se koi mujhe awaaz na de….
aaj puraanii raaho.n se, koI mujhe aavaaz na de
dard me.n Duube giit na de, gam kaa sisakataa saaz na de
biite dino.n kii yaad thii jiname.n, mai.n vo taraane bhuul chukaa
aaj na_ii ma.nzil hai merii, kal ke Thikaane bhuul chukaa
na vo dil na sanam, na vo diin-dharam
ab duur huu.N saare gunaaho.n se
jiivan badalaa duniyaa badalii, man ko anokhaa GYaan milaa
aaj mujhe apane hii dil me.n, ek nayaa inasaan milaa
pahu.Nchaa huu.N vahaa.N, nahii.n duur jahaa.N, bhagavaan kii nek nigaaho.n se
TuuT chuke sab pyaar ke ba.ndhan, aaj koii za.njiir nahii.n
shiishaa-e-dil me.n aramaano.n kii, aaj koii tasviir nahii.n
ab shaad huu.N mai.n, aazaad huu.N mai.n, kuchh kaam nahii.n hai aaho.n se
https://www.youtube.com/watch?v=Rdl7qIzxnNc
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #131
(Continuing Chronologically for the last day (Fourth Day) after Reaching the Mark of 100 in Countdown to His Birth Centenary)
We had taken up just one song of the 1968 A Bhimsingh movie Aadmi starring Dilip Kumar, Manoj Kumar and Waheeda Rehman; the movie being the 26th movie of Shakeel pairing with his mentor Naushad Ali.
By the time Shakeel was diagnosed with tuberculosis, and he was put up in a sanatorium in Panchgani, Naushad started paying him ten times the fees for his songs so as to help him get over his situation.
Shakeel succumbed to TB on 20th April 1970. This was therefore the last movie in which Shakeel, Naushad, Rafi and Dilip Kumar were together, the quartet who made the best songs in Hindi movies.
We took up Aadmi’s Aaj puraani raahon se koi mujhe awaaz na de.
Aadmi was a remake of Tamil film Alayamani starring Sivaji Ganesan. The story:
“Rajesh (Dilip Kumar) is orphaned at a very young age and comes from a very wealthy and noble family, but is very insecure. His childhood sweetheart Meena tragically dies and Rajesh substitutes her with a doll. When he finds that another young boy has touched the doll, he starts a fight with him, and ends up murdering him. Years later, Rajesh, now a grown man, still has the doll in his closet and he has now fallen in love with a woman named Meena (Waheeda Rehman). He becomes engaged to her after the approval of his best friend, Dr. Shekhar (Manoj Kumar). However, Rajesh and Meena have an automobile accident, in which Rajesh becomes paralysed and uses a wheelchair. It is then that Rajesh finds out that Shekhar and Meena are having an affair. His old murderous and possessive hatred surfaces again and his best friend Shekhar’s life is in danger”
Here is a song that both the friends sing for the same woman: Waheeda Rehman as Meena; Rafi for Dilip Kumar and Talat Mehmood for Manoj Kumar.
Please enjoy: Kaisi haseen aaj baharon ki raat hai….
ra: kaisii hasiin aaj bahaaro.n kii raat hai
ek chaa.Nd aasamaa.n pe hai ek mere saath hai
ma : dene vale tuu ne to koii kamii na kii
ab kis ko kyaa milaa ye muqaddar kii baat hai
ra : chhaaya hai husn-o-ishq pe ek ra.ng-e-beKudii
aate hai.n zi.ndagii me.n ye aalam kabhii kabhii
har Gham bhuul jaao khuushii kii baaraat hai
ek chaa.Nd aasamaa.n pe hai ek mere saath hai
ma : aaii hai vo bahaar ki naGame ubal pa.De
aisii khuushii hai ki aa.Nsuu nikal pa.De
ho.nTho.n pe hai.n duaae.n magar dil pe haath hai
ab kis ko kyaa milaa ye muqaddar kii baat hai
ra : mastii simaT ke pyaar ke gulashan me.n aa gaii
ma : merii khuushii bhii aap ke daaman me.n aa gaii
bha.Nvaraa kalii se duur nahii.n saath saath hai
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #132
(Continuing Chronologically for the last day (Fourth Day) after Reaching the Mark of 100 in Countdown to His Birth Centenary)
In his previous film Sunghursh in the same year, Naushad Ali received the criticism that though he had tried to compose the songs as suited for the Avadh region wherein Banares, the venue of the movie was, he hadn’t done as much justice to the songs as he normally did.
He made up in a huge manner in Aadmi and was back to his usual excellence.
The third song of the movie is a solo by Lata Mangeshkar singing for Waheeda Rehman.
Please enjoy: kal ke sapane aaj bhi aana….
kal ke sapane aaj bhii aanaa
priitam ko bhii saath me.n laanaa
kal ke sapane …
aaj bhii din hai madhur suhaanaa baaj rahii hai man kii baa.Nsuriyaa
naino.n ke taT pe prem ke path pe lauT ke ab to aajaa saa.Nvariyaa
mai.n bhii sunaa_uu.N dil kaa taraanaa -2
kal ke sapane …
jhuumate baadal gaate jharane aaj kisii ko Dhuu.NDh rahe hai.n
mai.n to ye jaanuu.N saare nazaare sajanaa tumako Dhuu.NDh rahe hai.n
aaj mujhe bhii daras dikhaanaa -2
kal ke sapane …
merii nagariyaa aa more rasiyaa Dagar-Dagar mai.n a.Nkhiyaa.N bichhaa_uu.N
dil me.n biThaa ke nain milaa ke janam-janam kii pyaas bujhaa_uu.N
tohe sikhaa_uu.N priit nibhaanaa -2
kal ke sapane …
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #133
(Continuing Chronologically for the last day (Fourth Day) after Reaching the Mark of 100 in Countdown to His Birth Centenary)
Last song of the movie Aadmi is last of an era of Shakeel, Naushad, Rafi and Dilip Kumar.
After Na milata gham to barbaadi ke afsane kahan jaate of 1954 movie Amar, this is the most ironical song penned by Shakeel. Therefore, after all these years, he didn’t leave irony. Nor did irony leave him.
In his most famous ghazal sung by Begum Akhtar, it is this irony that gave vent to the famous couplet:
“Jab hua zikr zamaane mein mohabbat ka, Shakeel,
Mujhako apne dil-e-nakaam pe rona aaya”.
As if his own life was reflected in this last song he portrayed similar irony when he wrote:
“Na aadmi ka koi bharosa, na dosti ka koi thikaana,
Wafa ka badla hai bewafai, ajanb zamaana hai ye zamaana”.
teri mohabbat pe shak nahi hai
teri wafao ko maanta hu
magar tujhe kiski aarju hai
main ye hakikat bhi jaanta hu
na aadami ka koyi bharosa
na dosti ka koyi thikana
wafaa kaa badalaa hain bewafayi
ajab jamana hain yeh jamana
na aadami ka koyi bharosa
naa husn me ab woh dilakashee hai
naa ishk me ab woh jindagi hai
jidhar nigaahe uthake dekho
sitam hain dhokhaa hain berukhi hai
badal gaye jindagee ke nagame
bikhar gayaa pyaar kaa tarana
badal gaye jindagee ke nagame
bikhar gayaa pyaar kaa tarana
na aadami ka koyi bharosa
dawa ka badale me jeher de do
utaar do mere dil me khanjar
lahu se sincha tha jis chaman ko
uge hain shole ussi ke andar
mere hee ghar ke charaag ne khud
jala diya mera aashiyana
mere hee ghar ke charaag ne khud
jala diya mera aashiyana
na aadami ka koyi bharosa
na dosti ka koyi thikana
wafaa kaa badalaa hain bewafayi
ajab jamana hain yeh jamana
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #134 Last movie, Last song
He gave songs for Aurat, he wrote songs for Aadmi. He wrote songs for Mother India, he wrote for Beti!
Beti, 1969 was directed by Harmesh Malhotra and was the first and the only movie in which his lyrics were composed into songs by Sonik-Omi.
The movie starred Nanda as Sudha Verma who wanted to be ideal daughter or Beti for her parents Kishore Sahu (Mr. Verma) and Kamini Kaushal (Mrs. Verma). Unfortunately, her mother passes away and her father remarries Kamla (Shyama) who has no interest in the welfare of her daughter who has started loving Dr Rajesh (Sanjay Khan).
(Poster courtesy: www.dmasti.pk)
The movie had the following songs:
1. Aaja Nindiya Suhani
2. Hasin Zulfo Ka Rang De Do
3. Shyam Dhun Lagi Hari Nam Dhun Lagi
4. Lehnga Manga De Mere Babu
5. Yeh Kya Kiya Re Duniyawale
6. Ek Mithi Nazar Phul Barsa Gayi
7. Mere Mehboob Tu Mujhako
We took up Mukesh’s Ye kya kiya re duniyawale on his birth anniversary on 22 July. A similar song in the movie has been sung by Rafi too. I didn’t give you the title song of Mere Mehboob.
But, here is another mere mehboob song.
Please enjoy: Mere mehboob tu mujhako na bana aur deewana….
mera karar hai tu meri jindagi hi tu hai
na koi gair hu mai na ajnabi hi tu hai
mere mahbub tu mujhko na bana or diwana
mere mahbub tu mujhko na bana or diwana
tu wahi meri shama hai mai wahi tera parwana
mere mahbub tu mujhko
pyar ka rishta koi na jane mai samjhu ya tu pahchane
pyar ka rishta koi na jane mai samjhu ya tu pahchane
humne gujari thi bahare kabhi milke
yad karo wo jamana mere mahbub tu mujhko
na bana or diwana mere mahbub tu mujhko
dekh wo meri pichli wafaye aankho se teri chalki jaye
dekh wo meri pichli wafaye aankho se teri chalki jaye
khel nahi hai rok lena dil ka tufan ye bhi na tune jana
mere mahbub tu mujhko na bana or diwana
mere mahbub tu mujhko
pyar me apne mujhko yaki hai
manu mai kaise tu wo nahi hai
pyar me apne mujhko yaki hai
manu mai kaise tu wo nahi hai
meri hi yade hai chupaye dil ye tera lakh bane anjana
mere mahbub tu mujhko na bana or diwana
tu wahi meri shama hai mai wahi tera parwana
mere mahbub tu mujhko
Remembering Shakeel Badayuni on his Birth Centenary 03 August
Song #135 Epilogue
It has been five weeks since I started this tribute to Shakeel Badayuni for his Birth Centenary on 03 August.
Now in the end, I feel similar to sitting on the sea-shore, watching and listening to sea-waves splashing against rocks; and then suddenly it becomes quite. Suddenly you find that the rocks are still there but the sea has receded. But, still, somewhere, you hear the sea hitting the rocks, you still sea the frothing water rise and fall, you still hear the crescendo as one wave after the other rises and falls.
That’s Shakeel for me.
As long as his songs, his ghazals and nazms are there, I can hear the sea again and again and again. It is quiet now; but, I know it would rise again!
Some of you who are avid fans of Shakeel Badayuni, like I am, would have noticed that I left out an early important movie in his career. It wasn’t oversight; it was deliberate. It was to end with a song that he wrote about his and every living person’s insignificance in this world. It has some of the best lines that he ever wrote.
Ah, now, you would know, how clever I have been in keeping this song to the end!
It is a song from the 1948 movie Mela, directed by SU Sunny and starring Dilip Kumar, Nargis, Jeevan, and Rehman.
It had his mentor Naushad’s music and the following songs:
1 “Ye Zindagi Ke Mele, Duniyaa Men Kam Na Honge” Mohammed Rafi
2 “Gaye Ja Geet Milan Ke Tu Apni Lagan Ke” Mukesh
3 “Phir Aah Dil Se Nikli, Shaayad Woh Ja Rahe Hain” Zohrabai Ambalewali
4 “Dharti Ko Aakash Pukaare” Mukesh, Shamshad Begum
5 “Mera Dil Todne Wale Mere Dil Ki Dua Lena” Mukesh, Shamshad Begum
6 “Aayi Sawan Ritu Aayi Sajan Mora Dole Hai Man” Mukesh, Shamshad Begum
7 “Main Bhanwra Tu Hai Phool” Mukesh, Shamshad Begum
8 “Mohan Ki Muraliya Baaje” Shamshad Begum
9 “Dharti Ko Aakash Pukare” Shamshad Begum
10 “Taqdeer Bani Ban Kar Bigadi” Shamshad Begum
11 “Pardes Balam Tum Jaaoge” Shamshad Begum
12 “Garibo Par Jo Hoti Hai” Shamshad Begum
I have to end with that era, ladies and gentlemen, and not with the era when he was about to die.
In 1948, Mohammad Rafi hadn’t come in with Shakeel in any big manner. Indeed, Dulari was an year away with Suhaani raat dhal chuki. Most of Shakeel’s songs for male voice used to be sung by Mukesh. Rafi sang this one when the credits of the movie appeared in the beginning and it was picturised on a wandering minstrel and not on any highly recognised actor.
The world shall go on without us after we are gone; just as it did without Shakeel himself.
Naushad composed it in Raag Bhairavi, Tal Dadra.
As the sea recedes and the waters no longer hit the rocks, please enjoy: Yeh zindagi ke mele, duniya mein kam na honge, afsos hum na honge…..
(ye zi.ndagii ke mele – 2), duniyaa me.n kam na ho.nge
afasos ham na ho.nge
ik din pa.Degaa jaanaa, kyaa vaqt, kyaa zamaanaa
koii na saath degaa, sab kuchh yahii.n rahegaa
jaae.nge ham akele, ye zi.ndagii …
duniyaa hai mauj-e-dariyaa, qatare kii zi.ndagii kyaa
paanii me.n mil ke paanii, a.njaam ye ke paanii
dam bhar ko saa.ns le le, ye zi.ndagii …
It was on this day, 15th August, in the year 1947, when we received Freedom at Midnight. Our first Prime Minister of independent India made his famous Tryst with Destiny speech to the Indian Constituent Assembly in the Parliament, a speech that is counted amongst the most famous speeches in the history of the world. The opening two paragraphs of this speech are:
“Long years ago we made a tryst with destiny, and now that time comes when we shall redeem our pledge, not wholly or in full measure, but very substantially. At the stroke of today’s midnight hour, when the world sleeps, India will awake to life and freedom. A moment comes, which comes but rarely in history, when we step out from the old to new, when an age ends, and when the soul of a nation, long suppressed, finds utterance.
It is fitting that at this solemn moment we take the pledge of dedication to the service of India and her people and to the still larger cause of humanity with some pride.”
Just as I did with the Republic Day five and half years ago, in 2011 (Please read: ‘How Proud Should We Be Of The Indian Republic At 62?’), I have to be the devil’s advocate and suggest that though, of course, freedom is a great thing and we fought hard to get it back (having lost it to the British two hundred years before winning it back), there are a few freedoms that we have granted ourselves and we can do without some, if not all of them. Just as I did with the Republic Day, then, these are our reality check nearly seventy years after we won independence.
1. Freedom to Urinate and Defecate in Public and to Litter. I don’t know at what point of time in history we acquired these habits that not only make our villages, towns and cities filthy but also make us spend enormous money, resources and efforts to clean up our act, whether in our holiest river Ganga or anywhere else. If the cost of diseases and epidemics has to be added, it is a freedom that has already done enormous damage to the country, let alone its image abroad. Basically, this freedom emanates from the we versus the authorities rebellious attitude that we have and that we are proud of having won us the independence (the Civil Disobedience Movement, that is, during the British time). Try stopping a man chucking out empty soft-drink tetrapaks from the train or the bus; he would immediately come up with the argument, “What do you think that the sweepers are paid for from the taxes we pay? Let them do some work once in a while rather than sit on their haunches.” I was posted in the city of Vizag on the Eastern coast. Before I could obtain accommodation with the Navy, I rented a house in a civil locality. Whereas another country in the East, Japan that is, is called ‘Land of the Rising Sun’, the civil localities in Vizag could be easily called ‘Land of the Rising Bums’. One would see many of these if one ever went for early morning walks after following the English motto: ‘Early to bed early to rise, makes a man healthy, wealthy and wise’. In Vizag, if one went for a walk too early and not able to sight the gooey stuff on the sides of the road, one would not be anywhere near healthy or wealthy. One would be wise though to have a bath immediately on return.
2. Freedom to Molest and Rape. Am I the only one who feels that this so called freedom is as serious an issue as to be at the level of freedom for some people? Nearly three and half years ago, I wrote an essay titled ‘Nirbhaya’s Rape – A National Shame, Time To Look Within’. This essay was written immediately after the most infamous rape case in the national capital that took place in Dec 2012. It shook the national conscience. And then many skeletons in our national cupboard came tumbling out. For example, there was this minister in the Goa Assembly who asserted that women who dressed provocatively deserved to be raped. Imagine a responsible representative of the people saying that! We also had the unseemly sight of elected representatives blithely watching pornography in the assembly whilst government business was being transacted (Please read: ‘Guardians Of Porn And Morality’). In the same article about Porn and Morality, I brought out about a play I directed and acted in the Navy: Mahesh Dattani’s ’30 Days In September’. The play was about the incidence of incest in the country. Whilst researching on the topic, I came across government figures given in the parliament by Ms Renuka Chaudhary, the then Minister for Women’s Affairs and Child Welfare. She brought out that about 49 percent children in our country are victims of incest and child-abuse; a large percentage of these being at the hands of known and close relatives. Women are still considered in various sections of the society as mard ke pair ki jooti (footwear for the men) (Please read: ‘Is There Reason To Celebrate Women’s Day In India?’) We can certainly do without these freedoms to molest, rape and indulge in child abuse and incest.
4. Freedom to Use Public Funds and Resources as Own. This freedom is of gigantic proportions in our country, particularly so with elected representatives and bureaucrats; the latter have recently appealed that they not be called by the derogatory term ‘babus’. It will be only sooner than later when the elected representatives also appeal that they not be called by the derogatory (!) term ‘netas‘. What an irony! In both cases, if we have to examine as to who demeaned these terms, one would get the quick answer that those who are now appealing against being called these are themselves responsible for it. The Indian constitution has a term called ‘Public Servant’; both these form the bulk of the representatives of the government who are so described. A ‘Public Servant’ is not a derogatory term but a reminder to such people that they hold their positions for the service of the people. However, these self-serving people feel that the only reason that they are there is to enjoy power and the perks of the positions that they hold. This freedom to consider public funds and resources as their own has been the subject of many a blog-post from me that you would find in this very blog.
5. Freedom to Take Law in One’s Hands. Almost everyone indulges in this in India; we are amongst the most unlawful people on earth. Drivers even in the national capital, for example, drive through red light on a traffic crossing, with impunity, if they feel no one is watching. This is a freedom that we have gifted ourselves (Please read ‘We Are Like That Only’). It has nuisance value on the roads in addition to it being dangerous. Our national figures are:
Over 1,37,000 people were killed in road accidents in 2013 alone, that is more than the number of people killed in all our wars put together.
16 children die on Indian roads daily.
5 lives end on Delhi’s roads everyday.
There is one death every four minutes due to a road accident in India.
And yet, we have a tendency to take shortcuts with any rule or law not just on the roads but everywhere.
It is of alarming proportion when those whose duty it is to maintain law and order routinely indulge in unlawful activities. Amnesty International, for example, repeatedly brings out the flagrant incidents of police excesses and custodial deaths and violations of human rights (Read, for example: Bhagalpur Blindings of 1980 when the Bihar Police blinded 31 under-trial people by pouring acid into their eyes). However, so used to are these people to enjoy their self-ascribed freedoms that they don’t seem to care. Here is something sickening in the news just three days before the 70th Independence Day:
One third of the districts of our country now openly oppose Indian law mainly because of such freedoms enjoyed by our so-called public-servants. Isn’t it high time that we restrict these so called self-ascribed freedoms and do our bit towards nation-building that the famous ‘Tryst with Destiny’ speech of our first Prime Minister exhorted us to do 69 years back?
The danger is palpable: if we don’t follow the evolutionary way, we face the revolutionary way; and revolutions are often (if not always) bloody and violent.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I attempted a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
I completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16, Part III from 17 Jul to 23 Jul and Part IV from 24 Jul to 30 Jul. Those of you who read all the four parts would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. In Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya). And finally, in Part IV, I covered songs from 1962 Guru Dutt movie Sahib Bibi Aur Ghulam (Koi door se awaaz de chale aao) to 1963 movie Bin Baadal Barsaat (Jab jaag uthe armaan).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part IV, I have covered seven more of them:
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi ham mile the.
Hence, it would be easy to see that even with all the four parts, I only reached until 30th Jul and hence had three days of Countdown still left. Also, I had 18 movies and 53 songs (that I had originally selected) to go until his last: the 1969 movie Beti.
Therefore, I decided to continue for another week making this as the Final Part or Part V of Countdown with a total of 100 Songs in all five parts. I had to, however, have ten songs on the Final Day of Countdown, ie, 31st Day or 02 Aug 16.
The 35 songs after that would be covered in Part VI though not as part of Countdown but as part of Centenary celebrations for four days.
Day #29 of 31
Song #85
Ladies and gentlemen, I couldn’t put up yesterday since we had a power breakdown that was rectified only by lunch time today. I still have 18 of his movies to go with 53 songs that I had originally selected. Hence, after the countdown until 02 Aug, from his birth anniversary, we shall probably have to continue for another two parts! I had, in between, decided to increase the number of songs everyday but that has not been possible since I couldn’t spare that kind of time.
On day #28 (actually day before yesterday), I gave you two songs from his 1963 movie Bin Baadal Barsaat starring Biswajeet and Asha Parekh. On that night, I actually saw the movie with the magic of Jab jaag uthe armaan, and Zindagi kitani khobsurat hai.
Today, lets take up the third song that I had selected for you: Ik baar zara phir keh do sharma ke mujhe deewaana.
It is a duet between Hemant Kumar and Lata Mangeshkar singing for Biwajeet and Asha Parekh. Composition is that of Hemant Kumar.
Please enjoy: Ik baar zara phir keh do sharma ke mujhe deewana….
he: ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: dil lekar raho duur huzuur na hamase
karo itanaa Guruur na hamase
la: o sajanaa, meraa haar si.ngaar tumhii.n ho
meraa dam hai tumhaare hii dam se
he: tum shamaa ho to mai.n huu.N parvaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: suno dilbar ye jo diip khushii kaa jalaa hai
meraa pyaar isii me.n Dhalaa hai
la: meraa dil bhii piyaa leke tumhaaraa sahaaraa
na_ii raah pe aaj chalaa hai
he: di_aa tumhii.n ne ummiido.n ko Thikaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: tum chaaho to mai.n to.Dake laa duu.N sitaare
ki ho tum mujhe jaan se pyaare
la: kyaa maa.Nguu.N jab mil ga_e tum mujhe sajanaa
mai.n to aa ga_ii bas me.n tumhaare
he: meraa dil hai tumhaaraa nazaraanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
As we come to the next movie of Shakeel, and I have selected as many as five songs of the movie for you, you are bound to ask me: “Is it Dilip Kumar and Vyjayanthimala’s Leader?” I can only answer with a firm: Yes indeed it is.
This was his 21st movie with the music director and his mentor Naushad Ali. The story was written by Dilip Jain. The movie was produced by Sashadhar Mukherjee and directed by Ram Mukherjee.
(Pic courtesy: learningandcreativity.com)
The movie had the following songs:
1 “Apni Azadi Ko Hum” Mohammed Rafi 4:38
2 “Dayya Re Dayya” Asha Bhosle 7:12
3 “Ek Shahenshah Ne Banwa Ke” Mohammed Rafi, Lata Mangeshkar 5:16
4 “Hameen Se Muhabbat” Mohammed Rafi 3:21
5 “Mujhe Duniya Walo” Mohammad Rafi 4:25
6 “Tere Husn Ki Kya Tarif Karun” Mohammed Rafi, Lata Mangeshkar 4:42
7 “Aaj Hai Pyar Ka Faisla” Lata Mangeshkar 3:30
8 “Aaj Kal Shauqe Deedar Hai” Mohammed Rafi, Asha Bhonsle 4:16
Let’s take one of the most popular patriotic songs of our era. This was sung by Mohammad Rafi. Various other artisetes have performed this song in the last 52 years.
Leader was one of the first few movies that exposed the politician-criminal nexus.
Please enjoy: Apni azaadi ko ham hargiz mitaa sakate nahin….
apanii aazaadii ko ham haragiz miTaa sakate nahii.n
sar kaTaa sakate hai.n lekin sar jhukaa sakate nahii.n
hamane sadiyo.n me.n ye aazaadii kii nemat paaii hai
saika.Do.n qurabaaniyaa.N dekar ye daulat paaii hai
muskaraakar khaaii hai.n siino.n pe apane goliyaa.N
kitane viiraano.n se guzare hai.n to jannat paaii hai
Kaak me.n ham apanii izzat ko milaa sakate nahii.n
kyaa chalegii zulm kii ahale vafaa ke saamane
jaa nahii.n sakataa koii sholaa havaa ke saamane
laakh fauje.n le ke aaii aman kaa dushman koii
ruk nahii.n sakataa hamaarii ekataa ke saamane
ham vo patthar hai.n jise dushman hilaa sakate nahii.n
vaqt kii aazaadii ke ham saath chalate jaae.nge
har qadam par zi.ndagii kaa ruK badalate jaae.nge
gar vatan me.n bhii milegaa koI gaddaar-e-vatan
apanii taaqat se ham usakaa sar kuchalate jaae.nge
ek dhokhaa khaa chuke hai.n aur khaa sakate nahii.n
Day #29 of 31
Song #87
The last song for Day #29:
The 1964 movie Leader got Dilip Kumar yet another Filmfare Best Actor award. You can make out why. On one hand he had this super joshila patriotic song: Apni azaadi ko ham hargiz mita sakte nahin. One the other hand, he had this naughty (deliberately so) sharaabi song!
The best part is that the most versatile Mohammad Rafi sang this too with equal ease, on Naushad’s composition.
Please enjoy: Mujhe duniyawaalo shraabi na samajho….
(mujhe duniyaa vaalo.n, sharaabii na samajho
mai.n piitaa nahii.n huu.N, pilaayii gayii hai ) – 2
jahaa.N bekhudii me.n kadam la.Dakha.Daaye
vahii raah mujhako dikhaayii gayii hai
mujhe duniyaa vaalo.n sharaabii na samajho
mai.n piitaa nahii.n huu.N pilaayii gayii hai
nashe me huu.N lekin mujhe ye khabar hai
ke is zindagii me.n sabhii pii rahe.n hai
kisii ko mile hai.n chhalakate piyaale
kisiiko nazar se pilAyii gayii hai
mujhe duniyaa vaalo.n …
zamaane ke yaaro.n, chalan hai.n niraale
yahaa.N tan hai.n ujale, magar dil hai.n kaale
ye duniyaa hai duniyaa yahan mAr Dar ke
dilo.n kii kharaabii chhupaayii gayii hai
mujhe duniyaa vaalo.n …
https://www.youtube.com/watch?v=kAgcmS4sir0
Appreciating Good Lyrics Song #29
Last three days of the countdown and I have to select, from the remaining ones, the best three. In this process, ladies and gentlemen, if I miss out any of your favourites, please forgive me.
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-eight days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
Today we take up our 29th Lyricist Khumar Barabankwi‘s creation.
I had to keep, for the last three days, some of the best. And, you will agree with me that Khumar is amongst the best with such delightful songs as: Bhula nahin dena ji bhula nahin dena, Dil ki mehfil saji hai chale aayiye, Saaj ho tum awaaz hoon main, and his famous ghazal that Hariharan sang as late as in 1994: Mujhe phir wohi yaad aane lage hain, jinhe bhholne mein zamaane lage hain!
First of all, Barabanki, the place of birth of Muhammad Haider Khan, who later took up the takahllus of Khumar (Intoxicated; from the Arabic word for wine=khum), is less than 300 kms from Badayun in Uttar Pradesh, the birthplace of Shakeel! This is roughly the distance between Delhi and Chandigarh.
Khumar was born there on 20 Sep 1919, three years after Shakeel.
Unlike Shakeel (Handsome), who had only a distant uncle who was interested in poetry, Khumar had a whole family: His father Dr. Ghulam Haider wrote salams and marsiyas under pen name ‘Bahar’. “His uncle ‘Qaraar Barabnkvi’ was a well-known poet of Barabanki who guided Khumar in young age and did Islah (Corrections) to his poetry. His brother Kazim Haider ‘Nigar’ who died in early age was also a poet”.
Jigar Moradabadi, who inspired Majrooh Sultanpuri too, inspired Khumar in mushairas.
His first movie was also an AR Kardar movie with Music Director Naushad: the 1946 movie Shahjehan with KL Saigal in the title role. By now you recall that Shakeel’s was AR kardar’s 1947 movie Dard with Naushad with the most beautiful song: Afsaana likh rahi hoon.
Khumar too penned a Tasveer song that became super hit. Whereas, Shakeel wrote the 1952 movie Deewana song sung by Mohammad Rafi (I have already given you that): Tasveer banaata hoon teri khoon-e-jigar se; Khumar wrote an equally beautiful number for the 1955 movie Baradari that was composed not by Naushad but by Nashad!
At this juncture, you are bound to ask me if I live by music and songs to know these details. Well, I live by Shakeel’s songs and I also know, by comparison, matching lyrics. My adoration is, therefore, not mere fancy.
There is one more why I should like this Tasveer song too quite a lot and for those who have been following me, here is the hint: It has something in common with Shakeel’s Chaudhvin ka chand ho, Suhaani raat dhal chuki, and Tanvir Naqvi’s Awaaz de kahan hai (that I gave you day before yesterday).
Okay, that was easy to guess; thank you for being in sync with me. These were all composed in the Raag of my home-station (in the hills): Raag Pahadi. This one, though is in Tal Kaherava.
bedard muhabbat kA, itanaa saa hai afasaanaa – 2
nazaro.n se milii nazare.n, mai.n ho gayaa dIvaanaa
ab dil ke bahalane kii, tadabIr nahii.n banatI, tasaviir nahii.n banatI
tasaviir banaata huu.N …
dam bhar ke liye merI, duniyA me.n chale aao – 2
tarasii huI aa.Nkho.n ko, phir shakl dikhaa jaao
mujhase to merI biga.Dii, takadIr nahii.n banatI, tasaviir nahii.n banatI
tasaviir banaata huu.N …
https://www.youtube.com/watch?v=0OwjFboPjSc
Day #30 of 31
Song #88
Last two days of the countdown to the Birth Centenary of Shakeel Badauni. It is literally an august month in which someone as Shakeel (handsome) as him should be born. They say ‘Handsom is that who handsome does’. In his case he wrote handsomely.
Likhane waalon ne bahut likhe dil ke kalaam, Ham to phir bhi rahe Shakeel ke ghulaam, Woh dard ke afsaane sunaate rahe, Ham sunte rahe aur karte rahe jhuk ke salaam.
The 1964 movie Leader, however, had no “dard ke afsaane” since it was a rebellious movie. However, it had a song that was of a genre’ for which Shakeel got two of his Filmfare awards; that is, to describe the beauty of the woman.
This was as popular, if not more, as the other Husn songs; though a little bit on the naughty side, in keeping with the image of Dilip Kumar in the movie.
Being a duet, it has been sung by Mohammad Rafi and Lata Mangeshkar. Naushad composed it in the evening Raaga: Kalyan, Tal Kaherava.
Please enjoy the ever popular: Tere husn ki kyaa tareef karun, kuchh kehte huye bhi darta hoon…..
lataa: mere dil me.n kasak sI hotI hai, mere dil me.n
mere dil me.n kasak sI hotI hai
tere raah se jab mai.n guzaratii huu.N
is baat se ye nA samajh lenaa
kii mai.n tujhase mohabbat karatii huu.N
rafii: (terI baat me giito.n kii saragam
terI chaal me paayal kii chham chham ) – 2
koI dekh le tujhako ek najar – 2
mar jaae.n terI aa.Nkho.n kasam
mai.n bhI huu.N ajab ik dIvaanaa
marataa huu.N nA aahe.n bharataa huu.N
kahii.n bhuul se tU nA samajh baiThe
kii mai.n tujhase mohabbat karataa huu.N
dono: aa…
lataa: (mere saamane jab tU AtA hai
jii dhak se meraa ho jaataa hai ) – 2
letii hai tamannaa a.nga.Daayii – 2
dil jaane kahaa.N kho jaataa hai
mahasuus ye hotA hai mujhako
jaise mai.n terA dam bharatii huu.N
is baat se ye nA samajh lenaa
kii mai.n tujhase mohabbat karatii huu.N
rafii: tere husn kii kyA taariif karuu.n
kuchh kahate hue bhI Darataa huu.N
kahii.n bhuul se tU nA samajh baiThe
kii mai.n tujhase mohabbat karataa huu.N
https://www.youtube.com/watch?v=_UL0b6PMJJA
Day #30 of 31
Song #89
So far, you would have noticed, that the 1964 movie Leader songs happen to be full of zest, as was the case with Shakeel’s 1960 movie Kohinoor that was devised to give a happy break to the “tragedy king” Dilip Kumar since he had gone into depression doing all the lugubrious roles.
In Leader, Dilip Kumar was a lawyer who had taken to publishing a newspaper. Vyjayanthimala was a princess that he had started loving. She joined him in exposing the criminal-politician nexus. But, he himself was accused of murdering a political leader in the run-up to the general elections.
This song is Dilip Kumar’s response to the anger of Vyjayanthimala and also became very popular. Once again, Mohammad Rafi sang it.
Please enjoy: Hamin se mohabbat, hamin se ladaayi, are maar daala duhaai duhaai….
hamii.n se muhabbat hamii.n se la.Daa_ii
are maar Daalaa duhaa_ii duhaa_ii
abhii naasamajh ho uThaao na Kha.njar – 2
kahii.n mu.D na jaaye tumhaarii kalaa_ii
sitam aaj mujh par jo tum Dhaa rahii ho ho
ba.Dii Khuubasuurat nazar aa rahii ho
ye jii chaahataa hai ke Khud jaan de duu.N -2
muhabbat me.n aaye na tum par buraa_ii
hame.n husn kii har adaa hai gavaaraa
hasiino.n kaa Gussaa bhii lagataa hai pyaaraa
udhar tum ne tiir-e-nazar dil pe maaraa – 2
idhar hamane bhii jaan par choT khaa_ii
% I may be wrong about this last line
karo Khuun tum yuu.N na mere jigar kaa
bas ik vaar kaafii hai tirchhii nazar kaa
yahii pyaar ko aazamaane ke din hai.n – 2
kiye jaao ham se yuu.N hii bevafaa_ii
Day #30 of 31
Song #90
And now for the last (the fifth one that I had promised) song of the 1964 movie Leader starring Dilip Kumar and Vyjayanthimala, the 21st movie in which Shakeel Badayuni paired with Naushad Ali.
I have always shown this song for the contrasting styles of Shakeel Badayuni and Sahir Ludhianvi. Sahir’s focus of poetry was the social inequities of that era and hence Taj Mahal was a symbol of the inequities between an emperor and the poor people. Hence he wrote:
“Ek Shahenshah ne banwa ke haseen Taj Mahal, Ham gareebon ki mohabbat ka udhaya hai mazaak”
The same Taj Mahal, to Shakeel, was a symbol of Love.
Mohammad Rafi and Lata Mangeshkar sang this song together for Dilip Kumar and Vyjayanthimala when they visit the Taj Mahal.
Naushad, the master of compositions in Raagas, based it on Raag Lalit, Tal Dadra.
Please enjoy: Ek shahenshah ne banwa ke haseen Taj Mahal, Saari duniya ko mohabbat ki neeshani di hai…
ek shahanshaah ne banavaa ke hasI.n taajamahal
saarii duniyaa ko muhabbat kii nishaanii dii hai
isake saaye me sadaa pyaar ke charche ho.nge
khatm jo ho naa sakegii vo kahaanii dii hai
ek shahanshaah ne banavaake …
taaj vo shammaa hai ulfat ke sanam khaane kii
jisake paravaano me mufalis bhii zaradaar bhii hai
sa.ng-e-maramar me samaae hue khvaabo.n kii qasam
marahale pyaar ke aasaan bhii dush{}vaar bhii hai.n
dil ko ek josh iraado.n ko javaanii dii hai
ek shahanshaah ne banavaake …
taaj ik zindaa tasavvur hai kisii shaayar kaa
isaka afasaanaa hakiikat ke sivaa kuchh bhii nahii
isake aagosh me aakar ye gumaa.n hotaa hai
zindagii jaise muhabbat ke sivaa kuchh bhii nahii
taaj ne pyaar kii maujo.n ko ra_vaanii dii hai
ek shahanshaah ne banavaake …
ye hasI.n raat ye mahakii huii puranUr fazaa
ho ijaazat to ye dil ishq kaa izahaar kare
ishq insaan ko insaan banaa detaa hai
kisakii himmat hai muhabbat se jo inakaar kare
aaj takadIr ne ye raat suhaanii dii hai
ek shahanshaah ne banavaake …
https://www.youtube.com/watch?v=TehJFYrDFJw
Appreciating Good Lyrics Song #30
Last two days of the countdown and you would be surprised that if a lyricist of the calibre of Khumar Barabankwi came up on the third last day and today I have someone of the high calibre of Asad Bhopali, who would be there on the last day?
Have faith in my planning please.
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-nine days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Woh jab yaad aaye bahut yaad aaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
Today we take up our 30th and 2nd last Lyricist Asad Bhopali’s creation.
Asad Bhopali was born as Asadullah Khan on 10th Jul 1921 (5 years after Shakeel), in Bhopal. Just four days back I gave you the contribution of Arzoo Lucknowi and that poet and lyricist was indirectly responsible for getting Asad in the movies. Well, what happened was that Arzoo migrated to Pakistan after writing just two songs of the 1949 movie Duniya and the makers of the movie: Fazli Brothers were looking for a new Lyricist. This is somewhat similar to how C Ramchandra came in to compose the songs of the 1953 movie Anarkali after its original composer Vasanth Prakash died after recording just one Geeta Dutt song: Aa jaane wafa.
After having taken the first step to become a lyricist in 1949 movie Duniya, Asad established himself with the 1951 BR Chopra movie Afsana.
He went on to write such beautiful numbers as:
1. Zindagi bhar gham judaai ka mujhe tadpaayega in 1957 movie Miss Bombay, a composition of hansraj Behl sung beautifully by Mohammad Rafi.
2. Main khushnaseeb hoon mujhako kisi ka pyaar mila in 1962 movie Tower House starring Ajit and Shakeela; a composition of Ravi sung by Mukesh.
3. Sau baar janam lenge, sau baar fanaa honge in 1963 movie Ustaadon Ke Ustaad starring Pradeep Kumar and Shakeela, a composition of Ravi sung by Rafi.
4. Ajnabee tum jaane pehchaane se lagate ho in 1965 movie Hum Sab Ustaad Hain, a composition of Laxmikant Pyarelal sung as a duet by Lata Mangeshkar and Kishore Kumar.
5. Ham tumase judaa hoke mar jaayege ro ro ke in 1965 movie Ek Sapera Ek Lutera starring Feroze Khan; a composition of Usha Khanna sung by Rafi.
You would also recall his having penned the songs of the 1989 movie Maine Pyaar Kiya with such songs as Dil deewana bin sajna ke maane na; and Kabootar jaa jaa jaa.
For its lyrical excellence and matching lyrics with Shakeel Badayuni, lets take up the very first song that comes to one’s mind when one thinks of Asad Bhopali.
This all-time super-hit song is from the 1963 movie Parasmani starring Geetanjali and Mahipal and sung for them by Lata Mangeshkar and Mohammad Rafi. Laxmikant Pyarelal composed it in Raag Kalyan, Tal Kaherava.
Please enjoy: Woh jab yaad aaye bahut yaad aaye….
vo jab yaad aae bahut yaad aae
Gam-e-zi.ndagii ke a.ndhere me.n hamane
chiraag-e-muhabbat jalaae bujhaae
aahaTe.n jaag uThii.n raaste ha.ns diye
thaamakar dil uThe ham kisii ke liye
ka_ii baar aisaa bhii dhokhaa huaa hai
chale aa rahe hai.n vo nazare.n jhukaae
dil sulagane lagaa ashq bahane lage
jaane kyaa-kyaa hame.n log kahane lage
magar rote-rote ha.nsii aa ga_ii hai
Kayaalo.n me.n aake vo jab muskuraae
vo judaa kyaa hue zi.ndagii kho ga_ii
shammaa jalatii rahii roshanii kho ga_ii
bahut koshishe.n kii.n magar dil na bahalaa
ka_ii saaz chhe.De ka_ii giit gaae
Day #31 of 31
Song #91
And finally the last day of the countdown. Tonight, I shall be posting a total of ten songs (still maintaining the chronological order) so as to make it a hundred before Shakeel’s birth centenary only a few hours away now.
His next movie in 1964 Kaise Kahoon was a unique one in that for the first time since 1947 movie Dard (his first one), for the first time in his 42 movies until then, he paired with Sachin Dev Burman.
The movie had seven songs as below:
1. Dil kaa dard niraalaa
2. Haule\-haule jiyaa Dole
3. Kaise kahuu.N tujhase jiyaa kii mai.n batiyaa.N
4. Man se chi.ntaa kii ghaTaa duur ho jaa
5. Manamohan man me.n ho tumhii.n
6. Tum hame.n pyaar karo yaa na karo
7. Kisi ki mohabbat mein.
We shall be taking up two of these.
The first one, Manmohan man mein ho tumhin, was composed by SD Burman in Raag Adana, Tal Tintal. The bhajan once again reflects the mastery of Shakeel over this genre’ of music.
Mohammad Rafi, Sudha Malhotra and SD Batish have sung this.
Please enjoy: Manmoham man mein ho tumhin….
shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …
SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~
Day #31 of 31
Song #92
The 1964 movie Kaise Kahoon was directed by Atma Ram and starred Biswajeet with Nanda.
We shall take up another song from the movie; a song that reflects the same kind of irony that was there in Amar’s Na milata gham to barbaadi ke afsaane kahan jaate. Indeed, the reason that I ahave labelled him the King of Irony is only for these kind of songs.
As with the Amar song, this too has been sung by Lata Mangeshkar, exactly ten years after the Amar song.
Please enjoy: Tum hamen pyaar karo yaa na karo, ham tumhen pyaar kiye jaayenge…..
tum hame.n pyaar karo yaa na karo
ham tumhe.n pyaar ki_e jaa_e.Nge
chaahe qismat me.n Kushii ho ke na ho
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
ham nahii.n vo jo Gam-e-ishq se ghabaraa jaa_e.N
ho ke maayuus zubaa.N par ko_ii shikavaa laa_e.N
chaahe kitanaa hii ba.Dhe dard-e-jigar
apane ho.nTho.n ko si_e jaa_e.Nge
tum hame.n pyaar …
tum salaamat ho to ham chain bhii paa hii le.nge
kisii suurat se lagii dil kii bujhaa hii le.nge
pyaar kaa jaam mile yaa na mile
ham to aa.Nsuu bhii pi_e jaa_e.Nge
tum hame.n pyaar …
to.D dii aas to phir itanaa hii ehasaan karo
dil me.n rahanaa jo na chaaho to nazar hii me.n raho
Thes lagatii jo hai dil par to lage
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
Day #31 of 31
Song #93
We progress to the 1964 movie Door Ki Awaz in which Shakeel Badayuni was back with Ravi, the 9th movie of the pair together (they would do three more: Phool Aur Patthar, Do Badan, and Aurat; but those I shall take up after tomorrow).
The movie had the following songs; a most successful movie as far as songs were concerned:
1.”Husn Se Chand Bhi Sharmaya Hai ” – Mohammed Rafi
2. “Ek Musafir Ko Dunia Me Kya Chahiye ” – Mohammed Rafi
3. “Hum Bhi Agar Bachche Hote, Happy Birthday To You” – Asha Bhosle, Mohammed Rafi, Manna Dey
4. “Muqaddar Aajamaanaa Chaahataa Hoon” – Mohammed Rafi
5. “Banaa Ke Meraa Muqaddar, Kyaa Yun Hi Ruth Ke” – Mohammed Rafi
6. “Dil Mera Aaj Kho Gaya Hai Kahin “- Mohammed Rafi
7. “Tut Gayi Mere Man Ki Muraliya ” – Asha Bhosle
8. “Mohe Tirchhi Najariya Na Maro” – Asha Bhosle
9. “Haathon Men Haath Honthon Pe Afasaane Pyaar Ke ” – Asha Bhosle, Mohammed Rafi
We shall be taking up as many as five of these songs; it is easy to guess which of these five!
Since two of the songs of Husn with Ravi got Shakeel two consecutive Filmfare awards: Chaudhvinh ka Chand, and Husn waale tera jawaab nahin, it was hoped that this too may fetch another. It didn’t but it is still a beautiful song on beauty of a female.
Please enjoy Mohammad Rafi sing: Husn se chand bhi sharmaaya hai…
( husn se chaa.Nd bhii sharamaayaa hai
terii suurat ne gazab Dhaayaa hai ) -2
haay in pyaar me.n Duubii hu_ii aa.Nkho.n kii qasam
aadamii kyaa hai farishto.n ke bahak jaa_e.N qadam
bin pi_e mujhape nashaa chhaayaa hai
terii suurat ne …
jab se paayaa hai tujhe hosh nahii.n hai mujhako
yaa to ye sach hai ki dekh rahaa huu.N tujhako
yaa ko_ii Kvaab nazar aayaa hai
terii suurat ne …
muskaraa_e.N jo tere lab to bahaare.n aa_ii.n
khil ga_e phuul pa.Dii terii jahaa.N parachhaa_ii.n
tuune gulashan meraa mahakaayaa hai
terii suurat ne …
Day #31 of 31
Song #94
The 1964 movie Door Ki Awaz was directed by Devendra Goel and starred Joy Mukherjee, Saira Bano, Pran, Johnny Walker and Om Prakash.
Lets take up the third song from the movie. It is a children’s song and just like Shakeel’s Dadi amma, dadi amma maan jaayo; and Nanha munna rahi hoon, it is the evergreen birthday song.
Please enjoy Mohammad Rafi, Asha Bhosle and Manna Dey sing: Ham bhi agar bachche hote….
ham bhii agar bachche hote -2
naam hamaaraa hotaa gabaluu babaluu
khaane ko milate laDDuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
ko_ii laataa gu.Diyaa, moTar, rel
to ko_ii laataa phirakii, laTTuu
ko_ii chaabii kaa TaTTuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( kitanii pyaarii hotii hai ye bholii sii umar
na naukarii kii chintaa na roTii kii phikar ) -2
nanhe-munne hote ham to dete sau hukum
piichhe-piichhe ##papa-mummy## banake naukar
##chocolate, biscuit, toffee## khaate aur piite dudduu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( kaise-kaise naKare karate gharawaalo.n se ham
pal me.n ha.Nsate pal me.n rote karate naak me.n dam ) -2
akka.D-bakka.D lukka-chhupii kabhii chhu_aa-chhuu
karate din bhar hallaa-gullaa da.ngaa aur udham
aur kabhii zid par a.D jaate jaise a.Diyal TaTTuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( ab to ye hai haal ke jab se biitaa bachapan
maa.N se jhaga.Daa baap se Takkar biiwii se anaban ) -2
kolhuu ke ham bail bane hai.n dhobii ke gadhe
duniyaa bhar ke DaNDe sar pe khaaye.n danaadan
bachapan apanaa hotaa to na karate Dhe.Nchuu-Dhe.Nchuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
https://www.youtube.com/watch?v=EM9pkTUQgvk
Day #31 of 31
Song #95
As promised, the fifth song of the day is the third song from the 1964 movie Door Ki Awaz. Johnny Walker was given a number of super hit songs by Op Nayyar such as Ai dil hai mushkil jeena yahan. SD Burman gave him the famous Sar jo tera chakraaye in 1957 movie Pyaasa.
Here in Door Ki Awaz, Ravi gave him two super hit songs: Ham bhi bachche hote that we listened to just now and this train song that is so funny. It was very popular during our times.
This was sung by Mohammad Rafi.
Hats off to both Shakeel and Rafi for such comical songs too, whilst their forte’ was serious and sad songs; the hallmark of geniuses.
Please enjoy: Ik mussafir ko duniya mein kyaa chahiye….
ik musaafir ko duniyaa me.n kyaa chaahi_e
sirf tho.Dii sii dil me.n jagah chaahi_e
baiTh jaa_uu.N
o moTe laalaa tuune kiyaa hai kaisaa chhal
##Ticket## teraa ##single## magar tuu ##double## -2
khisak zaraa pyaare sarak zaraa pyaare -2
aisii ##body## me.n dil bhii ba.Daa chaahi_e
ik musaafir ko …
o lambii daa.Dhii vaale tuu gussaa mat kar
hame.n bhii jagah de-de zaraa Kudaa se Dar
khisak zaraa pyaare sarak zaraa pyaare -2
teraa ##photo## na teraa pataa chaahi_e
ik musaafir ko …
ham par bhii kar do zaraa inaayat kii nazar
Kushii se kaT jaa_e hamaaraa bhii safar
khisak zaraa pyaare sarak zaraa pyaare -2
yuu.N kisii kaa na dil to.Danaa chaahi_e
ik musaafir ko …
https://www.youtube.com/watch?v=W6ZW2vcdF7Y
Day #31 of 31
Song #96
We have two more songs to go from the 1964 Devendra Goel movie Door Ki Awaz starring Joy Mukherjee, Saira Bano, Pran, Om Prakash and Johnnie Walker.
Imagine the dictates of the movie script that Shakeel had to pen funny and children’s songs and he did that with ease.
This one is light-hearted and naughty romance between Joy Mukherjee and Saira Bano. It has been sung by Mohammad Rafi.
Please enjoy: Dil mera aaj kho gaya hai kahin, aap ke paanv ke neeche to nahin?
dil meraa aaj kho gayaa hai kahii.n
aapake paa.Nv ke niiche to nahii.n
yuu.N nazar pher ke mat jaa_i_e ruki_e to zaraa
aapako merii qasam Thahari_e suni_e to zaraa
hai jahaa.N aap meraa dil hai vahii.n
aapake paa.Nv ke …
kis tarah dil kii mai.n tauhiin ga.nvaaraa kar luu.N
aapakii bholii nigaaho.n pe bharosaa kar luu.N
dil churaataa nahii.n hai kaun kahii.n
aapake paa.Nv ke …
dil churaayaa ho to pahaluu me.n chhupaa_e rakhi_e
zindagii bhar mujhe diivaanaa banaa_e rakhi_e
lekin ek baar dilaa diiji_e yaqii.n
aapake paa.Nv ke …
https://www.youtube.com/watch?v=Ehel_F2AJbg
Day #31 of 31
Song #97
Four songs of 1964 movie Door Ki Awaz so far and all funny, comical and light-hearted. At this juncture you are bound to ask me wasn’t there a single song in the movie that was sad and hence in sync with the skill of Shakeel?
Well, indeed, there was one and Mohammad Rafi sang it so well that it was an instant super-hit.
Please enjoy: Kyaa younhi rooth ke jaane ko mohabbat ki thi….
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
Day #31 of 31
Song #98
Last three songs to complete the 100 songs for the hundredth birth anniversary of the greatest poety and lyricist: Shakeel from a small town of Badayun in West UP.
That would leave us some thirty songs or so that I have selected for you until his last movie, the 1969 movie Beti. We shall take up these in the four days after the centenary so as to complete five weeks of the tribute in totality. Still to come will be songs of, for example, Do Badan, Dil Diya Dard Liya, Palki, Noorjehan, Sughursh and Aadmi.
Have patience. I shall not leave you before we have completed all.
Lets take his 45th movie, a S Khalil movie titled Benazir, the second and the last movie in which SD Burman paired with him.
The movie had the following songs:
1. Gam nahin gar zindagi veeran hai Asha Bhonsle
2. Main shola main barkha Lata Mangeshkar, Mohd. Rafi
3. Mil ja re jane jana Lata Mangeshkar
4. Dil mein ek jane tamanna ne Mohd. Rafi
5. Alvida jaane wafa meri manzil aa Lata Mangeshkar
6. Baharon ki mehfil suhani rahegi Lata Mangeshkar
7. Husn ki baharen liye aaye they sanam Lata Mangeshkar
8. Mubarak hai woh dil jisko kisi se Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar
9. Ya gafoor rahim ya allah
You would have noticed that Shakeel was back in this movie with sad songs that he was best at.
Lets take up the first song. It is said that Meena Kumari wasn’t an accomplished dancer like Vyjayanthimala, Asha Parekh and others. However, what she wanted to convey through dancing, she always did, backed by superb histrionics.
She did it in this song sung by Asha Bhosle on a composition by SD Burman.
Please enjoy: Gham nahin gar zindagi veeran hai….
miinaa kumaarii
hame.n apanaa ilaaz-e-dard-e-dil karanaa bhii aataa hai
ham aise jiine waale hai.n jinhe.n maranaa bhii aataa hai
Gam nahii.n
( Gam nahii.n gar zi.ndagii viiraan hai
ishq par ye jaan bhii qurbaan hai ) -2
Gam nahii.n gar zi.ndagii viiraan hai
hamane sab kuchh kho ke sab kuchh paa liyaa -2
apane dil ko har tarah har tarah samajhaa liyaa
ab ko_ii hasarat hai naa aramaan hai -2
Gam nahii.n gar zi.ndagii viiraan hai
ishq par ye jaan bhii qurbaan hai
Gam nahii.n gar zi.ndagii viiraan hai
chand aa.Nsuu pyaar kii daulat nahii.n -2
ro ke jiine me.n ko_ii ko_ii lazzat nahii.n
ha.Ns ke mar jaanaa wafaa kii shaan hai
ishq par ye jaan bhii qurbaan hai
https://www.youtube.com/watch?v=4gQdpw78-9A
Day #31 of 31
Song #99
The second song of the 1964 movie Benazir that I have selected for you has been sung by Mohammad Rafi.
As the second last song for the countdown to his birth centenary, it is a show case song of his lyrical excellence.
Also, brief though the appearances of Shashi Kapoor and Tanuja in the movie, they both did very well indeed. Shashi always has done a good job acting on good poetry, eg, in Kanyadaan (Hasrat Jaipuri’s): Meri zindagi mein aate to ye aur baat hoti; and in Dharamputra: Bhool sakata hai bhala kaun tumhaari aankhen? (Sahir’s).
Please enjoy this happy Shakeel song: Dil mein ek jaane tamanna ne jagah paayi hai…..
aaj shiishe me.n baar-baar unhe.n dil kii suurat dikhaa_ii detii hai
apanii suurat nazar nahii.n aatii merii suurat dikhaa_ii detii hai
dil me.n ek jaan-e-tamannaa ne jagah paa_ii hai
aaj gulashan me.n nahii.n ghar me.n bahaar aa_ii hai
aa gayaa aa gayaa mere tasavvur me.n ko_ii paradaanashiin -2
aaj har chiiz nazar aatii hai mujhako hasii.n
kyaa karuu.N mai.n ba.Dii dilakash merii tanhaa_ii hai
aaj gulashan me.n nahii.n …
bahakii-bahakii nashaa-e-husn me.n kho_ii-kho_ii
jaise Kyaalo.n kii ra.ngiin rubaa_ii ko_ii
dil ke shiishe me.n parii ban ke utar aa_ii hai
aaj gulashan me.n nahii.n …
husn ke saamane izahaar-e-vafaa hai mushkil -2
kaash chhup kar hii vo sun le meraa naalaa-e-dil
jisane pyaar kii ma.nzil mujhe dikhalaa_ii hai
aaj gulashan me.n nahii.n …
https://www.youtube.com/watch?v=lh5DSQSIHjw
Day #31 of 31
Song #100
The hundredth song for the hundredth birth anniversary of Shakeel Badayuni – my all time favourite poet and lyricist. His songs, ghazals and nazams strike the right chords with me and make me wistfully recall that era when good lyrics ruled the movies. Indeed, some movies became super-hits only on the strength of their songs.
His 46th movie was a Nisar Ahmad Ansari movie called Zindagi Aur Maut, in which, for the first time, he paired with Music Director C Ramchandra of Anarkali fame.
The 1965 movie Zindagi Aur Maut was a low budget movie; a spy thriller. It starred Bela Bose, Nilofar, Pradeep Kumar, and Johnny Walker.
There is a song in the movie that is the perfect song to end this 100 songs tribute. It is a happy song too!
It was sung by Mahendra Kapoor and also by Asha Bhosle.
Please enjoy: Dil laga kar ham ye samajhe zindagi kyaa cheez hai…
dil lagaakar ham ye samajhe, zi.ndagii kyaa chiiz hai
ishq kahate.n hai.n kise aur, aashiqii kyaa chiiz hai
haay ye ruKasaar ke shole, ye baahe.n marmarii
aapase milakar ye do baate.n, samajh me.n aa ga_ii.n
dhuup kisakaa naam hai aur chaa.Ndanii kyaa chiiz hai
aapakii shoKii ne kyaa-kyaa, ruup dikhalaa_e hame.n
aapakii aa.Nkho.n ne kyaa-kyaa, jaam pilavaa_e hame.n
hosh kho baiThe to jaanaa, beKudii kyaa chiiz hai
aapakii raaho.n me.n jabase hamane rakhaa hai qadam -2
hamako ye mahasuus hotaa hai ki hai.n ma.nzil pe ham
koii kyaa jaane mohabbat kii khushii kyaa chiiz hai
Appreciating Good Lyrics Song #31
No looking down but let me see how many of you have been able to guess the last lyricist in the countdown so as to make the last day special? Please write in the comments below if you were indeed able to guess.
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja.
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
30. Asad Bhopali with Woh jab yaad aaye.
Today we take up our 31st and last Lyricist SH Bihari‘s creation, the most under-rated of all Lyricists in the Hindi film industry.
Shamshul Huda Bihari (SH Bihari) was born in 1922 in the district of Ara in Bihar and died on 25 Feb 1987 of a heart attack. He graduated from Presidency College in Calcutta.
In 1947, he moved to Bombay from Calcutta and took up writing lyrics for Hindi songs in the movies. In the late fifties and sixties, his work, particularly his partnership with composer OP Nayyar and the singer Asha Bhosle was exceptionally popular.
His debut in Hindi movies was with the 1954 movie Shart, wherein two of his songs are my all time favourites: Naa yeh chand hoga naa sitaare rahenge; and Dekho woh chand chhupake karta hai kyaa ishaare. These are particularly dear to me since they have been sung by my favourite singer Hemant Kumar.
Some of his other popular songs are (not in any order):
1. Aap youn hi agar hamase milate rahe (Mohammad Rafi, Asha Bhosle singing on the composition of OP Nayyar in 1962 movie Ek Musafir Ek Haseena)
2. Chain se hamako kabhi aap ne jeene na diya (Asha Bhosle singing on OP Nayyar’s composition in 1973 movie Praan Jaaye Par Vachan Na Jaaye)
3. Yeh hansta hua karvaan zindagi ka na poochho chala hai kidhar (Ek Jhalak, 1956)
4.bahut shukriya badi mehrbaani meri zindagi mein huzoor aap aaye (Ek Musafir Ek Haseena, 1962)
5.Taarif karoon kya uski jisne tujhe banaya (Kashmir Ki Kali, 1964)
6. Zara haule haule chalo more saajna ham bhi peechhe hain tumhaare (Sawan Ki Ghata, 1966)
7.Yyehi woh jagah hai yehi woh fiza hai jahaan par (Yeh Raat Phir Na Aayegi, 1966)
8. Kajra mohabbatwaala ankhiyon mein aisa daala kajre ne le lee meri jaan (Kismat, 1968)
9. Laakhon hain yahan dilwale.
10. Mera pyaar woh hai ke.
I can go on and on since SH Bihari actually wrote some of the most romantically fresh numbers in the movies.
Matching lyrics with Shakeel Badayuni? I can think of several even though sad and deep numbers wasn’t his forte in comparison to ever-green romantic songs.
In comparison to his Phir thes lagi dil mein phir yaad ne tadpaaya, Raaton ko chori chori bole mera kangana, Ham pe ilzaam ye kyun hai ke mohabbat ki hai, and Woh hanske mile hamase ham pyaar samajh baithe; I have selected a very early song of his.
It is from the 1954 movie Gawaiyya. It has been composed by Ram Ganguly and it happens to be my favourite SH Bihari sad song.
It has been sung by Surendra. Later, Talat Mehmood too sang it.
Please enjoy: Teri yaad ka deepak jalata hai din raat mere veerane mein…..
terii yaad kaa diipak jalataa hai din raat mere viiraane me.n
vo paagalapan jo pahale thaa ab bhii hai tere diivaane me.n
din raat meraa Gam ba.Dhataa gayaa par terii muhabbat kam na huii
jo lutf ta.Dapane me.n paayaa vo baat kahaa.N mar jaane me.n
ik aag sulagatii rahatii hai har vaqt meraa dil jalataa hai
hai shauq magar kuchh aur abhii jalane kaa tere paravaane me.n
Ladies and gentlemen, with this I complete 31 days of Countdown to the Birth Centenary of Shakeel Badayuni who was born on 03 Aug 1916 in the small town of Badayun in UP.
I completed the countdown in five parts and I have still not finished with his songs. From more than 750 songs that he penned, I selected 135 to give you and we still have 35 songs to go until his last movie: the 1969 movie Beti.
These I shall cover in Part VI.
I hope you liked my selection so far including one each of 31 of his contemporary lyricists in a feature called ‘Appreciating Good Lyrics’.
Please remain with me for the last 35 songs in Part VI.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
We have completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16 and Part III from 17 Jul to 23 Jul. Those of you who read the three parts so far would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. Finally, in Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part III, I have covered seven more of them:
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
With this, we are ready to move into Part IV, covering the fourth week of the countdown, from day 22 to day 28. Before we do, here is my own adoration:
Dil pe chot khaana mohabbat ka ek andaaz hai,
Chot khaa ke likhana yeh Shakeel ki awaaz hai,
Waise to kayi aur nagmaagar huyen hain lekin,
Shakeel ki saalgirah haseen shayari ka agaaz hai.
Day #22 of 31
Song #64
In chronological order, with a few exceptions, we had taken up the songs of Shakeel Badayuni from 1947 to the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam that had songs written by Shakeel and composed by Hemant Kumar.
The movie starred Meena Kumari as Chhoti Bahu, Guru Dutt as Atulya Chakraborty ‘Bhootnath’, Rehman as Chhote Sarkar, Waheeda Rehman as Jaba and Nazir Hussain as Subinay Babu (Jaba’s father).
The movie was about the rot in West Bengal’s feudal society.
We have already taken up three songs from the movie: Saaqiya aaj mujhe neend nahin aayegi, Piya aiso jiya mein samayi gaiyo re, and Na jaayo sainya chhuda ke bainya. The first one was picturised on the courtesan Minoo Mumtaz with Rehman and his cronies viewing the dance, the second one on Meena Kumari and the third one on Meena Kumari and her husband Rehman.
A scene from the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam
The next one has haunting tune. It displays the agony of a young married Meena Kumari for her husband Rehman whilst she is alone in the haveli and he is out enjoying the company of courtesans. It has been sung equally hauntingly by Geeta Dutt.
(raat raat bhar i.ntazaar hai
dil dard se beqaraar hai ) – 2
saajan itanaa to naa ta.Dapaao, chale aao
chale aao – 3
koI duur …
(aas to.Dake mukh mo.Dake
kyaa paaoge saath chho.Dake ) – 2
mere man ko ab yuu.N naa itanaa tarasaao
chale aao – 3
koI duur …
Day #22 of 31
Song #64
We are continuing with the songs of the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam.
So far all the songs that we have taken up are on Sahib and Bibi, that is on Rehman and Meena Kumari.
Now, lets take up songs on Ghulam and his love: Guru Dutt and Waheeda Rehman, the contrast being all the more sharp as they had simple life as compared to the feudal lords.
This has been sung by Asha Bhosle for Waheeda Rehman singing for the naivete of Guru Dutt.
Please enjoy: Bhanvara bada nadaan haay….
bha.Nvaraa ba.Daa naadaan haay
bagiyan kaa mehamaan haay
phir bhii jaane na jaane na jaane na
kaliyan kii musakaan haay
bha.Nvaraa ba.Daa naadaan …
kabhii u.D jaaye kabhii ma.nDaraaye
bhed jiyaa ke khole na
saamane aaye nain milaaye
mukh dekhe kuchh bole na, vo mukh dekhe kuchh bole na
bha.Nvaraa ba.Daa naadaan haay …
akhiyo.n me.n rajake chale bach bachake
jaise ho koii begaanaa
rahe sa.Ng dil ke mile nahii.n milake
banake rahe vo anjaanaa, ho banake rahe vo anjaanaa
bha.Nvaraa ba.Daa naadaan haay …
koii jab roke koii jab Toke
gun gun karataa bhaage re
na kuchh puuchhe na kuchh buujhe
kaisaa anaa.Dii laage re, vo kaisaa anaa.Dii laage re
bha.Nvaraa ba.Daa …
https://www.youtube.com/watch?v=DHyRikMZXqw
Day #22 of 31
Song #66
Guru Dutt as Bhootnath and Waheeda Rehman as Jaba were shown in the movie as innocent and shy couple in contrast to Meena Kumari as Chhoti Bahu of the haveli longing for her husband Rehman as Chhote Sarkar.
This song depicts that Waheeda was unable to bring out her feelings for a shy and naive Guru Dutt and hence had to do without it.
Please enjoy: Meri baat rahi meri man mein……
merii baat rahii mere man me.n
kuchh kah na sakii ulajhan me.n
mere sapane adhuure, hue nahii.n puure
aag lagii jiivan me.n
merii baat rahii mere man me.n …
o rasiyaa, man basiyaa
rag rag me.n ho tum hii samaaye
mere nainaa kare bainaa
meraa dard na tum sun paaye
jiyaa moraa pyaasaa rahaa saavan me.n
merii baat rahii mere man me.n …
kuchh kahate, kuchh sunate
kyo.n chale gaye dil ko masal ke
merii duniyaa huii suunii
bujhaa aas kaa diipak jal ke
chhaayaa re andheraa merii akhiyan me.n
merii baat rahii mere man me.n …
tum aao ki na aao
piyaa yaad tumhaarii mere sa.ng hai
tumhe kaise ye bataa_uu.N
merii priit kaa niraalaa ek ra.ng hai
laagaa ho ye nehaa jaise bachapan me.n
merii baat rahii mere man me.n …
https://www.youtube.com/watch?v=yH90122MXws
Appreciating Good Lyrics Song #22
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-one days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
Today we take up our 22nd Lyricist Pandit Sudarshan‘s creation.
Pandit Sudarshan with his wife (Pic courtesy: beetehuedin.blogspot.com)
Not many people know about Pandit Sudarshan but when I say that his was the first song that was recorded when playback singing was introduced in Hindi films, then you would want to know more about him.
I have, several times mentioned, that the so called Hindi movies had dialogues and songs in Urdu those days even though the likes of Munshi Premchand and Pandit Sudarshan tried their hand at writing in Hindi. The reason that the Urdu writers succeeeded more eminently in Hindi films was because the Hindi writers made it too literary and didn’t connect as well with the masses as the Urdu writers did; both Hindi and Urdu being indigenous languages of India.
Pt. Sudarshan’s short novel Haar Ki Jeet was much talked about when I was in school and used to be compared with Munshi Premchand’s writings.
Pandit Sudarshan was born as Badrinath Sharma in Silakot (now in Pakistan) in 1896, the second child of a rich family of six children. After completing his graduation from Silakot, he started writing for a magazine in Lahore called ‘Hazaar Dastaan’.
By the way, he started his own newspaper in Urdu which grabbed extensive circulation.
In 1932 he shifted to Calcutta, the that time heart of Hindi film industry and within two years wrote his first movie story Ramayan that starred Prithviraj Kapoor. Sudarshan also directed the movie.
Pandit Sudarshan joined the company ‘New Theatres’ which had such artistes on its rolls as Pankaj Mullick, KC Dey and Kidar Sharma. There was no playback singing during those days and artistes used to sing their own songs.
As you probably know by now, in 1935, New Theatres introduced playback singing in their movie Dhoop Chhaon with the song: ‘Main khush hona chaahun, khush ho naa sakun’. You are also probably aware of this, since I had mentioned it in my Incredible Nostalgia songs that all the ten songs of the movie, including this, were composed by RC Boral and sung by Parul Ghosh, Suprova Sarkar, and Harimati.
Matching lyrics of this pioneer of playback singing lyricist? Well, I would recall his 1941 movie Sikandar’s song. This too starred Prithviraj Kapoor in the title role. It was composed by Rafiq Ghaznavi and Mir Saheb and sung by Khan Mastana and chorus.
So, in a way, together with this tribute to my most favourite Shakeel Badayuni on his forthcoming Birth Anniversary on 03 Aug, I also seem to be covering the history of playback singing lyric-writing in India!
Please enjoy: Zindagi hai pyaar se, pyaar se bitaaye jaa….
zi.ndagii hai pyaar se, pyaar me.n bitaaye jaa
husn ke huzuur pe apanaa dil luTaaye jaa
apanaa sar jhukaaye jaa
zi.ndagii hai ek raat, pyaar us me.n hai chiraaG
ye chiraaG jitanii der jal sake jalaaye jaa
raushanii luTaaye jaa
zi.ndagii hai ek baaG, pyaar is me.n hai bahaar
us me.n aa.Nkh kaa Kumaar Daal kar milaaye jaa
shauq se pilaaye jaa
zi.ndagii hai ek ju_aa, duur se dekhataa hai kyaa
aage ba.Dh kar apanii jaan, daav par lagaaye jaa
ha.Nsake maat khaaye jaa
zi.ndagii junuun hai junuun se nibhaaye jaa
tu apane azm ko Kudaa-e-zindagii banaaye jaa
aasmaa.N pe chhaaye jaa
husn hai shabaab hai, vaqt laajavaab hai
mai.n bhii chehachahaa uThuu.N, tuu bhii chehachahaaye jaa
bansarii bajaaye jaa
https://www.youtube.com/watch?v=jztnRh5J2as
Day #23 of 31
Song #67
In 1962, after Sahib Bibi Aur Ghulam, for which Hemant Kumar composed the music, Shakeel Badayuni penned songs for Hemant Kumar’s own production Bees Saal Baad. Hemant da also composed the songs.
The film’s story was an adaptation of the 1951 Bengali thriller Jighansa, which itself was based on Arthur Conan Doyle’s The Hound of Baskervilles. The movie, in its credits, acknowledges that.
(Poster courtesy: webmallindia.com)
Bees Saal Baad got its name from the events after twenty years of a lustful Thakur in a village raping a young girl, who kills herself. Gradually, the Thakur and his siblings are killed as if by a spirit. In the end is the denouement.
The movie’s song Kahin deep jale kahin dil got for Shakeel his third and last Filmfare award for Best Lyricist. It got for Lata too another Filmfare Award for Best Female Playback Singer.
Here is the list of songs that Shakeel penned for the movie and which Hemant Kumar composed:
1. “Bekarar Karke Hume” – Hemant Kumar
2. “Kahin Deep Jale Kahin” – Lata Mangeshkar
3. “Sapne Suhane” – Lata Mangeshkar
4. “Yeh Mohabbat Mein” – Lata Mangeshkar
5. “Zara Nazaron Se Kah Do Ji” – Hemant Kumar
6. “Ai mohabbat meri duniya mein tera kaam na tha” – Lata
Beqraar karke hamen youn na jaayiye is amongst the most popular songs of Shakeel. For me, it is triple joy since it has not only been composed by Hemant Kumar but also sung by him; my favourites all the way.
(beqaraar karake hame.n yuu.N na jaaiye
aapako hamaarii kasam lauT aaiye ) – 2
dekhiye vo kaalii kaalii badaliyaa.N
zulf kii ghaTaa churaa na le kahii.n
chorii chorii aake shokh bijaliyaa.N
aapakii adaa churaa na le kahii.n
yuu.N qadam akele na aage ba.Dhaaiye
aapako hamaarii…
(dekhiye gulaab kii vo Daaliyaa.N
ba.Dhake chuum le na aap ke qadam ) – 2
khoe khoe bha.Nvare bhii hai.n baaG me.n
koii aapako banaa na le sanam
bahakii bahakii nazaro.n se khud ko bachaaiye
aapako hamaarii…
zindagii ke raaste ajiib hai.n
iname.n is tarah chalaa na kiijiye
khair hai isii me.n aapakii huzuur
apanaa koii saathii Dhuu.NDh liijiye
sunake dil kii baat naa muskuraaiye
aapako hamaarii…
Day #23 of 31
Song #68
We were taking up the songs of Shakeel’s 1962 movie Bees Saal Baad, a movie produced by the Singer-Music Director Hemant Kumar and directed by Biren Nag in his directorial debut.
We took up the popular Hemant Kumar song on his own music Beqraar karke hamen youn na jayiye, which is as popular today, as it was 54 years ago.
Lets now take up the song for which Shakeel Badayuni received his third and last Best Lyricist Filmfare Award.
The song appears to be played in the movie mysteriously when Biswajeet goes hunting for the mmystery series killer. It finally comes out that it is sung by Waheeda Rehman, Manmohan Krishan’s daughter in the movie. She and Biswajeet had started loving each other and the song was meant to keep him going the harm’s way.
As I have already told you, Lata Mangeshkar received Filmfare Best Female Playback Singer award for the song that year.
Hemant Kumar composed it in Raag Shivaranjani and in Tal Kaherava.
Please enjoy: Kahin deep jale kahin dil…..
kahii.n diip jale kahii.n dil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
meraa giit tere dil kii pukaar hai
jahaa.N mai.n huu.N vahii.n teraa pyaar hai
meraa dil hai terii mahafil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
naa mai.n sapanaa huu.N naa ko_ii raaz huu.N
ek dard bharii aavaaz huu.N
piyaa der na kar, aa mil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
dushman hai.n hazaaro.n yahaa.N jaan ke
zaraa milanaa nazar pahachaan ke
ka_ii ruup me.n hai.n qaatil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
https://www.youtube.com/watch?v=cEKyWum3IDc
Day #23 of 31
Song #69
This song is picturised on a young Waheeda Rehman as Radha in the movie. Waheeda is a living legend. However, when she was a young girl, for example in Guru Dutt’s movie C.I.D. (Kahin pe nigaahen kahin pe nishaana) or with Dev Anand in Kala Bazaar (Sach huye sapane tere) or in Guru Dutt’s 12 O’ Clock (Kaisa jaadu balam tune daara), she was the very epitome of innocence and ‘ladakpan’.
This song in the movie is about ‘ladakpan’ and Shakeel has done full justice to the feelings of a girl coming of age.
The song is played as a background music in 1963 Jyoti Swaroop movie Bin Baadal Barsaat, for which too Hemant Kumar composed the music.
Please enjoy: Sapane suhaane ladakpan ke….
(sapane suhaane la.Dakapan ke
mere naino.n me.n Dole bahaar ban ke ) – 2
jab chhaae ghaTaa matavaalii, mere dil pe chalaae aarii
ghabaraaye akele manavaa, mai.n leke javaanii haarii
kaise kaTe.n din ulajhan ke
koI laade zamaane vo bachapan ke
sapane suhaane …
jab duur papiihaa bole, dil khaaye meraa hichakole
mai.n laaj me.n mar-mar jaauu.N, jab phuul pe bha.nvaraa Dole
chhe.De pavaniyaa taraane jab man ke
mujhe bhaaye na ra.ng ye jiivan ke
sapane suhaane …
https://www.youtube.com/watch?v=ByDc8LfkwNk
Appreciating Good Lyrics Song #23
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 23rd Lyricist PL Santoshi‘s creation.PL Santoshi was born as Pyarelal Shrivastava on 07 Aug 1916, just four days after Shakeel, but in Jabalpur, Madhya Pradesh.
(Pic courtesy: apnaarchive.wordpress.com)
He was a celebrated writer-director during 1950s and 60s starting with Guru Dutt and his friend Dev Anand starrer Hum Ek Hain in 1946. He tried his hand at various movies such as 1947 Shehnai, 1948 Khidki, 1950 Sargam, 1952 Shin Shinaki Boobla Boo, 1953v Baba Ek Chor, 1955 Sabase Bada Rupaiya, 1957 Hum Panchhi Ek Daal Ke and Garma Garam and 1959 Pehli Raat. Except for the 1947 Shehnai, all failed at the box-office until he made the 1960 Bharat Bhushan and Madhubala starrer Barsaat Ki Raat.
PL Santoshi also wrote songs in films starting with the 1940 movie Pagla, that is six years before he took up directing. This was followed by songs in Akela (1941), Station Master (1942), Hum Ek Hain (1946), Sangram (1950),Saudagar (1951), Ghayal (1951), Anhoni (1952), Chalis Baba Ek Chor ( 1954), Dulhan (1958), and Holiday In Bombay (1963).
He also tried his hand at screenplay/dialogue writer. He expired on 7 September 1978, in Bombay.
His son Rajkumar Santoshi is a director of Hindi movies.
One of the songs that he wrote is a favourite of mine. It is duet between my favourite singer Hemant Kumar with Lata Mangeshkar. Kalyanji Anandji composed it for the 1958 movie Post Box No. 999.
Please enjoy: O neend na mujhako aaye…..
he: o nii.nd na mujh ko aae,
dil mera ghabaraae
chup ke chup ke, koii aa ke,
soyaa pyaar jagaae
la: o nii.nd …
he: soyaa huaa sa.Nsaar hai,
soyaa huaa sa.Nsaar
mai.n jaaguu.N yahaa.N,
tuu jaage vahaa.N,
ek dil me.n dard dabaae
do: o nii.nd …
la: ek biich me.n diivaar hai,
ek biich me.n diivaar
mai.n ta.Dapuu.N yahaa.N,
tuu ta.Dape vahaa.N,
haay chain jiyaa ko nahii.n aae
do: o nii.nd …
he: mai.n huu.N yahaa.N beqaraar
tuu hai vahaa.N beqaraar
mai.n gaauu.N yahaa.N
tuu gaaye vahaa.N
dil ko dil bahalaae
do: o nii.nd …
Day #24 of 31
Song #70
We have taken up three songs of the 1962 Hemant Kumar movie Bees Saal Baad directed by Biren Nag. We have also seen, as with Khamoshi that songs of Hemant Kumar’s own production are very good indeed, besides having that little bit of enigma that makes us listen to them over and over again.
We take up one more song from the movie before moving on.
Shakeel is known for his sad songs and so far we have taken up a romantic number in Beqraar karke hamen youn na jaayiye, a mystery song in Kahin deep jale kahin dil and a girlhood song Sapne suhaane ladakpan ke.
Here is the sad song picturised on Waheeda Rehman, sung by Lata Mangeshkar.
This song brings out the best of Shakeel: Gham and Irony.
Please enjoy: Aye mohabbat meri duniya mein tera kaam na tha….
ai mohabbat merii duniyaa me.n teraa kaam na thaa
tuu naa aa_ii thii to Gam kaa bhii kahii.n naam na thaa
ai mohabbat merii duniyaa …
jaane kyuu.N aaj hai shikavaa mujhe duniyaa bhar se
isase pahale to kisii par ko_ii ilzaam na thaa
ai mohabbat merii duniyaa …
merii qismat ki mujhe ashq hii piine ko mile
mere hisse me.n mohabbat kaa ko_ii jaam na thaa
ai mohabbat merii duniyaa …
dene vaale mujhe kyo.n tuune mohabbat de dii
kyaa mujhe ishq se pahale ko_ii aaraam na thaa
ai mohabbat merii duniyaa …
https://www.youtube.com/watch?v=jPf9T1O8aEI
Day #24 of 31
Song #71
In the year 1963 Shakeel Badayuni penned lyrics for the songs of seven movies including Mere Mehboob. I know what you are thinking of and you are right; there is no way that I can give you just three songs a day in the next seven days left with us to complete the countdown and cover all his movies up to the 1969 movie Beti, his last. Hence, this is what I am going to do:
I am going to increase the number of songs per day.
Lets take up the first movie Nartaki of 1963, his fourth one with music director Ravi and third one with director Nitin Bose after 1951 movie Deedar and 1961 movie Ganga Jamuna.
A scene from the movie Nartaki starring Nanda and Sunil Dutt
The movie starred Nanda and Sunil Dutt and Bimal Roy did the editing of the film.
The movie had the following songs:
1 “Zindagi Ke Safar Men Akele Thay Ham” Mohammed Rafi
2 “Hum Tumse Mohabbat Kar Baithe” Mahendra Kapoor
3 “Zindagi Ki Uljhanon Ko Bhool Kar” Asha Bhosle
4 “Aaj Duniya Badi Suhani Hai” Asha Bhosle
5 “Insaan Mohabbat Mein” Asha Bhosle
6 “Agar Koi Humko Sahara Na Dega” Usha Mangeshkar
7 “Tumne Ankho Se Pee Ho To” Asha Bhosle
8 “Pucho Koi Sawal Bacho Pucho Koi Sawal” Usha Khanna, Usha Mangeshkar, Kamal Barot, Mohammed Rafi
The first song sung by Mohammad Rafi was a gem. Anyone knowing me would know that songs in a boat of this nature are ‘fantasy songs’ for me. The other one is also picturised on Sunil Dutt, but with Madhubala (not a Shakeel song: Chand sa mukhada kyun shartmaaya).
Please enjoy: Zindagi ke safar mein akele the ham, mil gaye tum to dil ko sahaara mila….
zi.ndagii ke safar me.n, akele the ham
mil gae tum to dil ko sahaaraa milaa
aa gae ik nae raaste par qadam
jab tumhaarii nazar kaa ishaaraa milaa
ab zamaane kaa Dar hai na duniyaa kaa Gam
apanii taqadiir par naaz karate hai.n ham
aaj aa.Nkho.n ko jalave tumhaare mile
aaj haatho.n ko daaman tumhaaraa milaa
Day #24 of 31
Song #72
Old timers like me would be full of nostalgia when you see the next song of the 1963 movie Nartaki directed by Nitin Bose. Nanda herself brought out in an interview with a journalist, “It was Nitin Bose who extracted the best from me as an actress in Nartaki. He followed Satyajit Ray’s style of realistic film making and advised me to use the least amount of makeup”.
And this in a movie in which she was the Nartaki (courtesan dancer), who has dreamt of better life through literacy.
Anyway, here is her famous dance and song as a tawaif. It was very popular during our days and you would recall the mastery of Shakeel over the lyrics.
Please enjoy Asha Bhosle sing (try to follow the dialogue between Sunil Dutt and Nanda before the song): Zindagi ki uljhano ko bhool kar, aaj masti mein guzaaren raat bhar, subah jab hogi to dekha jaayega….
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
aaj saki bhi hai or mahfil bhi hai
aaj saki bhi hai or mahfil bhi hai
aaj nagma bghi hai saze dil bhi hai
aaj nagma bghi hai saze dil bhi hai
zindagi me bekhudi bhi shamil hai
rat aayi aisi laut kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
aaj dil ka rang bhi mastana hai
aaj dil ka rang bhi mastana hai
chhalka chhalka hosh ka paymana hai
chhalka chhalka hosh ka paymana hai
har hakikat aaj ek fasana hai
muskurakar dil ki har ek chot par
aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
jeet lo ulfat ki bazi har ke jeet lo ulfat ki bazi har ke
hai maje inkar me ikarar ke hai maje inkar me ikarar ke
jhum lo dam bhar nashe me pyar ke
har game dunia se hoke bekhabar
aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
https://www.youtube.com/watch?v=Ptn6uxK6m7E
Appreciating Good Lyrics Song #24
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 24th Lyricist Farooq Qaiser‘s creation.Farooq Qaiser or Faruk Kaiser (not to be confused with the Pakistani lyricist of the same name) was born on my birthday, 6th June, in 1918, two years after Shakeel Badayuni.
(Pic courtesy: en.wikipedia.com)
His education was in Bombay and he developed a taste for creative writing. Faruk’s love for poetry and his friendship with neighbour Kamran Khan (father of Farah Khan and Sajid Khan) were instrumental in his developing an enthusiasm for the creative works of Hindi Cinema. While Kamran Khan produced and acted in films, Faruk was introduced into the Hindi films as an assistant director. He went on to direct several movies until he found his niche as a lyricist.
Until his death on 20 Nov 1987, he wrote approximately 400 songs for over 100 movies.
As far as matching lyrics to Shakeel Badayuni are concerned, Farooq’s lyrics for the song Saari saari raat teri yaad sataaye are not only iconic but the first song that comes to mind when you think of him (the other being his 1963 movie Shikaari song: Chaman ke phool bhi tujhako gulaab kehate hain).
Saari saari raat teri yaad sataye is from the 1958 movie Aji Bas Shukriya that starred Geeta Bali with Suresh. The song was sung by Lata Mangeshkar and was really very popular during our days.
Roshan composed the song on a Punjabi dhun.
Please enjoy the ever popular: Saari saari raat teri yaad sataye…..
(priit lagaa ke hue tum to paraaye
pyaas jiyaa ki kaun bujhaaye)-2
kaun bujhaaye koii ye samajhaaye re
nii.nd naa aaye
saarii saarii raat terii yaad sataaye
https://www.youtube.com/watch?v=tQaLUtuI8Xw
Day #25 of 31
Song #73
In the next movie, the 1963 Nisar Ahmad Ansari movie Mulzim, Shakeel once again paired with Ravi, his fifth movie with him. The movie starred Pradeep Kumar with Shakila and Helen and had the following songs:
1. “Deewana Keh Ke Aaj Mujhe Phir Pukariye” – Mohammed Rafi
2. “Sang Sang Rahenge Tumhare O Huzur (Sad)” – Mohammed Rafi
3. “Kuwa Paas Tu Phir Bhi Pyasa (Jai Bolo Badri Vishal Ki )” – Mohammed Rafi
4. “Aate Hi Jawani Ka Mausam” – Asha Bhosle
5. “Ishq Walo Pe Zamane Ki Nazar” – Mohammed Rafi
6. “Main Bajewala Bawa Na Bhut Na Koi Chalava” – Mohammed Rafi
7. “Sang Sang Rahenge Tumhare O Huzur (Happy)” – Mohammed Rafi, Asha Bhosle
The song ‘Sang sang rahenge tumhaare’ from 1963 movie Mulzim starring Pradep Kumar and Shakeela
The first song became very popular and is one of my favourites. It was composed by Ravi in Raag Gara, Tal Dadra.
Please enjoy: Deewana keh ke aaj mujhe phir pukariye….
diivaanaa kah ke aaj mujhe phir pukaari_e
haazir huu.N ko_ii tiir-e-nazar dil pe maari_e
diiwaanaa kah ke …
lag jaa_e aapako naa kisii kii nazar kahii.n -2
ghar jaa ke apane husn kaa sadakaa utaari_e
haazir huu.N ko_ii …
zulfe.n sa.Nvaarane se banegii na ko_ii baat -2
uThi_e kisii gariib kii qismat sa.Nvaari_e
haazir huu.N ko_ii …
ik baar kar hii diiji_e is dil kaa faisalaa -2
rah-rah ke yuu.N nigaah kaa Ka.nzar naa maari_e
haazir huu.N ko_ii …
https://www.youtube.com/watch?v=f3d1mQ9zkik
Day #25 of 31
Song #74
And that brings me to Shakeel’s 36th movie in Hindi films: the 1963 Harnam Singh Rawail produced and directed movie Mere Mehboob that starred Rajendra Kumar, Sadhana, Nimmi, Ashok Kumar, Pran, Johnny Walker and Ameeta.
(Pic courtesy: www.hindilyrics.net)
Please do remember that the title song of the movie is too dear to me to be put up anywhere by me. I donot think that there is any matching song in the Hindi movies though the title song of Barsaat Ki Raat, penned by Sahir Ludhianvi comes close to its lyrical excellence. Perhaps a day will come when I can actually put up the song.
Here is the list of the songs of the movie:
1. “Mere Mehboob Tujhe” Mohammad Rafi 8:12
2. “Tere Pyar Mein Dildar” Lata Mangeshkar 3:03
3. “E – Husn Jara Jaag” Mohammad Rafi 3:31
4. “Mere Mehboob Mein Kya Nahin” Lata Mangeshkar and Asha Bhosle 4:11
5. “Tumse Izhar – E -Haal Kar Baithe” Mohammad Rafi 3:28
6. “Janeman Ek Nazar Dekh Le” Lata Mangeshkar and Asha Bhosle 3:37
7. “Yaad Mein Teri” Lata Mangeshkar and Mohammad Rafi 4:27
8. “Allah Bachaye Naujawano Se” Lata Mangeshkar 4:27
9. “Mere Mehboob Tujhe (Female)” Lata Mangeshkar 4:45
And of course, Shakeel was back with Naushad in this movie; the 19th movie that they did together.
Lets begin with a song which is counted amongst the best of Yaad songs, sung by Mohammad Rafi and Lata Mangeshkar.
Please enjoy: Yaad mein teri jaag jaag ke ham…..
yaad me.n terI jaag-jaag ke ham
raat bhar karavaTe.n badalate hai.n
har gha.Dii dil me.n terI ulfat ke
dhiime dhiime chiraaG jalate hai.n
jabase tUne nigaah pherii hai
din hai suunaa to raat a.ndherii hai
chaa.Nd bhI ab najar nahii.n AtA
ab sitaare bhI kam nikalate hai.n
yaad me.n terI jaag-jaag ke ham …
luT gayii vo bahaar kI mahafil
chhuT gayii hamase pyaar kI ma.nzil
zi.ndagii kI udaas rAho.n me.n
terI yaado.n ke sAth chalate hai.n
yaad me.n terI jaag-jaag ke ham …
tujhako paakar hame.n bahaar milii
tujhase chhuTakar magar ye baat khulii
baaGabaan hii chaman ke phuulo.n ko
apane pairo.n se khud masalate hai.n
yaad me.n terI jaag-jaag ke ham …
kyA kahe.n tujhase kyuu.n huii duurii
ham samajhate hai.n apanii majabuurii
tujhako maaluum kyA ke tere liye
dil ke gam aa.Nsuo.n me.n Dhalate hai.n
yaad me.n terI jaag-jaag ke ham …
Day #25 of 31
Song #75
Mere Mehboob was one of those rare movies shot on the campus of Aligarh Muslim University. Whilst studying in this university Anwar Hussain played by Rajendra Kumar falls in love with Husna Begum, played by Sadhana. Of course he doesn’t know her as Husna at that time because, as per Muslim tradition, she is veiled. It is only when Anwar seeks a job from Nawab Buland Akhtar Changezi played by Ashok Kumar and the latter asks him to teach his sister Husna that he realises that she is the veiled woman he is in love with.
There are various twists in the story after that, of course.
Please enjoy Mohammad Rafi sing: Aye husn zara jaag tujhe ishq jagaaye…..
ai husn zaraa jaag tujhe ishk jagaaye
badale merii takadIr jo tU hosh me.n aaye (2)
ye pyaara ke nagame ye muhabbat ke taraane
tujhako ba.De aramaan se laayaa huu.N sunaane
ummId mere dil kii kahii.n TUT na jaaye
ye husn …
saaz-e-dile khaamosh me.n ek soj jagaa de
tU bhii merii Avaaz me.n Avaaz milaa de
aayaa huu.N tere dar pe ba.Dii aas lagaaye
ye husn …
ai shammaa tU aajaa zaraa chilamanase nikalake
hasarat hai ki rahaa jaa_uu.n terii aag me.n jalake
paravaanaa vo kyaa tujhape jo miTakar naa dikhaa de
ye husn …
https://www.youtube.com/watch?v=pnFYfKahhdY
Appreciating Good Lyrics Song #25
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 25th Lyricist Naqsh Lyalpuri‘s creation.Naqsh Layalpuri was born as Jaswant Rai Sharma on 24 Feb 1928 in Layalpur (now in Pakistan). Son of an engineer, he refused to follow in the footsteps of his dad and went to Lahore to study literature. He started participating in mushairas. After independence and partition he moved to Lucknow with family. Later he moved to Mumbai in 1951 to seek career in films and settled there as a lyricist. He wrote lyrics of the songs of many films including Chetna (1970), Dil Ki Rahen (1973), Call Girl (1974), Khandaan (1979). He also wrote more than 350 songs for 40 Punjabi films.
Naqsh Lyalpuri with Lata Mangeshkar (Pic courtesy: www.thehindu.com)
Although only 12 years younger to Shakeel, Naqsh bloomed late with songs like Rasme-e-ulfat ko nibhaayen to nibhaayen kaise and Maana teri nazar mein tera pyaar ham nahin that he wrote after the death of Shakeel.
However, here is one from 1970 movie Chetna that starred Rehana Sultana starring with Anil Dhawan. I recall, the film posters of this movie with Rehana’s naked legs replacing the A in Chetna. It was also to indicate that the movie was for adults only.
Sapan Jagmohan composed this song and Mukesh sang it.
Please enjoy: Main to har mod par tujhako doonga sada….
mai.n to har mo.D par tujhako duu.Ngaa sadaa
merii aavaaz ko dard ke saaz ko tuu sune naa sune
mai.n to har mo.D …
mujhe dekhakar kah rahe hai.n sabhii mohabbat kaa haasil hai diivaanagii -2
pyaar kii raah me.n phuul bhii the magar maine kaa.NTe chune
mai.n to har mo.D …
jahaa.N dil jhukaa thaa vahii.n sar jhukaa mujhe ko_ii sajado.n se rokegaa kyaa -2
kaash TuuTe.n naa vo aarazuu ne merii Kvaab jo hai.n bune
mai.n to har mo.D …
merii zindagii me.n yahii Gam rahaa teraa saath bhii to bahut kam rahaa -2
dil ne saathii mere terii chaahat me.n the Kvaab kyaa-kyaa bune
mai.n to har mo.D …
tere gesu_o.n kaa vo saayaa kahaa.N vo baa.Nho.n kaa terii sahaaraa kahaa.N
ab vo aa.Nchal kahaa.N merii palako.n se jo bhiige motii chune
mai.n to har mo.D …
https://www.youtube.com/watch?v=7Kh5Ssc3uyI
Day #26 of 31 Song #76
We had taken up two songs of the 1963 movie Mere Mehboob, a movie directed by Harnam Singh Rawal and starring Rajendra Kumar and Sadhana. This was the 19th movie, out of 36, in which Shakeel was with Naushad.
This song was sung by both the sisters: Lata and Asha singing for Sadhana and Ameeta respectively. It has the tune of a qawwali. However, both the actresses dance on it.
Please enjoy: Mere mehboob mein kyaa nahin, woh to laakhon mein hain ik haseen……
la: mere mahabuub me.n kyA nahii.n kyA nahii.n
mere mahabuub me.n kyA nahii.n
vo to laakho.n me.n hai ek hasii.n
vo to laakho.n me.n hai ek hasii.n, ek hasii.n
aa: mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
bholii suurat adA naazanii.n
bholii suurat adA naazanii.n, naazanii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
la: aa .a .a
meraa mahabuub ek chaa.Nd hai
husn apanA nikhaare hue
aa: o .a .a
la: aasamaan kA farishtaa hai vo
ruup insaan kA dhare hue
aa: o .a .a
la: rashk-e-jannat hai vo mahazabii.n
rashk-e-jannat hai vo mahazabii.n, mahazabii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
aa: aa .a .a
maah ho anjum ho yA kaikashaa.n
sabase pyaaraa hai meraa sanam
la: aa .a .a
aa: usake jalavo.n me.n hai vo asar
hosh u.D jaaye allaah qasam
la: aa .a .a
aa: dekhale gar use tU kahii.n
dekhale gar use tU kahii.n, tU kahii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
la: meraa mahabuub hai jaaneman
karavaa kadamaah ruuh gulabadan
aa: meraa dilavar hai aisA javaan
ho bahaaro.n me.n jaise chaman
la: usakii chaalo.n me.n aisI lachak
jaise phuulo.n ki Daalii hile
aa: usakii aavaaz me.n vo khanak
jaise shiishe se shiishaa mile
usake a.ndaaz hai dilanashii.n
dono: bholii suurat adA naazanii.n, naazanii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
aa: tere afasaano.n me.n merI jaan
hai jhalak merI afasaano.n ki
la: daastaane.n hai milatii huii.n
allaah ham dono paravaano.n
dono: paravaano.n kii
dono: ek hii shamaa ho nA kahii.n
vo to laakho.n me.n hai ek hasii.n, ek hasii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
https://www.youtube.com/watch?v=32PEkUnjbIM
Day #26 of 31 Song #77
I am taking up just one more song from Mere Mehboob before moving on to the next movie. This has been sung by Mohammad Rafi. This is from those days when it wasn’t the done thing to mention to your beloved about your love. Indeed, in many songs of that era, one would go about it very indirectly, such as “Mujhe tumase mohabbat hai magar main keh nahin sakta” or “Mohabbat jo karte hain woh, mohabbat jataate nahin; dhadakane apne dil ki kabhi kisi ko sunaate nehin”.
Here, Rajendra Kumar blames it on bekhudi (intoxication) for having expressed his feelings.
Please enjoy Mohammad Rafi sing: Unase izhaar-e-haal kar baithe…
aaj furakat kA khvaab TuuT gayaa
mil gaye tum hijaab TuuT gayaa
tum se izahaar-e-haal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kho gaye husn kI bahaaro.n me.n
kah diyaa raaz-e-dil ishaaro.n me.n
kaam ham bemisaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kitane majabuur ho gaye dil se
soche samajhe bagair qaatil se
zindagii kA savaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
ye adaae.n ye shokhiyaa.n taubaa
bas khudaa hii khudaa hai us dil kA
jo tumhaaraa khayaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
https://www.youtube.com/watch?v=-fmYt9Qa_BA
Day #26 of 31 Song #78
After Mere Mehboob, Shakeel’s 20th movie with Naushad, the next movie in which he wrote songs was the 1963 movie Kaun Apna Kaun Praya with Waheeda Rehman in the lead role. This was the 6th movie that he did with Ravi, after he started with Ghunghat in 1960.
(Poster courtesy: www.youtube.com)
This movie had only six songs as follows:
1 “Zaraa Sun Hasinaa Ai Naazanin” Mohammed Rafi
2 “Kaun Apna Kaun Paraya” Mohammed Rafi
3 “Aashiq Hu Apne Pyar Ke Johar Dikhaunga” Mohammed Rafi
4 “Zindagi Bhar Yahi Ikrar Kiye Jayenge” Mohammed Rafi, Asha Bhosle
5 “Aaya Bahar Ka Zamana” Asha Bhosle
6 “Allah Kare Mai Bhi Dulhan Ban Jau” Asha Bhosle, Shamshad Begum
Lets listen to Mohammad Rafi singing Zara sun haseena ai nazneen. This has been composed by Ravi in the same Raag Pahadi in which he composed the title song of Chaudhvin Ka Chand. The Chaudhvin Ka Chand song was in Tal Kaherava whereas Zara sun is in Rupak Tal.
Please enjoy: Zara sun haseena ai naaznin….
zaraa sun hasiinaa ai naazanii.n
meraa dil tujh hii pe nisaar hai
tere dam se hii mere dilarubaa
merii zi.ndagii me.n bahaar hai
hu_ii jab se mujh pe terii nazar
mai.n huu.N apane aap se beKabar
hu_aa jab se dil me.n teraa guzar
mujhe chain hai na qaraar hai
tere husn se jo sa.Nvar ga_ii
vo fizaa_e.n mujhako aziiz hai.n
terii zulf se jo lipaT ga_ii.n
mujhe un havaa_o.n se pyaar hai
ye hasiin phuulo.n kii Daaliyaa.N
tujhe de rahii hai salaamiyaa.N
mujhe kyo.n na rashq ho ai sanam
tere saath fasl-e-bahaar hai
Appreciating Good Lyrics Song #26
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 26th Lyricist Arzoo Lucknowi‘s creation.
(Pic courtesy: urduyouthforum.org)
Arzoo Lucknowi was amongst the pioneer lyricists of the Hindi film industry that originated in Calcutta in the 1930s before shifting to Bombay in 1942. He was on the films scene much before Shakeel Badayuni and his contemporaries Sahir and Majrooh arrived. He wrote for the Hindi cinema’s first superstars KL Saigal (eg, Karun kya aas niras bhayi in 1939 movie Dushman) and Kanan Devi (Street Singer 1938).
“Syed Anwar Hussain ‘Arzoo Lakhnavi’ (1873-1951) was an outstanding representative of ‘Dabistan-e-Lakhnau’ or the Lucknow School of Urdu poetry. However while retaining the tradition’s motifs and focus, he chose a straighter style over its intricate flourishes, and use only Urdu without recourse to Arabic or Persian – despite his considerable knowledge of both.”
In his film career, he was as versatile. If in Saigal’s “Street Singer”, he could pen “Jeevan been madhur na baaje jhoote padh gaye taar/Bigde kaath se kaam bane kya megh baje na malhaar”, he could also compose ghazal “Sukoon dil ko mayassar gul-o-samar mein nahi/Jo aashiyaan mein hai apne vah bagh bhar men nahi”.
He has some 25000 ghazals credited to him.
Lets look at the lyrical excellence of the 1939 movie Dushman’s song picturised on its lead cast: KL Saigal and also sung by him. It is a composition of Pankaj Mullick.
Please enjoy: Karun kyaa aas niraas bhaii…..
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
deeya bujhe phir se jal jaye
raat andheri jaye din aaye
deeya bujhe phir se jal jaye
raat andheri jaye din aaye
mitthi aas hai jyot akhiyan ki
mitthi aas hai jyot akhiyan ki
samjh gayi to gayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
jab na kisi ne raah sujhai
dil se ek aawaz ye aayi
jab na kisi ne raah sujhai
dil se ek aawaz ye aayi
himmat baandh sambhal badh aage
rok nahi hai koi
himmat baandh sambhal badh aage
rok nahi hai koi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
karna hoga khun ka pani
dena hogi har kurbani
himmat hai itni to samjh le
himmat hai itni to samjh le
aas bandhegi nayi
aas bandhegi nayi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
https://www.youtube.com/watch?v=hZNOexCr-AA
Day #27 of 31
Song #79
The next movie of Shakeel was the 1963 movie Grihasti, which was the 7th movie that he did with the Music Director Ravi, with whom he received two out of three of his Filmfare Best Lyricist Awards.
(Poster courtesy: en.wikipedia.com)
The movie was directed by Kishore Sahu, the same Kishore Sahu who was the archaelogist Marco in Dev Anand’s Guide, who neglected his wife Rosie (Waheeda Rehman) until Raju Guide (Dev Anand) ‘guided’ her to become a dancer and his beloved. Kishore Sahu directed the movie for SS Vasan of Gemini Studios, the makers of family dramas.
Here is the list of songs of the movie:
1 Jaane Teri Nazaron Ne Lata Mangeshkar, Mohammed Rafi
2 Aaj Mili Ek Ladki Mohammed Rafi
3 Jeevan Jyot Jale Asha Bhosle
4 Ja Ja Re Ja Deewane Ja Mohammed Rafi, Asha Bhosle
5 Wo Aurat Hai Jo Insano Ki Mohammed Rafi
6 Zara Dekh Sanam Lata Mangeshkar
7 Payal Khul Khul Jaaye Ram Mohammed Rafi, Asha Bhosle
8 Ding Dong Ding Lalla Geeta Dutt
9 Khile Hai Sakhi Aaj Phulwa Asha Bhosle, Lata Mangeshkar, Usha Mangeshkar
Asha Bhosle‘s rendition of the song “Jeevan Jyot Jale” won her the “Mian Tansen Award”. The song was cited as the best song of 1963 out of the 544 songs released that year from a total of 77 films.
The song is picturised on Rajshree and Nirupa Roy.
Ravi composed the song in Raag Sohani, and Tal Tintal.
Please enjoy the marvel of a song: Jeevan jyot jale….
jivan jyot jale
jivan jyot jale
kou na jane kab nikse din
kou na jane kab nikse din
aur kab raat dhale
aur kab raat dhale
jivan jyot jale
jivan jyot jale
bhor bhye to man muskaye
bhor bhye to man muskaye
sanjh bhye to neer bahaye
ek pal maan kare sansari
ek pal maan kare sansari
ek pal hath male
ek pal hath male
jivan jyot jale
jivan jyot jale
man mala me daar wo moti
man mala me daar wo moti
aa aa aa
man mala me daar wo moti
jisme jali ho prem ki jyoti
uski naiya paar hai jag me
uski naiya paar hai jag me
ja ke kaaj bhale
ja ke kaaj bhale
jivan jyot jale
jivan jyot jale
jyot jale
jyot jale
https://www.youtube.com/watch?v=UemDW8KonE8
Day #27 of 31
Song #80
First of all, if you marveled at the mastery of Shakeel over the lyrics of Jeevan Jyot Jale, a classical song, it would come as a surprise to see him pen a pop song!
This song was another song of 1963 movie Grihasti that became veru popular. It was sung by Geeta Dutt.
Please enjoy: Dong dong ding dong ding lala….
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras ghole
sang sang dole koi bhanwara
ding dong ding dong ding lala
koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras gole
sang sang dole koi bhanwara
ding dong ding dong ding lala
chori chori bagiya me aane laga vo
bholi bhali kali mai to batiyo me aa gayi
mera na raha ye dil mera
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras gole
sang sang dole koi bhnwara
ding dong ding dong ding lala
https://www.youtube.com/watch?v=nxmC4J1KPbU
Day #27 of 31
Song #81
With that we come to the next movie, the 1963 OP Ralhan movie Gehraa Daag, which was a crime thriller starring Rajendra Kumar, Mala Sinha, Madan Puri (almost a must for crime thrillers), Usha Kiron and Laita Pawar.
Since this too had Ravi’s music, it became the eighth movie since 1960 movie Ghunghat in which Shakeel paired with Ravi.
The movie had the following songs:
1. “Aaj Udta Hua Ek Panchhi Zindagi Bhar Me Aaya Phir Naye Mastiya Sath Le Chal” – Mohammed Rafi
2. “Tumhe Pake Hamne Jahan Pa Liya Hai” – Asha Bhosle, Mohammed Rafi
3. “Bhagvan Ik Kusur Kee Itanee Badee Saja” – Mohammed Rafi
4. “Kaise Kahoon Main Baat Jiya Ki Sanwariya Pyar Me Tere Ho Gayi Mai Toh Bawariya” – Asha Bhosle
5. “Main Teri Hui Re Balma” – Asha Bhosle
6. “Subah Ka Bhoola” – Asha Bhosle
Please enjoy: Tumhen paa ke ham ne jahan paa liya hai…..
aa : tumhe.n paa ke hamane jahaa.N paa liyaa hai -2
zamii.n to zamii.n aasamaa.N paa liyaa hai
ra : tumhe.n paa ke …
aa : miTaa na sakegii jise ab Kizaa.N bhii
jalaa na sake.ngii ab bijaliyaa.N bhii
mohabbat kaa vo aashiyaa.N paa liyaa hai
tumhe.n paa ke …
ra : zamaane ke Gam pyaar me.n Dhal ga_e hai.n -2
ummiido.n ke laakho.n di_e jal ga_e hai.n -2
ke jabase tumhe.n meharabaa.N paa liyaa hai
tumhe.n paa ke …
aa : jahaa.N se mohabbat kii raahe.n milii hai.n
ra : vahii.n se merii gardishe.n tham ga_ii hai.n
do : na bichha.De.nge ham kaaravaa.N paa liyaa hai
tumhe.n paa ke …
Appreciating Good Lyrics Song #27
As you are aware, I started these posts more than two weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
Today we take up our 27th Lyricist Tanvir Naqvi‘s creation.He was born on 6th February 1919 in Lahore. His real name was Syed Khursheed Ali and he was a lyricist who had carved out a niche for himself in the cine world from the early 40s right till his death in 1972.
(Pic courtesy: www.dailymotion.com)
He was much sought after as a songwriter. After partition, Tanvir Naqvi migrated to Pakistan and for over 15 years remained one of the leading lyricist of Urdu and Punjabi films. He died on November 1, 1972 in Lahore.
As far as matching lyrics to Shakeel Badayuni are concerned, there must be a large gap between you and I if you have to ask as to which of his songs I am going to put up!
In any case, even with the Raag of the song you would have guessed the song: Raag Pahadi and Tal Dadra.
As if it is still left for me to tell you, it is from the 1946 Anmol Ghadi starring Noorjahan (who is also the singer of the song with Surendra), Suraiyaa and Suresh.
Please enjoy the best of Tanvir Naqvi: Awaaz de kahan hai…..
aavaaz de kahaa.N hai duniyaa merI javaa.N hai
aabaad mere dil me.n ummiid kaa jahaa.N hai
duniyaa merI javaa.N hai …
aa raat jaa rahI hai
yuu.n jaise chaa.Ndanii kI
baaraat jaa rahI hai
chalane ko ab falak se
taaro.n kaa kaaravaa.N hai
aise me.n tU kahaa.N hai
duniyaa merI javaa.N hai …
kismat pe chhaa rahI hai
kyo.n raat kii siyaahii
vIrA.N hai merI nii.nde.n
taaro.n se le gavaahii
barabaad mai.n yahaa.N huu.N
aabaad tU kahaa.N hai
bedard aasamaa.N hai …
aavaaz de kahaa.N hai …
Day #28 of 31
Song #82
In yesterday’s songs, we had taken up a song from the 1963 OP Ralhan movie Gehra Daag starring Rajendra Kumar and Mala Sinha.
The storyline of this crime thriller:
“Shanker (Rejendra Kumar) lives a poor lifestyle along with his elder sister, Usha (Usha Kiran), and a younger sister, Asha Mumtaz), in a town called Baksar. Both he and Usha attend the same college. One day a student, Ram (Ram Mohan), attempts to molest Usha, Shanker intervenes, arguments lead to fisticuffs, and Ram ends up getting killed. Shanker is arrested, tried in Court, and sentenced to 14 years in jail. While there he gets the news that Usha has married Ramesh (Madan Puri), and has given birth to two sons, Tinku and Chimpu. Due to his good behavior, he gets discharged after 10 years, returns home and on the way there rescues an elderly woman (Lalita Pawar), who had fallen from the boat, meets her daughter, Shobha (Mala Sinha), and both fall in love. Upon arrival at home, he is given a warm welcome by everyone, and this is when Shanker finds out that Usha has told everyone that he was employed in Africa for 10 years. Ramesh picks an eligible young man for Asha to get married to but on the day of the marriage, the Prosecuting Attorney recognizes Shanker.”
He cannot obliterate the Gehra Daag (dark Stain) from his life; can he?
This song from the movie is signature Shakeel all the way.
Please enjoy: Bhagwan ik qusuur ki itani badhi sazaa……
bhagavaan ik qusuur kii itanii ba.Dii sazaa
duniyaa terii yahii hai to duniyaa se mai.n chalaa
bhagavaan ik qusuur …
duniyaa ke zaalimo.n ne chalaa_ii.n vo aa.Ndhiyaa.N
saare chiraaG bujh ga_e mai.n dekhataa rahaa
duniyaa terii yahii hai …
mai.n ye samajh rahaa thaa mere daaG dhul ga_e
hogaa kuchh aur Kuun-e-jigar ye pataa na thaa
duniyaa terii yahii hai …
mujh saa badanasiib na hogaa jahaan me.n
jo bhii milaa usii ne gunahagaar hii kahaa
duniyaa terii yahii hai …
Day #28 of 31
Song #83
That brings us to the 41st of Shakeel Badayuni’s movies (out of a total of 59) and the third one with Hemant Kumar since the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam.
The 1963 movie Bin Baadal Barsaat was directed by Jyoti Swaroop and happened to be last movie in which Shakeel paired with Hemant.
Its story:
“Seventy years ago the wealthy Thakur of Neelamghat had an affair with a gypsy girl, and then married another woman. The gypsy girl’s dad placed a curse on the entire Thakur family that whenever a male marries, his wife will die in mysterious circumstances after an year. The curse has come true over the years, and none of the Thakurs have escaped it’s wrath. The latest Thakur, Prabhat (Biswajeet) has now come to settle in Neelamghat, and is attracted to the local doctor’s daughter, Sandhya Gupta (Asha Parekh). When Dr. Gupta proposes marriage, Prabhat tells them about the gypsy curse, and both father and daughter scoff at this. They quickly change their minds one night, when they find Prabhat dressed as a groom, getting ready to marry a reincarnated gypsy girl.”
Some likeness there to another movie for which Shakeel wrote lyrics and Hemant da composed the songs: Bees Saal Baad also starring Biswajeet (Hindi movies makers never got rid of a story until they had extracted the last drop of juice from it!)
The film had as good songs as Bees Saal Baad:
1. Zindagi Kitni Khubsurat Hai, Aiye Apki Zarurat Hai
2. Ik Baar Zaraa Phir Kah Do, Mujhe Sharmaake Tum Divaanaa
3. Jab Jaag Uthe Aramaan, To Kaise Nind Aaye
4. Zindagi Kitni Khubsurat Hai, Aiye Apki Zarurat Hai (by Lata)
5. Mariz-e-ishq Hu Aye Janeman
6. Khushi Bhi Mili Humko
7. Dil Me Teri Yaad Sanam
8. Bin Badal Barsaat Na Hogi
Please enjoy this classic from Hemant Kumar on his own music: Zindagi kitani khoobsurat hai....
ArazUo.n ke diye, Aj raushan kIjiye
Ae hai.n milane ko ham, zi.ndagI bhar ke liye
kyA hasI.n rAt kyA muhUrat hai, zi.ndagI kitanI …
yU.N na ab sharamAiye, yU.N na ab ghabarAiye
phUl ke ghU.NghaT se ab, chA.NdanI barasAiye
chA.NdanI rAt kyA zarUrat hai, zi.ndagI kitanI …
https://www.youtube.com/watch?v=RfuSTwwBrZg
Day #28 of 31
Song #84
Here is a second song from the 1963 movie Bin Badal Barsaat and this is everyone’s favourite. Hemant Kumar sang this on his own music.
The picturisation, the music and the lyrics are simply exquisite. Dev Anand and Hema Malini copied this picturisation in their Pal bhar ke liye koi hamen pyaar kar le from the 1970 movie Johnny Mera Naam.
Please enjoy: Jab jaag uthe armaan to kaise neend aaye….
jab jaag uThe aramaa.n to kaise nii.nd aae
ho ghar me.n hasii.n mehamaa.n to kaise nii.nd aae, nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
(ye raat ye dil kii dha.Dakan ye ba.Dhatii huii betaabii
ik jaam kii khaatir jaise bechain ho koii sharaabii ) – (2)
sholo.n me.n girii ho jaan to kaise nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
(nazadiik bahut hai ma.nzil phir bhii hai Gazab kii duurii
ai dil ye tuu hii batalaa de ye kaun sii hai majabuurii ) – (2)
jab soch me.n ho inasaa.n to kaise nii.nd aae
ho ghar me.n hasii.n mehamaa.n to kaise nii.nd aaye, nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
https://www.youtube.com/watch?v=dtXj_AbLKPM
Appreciating Good Lyrics Song #28
As you are aware, I started these posts more than three weeks ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.
It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.
So far, we have taken up in the last twenty-seven days:
1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
Today we take up our 28th Lyricist Gulshan Bawra‘s creation.
(Pic courtesy: timesofindia.indiatimes.com)
He was born Gulshan Kumar Mehta on 12 Apr 1937 in Sheikhupura, near Lahore (now in Pakistan). He was only ten when he saw his father and his cousin’s family massacred during the Partition riots. His elder sister brought him to Jaipur and thereafter he went to Delhi for further education.
He came to Bombay in 1955 to write for Hindi films.
Kalyanji (-Anandji), then on his own as Kalyanji Virji Shah, gave him his first opening in Chandrasena (1959) in the song ‘Main kya jaanu kahan laage yeh saawan matwala re’ sung by Lata Mangeshkar.
Since then, in his 42 years old career, he has written 240 songs for 42 movies and had also acted. His two songs: Upkaar song: Mere desh ki dharti; and Zanjeer song: Yaari hai imaan mera, got him two Filmfare awards.
Matching lyrics with Shakeel? I can think of at least two: Chand ko kyaa maaluum chahata hai use koi chakore from 1966 movie Lal Bangla, a song sung by Mukesh; and Aapse hamako bichhade huye ek zamaana beet gaya, sung by poor man’s Mukesh: Manhar with poor man’s Lata Mangeshkar: Suman Kalyanpur for the 1969 movie Vishwas.
However, the song that I am going to give is one of his earliest successes and dear to me as having been sung by my favourite Hemant Kumar. The name of this 1959 movie is Satta Bazaar. And of course you already know the song, a duet between Hemant da and Lata Mangeshgkar on the music and composition of Kalyanji Anandji.
Please enjoy: Tumhen yaad hoga kabhi ham mile the….
he: (tumhe.n yaad hogaa kabhii ham mile the ) -2
muhabbat kii raaho.n me.n mil ke chale the
la: bhuulaa do muhabbat me.n ham tum mile the
sapanaa hii samajho ke mil ke chale the …
