THE MOST POWERFUL SEA-GOD: FRESH-WATER TANKEY
There is this story of a sailor who went on his first leave after having been recruited in the Navy and having served on his first ship. The next day, first his mother and then his sisters, brother, father etc noticed that Jagtar Singh was in such deep sleep – as the one that a person gets in the Punjabi proverb ghode vech ke (after selling the horses) – that he refused to budge, let alone get up.
As the story goes, the alarmed parents and family consulted other siyaane (wise) men and women in the village but no one had any clue to this peculiar problem, let alone a solution. They also consulted the local quack who felt the sailor’s pulse and declared that the problem was beyond his saayins (science) too and all that the family could do was to pray.
They were about to give up when it occurred to them that Satnam Singh, another sailor, who had retired from the Navy a few years back, lived in the next village and probably he would know what is to be done with this unique naval problem. So, their other son Amrik (nickname Happy) was sent on the only power driven vehicle the family had – their Escort tractor – to fetch Satnam Singh from the next village.
One thing that the Navy teaches you is camaraderie; the fact is that you live in such close quarters that you are not just familiar with the way your shipmate’s looks but also his whims, fancies, idiosyncrasies and – hold your breath – smell. There is something about the salty seawater smell of a navy man that makes him stand out like a…..like a….well, salt-horse in the waves at sea. Hence, very soon, they had Happy bringing back Satnam Singh to revive Jagtar Singh. Satnam didn’t take long to come to grips with the situation. He lifted the eyelids of Jagtar and satisfied himself that Jagtar was alive but only blissfully sleeping; almost in a state of induced coma. He stood next to Jagtar’s prone figure and shouted, “Fresh water would remain open in all bathrooms for the next ten minutes”.
Jagtar’s reaction was to be seen to believed. He shot out of his cot like a pilot of an about to go down plane from his ejection seat, grabbed the nearest towel and shot into the nearest bathroom.
The grateful family asked Satnam, “Kaka, tussi Navy wich daakter sige?” (Son, were you a doctor in the Navy?)
And Satnam replied with pride, “Nahin ji; main fresh-water tankey si aapne jahaaz wich” (No, I was a Fresh Water Tankeyon my ship)
Many of you from the Army, Navy or civil backgrounds won’t know the importance of this position on the ship that Satnam proudly said he occupied, but an officer or sailor or even civilian on board (yes we have some civilians too on board like the dhobi, barber and civilian bearers) would know that a Fresh Water Tankey on board a ship is next to God only. He is a ME (Mechanical Engineer) who has been entrusted with the opening and closing of water from the Fresh Water Tank or Tanks (and hence called Tankey) to various bathrooms and galleys. Water at sea is the most scarce commodity. It would surely remind you of ‘water water everywhere and not a drop to drink”.
Yesterday, the veteran naval community in Mumbai were regaled by our annual Admiral Soman lecture (named after the visionary Vice Admiral Bhaskar Sadashiv Soman who was the 4th Chief of the Naval Staff of the Indian Navy from 1962 to 1966) by Ms Mehar Heroyce Moos on the subject of her expedition to Antarctica in 1977, making her the first Indian woman to have done so. She has been an avid and intrepid traveler who has visited 180 countries, tasted all kinds of food, met all kinds of people, and seen every nook and corner of our vast and beautiful Earth. During her talk she mentioned how, in Antarctica, water was the most precious commodity in all the camps. This would give you an idea of the famous water-water-everywhere dilemma. Antarctica is house to so much of ice that if it were to suddenly melt, the water levels of the oceans would rise by 57 feet. It stores seventy percent of Earth’s usable water. And yet when you are there, water is scarce.
Ships have evaporators to convert the salt-water into usable or potable water called fresh-water. Warships, as compared to merchant ships, have considerable manpower on board to man various weapons and sensors and combat positions. These men require fresh-water for various activities. The ship’s main purpose is to fight and hence fresh-water is not just scarce but luxury on board. Hence the importance of FW Tankey on board. It would be only at some scheduled timings that FW Tankey would open the fresh-water. If you miss the announcement, you have to wait for the next schedule that lasts only about 10 to 15 minutes. And who knows when the next schedule is there, whether you will be on watch or not, spreading your fragrance to all those who were fortunate enough to have not missed the earlier schedule.
Precisely for this reason, your ears are so tuned to this refreshing announcement that nothing else, not even ‘Hands to Action Stations’ or even ‘Hands to Lunch/Dinner’ gets the kind of response that ‘Fresh-Water will remain open in all bathrooms for ten minutes’ obtains. To this is to be added the fact that it is not as if each person on board has his own bathroom. The ratio is generally 10 to 20 persons per bathroom. Having the luxury of bath on board is therefore a race, not only against the other hopefuls but also against yourself, your needs and desires, and your skills that enable you to finish your bath before there is urgent knock at your bathroom door for having taken more time than was necessary for a “bride to get ready for her wedding“.
Thanks to Satnam, Jagtar’s family learnt how to bring Jagtar out of his indolence. But, they didn’t know that the Navy conditions your mind to such an extent that you find yourself at sea (lost) when you are on land. Jagtar was a changed man, unfit for everything except to be a sailor on board.
To learn more about how to wake up a determined sleeper on board, please read: Night Watch.
DREAM OF DIGITAL INDIA AND THE COMMON MAN
When I was in the Indian Navy, we often had to travel by train. Now, anyone who has ever traveled by Indian Railways a few decades back would tell you what an ordeal it used to be. Though in Nov 2010 I had written a humorous piece titled ‘The Great Indian Train Journey’, anyone who had spent hours standing in queues, dealing with corrupt and inefficient railway officials before, during and sometimes even after the journey, would tell you that humour was the last thing that you associated with the misery of railway reservations and ensuing journeys. As I wrote in the essay: “It is incredible to think after what you have gone through that the journey has not yet commenced.”
Cut to modern age. You do your reservation online in the luxury of your home or office. You have an application installed on your phone and it tells you how late the train would be at your boarding and alighting stations, what is the trend for the last week or so, where exactly your bogie would be, and who exactly to turn to for complaint and assistance. Just by having Internet, even the gargantuan Indian Railways suddenly appear more efficient and less corrupt.
Similarly, you have had great time in buying from online stores such as Flipkart, Amazon and Paytm. You have even been buying movie tickets online and you can confidently predict whether it is going to be good movie, the kind of movie, its exact duration and where would you and family sit and even enjoy your snacks.
Convenience and efficiency galore. However, Digital India is much more than that. The two key phrases are e-Governance and e-Services.
Looking back, it appears incredible that the Government of India launched National e-Governance Plan (NeGP) as late as in 2006. Not much notice was taken of it due to poor net-penetration in rural areas as well as poor net-coverage and speeds. Those who dreamt big such as the then Chief Minister of Andhra Pradesh were eventually voted out as not being in sync with the aspirations of the people at large. Some people realised that it was going to be be a significant thing in future but in the absence of means, the ends sought were far too lofty to be realistic.
And then, last year, on 01 Jul 2015 to be exact, Prime Minister Narendra Modi launched the Digital India campaign. Whereas the 2006 plan was just a plan, the Digital India campaign takes into consideration the need to set up right electronic infrastructure including availability of high-speed Internet, extensive rural and urban penetration, and technical excellence and support. The dream is that it would result in digitally empowered people, knowledge based economy, efficiency, transparency and corruption free society.
The nay-Sayers would maintain (in the atmosphere of cynicism that years of ill or non-governance led us into, nay-Sayers are legitimate) that simply by improving advanced Internet and Data services, how would these objectives be met?
That’s why I gave you the Railways example. Let me give you some more examples:
- Land Revenue Records. I heard the former CM of Himachal, Virbhadra Singh, speaking in a public gathering in my native town Kandaghat that the Patwari (The Patwari is a village (land or revenue) accountant (also known as Talati, Patel, Karnam, Adhikari, Shanbogaru, etc in various parts of the country) in a village is more powerful in his village than he, the CM, was in the state. And how does the Patwari derive his powers? Simple, by manipulating the land-revenue records in his custody. In my village, these are maintained on a latha (white coarse cloth) with indelible black ink. The Patwari, only the other day, used to measure the land through chains and see it on this latha by a scale rule that only he has. So, if he swings by a fraction of an inch on thew latha map, a substantial part of your land might actually go to your neighbour. The Patwari is thus open to corruption and bribery and even charges under-the-table sums of money to give you copies of your own land-records. There are thousands of instances wherein both or several of the contending parties fill his coffers to achieve the desired swing in their favour. The contending parties then resort to judicial action and for several years (decades in most cases) fill the coffers of the lawyers and/or judges (Please read: ‘The Great Indian Judicial System’). Now imagine that the land-revenue records are not only digitized but readily available in digital form on the net. You access them and you know precisely where your land is on the map and in reality. The corrupt and inefficient Patwari suddenly looks like a pygmy as compared to the giant he made himself into by keeping all that knowledge only with him and on latha and dog-eared registers in his moth-infested cupboard. Last year you must have seen an Idea mobile ad on television about an opportunist trying to hoodwink the village people out of their lands by offering them insignificant sums of money. A village girl, however, had the facts about land digitally available on her mobile phone and put the hood-winker to shame. That’s the face of Digital India of future.
- Diaster Relief. A few years back there was a super-cyclone in Orissa and Andhra coast. Hundreds of thousands of people died and were rendered homeless as the warnings didn’t reach them in time. Extensive relief material was collected country-wise. It is estimated that half of it didn’t reach the intended people and was siphoned off by corrupt middle-man and touts. Not having live information about the affected populace, grossly inequitable distribution of relief material took place; some villagers received much more than was required whereas others perished due to total lack of it. Now, as this data is more and more digitally available and distributed, first of all the alert systems are more effective in evacuating people to safety. Then, the distribution of relief material is coordinated real time and equitable distribution takes place without much corruption and inefficiency.
- Beneficiaries of Government Doles. Presently, about half of government doles under various welfare schemes are siphoned off by middle-men, touts and undeserving elements. The government, in preparation for a full-fledged Digital India has got a Bill passed in the current session of Parliament that would ensure direct distribution of doles through Aadhar Cards. Now a few years back even if that was the intended lofty aim, it would still not be possible due to lack of digital penetration in the villages. However, now it is possible to empower people directly and ensure transparency.
- Digital and e-Literacy. Just as it did the local Patwari good to keep the people in the dark, the politician and babu derived their vicarious powers over people to keep people ignorant and illiterate. Both Digital and e-Literacy are the buzzwords to make people knowledgeable about their rights, government schemes and other plans. Digital Literacy deals with knowledge, skills and behaviours required to deal with digital devices such as computers, laptops, tablets, smartphones seen together as networks and not computing devices. E-Literacy, on the other hand is general literacy through not classroom learning but through e-Learning.
- DigiLocker. The Government of India, in the year 2015, launched Digital Locker facility. It helps people to digitally store their important documents like PAN card, passport, mark sheets and degree certificates. The lockers are authenticated by Aadhar cards. It would not only stop pilferage of documents but also stop spurious documents generated by unlawful elements. Only day before yesterday I was reading in the newspaper that even the databases of potential candidates for jobs both on the government and corporate networks can be shared thereby reducing enormous paperwork and ensuring transparency.
- Participating in Economical and Political Growth. Thanks to Digital and e-Illiteracy, there is hardly any participation of people in economic and political growth of the country. Politically, you have to belong to one party or the other; all of which extract their pound of flesh. With spread of Digital and e-Literacy, the political clout of common people becomes stronger. Take Economic Growth, and just the example of Stock Markets. So far the retailers share of stock markets is abysmally small and insignificant to make any dent in the overall sensitivity of the market. However, with the spread of Digital India to small towns and villages, the percentage of retailers share becomes more and more and then the big-guns in the markets (the Harshad Mehta and Jhunjhunwala types) are not able to manipulate the markets with the ease that they used to.
- Accountability of Government Functionaries and Departments. The best example that I can give in this case is that of Police. It is a known fact that lodging an F.I.R. with the Police Station on legitimate complaints is a herculean task, if not totally impossible. However, e-filing of F.I.Rs is already underway in some of the stations. A few months back, a car recklessly driven by a driver fell on our roof-top, next to the highway, in my native village in Himachal. Our tenant woke me up in Mumbai at about 2 O’ Clock in the morning to tell about this accident. The miscreant’s people were dilly-dallying in paying compensation to us thinking that they would get away with less than half the sum by greasing the palms of the police. So when the police arrived on the scene and talked to me on the phone, they said that it wasn’t much of damage and to let them go. I informed them that an e-F.I.R. showing the accident and the damage caused had already been filed by me. I was thus given adequate compensation before they took out their vehicle. In similar manner, with public records being digitally available and online filing of RTI and other complaints, the accountability of government functionaries would improve.
I can go on and on. Now, it would start occurring that Digital India is not just about social media, Facebook, chat groups, smartphones and applications and easy availability of information. It is much more than that. Once realised, it would really make Indians empowered and India society efficient and corruption free.
Surely, the work didn’t start only with the launching of Digital India campaign last year. Take my last company RIL, for example. It had been working on this digital revolution, appropriately called RJIO for several years now and it is talked about that more than 100, 000 Crores of investment has already gone into raising infrastructure such as National Optic Fibre Network to enable high-speed digital networks across the length and breadth of the country. A limited soft-launch of the prototype 4G network was there on 28th Decmeber, the birth-anniversary of the founder of RIL Shri Dhirubhai Ambani. A full fledged launch is scheduled in the second half of the year.
Various other players like Airtel and Vodafone have jumped on the 4G bandwagon without having the crucial LTE (Long Term Evolution) technology, which only RIL has. Anyway, as long as the dream of high-speed internet connectivity of rural areas is realised, I don’t see any quarrel between the service providers’ use of technology. However, I do see a conflict between their commercial interests and the dream of Digital India. This is noticeable, for example in Airtel ads on the television where the use of 4G in remote places such as Mashobra in Shimla is for such entertainment as watching cricket match live on the mobile from Eden Gardens in Kolkata.
The US strategic-thinker and writer, Fareed Zakaria, on 21 Feb 16, flew all the way from US to Mumbai to interview Mukesh Ambani, Chairman and MD of RIL on RJIO’s scheduled launch. Mr. Ambani told him that what US was able to do in decades, India was on the cusp of achieving in two years. Significantly, Mukesh Ambani is the one who talked about rural India and empowering youth of the country to realise their dreams.
Mukesh Ambani, in the interview aired on CNN worldwide spoke about rural penetration equivalent in percentage terms to US in the year 2016 itself and achieving best in class connectivity in the world by 2018.
Lets say the dream of Digital India in its core elements is fulfilled by 2018, it would make India join the super-league of nations that have people electronically empowered and in position to demand e-services and e-governance.
I am excited and keeping my fingers crossed.
‘SELFING’ – AN ‘EVOLUTIONARY’ WAY FOR NAVY WIVES?
A great piece of information in the Times of India edition of yesterday, 28th March, totally went unnoticed. I am reproducing (!!!) the item below. It talks about a female hybrid fish that grows male reproductive organs, impregnating itself and then giving birth to offspring.
Navy wives (and probably their counterparts in the Army and the Air Force too) would be much excited to read the news. This is where the evolutionary process has reached so far in their alliance with their Navy husbands:
- They meet their would be husbands in a party. He is handsome-looking and very gentlemanly and witty and therefore love blooms.
- They start seeing each other in the evenings and whenever the occasions occur.
- They proclaim that they cannot live without each other and exchange wedding vows.
- They move into a one room house and it is fun and frolic for a few days. Just as she had imagined, he is great in bed too. She starts dreaming of having a child. Gods are kind and she has a baby even more handsome than her husband. But then, she notices that he starts cavorting with his first Love: the Navy; and she and the child are on their own.
- She does everything to bring up the child (he, immersed in his never-ending nautical work, is often not even aware of how old his child or children are, what do they look like and what makes them happy) and is rewarded by his presence once in a blue moon.
Take my course mate LK, for example. N did everything for him; no, not the ‘selfing’, but practically everything else. From moving into a new house to asking MES personnel to repair this and that, arranging servants, parties, electricity, shopping, their daughter’s schooling to finally doing all the packing to move to a new station, N would do everything. LK would be too busy attending to the office work even at home.
Take my case. I had gone for a six month’s deputation to Spain, leaving Lyn in a hostile city called New Delhi and that too in a one room outhouse in Kotah House. We were to get an A-type accommodation (three things that were ultimate fantasies of Navy officers are: 1. A-type accommodation (lucky are those who get it before being transferred out of station). 2. A telephone with zero dialing facility (which means not just within the Navy but being able to contact the outside world too). 3. Transport. Nowadays, telephones is not such a big thing because of the ready availability of smart phones. However, accommodation and transport still continue being luxuries and hence fantasies). And, this allotment of A-type accommodation was to take place before being evicted out of the mess called Kotah House.
The before part didn’t take place when I was away abroad. Lyn and our two kids (Arjun 4 years and Arun 1 year old) were going to be on the road when she thought enough is enough and marched into CAO’s (Central Administrative Officer; the rank of a Major General) office. He admitted the fact, after consulting his officers, that yes I was on top of the roster for the last month or so but there was no suitable house available. He thought this would help him buy sometime and then he would think of what to do. But, evolutionary process, had taught Lyn many things even at that young age. She asked him if he could rent a tent to her and tell her where she could put it up since she was on the road with the two kids. By evening she moved into a house.
How did she learn all this? In my article ‘Indian Navy Is the Only Life That I have Known And Seen’, written about a year back, I had given glimpses of the automatic process through which Navy wives learn. I had also mentioned in ‘Lyn And I – Scene By Scene’, on the occasion of our wedding anniversary last year, that our first child was born when we were in mourning for my dad’s untimely death in a jeep accident and when the second child was born, she walked to the hospital on her own since my ship INS Ganga had sailed to Andaman and Nicobar islands with Rajiv and Sonia Gandhi and she (Lyn) was all by herself.
In the farewell speech of Admiral Nirmal Verma as the Chief of the Naval Staff, in Western Naval Command Officers’ Mess at Mumbai, he extolled the virtues of a happy married life. He said that he had learnt (this wisdom comes to us too late; at retirement time, most often than not) that we should spend much more time with our families than what we are spending now. Until we do, I guess, the ultimate fantasy of a Navy wife would be to assimilate the virtues of cichlid fish and do selfing so that her husband won’t have to do a thing towards raising their children!
And now, it is time for me to address my brethren in the Navy and by extension, in the IAF and the great Indian Army too:
Brothers,
Lets wake up. So far you have made your wives do everything at home whilst you earn your Vashisht Seva Medals, Ati Vashisht Seva Medals, and gallantry medals for service beyond the call of duty (whatever that means) at sea and in the offices ashore. She takes your children to the school, giving your name as the father and her name as the mother. She does the same with the ration card and any other card.
But, brothers; beware. The time is approaching when she would stop waiting for you, acts like the cichlid fish and then when she goes anywhere she would give her own name as both the father and the mother!
I agree with you that sailing merrily in your ships or flying your aircraft or being in your regiment/battalion is frightfully important and that the national security rests on your tiny shoulders. However, brothers, I saw Jim Carey’s ‘Liar, Liar’ the other day and in hindsight, I can tell you that there are a thousand ways to lie but only one way to the truth:
Act before it is too late.
Imagine how your children are going to feel the rest of their lives when they can smell that there is something fishy about how they were born!
Your brother-in-arms,
Sonbyanyname (sorry Sunbyanyname)
P.S. Some of you have only now started learning how to take a ‘Selfie’. Selfing is a – if I may say so – a different kettle of fish altogether.
P.P.S. I had aired another well-meaning fantasy in ‘The Year 2222 And The Naval Wars’. Don’t let it come true!
THE BEST RAAGA BASED SONGS IN THE HINDI MOVIES – RAAGA KHAMMAJ
As you are already aware, these blogs are being recreated from the posts on my Facebook page Lyrical wherein I started with this theme of giving you the best raaga based songs in Hindi movies on the 8th of Aug 2015. Presently, I am on my 19th Raaga: Raag Bhupali. I have already given you blogs on Raaga Bhairavi (Part I, II and III), Yaman or Kalyan (Part I, II and III), Jhinjhoti (Part I, II) and Darbari Kanada (Part I, II, and III) and Bhimpalasi (Part I and II) which make only five of the nineteen Raagas. This means that I am well behind schedule.
Anyway, lets start with our sixth Raaga here: Raag Khammaj.
Khamaj is one of the ten Thaats (parent scales) of Hindustani music. It is also a specific raaga within the Khamaj thaat. Raag Khamaj is a late evening raaga and is brought out rather elegantly in the light classical form of thumri. It has been a popular choice for film music as well. Devotion, beauty and the opulence of love are the basis of Raga Khamaj.
Khamaj is meant to be a complete surrender to the ultimate through the beauty of its melody. The beauty of Khamaj lies in the expression of love with the softest touch of heart.
Song #1 O sajana barkha bahaar aayi…
The romantic nature of the raaga is brought out by this delightful composition of Salil ChowdhuryO Sajna Barkha Bahar Aayi (the cover picture song). This song is supposed to have been set to the swishing of the wipers of an Ambassador car when the composer Salil Chowdhury was caught in a torrential downpour. The original version done in Bengali called Na Jeona was also sung by Lata Mangeshkar. She is said to have chosen this song when asked what is the one song she will take with her to a desert island!
The song is from the 1960 movie Parakh and is picturised on Sadhana. Shailendra is the lyricist.
Please enjoy in Raag Khammaj: O sajana, barkha bahaar aayi…..
(o sajanaa, barakhaa bahaara aaI
rasa kii phuhaara laaI, a.Nkhiyo.n me pyaar laaI ) – 2
o sajanaa
tumako pukaare mere mana kaa papiharaa – 2
miiThii miiThii aganii me.n, jale moraa jiyaraa
o sajanaa …
(aisI rimajhima me.n o saajan, pyaase pyaase mere nayana
tere hii, khvaaba me.n, kho gae ) – 2
saa.nvalii salonii ghaTaa, jaba jaba chhaaI – 2
a.Nkhiyo.n me.n rainaa gaI, nindiyaa na aaI
o sajanaa …
https://www.youtube.com/watch?v=zSEV7-CqhwI
Song #2 Kuchh to log kahenge, logon ka kaam hai kehna…
Salil da was not the only Bengali composer fond of Raag Khammaj. Rahul Dev Burman used the Raag for composing Aayo kahan se ghanshayaam in Buddha Mil Gaya. He used the same Raag twice in 1971 movie Amar Prem in the songs: Bada natkhat hai ye Krishan Kanhaiyya, and Kuchh to log kahenge.
All three are beautiful compositions in Raag Khammaj. Lets take the last one as example. And not just because it is a good example of the Raag; but, also, the essence of the movie is in the song.
Anand Bakshi was the lyricist and the song was sung by Kishore Kumar for Rajesh Khanna. Of course the movie itself was made by a famous Bengali: Shakti Samanta and starred the great grand-daughter of Nobel Laureate Rabindra Nath Tagore: Sharmila Tagore.
Please enjoy in Raag Khammaj: Kuchh to log kahenge….
(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 …
Song #3 Nazar laagi raja tore bangle pe….
We started with our fifth Raag; Raag Khammaj tonight and took the compositions of two Bengali composers: Salil Choudhury and Rahul Dev Burman.
Tonight, lets take another Bengali composer: RD Burman’s father: Sachin Dev Burman. This too is a lovely one from the 1958 movie Kaala Pani starring SD Burman’s favourite hero: Dev Anand with Madhubala and Nalini Jaywant in the role of a courtesan with a golden heart.
Lyrics are by Majrooh Sultanpuri and singer is Asha Bhosle.
Please enjoy in Raag Khammaj: Nazar laagi raja tore bangle par….
nazar laage raajaa tore ba.ngale par
jo mai.n hotii raajaa ban kii koyaliyaa
kuhuku rahatii raajaa tore ba.ngale par
jo mai.n hotii raajaa kaarii badariyaa
baras rahatii raajaa tore ba.ngale par
jo mai.n hotii raajaa belaa chameliaa
lipaT rahatii raajaa tore ba.ngale par
jo mai.n hotii raajaa terii dulhaniyaa
maTak rahatii raajaa tore ba.ngale par
Song #4 Dheere dheere machal ai dil-e-beqraar koi aata hai…
We started with our fifth Raaga: Raag Khammaj yesterday and took up the compositions of three Bengali music directors: Salil Choudhury, RD Burman and his father SD Burman.
Lets take the composition of the fourth Bengali music director, my favourite, Hemant Kumar.
It is from the 1966 movie Anupama and the scene is picturised on the actress Surekha singing it for her husband Tarun Bose. You know the story after that. She gives birth to a child and dies. This child grows up into Sharmila Tagore. Tarun Bose, her father, hates her as being the cause of the death of his wife and she grows into a reclusive, introvert person.
Kaifi Azmi‘s lyrics are superb and so is Lata Mangeshkar‘s singing.
Please enjoy in Raag Khammaj: Dheere dheere machal ai dil-e-beqraar koi aata hai…..
dhiire dhiire machal ai dil-e-beqaraar
koii aataa hai
yuu.N ta.Dapake na ta.Dapaa mujhe baalamaa
koii aataa hai
dhiire dhiire …
usake daaman kii Kushabuu havaao.n me.n hai
usake kadamo.n kii aahaT fazaao.n me.n hai
mujhako karane de, karane de solah shri.ngaar
koii aataa hai
dhiire dhiire machal…
ruuThakar pahale jii bhar sataauu.Ngii mai.n
jab manaae.nge vo, maan jaauu.Ngii hai.n
mujhako karane de, karane de solah shringaar
koii aataa hai
dhiire dhiire machal…
mujhako chhune lagi.n usakii parchhaaiyaa.N
dilake nazdiik bajatii hai.n shahanaaiyaa.N
mere sapano.n ke aa.Ngan me.n gaataa hai pyaar
koii aataa hai
dhiire dhiire machal…
https://www.youtube.com/watch?v=e3RiMIAZ1vY
Song #5 Sajana saanjh bhayi….
Our fifth composer in Raag Khammaj is also Bengali: Anil Biswas, who made one of the earliest compositions in this Raag, in the 1942 movie Roti.
It is sung by Akhtaribai Faizabadi and lyrics were written by Safdar Aah. The song is picturised on Sitara Devi and you will love it!
Please enjoy in Raag Khammaj: Sajana sanjh bhayi, aan milo…..
sajana sanjh bhayi
sajana sanjh bhayi
sajana sanjh bhayi
aan milo aan milo
sajana sanjh bhayi
sajana sanjh bhayi
sajana sanjh bhayi
aan milo aan milo
sajana sanjh bhayi
pihu pihu mor kare
dil mera shor kare
pihu pihu mor kare
dil mera shor kare
hasu piu re
bansi ki madhur taan milo
sajana sanjh bhayi
sajana sanjh bhayi
aan milo aan milo
sajana sanjh bhayi
Song #6 Ham apna unhe bana na sake….
I started with Salil da and then gave you four more compositions in Raag Khammaj of four more Bengali music directors: RD Burman, SD Burman, Hemant Kumar and Anil Biswas.
With Anil Biswas, since we went to as far back as 1942, I am reminded of another contemporary of his: Khemchand Prakash. He was born on 12 Dec 1907 (seven years before Anil Biswas) and died on 10 Aug 1950 (53 years before Anil Biswas). The decade of 1940s is regarded as the best decade in Hindi songs that started with KL Saigal and ended with Lata Mangeshkar coming up on the scene. Khemchand Prakash composed many of KL Saigal’s songs.
This one has been penned by Kedar Sharma and sung by KL Saigal. The name of this 1944 movie is Bhanwara.
Please enjoy in Raag Khammaj: Ham apna unhen bana naa sake….
ham apanaa unhe.n banaa na sake -2
kho kar bhii unako paa na sake -2
paa na sake
ham apanaa unhe.n banaa na sake -2
( gulashan se
gulashan se ham ukataaye the ) -2
us daam me.n pha.Nsane aaye the -2
saiyaad ko ye samajhaa na sake -2
samajhaa na sake
ham apanaa unhe.n banaa na sake -2
( yaado.n pe
yaado.n pe nichhaavar karate hai.n ) -2
marate hai.n zaalim marate hai.n -2
do lafz zabaa.N par laa na sake -2
laa na sake
ham laa na sake
ham apanaa unhe.n banaa na sake -2
##female voice## : achchhaa misTar pancham
aapane kabhii kisii se mohabbat kii hai
wo bole
wo bole
wo bole mohabbat kii hai kabhii
wo bole
wo bole
bole mohabbat kii hai kabhii
##laugh##
wo bole
wo bole
wo bole mohabbat kii hai kabhii
kyaa jaan kisii pe dii hai kabhii -2
dil chiir ke ham dikhalaa na sake -2
dikhalaa na sake
samajhaa na sake
ham apanaa unhe.n banaa na sake -2
Song #7 Kaise din beete kaise beeti ratiyan…
How would you like to have the sitar maestro Pandit Ravi Shankar composing in Raag Khammaj?
It happened in 1960 movie Anuradha starring Balraj Sahni and Leela Naidu, one of the earliest movies about recognition of the role of woman in the couple’s well-being.
Lyrics are by Shailendra and the song has been sung by Lata Mangeshkar.
Please enjoy in Raag Khammaj: Kaise din beete kaise beeti ratiyan….
ha~~ay~
kaise din biite kaise biitii ratiyaa
piyaa jaane na
haay
nehaa lagaa ke mai.n pachhataa_ii
saarii saarii rainaa nindiyaa na aa_ii
jaan ke dekho mere jii kii batiyaa
piyaa jaane na
haay
kaise din biite kaise biitii ratiyaa
piyaa jaane na
rut matavaalii aa ke chalii jaaye
man me.n hii mere man kii rahii jaaye
khilane ko tarase nanhii nanhii kaliyaa.N
piyaa jaane na
haay
kaise din biite kaise biitii ratiyaa
piyaa jaane na
kajaraa na sohe gajaraa na sohe
barakhaa na bhaaye badaraa na sohe
kyaa kahuu.N jo puuchhe mose morii sakhiyaa.N
piyaa jaane na
haay
kaise din biite kaise biitii ratiyaa
piya jaane na
Song #8 Nain ladh jayi hai….
As I have mentioned several times, the best songs in Hindi movies have been put together by the quartet of Shakeel Badayuni as lyricist, Naushad Ali as composer, Mohammad Rafi as singer and Dilip Kumar as actor.
Here is one from the 1961 movie Ganga Jamuna starring Vyjayanthimala with Dilip Kumar.
Enjoy Dilip Kumar’s super dancing with this.
Please enjoy in Raag Khammaj: Nain ladh jaiin hai…
laagaa gorii gujariyaa se nehaa hamaar
ho_i gavaa saaraa chaupaT moraa rojagaar
o~
nain la.D jai.nhe to manavaa me.n kasak hoibe karii
prem kaa chhuTi hai paTaakhaa to dhamak hoibe karii
nain la.D jai.nhe …
ruup ko manamaa basaibaa to buraa kaa ho_ii hai
tohuu se priit lagaibaa to buraa kaa ho_ii hai
prem kii nagarii ma kuchh hamaraa bhii haq hoibe karii
nain la.D jai.nhe …
ho_ii gavaa man maa more tichh.rii najar kaa hallaa
gorii ko dekhe binaa ni.ndiyaa na aavai hamakaa
phaa.Ns lagii hai to karejavaa ma khaTak hoibe karii
nain la.D jai.nhe …
thaik thaik thai thai, thai
dhaak dhinak dhin, taak tinak tin
dhaak dhinak dhin, dhaak dhinak dhin, dhaa!
aa.Nkh mil gayii hai sajaniyaa se to naachan lagii hai
pyaar kii miiThii gajal manavaa bhii gaavan lagii hai
jhaa.Njh bajii hai to kamariyaa ma lachak hoibe karii
nain la.D jai.nhe …
nainaa jab la.Dii hai to bhaiyyaa man me.n kasak hoibe karii
thaik thaik tik thaa
hoy hoy hoy!
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
kaisaa jaaduu Daar ke re, kaisaa Tonaa Daar ke
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
Song #9 Ab kyaa misaal doon main tere shabaab ki…
Every time I listen to Roshan‘s compositions, I am stunned by their beauty.
Roshan’s full name was Roshanlal Nagrath. He was born on 14th Jul 1917 in Gujranwala, Punajab (now part of Pakistan). He was the father of the actor and film director Rakesh Roshan and music director Rajesh Roshan and paternal grandfather of actor Hritik Roshan.
In 1948, Roshan came to Bombay to find work as a Hindi film music director and became Assistant to Music Composer Khawaja Khurshid Anwar in film Singaar. He struggled until meeting Kidar Sharma, who gave him the job of composing for his film Neki aur Badi (1949). While this film was a flop, Roshan emerged as a player on the Hindi film music scene with the film Baawre Nain, released the following year.
This one is from 1962 movie Aarti. Majrooh was the lyricist and Mohammad Rafi sang for Pradeep Kumar who addressed the song to his beloved Meena Kumari.
Please enjoy in Raag Khammaj: Ab kyaa misaal doon main tumhaare shabaab ki…
ab kyaa misaal duu.N mai.n tumhaare shabaab kii
inasaan ban ga_ii hai kiraN maahataab kii
ab kyaa misaal duu.N …
chehare me.n ghul gayaa hai hasii.n chaa.Ndanii kaa nuur
aa.Nkho.n me.n hai chaman kii javaa.N raat kaa suruur
garadan hai ek jhukii huii Daalii gulaab kii
ab kyaa misaal duu.N …
gesuu khule to shaam ke dil se dhuaa.N uThe
chhuule kadam to jhuk ke na phir aasmaa.N uThe
sau baar jhilamilaaye shamaa aafataab kii
ab kyaa misaal duu.N …
diivaar-o-dar kaa ra.ng, ye aa.Nchal, ye pairahan
ghar kaa mere chiraaG hai buuTaa sa ye badan
tasaviir ho tumhii.n mere jannat ke Kvaab kii
ab kyaa misaal duu.N …
Song #10 Shaam dhale Jamuna kinaare….
This one is a favourite of mine from the 1970 movie Pushpanjali starring Sanjay Khan and Naina. It is by the most versatile combination ever of a lyricist and music director: Anand Bakshi and Laxmikant Pyarelal. The song or rather the enchanting bhajan has been sung by Manna Dey and Lata Mangeshkar.
Please enjoy in Raag Khammaj: Shaam dhale jamuna kinaare, aaja Radhe aaja tohe Shyam pukaare….
shaam Dhale jamunaa kinaare kinaare
aajaa raadhe aajaa tohe shyaam pukaare
kabhii ruke kabhii chale raadhaa chorii chorii
piyaa kahe aa jiyaa maane nahii.n gorii
shaam Dhale …
raadhaa sharamaaye manavaa ghabaraaye
paniyaa bharane ko jaaye na jaaye
haiyaa ho …
kha.Dii soye bR^ijabaalaa bR^ij me.n hai horii
kaanhaa ra.ng de.nge tohe haay barajorii
log kare.nge ye ishaare ishaare
aajaa raadhe aajaa …
ko ii kahe shyaam se naa baa.nsurii bajaaye
chain kisii kaa jo chitachor na churaaye
Dagamag Dole jiyaa kii naiyaa
chale jab puravaiyaa chhe.De ba.nsii kanhaiyaa
jaaduu bhare nainaa Daare nainan kii Dorii
soye saaraa jag jaage ek chakorii
raat kaTe gin gin ke taare taare
aajaa raadhe aajaa …
panaghaTa pe sakhiyaa.n karatii hai batiyaa.n
mohan se laagii raadhaa kii akhiiyaa.N
jo bhii mile yahii puuchhe sun o kishorii
ga ii kahaa.N nindiyaa re bindiyaa torii
raam qasam chhe.De.nge saare saare
aajaa raadhe aayaa …
https://www.youtube.com/watch?v=KM9CHdpk-9Q
Song #11 Main zindagi ka saath nibhata chala gaya…
How about Jaidev composing in Raag Khammaj. He did it with a very famous song of Dev Anand in the 1961 movie Hum Dono in which Dev Anand had a double role (both as Army officers: a major and a captain having been posted to Burma; he having chosen to become an Army officer in order to prove to his beloved Sadhana’s father that he could become somebody) with Sadhana and Nanda.
Sahir Ludhianvi was the lyricist and the song was sung by Mohammad Rafi.
Please enjoy in Raag Khammaj: Main zindagi kaa saath nibhata chala gaya…
mai.n zi.ndagii kaa saath nibhaataa chalaa gayaa
har fikr ko dhu.Ne.n me.n u.Daataa chalaa gayaa
barabaadiyo.n kaa soG manaanaa fizuul thaa – 2
barabaadiyo.n kaa jashn manaataa chalaa gayaa
mai.n zi.ndagii…
jo mil gayaa usii ko muqaddar samajh liyaa – 2
jo kho gayaa mai.n usako bhulaataa chalaa gayaa
mai.n zi.ndagii…
Gam aur khushii me.n fark na mahasuus ho jahaa.N – 2
mai.n dil ko us muqaam pe laataa chalaa gayaa
mai.n zi.ndagii…
Song #12 Mere to Giridhar Gopal…..
Why am I giving you so many bhajans in this Raag? The simplest explanations are: One, I am fond of bhajans; and two, Raag Khammaj is the raag of devotion, of total surrender to the Creator.
Who can epitomise this devotion more than Meerabai who was born a Rajasthani princess and who renounced everything in her devotion for Krishna?
This is from the 1979 movie Meera that starred Hema Malini in the title role. Pandit Ravi Shankar composed the lyrics of Meerabai (one of the over 3000 she wrote) into this beautiful bhajan. And who better to sing it than Vani Jairam, who has made a name for herself in classical singing.
Please enjoy in Raag Khammaj: Mere to Giridhar Gopal….
Mere to girdhar gopal dusro na koi
mere to girdhar gopal dusro na koi
jako sar mor mukat mere pati wohi
mere to girdhar gopal dusro na koi
koi kahe karo koi kahe goro
koi kahe karo koi kahe goro
mero kai ankhiyo khol
koi kahe halko koi kahe baharo
koi kahe halko koi kahe baharo
hiyo hai taraju tol
mere to girdhar gopal dusro na koi
mere to girdhar gopal dusro na koi
koi kahe chane koi kahe chaine
koi kahe chane koi kahe chaine
miyo hai bajuanta dhol
tan ka gahna sab kuch dina
tan ka gahna sab kuch dina
diya hai bajuband khol
mere to girdhar gopal dusro na koi
mere to girdhar gopal dusro na koi
jako sar mor mukat mere pati wohi
mere to girdhar gopal dusro na koi
Song #13 Vaishnav jan to tene kahiye je…
This is not a Hindi movie song. But since I just now gave you a Meera bhajan, it would be appropriate to give you the best bhajan composed in this Raag.
Vaishnava Jana To is one of the most popular Hindu bhajans, written in the 15th century by the poet Narsinh Mehta in the Gujarati language. The bhajan was included in Mahatma Gandhi’s daily prayer. The bhajan speaks about the life, ideals and mentality of a Vaishnava Jana (meaning: a follower of Lord Vishnu).
Please enjoy in Raag Khammaj: Vaishnav janato….
Vaishnav jan to tene kahiye je
[One who is a Vaishnav]
PeeD paraayi jaaNe re
[Knows the pain of others]
Par-dukhkhe upkaar kare toye
[Does good to others, esp. to those ones who are in misery]
Man abhimaan na aaNe re
[Does not let pride enter his mind]
Vaishnav…
SakaL lok maan sahune vande
[A Vaishnav, Tolerates and praises the the entire world]
Nindaa na kare keni re
[Does not say bad things about anyone]
Vaach kaachh man nishchaL raakhe
[Keeps his/her words, actions and thoughts pure]
Dhan-dhan janani teni re
[O Vaishnav, your mother is blessed (dhanya-dhanya)]
Vaishnav…
Sam-drishti ne trishna tyaagi
[A Vaishnav sees everything equally, rejects greed and
avarice]
Par-stree jene maat re
[Considers some one else’s wife/daughter as his mother]
Jivha thaki asatya na bole
[The toungue may get tired, but will never speak lies]
Par-dhan nav jhaalee haath re
[Does not even touch someone else’s property]
Vaishnav…
Moh-maaya vyaape nahi jene
[A Vaishnav does not succumb to worldly attachments]
DriDh vairaagya jena man maan re
[Who has devoted himself to stauch detachment to worldly
pleasures]
Ram naam shoon taaLi laagi
[Who has been edicted to the elixir coming be the name of
Ram]
SakaL tirath tena tan maan re
[For whom all the religious sites are in the mind]
Vaishnav…
VaN-lobhi ne kapaT-rahit chhe
[Who has no greed and deciet]
Kaam-krodh nivaarya re
[Who has renounced lust of all types and anger]
BhaNe Narsaiyyo tenun darshan karta
[The poet Narsi will like to see such a person]
KuL ekoter taarya re
[By who’s virtue, the entire family gets salvation]
Vaishnav…
Song #14 Chand akela jaaye sakhi ri….
(Since I give you three songs everyday, we are recently two songs short. That happened because I was away to Goa for my course reunion and for two consecutive days I posted only two songs each day instead of usual three.
I shall make up for that by posting five tonight.)
The first one has been very popular but a rare combination. It was penned by Dr Rahi Masoom Reza. He was a poet, novelist, lyricist and even wrote dialogues in Hindi movies. We know him better as the script writer for the popular TV serial Mahabharat.
The composer for this song was Jaidev and singer Yesudas. It is from the 1977 movie Alaap, most of whose songs are based on classical raagas.
Please enjoy in Raag Khammaj: Chand akela jaaye sakhi ri….
chaa.Nd akelaa jaaye sakhii rii
kaahe akelaa jaaye sakhii rii
man moraa ghabaraaye rii
sakhii rii, sakhii rii, o sakhii rii
chaa.Nd akelaa …
vo bairaagii vo manabhaavan
kab aayegaa more aa.Ngan
itanaa to batalaaye rii
sakhii rii, sakhii rii, o sakhii rii
chaa.Nd akelaa …
a.ng a.ng me.n holii dahake
man me.n belaa chamelii mahake
ye R^it kyaa kahalaaye rii
bhaabhii rii, bhaabhii rii, o bhaabhii rii
chaa.Nd akelaa …
https://www.youtube.com/watch?v=3P7a9wYW_hQ
Song #15 Deewana mastana hua dil jaane kahan hoke bahaar aayi….
Whenever I have put up this song in the past I have brought out the spontaneous chemistry that existed between Dev Anand and all his heroines. All of them gave their best performances with him.
Here, in this song, the heroine with him is Suchitra Sen and the name of this 1960 movie is Bambai Ka Babu. Lyrics are by Majrooh Sultanpuri and the composer is SD Burman.
The duet is between Asha Bhosle and Mohammad Rafi singing for Suchitra Sen and Dev Anand.
Please enjoy in Raag Khammaj: Deewana mastaana hua dil, jaane kahan hoke bahaar aayi….
aashaa: aaaa aa aa …
pa ma ga ma re ga pa ma ga ma, aaaa aa …
saa nii dha pa ma ga re saa nii nii nii …
diivaanaa, mastaanaa, huaa dil,
jaane kahaa.N hoke bahaar aaii
tan ko chhue, chhue ghaTa kaalI
chhe.De lahar, lahar matavaalI
tan ko chhue …
o ho tan ko chhue, chue ghaTa kaalI
chhe.De lahar, lahar matavaalI
baat koI anjaanaaa
diivaanaa, mastaanaa, huaa dil,
jaane kahaa.N hoke bahaar aaii
o ho ho kuchh anakahii, kahe, merii chitavan
bole jiyaa, likhe merii dha.Dakan, kuchh anakahii …
o ho ho kuchh anakahii, kahe, mere chitavan
bole jiyaa, likhe merii dha.Dakan
ek nayaa afasaanaa …
rafii: diivaanaa, mastaanaa, huaa dil,
jaane kahaa.N hoke bahaar aaii
o o oo
jaane kahaa.N hoke bahaar aaii
% pa ma ga ma ri ga pa ma ga ma.
%aashaa(mockingly:)
% pa ma ga ma ri ga pa ma ga ma.
%rafii: aaa aa aa aa aa..
% sa ni da pa ma ga re sa ni ni ni
% diivaana, mastanaa hua dil
% jaane kahaan hoke bahaar aaii
rafii: o ho o saavan lagaa, machal gae baadal
aashaa: dekhuu.N jise, huaa vahii paagal
rafii: saavan lagaa, machal gae baadal
aashaa: dekhuu.N jise, huaa vahii paagal
rafii: kaun huaa diivaanaa …
aashaa: diivaanaa, mastaanaa huaa dil
rafii: diivaanaa mastaanaa huaa dil
aashaa: jaane kahaa.N hoke bahaar aaii aa aa aa …
rafii: jaane kahaa.N hoke bahaar aaii
ho oo, jaane kahaa.N hoke bahaar aaii
aashaa: aa aa aa, jaane kahaa.N hoke bahaar aaii
https://www.youtube.com/watch?v=Mf7PBnFrH5A
Song #16 Piya tose naina laage re…
It would have occurred to you so far that the best songs composed in Raag Khammaj have been composed by Bengali composers. There are more.
This one too is by SD Burman and this too is from a Dev Anand movie, his classic: Guide based on a story by RK Narayan. This time the lyricist is Shailendra and singer Lata Mangeshkar singing for Waheeda Rehman.
Please enjoy in Raag Khammaj: Piya tose naina laage re…..
piyaa tose nainaa laage re, nainaa laage re
jaane kyaa ho ab aage re, nainaa laage re
piyaa tose nainaa laage re, nainaa laage re
ho, jag ne utaare ho, dharatii pe taare,
par man meraa murajhaaye
ho, un bin aa_ii ho, aisii dIvaalii
milaneko jiyaa tarasaaye, aa saajan paayal pukaare
jhanaka jhan jhan jhanaka jhan jhan, piyaa tose
piyaa tose nainaa …
bhor kii belaa suhaanii, nadiyaa ke tiire
bhar ke gAgar jis gha.Dii mai.n chaluu.N dhiire dhiire
tum pe nazar jab aa_ii, jaane kyo.n baj uThe ka.nganaa
chhanaka chhan chhan chhanaka chhan chhan, piyaa tose
piyaa tose nainaa …
ho, aa, ho, aaI holii aaI ho, sab ra.ng laaI
bin tere holii bhii na bhaae, ho
bhar pichakaarii, ho, sakhiyo.n ne maarii
bhiigii morii saarii hay hay,
tan-badan meraa kaa.npe thar-thar
dhinaka dhin dhin dhinaka dhin dhin, piyaa tose
piyaa tose nainaa …
raat ko jab chaa.Nd chamake jal uThe tan meraa
mai.n kahuu.N mat karo cha.ndaa is galii kaa pheraa
aanaa meraa saiyaa.N jab aae
chamakanaa us raat ko jab
mile.nge tan-man mile.nge tan-man,
piyaa tose
piyaa tose nainaa …
piyaa
ho ho piyaa ## (chorus) ## …
https://www.youtube.com/watch?v=_i493uN6YHk
Song #17 Khat likh de saanwariyake naam babu…
The last song was one of the best dancing numbers of Guide with Waheeda as the dancer. That reminds me of the dancing queen Asha Parekh and how one of her best dancing numbers is also composed in Raag Khammaj.
It is from the 1966 movie Aaye Din Bahar Ke, a movie that she did with Dharmendra as the hero. The song was put together by Anand Bakshi, Laxmikant Pyarelal and Asha Bhosle.
Please enjoy in Raag Khammaj: Khat likh de saanwariya ke naam babu….
ye saavan kii raate.n
dekh le merii ye bechainii
aur likh de do baate.n …
khat likh de saa.nvariyaa ke naam baabuu
kore kaagaz pe likh de salaam baabuu
(vo maan jaae.nge, pahachaan jaae.nge
kaise hotii hai subah se shaam baabuu ) – 2
khat likh de …
saare vaade nikale jhuuThe
saamane ho to koii unase ruuThe
le gaI bairan shahar piyaa ko
raam kare ki aisii naukarii chhuuTe
unhe.n jisane banaayaa gulaam baabuu
kore kaagaz pe likh de salaam baabuu
vo jaan jaae.nge, pahachaan jaae.nge
kaise hotii hai subah se shaam baabuu
jab aae.nge sajanaa mere
khan khan khanake.nge ka.Nganaa mere
paas galI me.n ghar hai merA
us din tU bhI AnA a.Nganaa mere
kuchh tujhako mai.n dU.NgI InAm bAbU
kore kAgaz pe likh de salAm bAbU
vo jAn jaae.nge, pahachaan jaae.nge
kaise hotii hai subah se shaam baabuu
khat likh de …
aur bahut kuchh hai likhavaanaa
kaise bataa duu.N tujhe tuu begaanaa
sharm se aa.Nkhe.n jhuk jaae.ngii
dha.Dak uThegaa moraa dil diivaanaa
bas aage nahii.n teraa kaam baabuu
kore kaagaz pe likh de salaam baabuu
vo maan jaae.nge, pahachaan jaae.nge
kaise hotii hai subah se shaam baabuu
khat likh de …
Song #18 Jaao re jogi tum jaao re…
If you have been alert, you would have noticed that even though I have come to the end of the most popular songs in Raag Khammaj (we are on the last 18th song now), I haven’t given you a song composed by Shankar Jaikishen.
This was deliberate. I wanted to give you this from the 1966 movie Amrapali right in the end so that the flavor stays with you. The movie starred Vyjayanthimala in her most sensuous role and Sunil Dutt.
It was based on the life of Amrapali (Ambapali), the nagarvadhu (royal courtesan) of Vaishali in present day Bihar, the capital of the Licchavi republic in ancient India around 500 BC and Ajatashatru, the Haryanka dynasty king of the Magadha empire, who falls in love with her. Though he destroys Vaishali to get her, she in the meantime has been transformed by her encounter with Gautama Buddha, of whom she becomes a disciple and an Arahant herself. Her story finds mention in old Pali texts and Buddhist traditions.
Lyrics are by Shailendra and voice is that of Lata Mangeshkar.
Please enjoy in Raag Khammaj: Jaao re jogi tum jaao re….
jaao re, jogii tum jaao re
ye hai premiyo.n kii nagarii
yahaa.N prem hii hai puujaa
jaao re …
prem kii pii.Daa sachchaa sukh hai
prem binaa ye jiivan dukh hai – 2
jaao re …
jiivan se kaisaa chhuTakaaraa
hai nadiyaa ke saath kinaaraa – 2
jaao re …
GYaan ki to hai siimaa GYaanii
gaagar me.n saagar kaa paanii – 2
jaao re …
https://www.youtube.com/watch?v=VELUCBL1hL4
That brings us to the end of the Best Songs in Hindi Movies based on Raag Khammaj. Please await songs based on our seventh Raag Pilu or Peelu.
HUM EK, HAMAARI EK…
हम एक, हमारी एक……….. ज़िन्दगी,
कभी एक दूजे की, कभी खुदा की बंदगी I
पैंतीस साल पहले जो मांगी थी दुआ,
उसी का तो अब तक है सिलसिला,
नज़रों का एक होना तो सुनते आये थे,
पर यहाँ तो दिल, ख्वाब, सब एक हुआ I
हम एक, हमारी एक ………….पहचान,
एक दूसरे में बस्ती है अपनी जान I
गरीब थे हम, पर बने रहे अमीर,
हम ही तो थे कल के राँझा और हीर,
दोस्तों ने जिन्हे हमें धनि बनाया,
कहा: “यही तो हैं प्यार की तस्वीर” I
हम एक, हमारी एक ……….. कोशिश,
क्या खूब बनी प्यार की बन्दिश I
ज़िन्दगी में आये कई चढ़ाव उतार,
हम एक संग पहुंचे उनके पार,
ऐसे ही बनी रहे हमारी छोटी सी ज़िन्दगी,
ऐसे ही बना रहे हमारा छोटा सा परिवार I
हम एक, हमारी एक ………. दास्तान,
तू मेरा जहान, मैं तेरा जहान I
कई बरस बाद, हम हवा में समा जाएंगे,
किसी को फिर नज़र नहीं आएंगे,
पर फिर भी देखना लोग भूलेंगे नहीं,
जब प्यार का ज़िक्र हो, हम याद आएंगे I
हम एक, हमारी एक ……… फ़रियाद,
प्यार हमारा बना रहे, मरने के भी बाद I
Ham ek, hamari ek ………. zindagi,
Kabhi ek duje ki, kabhi khuda ki bandagi.
Paintees saal pehle jo maangi thi duaa,
Usi ka to ab taq hai silsila,
Nazaron ka ek hona to sunate aaye the,
Par yahan to dil, khwaab, sab ek huaa.
Ham ek, hamaari ek ………. pehchaan,
Ek doosre mein basti hai apani jaan.
Ghareeb the hum par bane rahe ameer,
Hum hi to the, kal ke Ranjha aur Heer,
Doston ne jinhe hamen dhani banaaya,
Kaha: “Yahi to hai pyaar ki tasveer”
Hum ek, hamaari ek …….. koshish,
Kyaa khoob bani pyaar ki bandish.
Zindagi mein aaye kayi chadhaav utaar,
Hum ek sang pahunche unake paar,
Ek hi bani rahe hamaari chhoti si zindagi,
Ek hi bana rahe hamaara chhota sa parivaar.
Hum ek, hamaari ek …….. dastaan,
Tu meraa jahaan, main tera jahaan.
Kayi baras baad, hum hawa mein samaa jaayenge,
Kisi ko phir nazar nahin aayenge,
Par phir bhi dekhana, log bhulenge nahin,
Jab pyaar ka zikr ho, hum yaad aayenge.
Hum ek, hamaari ek …… fariyaad,
Pyaar hamaara bana rahe, marne ke bhi baad.
THE BEST RAAGA BASED SONGS IN THE HINDI MOVIES – RAAGA DARBARI KANADA – PART III
As you are already aware, these blogs are being recreated from the posts on my Facebook page Lyrical wherein I started with this theme of giving you the best raaga based songs in Hindi movies on the 8th of Aug 2015. Presently, I am on my 18th Raaga: Raag Asavari. I have already given you blogs on Raaga Bhairavi (Part I, II and III), Yaman or Kalyan (Part I, II and III), Jhinjhoti (Part I, II) and Darbari Kanada (Part I, II) and Bhimpalasi (Part I and II) which make only five of the eightteen Raagas. This means that I am well behind schedule.
Anyway, lets start with Part III our fourth Raaga here: Raag Darbari Kanada that I have neglected to give you so far.
After Bhairavi and Yaman or Kalyan, I have chosen to give you songs composed in Raag Darbari Kanada. Darbari Kanada, or simply Darbari, (pronounced darbāri kānada), is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into North Indian music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar’s court. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning “court.” As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat.
It is also sometimes written as Durbari and Durbarikanada.
Lets recommence listening to Raag Darbari Kanada based songs. We have so far listened to the following in Part I:
- Sarfroshi ki tamanna ab hamaare dil mein hai.
- O duniya ke rakhwaale.
- Tora man darpan kehlaaye.
- Main nigaahen tere chehre se hataayun kaise.
- Dil jalata hai to jalane de.
- Ye hawa ye raat ye chandni.
- Tu pyaar ka saagar hai.
- Ghunghat ke pat khol re.
- Satyam shivam sundaram.
- Meri vinti suno Bhagwan.
- Toote huye khwaabon ne.
- Teri duniya mein dil lagata nahin.
And, we have had the following in Part II:
- Hum tumase juda hoke mar jaayenge ro ro ke.
- Tumahen zindagi ke ujaale mubarak.
- Suhaani chandni raatein hamen sone nahin detin.
- Mere mehboob na jaa aaj ki raat naa jaa.
- Dekha hai pehli baar saajan ki aankhon mein pyaar.
- Pag ghungroo baandh Meera naachi thi.
- Kitana haseen hai mausam.
- Mitwa laut aaye ri.
- Hungama hai kyun barpa thodi si jo pi hai.
- Aap ki nazaron ne samajha pyaar ke kaabil mujhe.
- Yaad mein teri jaag jaag ke hum.
- Sau baar janam lenge.
A total of 24 songs so far. Lets listen to the songs in the final part:
Song #25 Mujhe tumase kuchh bhi naa chaahiye…
The last few days of songs based on Raag Darbari Kanada. Lets late another composition of Shankar Jaikishen. Kanhaiyya was the name of this Raj Kapoor 1959 movie, which starred him opposite Nutan. As with most SJ songs, Shailendra was the lyricist and Mukesh the singer.
Please enjoy in Raag Darbari: Mujhe tumase kuchh bhi naa chaahiye…..
mujhe tum se kuchh bhii na chaahiye
mujhe mere haal pe chho.D do
mujhe mere haal pe chho.D do
meraa dil agar koii dil na thaa
use mere saamane to.D do
mujhe tum se kuchh bhii …
mai.n ye bhuul jaa_uu.Ngaa zi.ndagii
kabhii muskuraayii thii pyaar me.n
mai.n ye bhuul jaa_uu.Ngaa meraa dil
kabhii khil uThaa thaa bahaar me.n
jinhe.n is jahaa.N ne bhulaa diyaa
meraa naam un me.n hii jo.D do
mujhe tum se kuchh bhii …
tumhe.n apanaa kahane kii chaah me.n
kabhii ho sake na kisii ke ham
yahii dad.r mere jigar me.n hai
mujhe maar Daalegaa bas ye Gam
mai.n vo gul huu.N jo na khilaa kabhii
mujhe kyo.n na shaaK se to.D do
mujhe tum se kuchh bhii …
Song #26 Ai dil mujhe aisi jagah le chal jahan koi naa ho…
Another sad song set in Raag Darbari. This time, by Anil Biswas. This has Majrooh‘s lyrics and Talat Mehmood‘s voice. The name of this 1950 movie is Arzoo starring Dilip Kumar, Kamini Kaushal and Shashikala.
Please enjoy in Raag Darbari: Ai dil mujhe aisi jagah le chal jahan koi na ho…..
ai dil mujhe aisii jagah le chal jahaa.N koI na ho
apanaa paraayaa meharabaa.n naa-meharabaa.n koI na ho
ai dil mujhe aisii jagah le chal
jaa kar kahii.n kho jaauu.N mai.n, nii.nd aae aur so jaauu.N mai.n
nii.nd aae aur so jaauu.N mai.n
duniyaa mujhe Dhuu.NDhe magar meraa nishaa.n koI na ho
ai dil mujhe aisii jagah le chal
ulfat kaa badalaa mil gayaa, vo Gam luTaa vo dil gayaa
vo Gam luTaa vo dil gayaa
chalanaa hai sab se duur duur ab kaaravaa.n koI na ho
apanaa paraayaa meharabaa.n naa-meharabaa.n koI na ho
ai dil mujhe aisii jagah le chal jahaa.N koI na ho
https://www.youtube.com/watch?v=djAICyLSy9E
Song #27 Raha gardishon mein hardam…
Lets listen to this beautiful composition by Ravi. It has some of the finest lyrics by Shakeel Badayuni. The name of this 1966 movie starring Manoj Kumar, Asha parekh and Simi Grewal is Do Badan and the singer is Mohammad Rafi.
Do Badan had some of the finest songs penned by Shakeel, with really soul stirring music by Ravi. Have a look:
- Bharii duniyaa me.n aaKir dil ko samajhaane kahaa.N jaae.n
- Jab chalii ThaNDii havaa, jab uThii kaalii ghaTaa
- Lo aa gayii unakii yaad, vo nahii.n aaye
- Mat ja_iiyo naukariyaa chho.D ke
- Nasiib me.n jisake jo likhaa thaa
- Rahaa gardisho.n me.n haradam, mere ishq kaa sitaaraa
Please enjoy in Raag Darbari Kanada: Raha gardishon mein hardam mere ishq ka sitaara…..
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
Song #28 Agar mujhase mohabbat hai…
Last year I took up seeing old Hindi movies on my computer; movies that I had missed seeing during my youth. The 1964 movie Aap Ki Parchhayian was selected by me because of what I regard as the second best Mohammad Rafi song after Mere mehboob tujhe: Main nigaahen tere chehre se hataaun kaise? I have already given you that song having been composed in Raag Darbari Kanada by the maestro Madan Mohan on Raja Mehdi Ali Khan’s lyrics.
This is the second song of the movie composed in the same Raaga.
The movie was nothing great. However, sometimes in average movies or below average movies, you come across great songs. A real good example is a superb composition by Salil da in the Dev Anand and Mala Sinha movie Maya that can best be described as below average.
Dharmendra and Shashikala acted in Aap Ki Parchhayian.
Please enjoy Lata Mangeshkar sing in Raag Darbari Kanada: Agar mujhase muhabbat hai mujhe sab apane gham de do…
agar mujh se muhabbat hai mujhe sab apane Gam de do
in aa.Nkho.n kaa har ik aa.Nsuu mujhe merii qasam de do
agar mujh se …
tumhaare Gam ko apanaa Gam banaa luu.N to qaraar aae
tumhaaraa dard siine me.n chhupaa luu.N to qaraar aae
vo har shay jo tumhe.n dukh de mujhe mere sanam de do
agar mujh se …
shariik-e-zi.ndagii ko kyuu.N shariik-e-Gam nahii.n karate
dukho.n ko baa.NT kar kyuu.N in dukho.n ko kam nahii.n karate
ta.Dap is dil kii tho.Dii sii mujhemere sanam de do
agar mujh se …
https://www.youtube.com/watch?v=gfDf-IrA5oQ
Song #29 Muhabbat ki jhooti kahaani pe roye….
There was something special about the 1960 magnum-opus Mughal-e-Azam directed by K Asif, even though the Indian audiences had seen the love story between Prince Salim (son of Emperor Akbar) and Anarkali (a courtesan in the emperor’s court) seven years earlier in the 1953 movie Anarkali starring Beena Roy in the title role with Pradeep Kumar as Salim. That movie itself had some outstanding songs penned by Rajinder Krishan with music by C Ramchandra.
However, Mughal-e-Azam was special. For one thing, it was the highest budgeted movies ever. Secondly, K Asif was a perfectionist and wanted to get everything right.
Mughal-e-Azam was the first black and white movie to be given a re-release in 2002 after its digital colorisation.
One important aspect of the movie was its songs penned by Shakeel Badayuni and composed by Naushad Ali. Have a look at the songs:
1. | “Mohe Panghat Pe” | Lata Mangeshkar and chorus | 04:02 |
2. | “Pyar Kiya To Darna Kya” | Lata Mangeshkar and chorus | 06:21 |
3. | “Mohabbat Ki Jhooti” | Lata Mangeshkar | 02:40 |
4. | “Humen Kash Tumse Mohabbat” | Lata Mangeshkar | 03:08 |
5. | “Bekas Pe Karam Keejeye” | Lata Mangeshkar | 03:52 |
6. | “Teri Mehfil Mein” | Lata Mangeshkar, Shamshad Begum and chorus | 05:05 |
7. | “Ye Dil Ki Lagi” | Lata Mangeshkar | 03:50 |
8. | “Ae Ishq Yeh Sab Duniyawale” | Lata Mangeshkar | 04:17 |
9. | “Khuda Nigehbaan” | Lata Mangeshkar | 02:52 |
10. | “Ae Mohabbat Zindabad” | Mohammed Rafi and chorus | 05:03 |
11. | “Prem Jogan Ban Ke” | Bade Ghulam Ali Khan | 05:03 |
12. | “Shubh Din Aayo Raj Dulara” | Bade Ghulam Ali Khan |
Please enjoy in Raag Darbari Kanada: Muhabbat ki jhooti kahaani pe roye…
muhabbat kI jhUThI kahAnI pe roye
ba.DI choT khAI (javAnI pe roye – 2)
muhabbat kI jhUThI …
na sochA na samajhA, na dekhA na bhAlA
terI ArazU ne, hame.n mAr DAlA
tere pyAr kI meharabAnI pe roye, roye
muhabbat kI jhUThI …
khabar kyA thI ho.nTho.n ko sInA pa.DegA
muhabbat chhupA ke bhI, jInA pa.DegA
jiye to magar zindagAnI pe roye, roye
muhabbat kI jhUThI …
Song #30 Guzre hain aaj ishq mein hum us maqaam se….
Talking about the combine of Shakeel Badayuni and Naushad Ali (the latter having been responsible for getting the former into the movies), there is another movie in which their songs are sublime. It is the 1966 movie Dil Diya Dard Liya starring Dilip Kumar, Waheeda Rehman and Pran.
Its songs are amongst the finest ever made by the combine:
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 |
Please enjoy in Raag Darbari Kanada: Guzre hain aaj ishq mein ham us maqaam 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
Song #31 Chandi ki deewar na todi, pyaar bhara dil tod diya…
The 1969 movie Vishwas starred Jeetendra and Aparna Sen besides Bharat Bhushan, Kamini Kaushal, and Rajendra Nath.
The best thing about the movie was the songs. Penned by Gulshan Bawra and composed by Kalyanji Anandji, the songs were all super hits:
- Aapase hamako bichha.De huye
- Bhuul jaa jo dekhataa hai kyuu.N hai dekhaa bhuul jaa
- Chaa.Ndii kii diivaar na to.Dii, pyaar bharaa dil to.D diyaa
- Dhol bajaa Dhol Dhol jaaniyaa … zi.ndagii ke saaz pe naacho
- Le chal mere jiivan saathii … pyaar hii pyaar hai jahaa.n
- Saawan kii rut bhaaye sajanawaa
Please enjoy Mukesh sing: Chandi ki deewar na todi pyaar bhara dil tod diya…
chandi ki divar na todi, pyar bhara dil tod diya
ik dhanavan ki beti ne, nirdhan ka daman tod diya
chandi ki
kal tak jisane qasame khai, dukh me sath nibhane ki
aj vo apane sukh ki khatir, ho gai ik begane ki
shahanaiyo ki guj me dabake, rah gai ah divane ki
dhanavano ne divane ka, gam se rishta jod diya
ik dhanavan ki beti ne, nirdhan ka daman tod diya
chandi ki
ye kya samajhe pyar ko jinaka, sab kuchh chandi sona hai
dhanavano ki is duniya me, dil to ek khilauna hai
sadiyo se dil tutata aya, dil ka bas ye rona hai
jab tak chaha dil se khela, aur jab chaha tod diya
ik dhanavan ki beti ne, nirdhan ka daman tod diya
chandi ki
Song #32 Ham tum se judaa ho ke mar jaayenge ro ro ke…
This song composed by Usha Khanna was very popular during its time. It is from the 1965 movie Ek Sapera Ek Lutera. Feroze Khan looked good with ear-rings like a sapera. He had Kumkum as his beloved. Indeed, since it is the story of twins (Mohan and Vijay Pratap Singh both played by Feroze Khan), both being in love with the same woman, it is indeed they (not him) who is in love with Kumkum.
Asad Bhopali is the one who penned the song and Mohammad Rafi sang for Feroze Khan, the sapera Mohan.
Please enjoy: Ham tum se juda ho ke mar jaayenge ro ro ke…
ham tumase judaa ho ke mar jaa_e.Nge ro-ro ke -2
mar jaa_e.Nge ro-ro ke
duniyaa ba.Dii zaalim hai dil to.D ke ha.Nsatii hai -2
ik mauj kinaare se milane ko tarasatii hai
kah do na ko_ii roke -2
ham tumase judaa …
vaade nahii.n bhuule.nge kasame.n nahii.n to.De.nge -2
ye tay hai ki ham dono.n milanaa nahii.n chho.De.nge
jo rok sake roke -2
ham tumase judaa …
sochaa thaa kabhii do dil milakar na judaa ho.nge
maaluum na thaa ham yuu.N naaqaam-e-vafaa ho.nge
qismat ne.n di_e dhokhe
ham tumase judaa …
Song #33 Mujhe gale se laga lo bahut udaas hoon main…
A very sad song sung by Asha Bhosle for Nanda in the 1963 movie Auj Aur Kal that starred Sunil Dutt with her and Ashaok Kumar and Tanuja in supporting roles.
It is one of the finest penned by Sahir Ludhianvi who in the male version (Mohammad Rafi) countered the sadness by insisting that she shouldn’t give in to sadness (Sahir was the best in such inspirational songs).
Music was composed by Ravi.
Please enjoy in Raag Darbari Kanada: Mujhe gale se laga lo bahut udaas hoon main…
aa: mujhe gale se lagaa lo, bahut udaas huu.N mai.n
nazar me.n tiir se chubhate hai.n ab nazaaro.n se
mai.n thak ga_ii huu.N sabhii TuuTate sahaaro.n se
ab aur bojh na Daalo
ra: bahut sahii, Gam-e-duniyaa, magar udaas na ho
kariib hai shab-e-Gam kii, sahar udaas na ho
bahut sahii
sitam ke haath kii talavaar TuuT jaaegii
ye uu.Nch-niich kii ciivaar TuuT jaaegii
tujhe kasam hai merii hamasafar udaas na ho
aa: na jaane kab ye tariikaa ye taur badalegaa
sitam kaa Gam kab musiibat kaa daur badalegaa
mujhe jahaa.N se uThaa lo, bahut udaas huu.N mai.n
https://www.youtube.com/watch?v=3rMZhb6F7Y0
Song #34 Koi matwaala aaya mere dwaare…
Lets once again marvel at the mastery of Shankar Jaikishen over Raaga based songs. This is from the 1966 movie Love in Tokyo starring Asha Parekh and Joy Mukherjee.
Another mastery that S-J had was to adapt foreign music into their songs. Thus, the movie had authentic Japanese sounding song: Sayonara, sayonara.
Anyway, coming back to this song, it was penned by Hasrat Jaipuri and sung by Lata Mangeshkar.
Please enjoy in Raag Darbari Kanada: Koi matwaala aaya mere dwaare…
koii matavaalaa aayaa mere dvaare
akhiyo.n se kar gayaa ajab ishaare
koii matavaalaa, aayaa mere dvaare …
kyaa man usake mai.n kyaa jaanuu.N
chhaliyaa ko mai.n kyaa pahachaanuu.N
jaane kyo.n meraa naam pukaare
aa~
koii matavaaraa aayaa mere dvaare …
jab se gayaa hai bholaa bachapan
akhiyaa.N cha.nchal, naTakhaT hai man
ab nahii.n kuchh bhii bas me.n hamaare
aa~
koii matavaaraa aayaa mere dvaare …
https://www.youtube.com/watch?v=N3BOEAmC1pY
Song #35 Jhanak jhanak tori baaje payaliya…
I hope you loved Asha Parekh’s dancing in the last song. If you did, here is another dancing number. This is from the 1968 movie Mere Huzoor that had one of the best and most dignified roles played by Raj Kumar in love with Salatanat as Mala Sinha but she spurns his love and marries Jeetendra.
The song was, once again, composed by Shankar Jaikishen on the lyrics of Hasrat Jaipuri and sung by Manna Dey, the finest singer of classical songs in Hindi movies. Indeed, I kept this till the end since it is regarded as the best of Manna Dey.
Please enjoy in Raag Darbari Kanada: Jhanak jhanak tori baaje payaliya…
jhanak jhanak torii baaje paayaliyaa
priit ke giit sunaaye paayaliyaa
ra.ng mahal aur rain suhaanii
chham chham naache mast javaanii
mai.n laharo.n me.n khoyaa jaa_uu.N
aisii dhuum machaaye paayaliyaa
ye kajaraarii cha.nchal a.nkhiyaa.N
ho.nTh gulaabii phuul kii patiyaa.N
laT bikhare to gaal pe Thahare
hosh jiyaa ke u.Daaye paayaliyaa
i.ndradhanush saa loch kamariyaa
bri.ndaaban kii jaise gujariyaa
baa.Nvarii ras pe kar de jaaduu
aag me.n aag lagaaye paayaliyaa
https://www.youtube.com/watch?v=0qpIQygF-VQ
Song #36 Sitaaron ki mehfil saji tum naa aaye…
In the Hindi movies, once they get stuck with a story that is appealing, they continue to repeat it. Some of the movie, for example, of Dev Anand and Guru Dutt would have similar story, if not the same. Do you remember the 1951 movie Taraana in which Dilip Kumar‘s plane crashes near Madhubala’s village. Well, four years later, in 1955 movie Udan Khatola it crashes again (he must be a Jonah air-traveller!) and this time too nothing happens to him and he finds himself in an isolated town that is ruled by pretty women. Soni or Nimmi is one of them.
Unlike Taraana, this time the songs were penned by Shakeel Badayuni and composed by Naushad Ali. This one was sung by Lata Mangeshkar.
Please enjoy in Raag Darbari Kanada: Sitaaron ki mehfil saji tum naa aaye…
aaii thii raat josh-e-tamannaa liye hue
jaatii hai ab luTii huii duniyaa liye hue
(sitaaro.n kii mahafil sajii tum na aaye)-2
sajii tum na aaye
tumhe hamane aavaaz dii sajanaa
tumhe hamane aavaaz dii,tum na aaye
(haaye tum na aaye)-2
bichha.Dane ko ab raat kaa kaarvaa.n hai
haaye kaaravaa.N hai
huaa chaa.Nd benuur,chup aasamaa.N hai
chup aasamaa.N hai
chalii ruuThakar chaa.Ndanii,tum na aaye
(haaye tum na aaye)-2
abhii jaag uThe hai.n ummiido.n ke taare
ummido.n ke taare
chale aao pyaare muhabbat pukaare
muhabbat pukaare
bahaaro.n ko nii.nd aa ga_ii,tum naa aaye
(haaye tum na aaye)2
So that’s all folks. In three parts of 12 songs each, I have given you as many as 36 most beautiful songs composed in Raag Darbari Kanada.
I hope you enjoyed listening to them. Please await my next Raag Bhimpalasi.
THE BEST RAAGA BASED SONGS IN HINDI MOVIES – RAAGA BHIMPALASI – PART II
As you are already aware, these blogs are being recreated from the posts on my Facebook page Lyrical wherein I started with this theme of giving you the best raaga based songs in Hindi movies on the 8th of Aug 2015. Presently, I am on my 18th Raaga: Raag Asavari. I have already given you blogs on Raaga Bhairavi (Part I, II and III), Yaman or Kalyan (Part I, II and III), Jhinjhoti (Part I, II) and Darbari Kanada (Part I, II) and Bhimpalasi (Part I); which make only five of the eighteen Raagas. This means that I am well behind schedule.
We had started with our fifth Raag: Raag Bhimpalasi many weeks back when I gave you Raag Bhimpalasi Part I. Raag Bhimpalasi is an afternoon raaga, sung from late afternoon to sunset, Bhimpalasi is poignant and passionate, filled with yearning. The raga is reputed to reduce tension and short temper.
Now look at the cover picture depicting the song Khilate hain gul yahan khilake bikharane ko. You get the yearning, the longing, the passion and the poignancy. I have always given you, in the cover pictures of the Raagas, what I feel is the song that comes nearest to the description of the Raaga.
The Raaga is in Thaat Kafi. The other Raagas in Thaat Kafi are Pilu, Kafi and Bageshri. Raag Bhimpalasi is sung in Bhakati, Shringar and Vir ras.
So far, in Part I, I have given you the following songs:
- Khilte hain gul yahan – SD Burman
- Aa neele gagan tale – Shankar Jaikishen
- Naino mein badra chhaye – Madan Mohan
- Afsana likh rahi hoon – Naushad Ali
- Maine chand sitaaron ki – N Dutta
- Kuchh dil ne kaha – Hemant Kumar
- Mere mann ka bawra panchhi – C Ramchandra
- Mera pyaar woh hai – OP Nayyar
- Tu kahan yeh bata – SD Burman
- Chalo ik baar phir se – Ravi
- Koi nahin hai phir bhi na mukhako – Laxmikant Pyarelal
- Le to aaye ho mujhe – Ravindra Jain
Lets proceed further:
Song #13 Panthi hoon main us path ka…
Twelve directors so far who have composed in Raag Bhimpalasi: SD Burman, Shankar Jaikishen, Madan Mohan, N Dutta, Naushad, Hemant Kumar, C Ramchandra, OP Nayyar, SD Burman, Ravi, Laxmikant Pyarelal and Ravindra Jain.
Lets start with the thirteenth: Kishore Kumar as a composer. This is from the 1971 movie Door Ka Raahi which has Kishore Kumar all the way: as hero, as music director, as singer, as producer, director and story-writer. I was so fascinated by the fact that when given a chance, he didn’t opt to make a commercial movie but the movie that would give expression to his inner voice, that I saw it recently on my computer.
Lyrics are by A Irshad and the song describes the idea behind the entire movie.
Please enjoy in Raag Bhimpalasi: Panthi hoon main us path ka, ant nahin jisaka….
pa.nthii huu.N mai.n us path kaa
a.nt nahii.n jisakaa
aas merii hai jisakii dishaa
aadhaar mere man kaa
sa.ngii saathii mere
a.ndhiyaare ujiyaare
mujhako raah dikhaaye.n
palachhin ke phulajhaare
pathik mere path ke sab taare
aur niilaa aakaash
pa.nthii …
is path par dekhe kitane
sukh dukh ke mele
phuul chune kabhii khushiyo.n ke
kabhii kaaTo.n se khele
jaane kab tak chalanaa hai
mujhe is jiivan ke saath
pa.nthii …
Song #14 Ae ri main to prem deewani….
Lets go on with our fourteenth music director composing in Raag Bhimpalasi: Roshan. I have taken this song from the 1952 movie Naubahar starring Nalini Jaywant and Ashok Kumar. It is a Meerabai bhajan sung by Lata Mangeshkar, the lyrics having been touched by Shailendra.
Please enjoy in Raag Bhimpalasi: E ji main to prem deewani mora dard na jaane koye….
(e rii mai.n to prem divaanii
meraa dard na jaane kaun)-2
na mai.n jaanu aaratii va.nda.n,naa puujaa kii riit
hai anajaanii daras divaanii,merii paagal priit
liye re mai.ne do naino.n ke,diipak liye sanjog(?)
e rii mai.n to …
aashaa ke phuulo.n kii maalaa,saa.Nso.n ke sa.ngiit
in par phuulii chalii re jaane,apane man kaa miit
e rii maine nai.n Dor me.n,sapane liye phiroye
e rii mai.n to …
Song #15 Ae ajnabee tu bhi kabhi awaaz de kahin se….
I am tempted to give you, at this stage, a favourite song of mine from a contemporary music director – the best of the lot and Oscar winner – AR Rehman. The name of this 1998 movie is Dil Se starring Shah Rukh Khan and Moinasha Koirala. The singer is Udit Narayan.
Please enjoy in Raag Bhimpalasi: Ai ajnabi tu bhi kabhi awaaz de kahin se….
o paakhii paakhii paradesii
ai ajanabii tuu bhii kabhii aavaaz de kahii.n se
mai.n yahaa.N Tuka.Do.n me.n jii rahaa huu.N
tuu kahii.n Tuka.Do.n me.n jii rahii hai
ai ajanabii tuu bhii kabhii …
roz roz resham sii havaa, aate jaate kahatii hai
bataa resham sii havaa kahatii hai bataa
vo jo duudh dhulii, maasuum kalii
vo hai kahaa.N kahaa.N hai vo roshanii, kahaa.N hai
vo jaan sii kahaa.N hai
mai.n adhuuraa, tuu adhuurii jii rahii hai
ai ajanabii tuu bhii kabhii …
o paakhii paakhii paradesii
tuu to nahii.n hai lekin, terii muskuraahaT hai
cheharaa kahii.n nahii.n hai par, terii aahaT hai
tuu hai kahaa.N kahaa.N hai, teraa nishaa.N kahaa.N hai
meraa jahaa.N kahaa.N hai
mai.n adhuuraa, tuu adhuurii jii rahii hai
ai ajanabii tuu bhii kabhii …
Song #16 Samay O dheere chalo….
Fifteen directors so far who have composed in Raag Bhimpalasi: SD Burman, Shankar Jaikishen, Madan Mohan, N Dutta, Naushad, Hemant Kumar, C Ramchandra, OP Nayyar, SD Burman, Ravi, Laxmikant Pyarelal, Ravindra Jain, Kishore Kumar, Roshan and AR Rehman.
Lets go on with the sixteenth. I have chosen the great Bhupen Hazarika composing for the 1993 movie Rupaali, the title having been taken from Rajasthan’s traditional women weepers or mourners who can be hired to weep or mourn on the death of a person.
This great song has Gulzar‘s lyrics and has been sung by the two Mangeshkar sisters: Asha and Lata together with Bhupen himself.
Please enjoy in Raag Bhimpalasi: Samay o dheere chalo…..
samay o dhiire chalo
bujh gaI raah se chhaa.Nv
duur hai duur hai pii kaa gaa.Nv
dhiire chalo dhiire chalo
jii ko bahalaa liyaa
tuune aas niraash kaa khel kiyaa – 2
chaar dino.n me.n koI jiyaa naa jiyaa – 2
zahar ye saa.Ns kaa piyaa naa piyaa – 2
ye havaa sab le gaI
kaaravaa.n ke nishaa.n bhii u.Daa le gaI
u.Datii havaao.n vaale mile.nge kahaa.N – 2
koI bataa do mere piyaa kaa nishaa.N – 2
samay o dhiire chalo
bujh gaI raah se chhaa.Nv
duur hai, duur hai pii kaa gaa.Nv
dhiire chalo dhiire chalo
Song #17 Tum mile dil khile….
Our seventeenth music director composing in Raag Bhimpalasi is MM Kreem. I remember how this song caught our imagination 20 years back, when in 1995, the movie Criminal was released starring the south Indian star Nagarjuna.
Indeevar penned the lyrics and the song was sung so gently by Alka Yagnik and Kumar Sanu.
Please enjoy in Raag Bhimpalasi: Tum mile dil khile aur jeene ko kyaa chaahiye…
tuu mile dil khile aur jiine ko kyaa chaahiye – 2
(naa ho tuu udaas tere paas paas mai.n rahuu.Ngaa zindagii bhar ) – 2
saare sa.nsaar kaa pyaar mai.n ne tujhii me.n paayaa
tuu mile dil khile aur jiine ko kyaa chaahiye – 2
cha.Ndaa tujhe dekhane ko nikalaa karataa hai
aainaa bhii o … dIdaar ko tarasaa karataa hai
itanii hasii.n koii nahii.n – 2
husna dono jahaa.N kaa ek tujhame simaT ke aayaa
tuu mile dil khile aur jiine ko kyaa chaahiye
##
Darling, every breath you take, every move you make,
I will be there.
What will I do without you, I want to love you
forever and ever and ever.
##
pyaar kabhii marataa nahii.n ham tuu marate hai.n
hote hai.n vo log amar pyaar jo karate hai.n
jitanii adaa utanii vafaa – 2
ik nazar pyaar se dekh lo phir se zindaa karado
tuu mile dil khile aur jiine ko kyaa chaahiye – 2
naa ho tuu udaas tere paas paas mai.n rahuu.Ngaa zindagii bhar – 2
saare sa.nsaar kaa pyaar maine tujhii me.n paayaa
tuu mile dil khile aur jiine ko kyaa chaahiye – 2
## This para is for the female version sung by Alka as first para ##
Gam hai kise ho sAraa jahaa.N chaahe dushmana ho
kyaa chaahiye haatho.n me.n jo teraa daaman ho
tuu hai jahaa.N manzil vahaa.N – 2
dha.Dakano.n kii tarah apane dil me.n mujhako chhupaa lo
tU mile dil khile aur jiine ko kyaa chaahiye
https://www.youtube.com/watch?v=CCOs_Xz-hb0
Song #18 Dil ke tukde tukde kar ke….
Our eighteenth music director composing in Raag Bhimpalasi is Usha Khanna in a movie produced and directed by Jugal Kishore. I am talking about the 1978 movie Dada starring Vinod Mehra and Bindiya Goswami.
Why should I select this song amongst the best? It is not just because in the garden where this has been shot, as soon as the mukhada starts, you see my favourite sunflowers! The song really became very popular.
Lyrics are by Ravindra Jain and the singer is Yesudas.
Please enjoy: Dil ke tukade tukade karke muskarate chal diye….
(dil ke Tuka.De Tuka.De karake
muskuraate chal diye ) – (2)
jaate jaate ye to bataa jaa
ham jiye.nge kisake liye
dil ke Tuka.De Tuka.De karake
muskuraate chal diye
chaa.nd bhii hogaa, taare bhii ho.nge
duur chaman me.n pyaare bhii ho.nge
lekin hamaaraa dil na lagegaa
bhiigegii jab jab raat suhaanii
aag lagaaegii R^itu mastaanii
tuu hii bataa koii kaise jiyegaa
dil ke maaro.n ko dil ke maalik
Thokar lagaa ke chal diye
dil ke Tuka.De …
ruuThe rahe.nge aap jo hamase
mar jaae.nge ham bhii kasam se
sunale haath chhu.Daane se pahale
jaan hamaarii naam pe terii
jaaegii jis din dilabar merii
soch samajh le jaane se pahale
yuu.n agar tum dil kii tamannaa
ko miTaake chal diye
dil ke Tuka.De …
Song #19 Main gareebon ka dil, main machalati sabaa.N….
We have had eighteen directors so far who have composed in Raag Bhimpalasi: SD Burman, Shankar Jaikishen, Madan Mohan, N Dutta, Naushad, Hemant Kumar, C Ramchandra, OP Nayyar, SD Burman, Ravi, Laxmikant Pyarelal, Ravindra Jain, Kishore Kumar, Roshan, AR Rehman, Bhupen Hazarika, MM Kreem and Usha Khanna.
Lets take our nineteenth music director: Sardar Malik. This is from the 1955 movie Aab-e-Hayat starring Premnath and Shashikala. Lyrics are by Hasrat Jaipuri and the singer is Hemant Kumar.
Please enjoy in Raag Bhimpalasi: Main gareebon ka dil, main machalati sabaa.N….
mai.n gariibo.n kaa dil, mai.n machalatii sabaa.N
bekaso.n ke liye, pyaar kaa aashiyaa.N
mai.n gariibo.n kaa dil …
mai.n jo gaataa chalaa, saath mahafil chale
mai.n jo ba.Dhataa chalaa, saath ma.nzil chale
mujhe raah dikhaatii chale bijaliyaa.N
mai.n gariibo.n kaa dil …
husn bhii dekh kar mujhako hairaan hai
ishq ko mujhase milane kaa aramaan hai
dekho aramaan hai
apanii duniyaa kaa huu.N mai.n hasii.n naujavaa.N
mai.n gariibo.n kaa dil …
kaaravaa.N zi.ndagaanii kaa rukataa nahii.n
baadashaaho.n ke aage ye jhukataa nahii.n
chaa.Nd taaro.n se aage meraa aashiyaa.N
mai.n gariibo.n kaa dil …
Song #20 Yeh na thi hamaari kismat…..
Our 20th composer in Raag Bhimpalasi is Khaiyyam. He composed Mirza Ghalib‘s famous ghazal in this Raag and the Malika-e-Tarunnam Begum Akhtar sang it.
Please enjoy in Raag Bhimpalasi: Ye na this hamari kismet….
ye naa thii hamaarii qismat ke visaal-e-yaar hotaa
agar aur jiite rahate, yahii i.ntazaar hotaa
tere vaade par jiye ham, to ye jaan jhuuTh jaanaa
ke khushii se mar na jaate, agar aitabaar hotaa
terii naazukii se jaanaa ke ba.ndhaa thaa ahad buudaa
kabhii tuu na to.D sakataa, agar usatavaar hotaa
koii mere dil se puuchhe, tere tiir-e-niim kash ko
ye khalish kahaa.N se hotii, jo jigar ke paar hotaa
ye kahaa.N kii dostii hai ke bane hai.n dost naaseH
koii chaaraa saaz hotaa, koii gam gusaar hotaa
rag-e-sa.ng se Tapakataa, vo lahuu ke phir na thamataa
jise Gam samajh rahe ho, ye agar sharaar hotaa
Gam agar-che jaa.N gusal hai, par kahaa.N bachai.n ke dil hai
Gam-e-ishq gar na hotaa, gam-e-rozagaar hotaa
kahuu.N kis se mai.n ke kiyaa hai, shab-e-gam burii balaa hai
mujhe kiyaa buraa thaa maraN agar aik baar hotaa
hue mar ke ham jo rusavaa, hue kyuu.N na gharq-e-darayaa
na kabhii janaazaa uThataa, na kahii.n mazaar hotaa
use kaun dekh sakataa ke, yagaanaa he vo yakataa
jo duii kii buu bhii hotii, to kahii.n do chaar hotaa
ye masaa-el-e-tasavvuf, ye teraa bean, Gaalib
tujhe ham vaalii samajhate, jo na baadah khaar hotaa
Song #21 Zindagi mein to sabhi pyaar kiya karte hain…
The last music director that we have is the singer Mehdi Hassan himself singing my most favourite ghazal. It is a Qatel Shifai ghazal. Although it wasn’t sung in a Hindi movie, I am still giving it as a bonus.
Please enjoy in Raag Bhimpalasi: Zindagi mein to sabhi pyaar kiya karte hain…..
zi.ndagii me.n to sabhii pyaar kiyaa karate hai.n
mai.n to mar kar bhii merii jaan tujhe chaahuu.Ngaa
tuu milaa hai to yah ahasaas huaa hai mujhako
yah merii umr mohabbat ke liye tho.Dii hai
ik zaraa saa Gam-e-dauraa.n kaa bhii haq hai jis par
mai.nne voh saa.Ns bhii tere liye rakh chho.Dii hai
tujh pe ho jaauu.Ngaa qurbaan tujhe chaahuu.Ngaa
mai.n to mar kar bhii merii jaan tujhe chaahuu.Ngaa
apane jazabaat me.n naGamaat rachaane ke liye
mai.nne dha.Dakan kii tarah dil me.n basaayaa hai tujhe
mai.n tasavvur bhii judaaii kaa bhalaa kaise karuu.N
mai.nne qismat kii lakiiro.n se churaayaa hai tujhe
pyaar kaa banake nigahabaan tujhe chaahuu.Ngaa
mai.n to mar kar bhii merii jaan tujhe chaahuu.Ngaa
terii har chaap se jalate hai.n Kayaalo.n me.n charaaG
jab bhii tuu aaye jagaataa huaa jaaduu aaye
tujhako chhuu luu.N to phir ai jaan-e-tamannaa mujhako
der tak apane badan se terii Kushabuu aaye
tuu bahaaro.n kaa hai unavaan tujhe chaahuu.Ngaa
mai.n to mar kar bhii merii jaan tujhe chaahuu.Ngaa
zi.nagii me.n to sabhii pyaar kiyaa karate hai.n
mai.n to mar kar bhii merii jaan tujhe chaahuu.Ngaa
Song #22 Jabase balam ghar aaye
In the last seven days of our listening to Hindi songs based on Raag Bhimpalasi, we listened to the compositions of 21 different music directors.
Tonight, we take the last three songs composed in this Raag before we take on our next Raag.
The first won is from the 1951 Raj Kapoor movie Aawara, now listed by Time magazine amongst Top 100 movies of all times. As usual lyrics are by Hasrat Jaipuri, music composed by Shankar Jaikishen, and Lata Mangeshkar singing for Nargis.
Please enjoy in Raag Bhimpalasi: Jabase balam ghar aaye….
( jabase balam ghar aa_e
jiyaraa machal-machal jaa_e ) -2
o dil ne dil se kahaa thaa fasaanaa -2
lauT aayaa hai guzaraa zamaanaa
Kushiyaa.N saath-saath laa_e
jiyaraa machal-machal …
o laa ke aa.Nkho.n se dil me.n biThaa_uu.N -2
muskuraa ke sitaare luTaa_uu.N
aashaa jhuum-jhuum gaa_e
jiyaraa machal-machal …
o din hai.n apane mohabbar javaa.N hai
unase aabaad dil kaa jahaa.N hai -2
man ke chor chale aa_e
jiyaraa machal-machal …
https://www.youtube.com/watch?v=SV2tpIUz0_4
Song #23 Khoya khoya chand khula aasmaan….
The second song composed in Raag Bhimpalasi, I have taken from the 1960 movie Kaala Bazaar starring Dev Anand and Waheeda Rehman. Lyrics were penned by Shailendra and the singer was Mohammad Rafi.
Of course, being a Dev Anand movie, the music was composed by SD Burman.
Please enjoy in Raag Bhimpalasi: Khoya khoya chand, khula aasmaan…..
khoyaa-khoyaa chaa.nd, khulaa aasamaa.n
aa.Nkho.n me.n saarii raat jaaegii
tumako bhii kaise nii.nd aaegii, ho
khoyaa-khoyaa …
mastii bharii, havaa jo chalii
khil-khil ga_ii, ye dil kii kalii
man kii galii me.n hai khalabalii
ki unako to bulaao, o ho …
khoyaa-khoyaa chaa.nd …
taare chale, nazaare chale
sa.ng-sa.ng mere vo saare chale
chaaro.n taraf ishaare chale
kisii ke to ho jaao, o ho …
khoyaa-khoyaa chaa.nd …
aisii hii raat, bhiigii sii raat
haatho.n me.n haath, hote vo saath
kah lete unase dil kii ye baat
ab to naa sataao, o ho …
khoyaa-khoyaa chaa.nd …
ham miT chale, jinake liye
bin kuchh kahe, vo chup-chup rahe
koii zaraa ye unase kahe
na aise aajamaao, o ho …
khoyaa-khoyaa chaa.nd …
Song #24 Hawaaon pe likh do….
The last song that I am giving you that has been composed in Raag Bhimpalasi is by my favourite singer-composer Hemant Kumar.
The song has three best: Hemant as the composer, Gulzar as the lyricist and Kishore Kumar as the singer. The name of this 1968 movie is Do Dooni Char.
Please enjoy in Raag Bhimpalasi: Havaaon pe likh do, havaaon ke naam…..
havAo.n pe likh do havAo.n ke naam
ham anajAn paradesiyo.n kA salaam
havAo.n pe likh do …
shaakh par jab, dhUp AI, haath chhUne ke liye – 2
chhA.Nv chham se, nIche kUdI, h.Ns ke bolI Aiye
ye bhole se chehare hai.n mAsUm naam
havAo.n pe likh do …
chulabulA ye, pAnI apanI, raah bahanA bhUlakar
lete lete, AinA chamakA rahA hai phUl par
yahA.N subah se khelA karatI hai shaam
havAo.n pe likh do …
Song #25 Aaj purani raahon se….
This is a famous number from the 1968 movie Aadmi that was noted for exquisite acting by Dilip Kumar after he is paralysed in an accident and observes his beloved Waheeda Rehman having an affair with his friend Manoj Kumar. He has murderous tendencies at this stage which are reminiscent of his childhood when his friend touches his doll in the memory of his love Meena.
Shakeel Badayuni‘s lyrics are extremely meaningful and the composition by Naushad is superb. Mohammad Rafi has sung this with great passion.
Please enjoy in Raag Bhimpalasi: Aaj puraani raahon se koi mujhe awaaz naa 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
Song #26 Naghma O sher ki saugaat kise pesh karun….
There are movies that are made around a single song. There is Mere Mehboob, Barsaat Ki Raat and then there is Ghazal. This song occurs thrice in the 1964 movie Ghazal on three different versions. In the first instance this ghazal is sung by Lata Mangeshkar for Naaz Ara Begum (Meena Kumari)in a private gathering of women freinds. However, Ejaz (Sunil Dutt), who is passing by her house, listens to it and falls in love with her voice and her. He himself sings the second version of it: Ishq ki garmiyen jazbaat kise pesh karun at her father Nawab Bakar Ali Khan’s (Prithviraj) mushaira and she is amused that he stole her ghazal. Finally, in the movie, she loses her voice and doesn’t want that Ejaz should marry her and spoil his life. So she agrees to marry the ever-greedy Akhtar Nawab (Rehman), who asks Ejaz to sing a sehra at their wedding and Ejaz sings: Rang aur noor ki baraat kise pesh karun. Lo and behold, when Mohammad Rafi gets to the last high-pitched Kise pesh karun, she gets her voice back and they (she and Ejaz).
It is that kind of powerful song; one of the best penned by Sahir Ludhianvi and composed by Madan Mohan.
Please enjoy in Raag Bhimpalasi: Naghma o sher ki saugaat kise pesh karun…
naGamaa-o-sher kii saugaat kise pesh karuu.N
ye chhalakate hue jazabaat kise pesh karuu.N
shoK aa.Nkho.n ke ujaalo.n ko luTaauu.n kis par
mast zulfo.n kii siyah raat kise pesh karuu.N
garm saa.nso.n me.n chhipe raaz bataauu.N kisako
narm hoTho.n me.n dabii baat kise pesh karuu.N
koi hamaraaz to paauu.N koI hamadam to mile
dil kii dha.Dakan ke ishaarat kise pesh karuu.N
Song #27 Ye zindagi usi ki hai…
This is from the 1953 movie Anarkali directed by Nandlal Jaswantlal, much before K Arif‘s magnum-opus Mughal-e-Azam, the most expensive movie until then.
This song was sung by Lata Mangeshkar for Beena Roy as Anarkali and is very poignant. She has saved the life of her lover Prince Salim (played by Pradeep Kumar) by agreeing to be paved in a brick wall alive. And all because they (Prince Salim and her) fell in love.
We must appreciate Rajinder Krishan, the lyricist for coming up with these lyrics that tell us that you don’t require anything in life if you have love. And, indeed, to give up one’s life in love is gaining the world. C Ramchandra’s composition is flawless and Lata Mangeshkar’s singing is great.
Please enjoy in Raag Bhimpalasi: Ye zindagi usi ki hai, jo kisi ka ho gaya…
ye zi.ndagii usii kI hai, jo kisii kaa ho gayaa
pyaara hii me.n kho gayaa, ye zi.ndagI …
ye bahAr, ye samA, kah rahA hai pyAr kar
kisI kI ArazU me.n apane dil ko beqarAr kar
zi.ndagii hai bevafaa…
zi.ndagii hai bevafaa, luuT pyaar kaa mazaa
ye zi.ndagI …
dha.Dak rahA hai dil to kyA, dil kI dha.Dakane.n nA sun
phir kahA.n ye fursate.n, phir kahA.N ye rAt-din
aa rahii hai ye sadaa…
aa rahii hai ye sadaa, mastiyo.n me.n jhuum jaa
ye zi.ndagI …
do dila yahaa.N na mila sake, mile.nge us jahaan me.n
khile.nge hasarato.n ke phuula, mauta ke aasmaana me.n
ye zi.ndagii chalii gaI jo pyaara me.n to kyaa huaa
ye zi.ndagii …
sunaa rahii hai daastaa.n, shamaa mere mazaara kii
fizaa me.n bhii khilI rahii, ye kalii anaara kii
ise mazaara mata kaho, ye mahala hai pyaara kaa
ye zi.ndagii …
ai zi.ndagii kii shaama aa, tujhe gale lagaauu.n mai.n
tujhii me.n DUba jaauu.n mai.n
jahaa.N ko bhuula jaauu.n mai.n
basa ek nazara mere sanama, alvidaa, alvidaa
alvidaa … alvidaa …
alvidaa … alvidaa …
https://www.youtube.com/watch?v=1eFso_5-bFc
Song #28 Ye khaamoshiyan ye tanhaayiyan…
This is our last song in the Best Songs Based On Raag Bhimpalasi.It is from the 1963 movie Yeh Raaste Hain Pyaar Ke that was based (though denied in the movie) on the infamous Commander Kawas Nanavati (an Indian Navy officer) case. In the actual story, Nanawati’s most beautiful wife Sylvia had an affair with Prem Bhagwandas Ahuja, a friend of Nanavati. They used to be merry making when Nanavati went out sailing for long durations. When Nanavati returned and caught them red-handed, he shot dead his frend Ahuja. When the trial progressed, there was enormous public sympathy for Nanavati.
In the movie, Sunil Dutt acted as a commercial pilot charge with killing his wife – the beautiful Leela Naidu‘s – lover.
This song was sung by Mohammad Rafi and Asha Bhosle for Sunil Dutt and Leela Naidu during their happy days whilst holidaying in Kashmir. Rajinder Krishan’s lyrics and Ravi’s composition are as exquisite as the Kashmir valley.
Please enjoy in Raag Bhimpalasi: Ye khaamoshiyan, ye tanhaayiyan….
rafii: ye Kaamoshiyaa.N ye tanahaaiyaa.N
muhabbat kii duniyaa hai kitanii javaa.N
aashaa: ye Kaamoshiyaa.N ye tanahaaiyaa.N
muhabbat kii duniyaa hai kitanii javaa.N
dono.n: ye Kaamoshiyaa.N ye tanahaaiyaa.N
aashaa: aa aa.a.a.a aa.a aa.a.a aa.a
aashaa: o ho ho
rafii: aa haa
aashaa: aa aa aa aa aa aa
raii: aa haa haa
aashaa: o ho
rafii: o ho ho ho ho ho
aashaa: (ye sardii kaa mausam badan kaa.Npe thar thar)-2
rafii: ye hai.n barf ke Dher yaa sa.ngamaramar % Rafi says sa.ngemaramar
dono.n: banaa le.n na kyuu.N apanii jannat yahaa.N
rafii: ye Kaamoshiyaa.N ye tanahaaiyaa.N
muhabbat kii duniyaa hai kitanii javaa.N
dono.n: ye Kaamoshiyaa.N ye tanahaaiyaa.N
rafii: ye uu.Nche pahaa.Do.n ke maGaruur saaye
aashaa: (ye kahate hai.n unako nazar to milaaye)-2
dono.n: farishte bhii hai.n is jagah bezubaa.N
aashaa: ye Kaamoshiyaa.N ye tanahaaiyaa.N
muhabbat kii duniyaa hai kitanii javaa.N
dono.n: ye Kaamoshiyaa.N ye tanahaaiyaa.N
rafii: na paradaa hai koii na hai koii chilaman
aashaa: (jahaa.N paa.Nv rakh de.n hai phisalan hii phisalan)-2
dono.n: qadam chho.Date jaa rahe hai.n nishaa.N
rafii: ye Kaamoshiyaa.N [aa aa aa] ye tanahaaiyaa.N [aa aa aa]
muhabbat kii duniyaa hai, kitanii javaa.N
dono.n: ye Kaamoshiyaa.N ye tanahaaiyaa.N
rafii: aa aa.a.a.a aa.a aa.a.a aa.a
aashaa: aa aa.a.a.a aa.a aa.a.a aa.a
dono.n: aa aa.a.a.a aa.a aa.a.a aa.a
https://www.youtube.com/watch?v=Op5_FgMM_sk
That brings us to the end of 28 beautiful songs composed by 21 composers in Raag Bhimpalasi: 12 in Part I and 16 here.
I hope you enjoyed listening to them. Please await our next Raaga based songs.
WHAT WOULD LIFE BE WITHOUT THE SMART-ASSES?
They are everywhere. They know that people would see through their dirty-tricks but they just can’t help being smart-asses. For example, we had a senior officer’s wife who was a kleptomaniac. One would think that she would have been afraid of being caught in the act or embarrassed or mortified. But, no, kleptomania is a mania beyond you. You just cannot help it. When the urge comes and you think that your host or hostess isn’t looking, you quietly let their expensive Murano glass slip in your purse, kind of naturally. It is the same thing with smart-asses. When the urge comes a calling, they just cannot resist it.
Life is really very interesting because of these smart-asses; they know everything; they have done this and that and make you wonder how life simply ignored you whilst these guys were having the time of their lives.
I give below a few representative cases only; in my nearly 37 years in the Navy, I have come across quite a few of them and I can actually write volumes about their exploits. But, this post is only just the trigger. I actually want you too to share similar experiences in the comments below the post.
Case #1
Walking in the sun together
This happened with me when I was undergoing my professional course in Communications in Signal School, Kochi. We were accommodated in the Southern Naval Command Mess and dined there too. The Mess was about a kilometer away from the School and unless one had a two-wheeler, one walked in the scorching heat and humidity that sapped your energy.
I had already got my donkey (a Yezdi 250 cc mobike) with some of my own money augmented by a loan from my dad. Hence, shuttling between the Mess and the School had become less tedious.
By the way, the road in the above picture is the what the National Highway (Ha! Ha!) between Mumbai to Goa looked like in 1981. I have always maintained that as far as Indian scene was/is concerned, Highway is a Punjabi word. When you go over a pot hole you end up saying, “Haai wey” (O’ my God; look). But, that’s another story.
Anyway, getting back to Case #1; on a particularly hot summer day (remember the ad: Always Summer, Always Coca-Cola? Well, that kind of typical Indian summer day), I was about to start back from the Signal School. I still remember that it was a Tuesday. How do i remember it after so many years? Well, it is very simple: on Tuesdays the lunch in the mess comprised Channa-Bhatura, my favourite meal during those days and I wanted to quickly reach the mess and gorge on at least a dozen Bhaturas (Distant memory! Nowadays, one feels cautious of having a single one).
I kicked the donkey. It gave a hiss and then got back to sleeping. I gave another. It just ignored me. I gave a series of frantic kicks but my donkey ignored me like a Malyali shopkeeper when you ask him to show a few more shirts (other than the one that he has selected for you) so that you could make a choice. Finally, I realised that time was running short and that if I was late, the mess cooks would run out of the dough to make Bhaturas. So, helmet in hand, I started walking toward the Mess. Lieutenant ABC, who in any case used to walk since he neither had a two-wheeler nor a helmet, accompanied me.
Recently, we (the woman in the above picture and I!) saw the movie Revenant (the one who returned, especially from being dead) starring Leonardo DiCaprio. I can assure you that the one km walk back to the mess with helmet in my hand was more painful than the entire adventure of Hugh Glass in Montana and South Dakota when he was left behind by his friends as dead after he was attacked by a bear. Seeing the helmet in my hand, many other bikers and scooterists offered me a ride; but, I politely declined thinking that Lieutenant ABC who was walking back with me would have to walk alone.
As the next biker stopped to give me a lift and as once again I declined, Lieutenant ABC borrowed my helmet and took off as a pillion with the guy who was offering me a lift.
Looking back, I realised why my loyal donkey ditched me that day; it was only so that I would learn a very useful lesson about life.
Case #2
“My wife; well, she is different”
I was posted in Vizag. Captain XYZ took over as my new boss. Since I was the second senior most after him, it was left to me to make him feel at home as also for my wife to introduce the other unit ladies to his wife. I told my wife to fix up with the other ladies and take them all in a group to my boss’s house so that all introductions would be done in one go.
In the office I requested the officers to convey this to their wives.
One particular officer, DEF, after the meeting, came to me and said that although the idea was good but his wife didn’t believe in brown-nosing senior officers’ wives and could she be excused? Now, I myself used to be a rebellious type who hardly followed traditions. So, in this particular case, I assured him that it wasn’t an order and was meant to be on voluntary basis only and hence Mrs. DEF should follow what her conscience permitted.
My wife, therefore, took all other ladies sans Mrs DEF to our boss’s house on a forenoon. They had the introductions, coffee and snacks,and nice cozy chat. When they were leaving, my wife told Mrs Boss that Mrs DEF couldn’t join them as she was preoccupied. At this, Mrs Boss responded, “Oh, don’t worry about Mrs DEF; she practically lives in our house since the time we have arrived in town. So sweet of her. She will be bringing home-cooked lunch for me today”.
Case #3
Good presenters are most professional officers
This officer was the smartest-ass that I have ever come across. The other day,I gave people the accepted definition of a smart-ass during our days: A smart-ass is someone who can sit on a cone of ice-cream and tell you what flavour it is. Well, this one was smart; very very smart and remained – well, buoyant – throughout his career in the Navy because of the natural gas that he possessed in abundance. The following was his motto:
The other day, a senior of mine remarked, “Story-tellers rule the world”. Well, ABC could not just tell a story but also take someone else’s story and tell it as his own. And at the end of it, people had only one reaction: Wow!
ABC dislodged another officer who had done all the hard-work to prepare his department of a ship to be commissioned, just before commissioning and took over as Navigating Officer. He set about remaking all the important books of the department such as Navigation Data Book, Navigation and Direction Standing Orders, Harbour and Sea Check Off Lists. Now all these require enormous hard-work. Fortunately, the Navigating Officer of my previous ship had done all the hard-work and all that ABC did was to borrow all the books from my previous ship, get a team of under-trainee Subaltern Lieutenants and Midshipmen to copy the entire stuff by merely changing the name of the ship wherever it occurred, put the stuff in beautiful looking bound books with lots of coloured borders and catchy titles.
These books are put up to the Commanding Officer every month for signatures and our CO, looking at all the hard-work that had gone in (actually, only presentation skills) had given excellent remarks on the books.
After a few months, we were on our way to a foreign cruise and our ship had the privilege of embarking the Fleet Commander who happened to be my previous ship’s CO (the same ship from where ABC’s minions had copied all the stuff and which the previous CO must have seen any number of times since he too would have these books put up to him every month. I don’t remember any occasion when he had written any complimentary remarks on those books).
One day, we were at sea doing nothing much (there was a break in the exercises schedule with other ships). Fleet Commander and my CO both were on the Bridge when my CO told the Fleet Commander that he would like to show the Fleet Commander the books maintained by his very capable Navigating Officer. For the next hour or so the Fleet Commander went through those books and this was his reaction, “These are simply outstanding.” He called the Fleet Operations Officer (FOO) and told him that on return to harbour he should promulgate these books as the standard to be used in the Fleet.
Later, after I finished my watch on the Bridge, I came down and subjected these books to a cursory glance and found that at a few places the name of my previous ship hadn’t been changed!
Smart-asses make our lives enriching experience for us whilst remaining buoyant throughout their careers.
BEING A FAUJI’S FATHER
If you have ever voted in any election in India, you are familiar with how they mark your index finger, extending from lower part of nail to skin of the finger, with indelible ink. This ink is produced in a company called Mysore Paints and Varnish Limited, the only company in India authorised to do so. After about 30 to 40 days, there is no trace of this indelible ink left and you are ready to vote again. Joining politics (or for that matter any other profession) has, at best, that so called indelible mark that stays a short time and then you are ready to be a turncoat and align your thinking and conduct with some other vocation.
However, one truly indelible ink is the one with which you are pronounced a fauji. It stays with you forever. Your mannerism, style, conduct and even way of thinking undergo permanent and indelible changes. You are not the same person anymore. As was penned by Rudyard Kipling in his famous poem ‘If’, the day you become a fauji, you suddenly become a man:
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
…………………..
…………………..
And—which is more—you’ll be a Man, my son!
Son? Many a times I view things from my father’s point of view; how it must have been for him to send me to fauj knowing (I know that he knew) that, like those planes on trans-Atlantic flights, once I cross over that crucial point-of-no-return, I am gone forever. He knew that he was not sending me to a new profession, but a new life, family and world.
As I penned in ‘Indian Navy Is The Only Life That I Have Known Or Seen’, it is a totally different life, family and world. Even after you hang your uniform and boots (so as to say), you are left with only one way of problem solving, reacting and dealing with anything at all. I have spent, for example, nearly six years in India’s largest corporate company and even those six years didn’t change the way I dealt with problems. On the other hand, I applied fauji solutions to everything, albeit with a little modification.
My dad never joined the armed forces but for all practical purposes he was a fauji. I remember during my boyhood days, my sister and I were always in constant fear of him. Whenever we would hear his Monga (a German vehicle just like the Army Jonga) approaching (in the silence of the hills the engine noise of the Monga was distinct), we would be like dahine-se-sajj (by the right, dress). As soon as he would be with us, the inquisition would commence starting with if we read the newspaper; and, if we did, what was the national and international news.
He was also punctual like a fauji and always kept appointments dot on time. During my sister’s marriage, for example, he nearly cancelled the time when the baraat (marriage party) didn’t reach on time. Our relatives had tough time calming him down with “kudi daa maamla hai” (It is your daughter’s life).
LIke a fauji he was forever young (jawan) and physically fit.
But, the foremost manner in which he was like a fauji was his problem solving abilities and those related to quickly getting to the core of the matter rather than beating around the bush. The other day a senior colleague wrote a piece in one of the publications about how Indians keep discussing problems and solutions but never get to implementation of any of them. Dad was different. He would do before you could count till ten and in many cases, like a typical Punjabi, do the thinking later.
So, after my initial training in the Naval Academy at Cochin (now Kochi), I joined the Cadet Training Ship INS Delhi. I was excited because it was a dream come true to be finally on board an Indian Naval Ship. To give him credit, dad had tried his utmost to stall my becoming a fauji. He constantly bombarded me with how he was preparing me to become an IAS/IFS officer and that sane, intelligent and respectable people should steer clear of becoming fauji. Dad didn’t succeed and I eventually became what I wanted to become: an Indian Navy officer. However, the present leadership of the country and the current attitude of our countrymen are now succeeding to keep as many young men and women from joining the armed forces as they can with their relentless indifference and disrespect.
Anyway, after the tough routine of my first day on the cruiser Delhi, I burnt the midnight oil in writing to him a detailed letter about how my dream had finally come true.
I wrote about the history of Delhi. I wrote that when she was with the British, she was named HMS Achilles and had taken part in the famous Battle of the River Plate (close to Argentina) with HMS Ajax and HMS Exeter (a battle in which they were pitted against the might Admiral Graf Spee and others). I wrote that in 1948 she joined the Indian Navy as first HMIS Delhi and then INS Delhi on India becoming a republic on 26th Jan 1950. I wrote that she starred in the 1956 movie ‘The Battle of the River Plate’ with John Gregson, Anthony Quayle, and Peter Finch. I wrote that whilst I was in the Naval Academy at Cochin, on one of the afternoons I had seen the movie. I recounted an interesting anecdote that in one of the aerial shoots, the complete scene of Delhi as Achilles was shot with the other ships when the Director Michael Powell frantically asked for the scene to be done again. It was because even though all hatches were kept closed, at the crucial moment, one Sikh sailor emerged from one of the hatches complete with beard and turban.
I also described the 6 – guns of the ship and how she helped to liberate Goa on 18th Dec 1961. I wrote about walking on the quarterdeck of the ship whereat history invariably walked with me and my chest exceeded (in later years, Narendra Modi’s) 56 inches when I walked past the 6 – inch guns with their brass plaque describing the famous battles she had fought and won.
I described the forever humming of the engines and the generators and my bunk in the cadet’s mess. Whilst describing the ship in relation to me, I even quoted the poet:
The guns you fired were my guns,
And the lives you lived were mine
The arrival of this letter at our house Whispering Winds, Kandaghat was described to me by my mom. After dinner, dad and mom slipped into the bed and dad (as he was wont to do) asked my mom to read the son’s letter to him. She read slowly and deliberately all the way from Dear Dad to …….. lives you lived were mine ….. with lots and love and regards to mom and you….yours affectionately Ravi.
After she had finished, dad lay there thinking for sometime and then asked her to read the letter all over again. Mom, thinking that dad had made peace with my having become a fauji and was full of deep fatherly love and high respect for the history and heritage of the Indian Navy, read it the second time, more slowly and and with added emphasis. After finishing she awaited his response. And sure enough, the response came. This was it:
“Kinne paise mang rehya hai?” (How much money is he asking for?)
PS: If dad was the Finance Minister of NaMo, instead of Arun Jaitley, the faujis won’t have to beg on their knees endlessly for OROP.
CHALO INTEZAAR KARTE HAIN
तू भी देखना एक ऐसा भी दिन आएगा,
आंसुओं से मेरे तेरा दिल पिघल जाएगा
मेरी ना श से तुझे कोई शिक्वा ना होगा
तेरे दिन तो क्या जहान संवर जाएगा
प्यार और इश्क़ मुझे करना ही ना था
घुट घुट रोज़ मुझे मरना ही ना था
अब सोचता हूँ क्यों चला गया वहां
तेरी राहों से मुझे गुज़रना ही ना था
सोचा था ज़िन्दगी का हमसफ़र मिला है
मेरी तनहा रातों का सहर मिला है
हम जिसे पीते रहे दवा जान के, ऐ दिल,
अब पता चला के ज़हर मिला है
खैर ग़म- ऐ-इश्क़ की कोई तो होगी मंज़िल
यह बेवफा निकली, यह हर वक़्त रही संगदिल
यह ज़िन्दगी तो रो रोके गुज़ार दी हमने
आने वाली ज़िन्दगी शायद ना हो मुश्किल
चलो इंतजार करते है! चलो इंतज़ार करते हैं!
ठोकर खा चुके हैं फिर भी प्यार करते हैं
तेरे वादे पे तो तमाम उम्र गुज़र गयी लेकिन
हम अब मौत की वफ़ा का ऐतबार करते हैं|
Tu bhi dekhna ek aisa bhi din aayega,
Aansuyon se mere tera dil pighal jaayega
Meri naa sh setujhe koi shikwa na hoga
Tere din to kyaa jahan sanwar jaayega
Pyaar aur ishq mujhe karna hi na tha
Ghut ghut roz mujhe marna hi naa tha
Ab sochata hoon kyun chala gaya wahan
Teri raahon se mujhe guzarna hi naa tha
Socha tha zindagi ka hamsafar mila hai
Meri tanha raaton ka sehar mila hai
Ham jise peete rahe dawa jaan ke ai dil,
Ab pata chal ke zehar mila hai
Khair gham-e-ishq ki koi to hogi manzil
Yeh bewafa nikali, yeh har waqt rahi sangdil
Ye zindagi to ro ro ke guzaar di hamane
Aane waali zindagi shaayad naa ho mushqil
Chalo intezaar karte hain! Chalo intezaar karte hain!
Thhokar kha chuke hain phir bhi pyaar karte hain
Tere waade pe to tamaam umr guzr gayi lekin
Hum ab maut ki wafa ka aitbaar karte hain|
A HUNDRED GHAZALS IN HINDI MOVIES – PART III
As I brought out in the introduction of ‘A Hundred Ghazals In Hindi Movies – Part I’, and ‘A Hundred Ghazals In Hindi Movies – Part II’, 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.
Lets resume our journey into the fascinating world of Ghazals.
Ghazal #37
Talat Mehmood
He was born on 24th Feb 1924 in Lucknow. He died on 9th May 1998 in Mumbai. He left behind a legacy of a unique style of playback singing and ghazal singing. Indeed, he was known as the Ghazal King in Hindi films.
I have already given you his ghazals for the movie Jehan Ara and Dekh Kabira Roya.
His finest ghazal ever was for the 1953 movie Footpath. This is a Sardar Jafri ghazal modified for the film by Majrooh Sultanpuri. It has Khaiyyam‘s gentle music. It is as popular today as it was 62 years ago.
Please enjoy: Shaam-e-gham ki kasam, aaj gamgeen hain ham,
Aa bhi jaa, aa bhi jaa, aaj mere sanam….
shaam-e-Gam kii qasam aaj Gamagii.n hai.n ham
aa bhii jaa aa bhii jaa aaj mere sanam
shaam-e-Gam kii qasam
dil pareshaan hai.n raat viiraan hai.n
dekh jaa kis tarah aaj tanahaa hai.n ham
shaam-e-Gam kii qasam
chain kaisaa jo pahaluu me.n tuu hii nahii.n
maar Daale na dard-e-judaaI kahii.n
rut ha.nsii.n hai.n to kyaa chaa.Ndanii hai to kyaa
chaa.Ndanii zulm hai aur judaaI sitam
shaam-e-Gam kii qasam
ab to aajaa ke ab raat bhii so gaI
zindagii Gam ke seharaav me.n kho gaI (2)
Dhuu.NDhatii hai.n nazar tuu kahaa.N hai.n magar
dekhate dekhate aayaa aa.Nkho.n me.n Gam
shaam-e-Gam kii qasam
https://www.youtube.com/watch?v=9qT1uuxzvGA
Ghazal #38
Talat Mehmood
This is a favourite of mine picturised on V Shantaram and his two wives Jayshree and Sandhya. It is the best of the ghazals of Noor Lucknowi and it has C Ramchandra‘s music. The name of this 1952 movie is Parchhain. Parchhain is cited as one of the films produced by Shantaram that was of “exceptional merit”. The story revolves around a man who is accidentally blinded by a woman whom he falls in love with, only to lose her when he regains his sight.
Please enjoy: Mohabbat hi naa jo samajhe who zaalim pyaar kyaa jaane….
muhabbat hii na jo samajhe, vo zaalim pyaar kyaa jaane
nikalatii dil ke taaro.n se, jo hai jha.nkaar kyaa jaane
muhabbat hii na jo samajhe …
use to qatl karanaa aur ta.Dapaanaa hii aataa hai
galaa kisakaa kaTaa kyuu.Nkar kaTaa talavaar kyaa jaane – 2
muhabbat hii na jo samajhe …
davaa se faayadaa hogaa ki hogaa zahar-e-qaatil se
% zahar-e-qaatil = killer’s poison
maz.r kii kyaa davaa hai ye koii biimaar kyaa jaane
muhabbat hii na jo samajhe …
karo fariyaad sar Takaraa_o apanii jaan de Daalo – 2
ta.Dapate dil kii haalat husn kii diivaar kyaa jaane – 2
muhabbat hii na jo samajhe …
https://www.youtube.com/watch?v=p_gGECgVTUM
Ghazal #39
Talat Mehmood
What did we like about the Jehan Ara ghazal that I had given you earlier? Well, other than Talat Mehmood‘s singing, it had Madan Mohan‘s music.
This combination motivates me to give you another. This too has Rajinder Krishan‘s lyrics. Of course, you know the general story of the 1964 movie Jahan Ara starring Bharat Bhushan as Mirza Yusuf Changezi and Mala Sinha as Jahan Ara the daughter of Shah Jehan from Mumtaz. Mumtaz, whilst dying takes a promise from Jahan Ara that she, Jahan Ara, would look after Shah Jahan in Mumtaz’s absence and she was forced to sacrifice her love for Mirza. He, however, believed that one day she would return to him. And that’s how this ghazal came about in the form of an epistle from him to her in her isolation.
Please enjoy: Main teri nazar ka saroor hoon,
Tujhe yaad ho ki naa yaad ho….
mai.n terI nazar kA suruur huu.N
tujhe yaad ho ke nA yaad ho
tere paas rahake bhI dUr huu.N
tujhe yaad ho ke nA yaad ho
mai.n terI nazar kA suruur huu.N
(mujhe aa.Nkh se to giraa diyaa
kaho dil se bhI kyA bhulaa diyaa ) – 2
terI aashiqii kA Guruur huu.N
tujhe yaad ho ke nA yaad ho
mai.n terI nazar kA …
(terI zulf hai mere haath me.n
ke tU aaj bhI mere saath hai ) – 2
tere dil me.n bhI mai.n zaruur huu.N
tujhe yaad ho ke nA yaad ho
mai.n terI nazar kA …
https://www.youtube.com/watch?v=jPZv_2uHMdE
Ghazal #40
Talat Mehmood
Talking about Rajinder Krishan brings me straight to the 1961 movie Chhaya starring Sunil Dutt and Asha Parekh. This ghazal has Salil da‘s music. It is, of course, one of the best ghazals of Talat Mehmood.
Please enjoy: Aansu samajh ke kyon mujhe aankh se tune giraa diya….
aa.Nsuu samajh ke kyo.n mujhe aa.Nkh se tuune giraa diyaa
motii kisii ke pyaar kaa miTTii me.n kyo.n milaa diyaa
aa.Nsuu samajh ke kyo.n mujhe
naGmaa huu.N kab magar mujhe apane pe koii naaz thaa -2
gaayaa gayaa huu.N jis pe mai.n TuuTaa huaa vo saaz thaa
jis ne sunaa vo ha.Ns diyaa, ha.Ns ke mujhe rulaa diyaa
aa.Nsuu samajh ke kyo.N mujhe …
jo naa chaman me.n khil sakaa mai.n vo gariib phuul huu.N
jo kuchh bhii huu.N bahaar kii chhoTii sii ek bhuul huu.N
jis ne khilaa ke khud mujhe, khud hii mujhe bhulaa diyaa
aa.Nsuu samajh ke kyo.n mujhe
merii Kataa muaaf mai.n bhuule se aa gayaa yahaa.N
varanaa mujhe bhii hai khabar meraa nahii.n hai ye jahaa.N
Duub chalaa thaa nii.nd me.n achchhaa kiyaa jagaa diyaa
aa.Nsuu samajh ke kyo.n mujhe
https://www.youtube.com/watch?v=cZiooSLGPLE
Ghazal #41
Mohammad Rafi and Mahendra Kapoor
I am sorry but every now and then I have a deep-rooted desire to get back to my favourite poet and lyricist Shakeel Badayuni. This ghazal has been sung by Mohammad Rafi and Mahendra Kapoor together. It is from the 1968 movie Aadmi starring Dilip Kumar, Waheeda Rehman and Manoj Kumar.
Predictably, it has Naushad‘s music.
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
Ghazal #42
Hasan Kamaal
He was born on 1st January 1943 in Lucknow. I have already given you two of his ghazals: one for the movie Nikaah sung by and picturised on Salma Agha: Dil ke armaan aansuyon mein beh gaye and the other for the movie Aitbaar sung by Bhupinder and Asha Bhosle and picturised on Suresh Oberoi and Dimple Kapadia: Kisi nazar ko tera intezzaar aaj bhi hai.
Here is a ghazal of his for the 1985 movie Tawaif sung by Mahendra Kapoor with Ravi‘s music.It is picturised on Rishi Kapoor.
Please enjoy: Tere pyaar ki tamanna gham-e-zindagi ke saaye….
tere pyaar kii tamannaa Gam-e-zi.ndagii ke saaye
ba.Dii tez aa.Ndhiyaa.N hai.n ye chiraaG bujh na jaaye
na fizaa.N hai apane bas me.n na nazar me.n hai kinaaraa
kahii.n mere dil kii kashtii na bha.Nvar me.n Duub jaaye
koii hal tuu hii bataa de mere dil kii kashamakash kaa
tujhe bhuulanaa bhii chaahuu.N terii yaad hii sataaye
hai ajiib dastaa.N kuchh ye hamaarii dastaa.N bhii
kabhii tum samajh na paaye kabhii ham sunaa na paaye
https://www.youtube.com/watch?v=P3Ji_j4vW50
Ghazal #43
Majrooh Sultanpuri
He was born on 1st of Oct 1919 at Sultanpur in Uttar Pradesh. Before his death on 24th May 2000 in Mumbai, he packed in more than five decades of being a lyricist in Hindi movies.
He was a leading light of Progressive Writers Movement. However, his contemporaries felt that he deviated from Urdu shayari and ghazals into popular songs.
Nevertheless, he still ended up writing some beautiful ghazals. One of them was the best of Talat Mehmood and I have already given you that: Shaam-e-gham ki kasam, aaj ghamgeen hain ham…
His most famous ghazal in Hindi movies, however, has been sung by Lata Mangeshkar and has been picturised on Suchitra Sen for the 1966 movie Mamta. Music was composed by Roshan.
Please enjoy: Rehate the kabhi jinake dil mein ham jaan se bhi pyaaron ki tarah…
rahate the kabhii jinake dil me.n
ham jaan se bhii pyaaro.n kii tarah
baiThe hai.n unhii ke kuuche me.n
ham aaj gunahagaaro.n kii tarah – 2
daavaa thaa jinhe.n hamadardii kaa
khud aake na puuchhaa haal kabhii – 2
mahafil me.n bulaayaa hai ham pe – 2
ha.Nsane ko sitamagaaro.n kii tarah – 2
rahate the…
baraso.n se sulagate tan man par
ashko.n ke to chhii.nTe de naa sake – 2
tapate hue dil ke zakhmo.n par – 2
barase bhii to a.ngaaro.n kii tarah – 2
rahate the…
sau rup dhare jiine ke liye
baiThe hai.n hazaaro.n zahar piye – 2
Thokar naa lagaanaa ham khud hai.n – 2
giratii huii diivaaro.n kii tarah – 2
rahate the…
https://www.youtube.com/watch?v=szPnGL5y-gY
Ghazal #44
Majrooh Sultanpuri
His part of the world produced some great Urdu poets and it was felt that he sacrificed serious Urdu poetry in favour of populism.
Yet, he penned some really good ghazals. One of these was a reworded copy of famous Mir Taqi Mir‘s ghazal Patta patta boota boota haal hamaara jaane hai.
He did it for the 1972 movie Ek Nazar starring Amitabh Bachchan and Jaya Bahaduri. It was sung by Mohammad Rafi and Lata Mangeshkar on the music of Laxmikant Pyarelal.
Please enjoy: Patta patta boota boota haal hamaara jaane hai…..
pattaa pattaa buuTaa buuTaa
haal hamaaraa jaane hai, pattaa pattaa…
jaane na jaane gul hii na jaane
baag to saaraa jaane hai, pattaa pattaa…
koii kisii ko chaahe, to kyuu.n gunaah samajhate hai.n log
koii kisii kii khaatir, tarase agar to ha.Nsate hai.n log
begaanaa aalam hai saaraa, yahaa.N to koii hamaaraa
dard nahii.n pahachaane hai, pattaa pattaa…
chaahat ke gul khile.nge, chalatii rahe hazaar aa.Ndhiyaa.N
ham to kisii chaman me.n, baa.Ndhe.nge pyaar kaa aashiyaa.N
ye duniyaa bijalii giraae, ye duniyaa kaa.NTe bichhaae
ishq magar kab maane hai, pattaa pattaa…
dikhalaae.nge jahaa.N ko, kuchh din jo zindagaanii hai aur
kaise na ham mile.nge, hamane bhii dil me.n Thaanii hai aur
abhii matavaale dilo.n kii, muhabbat vaale dilo.n kii
baat koii kyaa jaane hai, pattaa pattaa…
Ghazal #45
Majrooh Sultanpuri
Some of his finest songs were penned for the 1970 Rajinder Singh Puri movie Dastak starring Sanjeev Kumar and Rahana Sultan.
All these had Madan Mohan‘s music.
Please enjoy Lata Mangeshkar singing:
Ham hain mataa-e-kuchaa-o-bazaar ki tarah..
ham hai.n mataa-e-kuuchaa-o-baazaar kii tarah
uThatii hai har nigaah khariidaar kii tarah
vo to kahii.n hai.n aur magar dil ke aas paas
magar dil ke aas paas
phiratii hai koii shah nigaah-e-yaar kii tarah
ham hai.n …
majaruuh likh rahe hai.n vo ahal-e-vafaa kaa naam
ahal-e-vafaa kaa naam
ham bhii kha.De hue hai.n gunahagaar kii tarah
ham hai.n …
Some more ashar from the ghazal that are not used in the film version
is kuu-e-tishnagii me.n bahut hai ke ek jaam
haath aa gayaa hai daulat-e-bedaar kii tarah
siidhii hai raah-e-shauq par yuu.N hii kabhii kabhii
Kam ho ga_ii hai gesuu-e-diladaar kii tarah
ab jaa ke kuchh khulaa hunar-e-naakhuun-e-junuun
zaKm-e-jigar hue lab-o-ruKsaar kii tarah
Ghazal #46
Happy Birthday Shashi Kapoor
(On my Facebook Page Lyrical when this was put up)
He was born on this day, 18th March, in the year 1935. The Kapoor family under the patriarch Prithviraj Kapoor: Raj Kapoor, Shammi Kapoor and Shashi Kapoor gave us some of the most intense and natural acting in the Hindi movies and continue to do so in the third generation of Ranbir Kapoor (grandson of Raj Kapoor from Rishi Kapoor); Karishma and Kareena (granddaughters of Raj Kapoor from Randhir Kapoor); Kunal, Karan and Sanjana Kapoor (children of Shashi Kapoor and Jennifer Kendal).
Each one had/has a unique style of acting. Shashi, for example, emerged as the chocolate boy of Hindi film industry.
It is difficult to imagine him singing ghazals. However, I have already given you a few days earlier his most famous ghazal for the movie Kanyadaan wherein he played the role of a poet. The ghazal was: Meri zindagi mein aate to kuchh aur baat hoti. He just stands and sings in a black achkan and looks cute.
Here is another one of his ghazals for the 1961 movie Dharamputra wherein he acted opposite Indrani Mukherjee. The ghazal writer was Sahir Ludhianvi and the music by N Dutta. The singer is Mahendra Kapoor.
Please enjoy: Bhool sakta hai bhala kaun tumhaari aankhen….
bhuul sakataa hai bhalaa kaun ye pyaarii aa.Nkhe.n
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
merii har sos ne har soch ne chaahaa hai tumhe.n
jab se dekhaa hai tumhe.n tab se saraahaa hai tumhe.n
bas ga_ii hai.n merii aa.Nkho.n me.n tumhaarii aa.Nkhe.n
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
tum jo nazaro.n ko uThaao to sitaare jhuk jaaye.n
tum jo palko.n ko jhukaao to zamaane ruk jaaye.n
kyuu.N na ban jaaye.n in aa.Nkhon kii pujaarii aa.Nkhen
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
jaagatii raato.n ko sapano.n kaa khazaanaa mil jaaye
tum jo mil jaao to jiine ka bahaanaa mil jaaye
apanii qismat pe kare naaz hamaarii aa.Nkhen
bhuul sakataa hai bhalaa kaun ye pyaarii aa.Nkhe.n
ra.ng me.n Duubii huii nii.nd se bhaarii aa.Nkhe.n
bhuul sakataa hai bhalaa kaun …
https://www.youtube.com/watch?v=gDE2vaArWsY
Ghazal #47
Happy Birthday Shashi Kapoor
Now that through two of his ghazals (both in which he acted as a poet: In Kanyadaan and Dharamputra) I have proved to you that even the chocolate boy of Hindi movies Shashi Kapoor could also act on ghazals, it won’t come as a surprise to you when I give you one of his ghazals that was most popular during our days.
It is from the 1970 movie My Love in which he acted opposite Sharmila Tagore. The ghazal was written by Anand Bakshi and it has Daan Singh’s music. It is one of the best ghazals sung by Mukesh.
Please enjoy: Zikr hota hai jab qayamat ka tere jalvon ki baat hoti hai….
zikr hotaa hai jab qayaamat kaa tere jalavo.n kii baat hotii hai
tuu jo chaahe to din nikalataa hai tuu jo chaahe to raat hotii hai
zikr hotaa hai jab …
tujhako dekhaa hai merii nazaro.n ne terii taariif ho magar kaise
ke bane ye nazar zubaa.N kaise ke bane ye zubaa.N nazar kaise
naa zubaa.N ko dikhaa_ii detaa hai naa niGaaho.n se baat hotii hai
zikr hotaa hai jab …
tuu chalii aa_e muskuraatii hu_ii to bikhar jaa_e.n har taraf kaliyaa.N
tuu chalii jaa_e uTh ke pahaluu se to uja.D jaa_e.n phuulo.n kii galiyaa.N
jis taraf hotii hai nazar terii us taraf qaayanaat hotii hai
zikr hotaa hai jab …
tuu niGaaho.n se naa pilaa_e to ashq bhii piine vaale piite hai.n
vaise jiine ko to tere bin bhii is zamaane me.n log jiite hai.n
zindagii to usii ko kahate hai.n jo guzar tere saath hotii hai
zikr hotaa hai jab …
https://www.youtube.com/watch?v=6OsS35MlDx4
Ghazal #48
My Dad’s Favourite Ghazal
How well songs and ghazals connect generations! How many times I listened to my father sing the Talat Mehmood version of this ghazal from the 1957 movie Ek Saal starring Ashok Kumar and Madhubala?
These are (both Lata and Talat Mehmood versions) are the strongest lyrics written by Prem Dhawan. Ravi composed the music.
I am giving you both the versions.
Please enjoy: Sab kuchh luta ke hosh mein aaye to kyaa kiya?
#Lata version
na puuchho pyaar kii hamane vo haqiiqat dekhii
vafaa ke naam pe bikatii hu_ii ulfat dekhii
kisii ne luuT liyaa aur hame.n Kabar na hu_ii
khulii jo aa.Nkh to barbaad muhabbat dekhii
sab kuchh luTaa ke hosh me.n aa_e to kyaa kiyaa
din me.n agar charaaG jalaa_e to kyaa kiyaa
(mai.n vo kalii huu.N jo na bahaaro.n me.n khil sakii) -2
vo dil huu.N jisako pyaar kii ma.nzil na mil sakii
ma.nzil na mil sakii
patthar pe hamane phuul cha.Dhaa_e to kyaa kiyaa
(jo mil na sakaa pyaar Gam kii shaam to mile)-2
ik bevafaa se pyaar kaa a.njaam to mile
(ai maut jald aa) -2 zaraa aaraam to mile
do din Kushii ke dekh na paa_e to kyaa kiyaa
# Talat version
karate rahe Kizaa.N se ham saudaa bahaar kaa
badalaa diyaa to kyaa ye diyaa unake pyaar kaa
sab kuchh luTaa ke hosh me.n aaye to kyaa kiyaa? -2
din me.n agar charaaG jalaaye to kyaa kiyaa?
sab kuchh luTaa ke hosh me.n aaye to kyaa kiyaa? -2
ham badanasiib pyaar kii rusavaa_ii ban gaye -2
Kud hii lagaa ke aag tamaashaa_ii ban gaye,
tamaashaa_ii ban gaye
daaman se ab ye shole bujhaaye to kyaa kiyaa?
din me.n agar charaaG jalaaye to kyaa kiyaa?
sab kuchh luTaa ke hosh me.n aaye to kyaa kiyaa? -2
le-le ke haar phuulo.n ke aa_ii to thii bahaar -2
nazare.n uThaake hamane hii dekhaa na ek baar
dekhaa na ek baar
aa.Nkho.n se ab ye parade haTaaye to kyaa kiyaa?
din me.n agar charaaG jalaaye to kyaa kiyaa?
sab kuchh luTaa ke hosh me.n aaye to kyaa kiyaa? -2
Ghazal #49
Roshan
Talking about Madhubala, I just can’t get this ghazal out of my system. It haunts me! Sahir has penned it so well that I am often dumb-stuck listening to it. It is from the 1966 movie Barsaat Ki Raat starring her opposite Bharat Bhushan.
Music has been composed by Roshan who really knew how to compose ghazals. No one could have sung it better than Mohammad Rafi.
Please enjoy: Mayuus to hoon wade se tere, kuchh aas nahin kuchh aas bhi hai….
maayuus to huu.N vaade se tere
kuchh aas nahii.n kuchh aas bhii hai
mai.n apane Kyaalo.n ke sadake
tuu paas nahii.n aur paas bhii hai
maayuus to huu.N …
hamane to Kushii maa.Ngii thii magar
jo tuune diyaa achchhaa hii diyaa
jis Gam kaa ta_aalluuq ho tujhase
vo raas nahii.n aur raas bhii hai
mai.n apane Kyaalo.n ke …
palako.n se larajate ashqo.n se
tasviir jhalakatii hai terii -2
diidaar kii pyaasii aa.Nkho.n ko
ab pyaas nahii.n aur pyaas bhii hai
mai.n apane Kyaalo.n ke …
https://www.youtube.com/watch?v=GdqPhqhFATs
Ghazal #50
Roshan
In my quest to give you hundred best ghazals in Hindi movies, I have reached the halfway mark.
Lets continue with Roshan. Roshanlal Nagrath was born on 14th July 1917 and has left behind him his sons Rakesh and Rajesh Roshan and grandson Hrithik Roshan to serve the Hindi film industry. He was from Gujranwala in Punjab (now in Pakistan). He moved to Bombay in 1948 and for the next 19 years, until his death on 16th Nov 1967, he created some of the finest music in Hindi films, especially ghazals.
Barsaat Ki Raat itself had three of his gahzals: Mayuus to hoon wade se tere, Zindagi bhar nahin bhoolegi, and Maine shayad tumhen pehle bhi kahin dekha hai.
Another of his ghazal films was Bahu Begum with Hum intezzaar karenge tera qayamat taq (I have already given you that), Log kehate hain tumase kinaara kar lein and this one that I am giving you now.
Picturised on Meena Kumari, it brings the flavour of old time ghazals to you so well. It has been sung by Lata Mangeshkar.
Please enjoy: Duniya kare sawaal to ham kyaa jawaab dein….
duniyaa kare savaal to ham kyaa javaab de.n
tumako na ho Kayaal to ham kyaa javaab de.n
duniyaa kare savaal …
puuchhe koii ki dil ko kahaa.N chho.D aaye hai.n
kis kis se apanaa rishtaa-e-jaa.N to.D aaye hai.n
mushakil ho arz-e-haal to ham kyaa javaab de.n
tumako na ho Kayaal to …
puuchhe koii ki dard-e-vafaa kaun de gayaa
raato.n ko jaagane kii sazaa kaun de gayaa
kahane se ho malaal to ham kyaa javaab de.n
tumako na ho Kayaal to …
https://www.youtube.com/watch?v=YHqdKJMoEoE
Ghazal #50
Roshan
Please note that for a long time, keeping total control on my own emotions, I haven’t given you a Shakeel Badayuni ghazal! Some control this!
Anyway, Roshan worked with Shakeel Badayuni in two movies: 1967 movie Noorjehan starring Pradeep Kumar and Meena Kumari and 1965 movie Bedaag starring Manoj Kumar and Nanda.
The happier one of these is the Noorjehan one. It has been sung as a duet between Mohammad Rafi and Asha Bhosle.
Please enjoy: Aap jab se kareeb aaye hain,
Pyaar ke rang dil pe chhaye 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
Ghazal #52
Roshan
I have given you several of Roshan’s ghazals tonight and earlier too. I end with what I regard as his best.
Once again, he bonded well with Sahir Lushianvi (like Shakeel did with Naushad and Ravi) and some of his finest ghazals have been penned by Sahir.
This is from the 1963 movie Taj Mahal starring Pradeep Kumar as Shahjehan and Beena Roy as Mumtaz.
Please enjoy: Jurm-e-ulfat pe hamen log saza dete hain,
Kaise nadaan hain sholon ko hawa dete hain…
jurm-e-ulfat pe hame.n log sazaa dete hai.n – 2
kaise naadaan hai.n, sholo.n ko havaa dete hai.n
kaise naadaan hai.n
hamase dIvaane kahii.n tar ke vafaa karate hai.n – 2
jaan jaaye ki rahe baat nibhaa dete hai.n
jaan jaaye…
aap daulat ke taraazuu mai.n dilo.n ko taule.n – 2
ham mohabbat se mohabbat kA silaa dete hai.n
ham mohabbat se…
taKt kyA chiiz hai aur laal-o-javaahar kyA hai – 2
ishq vAle to khudaa_ii bhI luTa dete hai.n
ishq vaale …
hamane dil de bhI diyaa ehad-e-vafaa le bhI liyaa – 2
aap ab shokh se dede.n jo sazaa dete hai.n
jurm-e-ulfat pe hame.n log sazaa dete hai.n
That brings us to the end of Part III of A Hundred Ghazals in Hindi Movies. We have had a total of 52 ghazals so far.
Please let me know in the comments below if some ghazal of yours should appear in the Top 100. I shall try to accommodate. Only, please remember two things: One, there are still three more parts to go of roughly 16 ghazals per part. And, secondly, these are not the best ghazals in all fora; these are only considered the best that appeared in Hindi movies.
SUFFIX ‘EX’ IS FOR EXERCISES IN THE NAVY – PART I (AMPHEX ON NANCOWRY), EPISODE II
The story so far:
In Part I, Episode I of this post I described to you that I was made the Naval Liaison Officer (NLO) of Merchant Vessel Nancowry which was part of the Amphibious Task Force (ATF) given the task of taking the army personnel and wherewithal for an Amphibious Assault on Carnicobar from the port of Vizag in Andhra Pradesh. My team had tough time during the midnight embarakation of army personnel.
Read on:
Nancowry was hardly the luxury liner that one reads about or sees in the movies. It had countless portholes. It was tough time for my team and I to instill discipline in hundreds of jawans to keep them closed so that no light would show outside. It appeared to me that CATF (Commander Amphibious Task Force) staff and AFC (Amphibious Force Commander) staff had nothing else to do in the night but to keep making urgent signals to Nancowry to darken ship immediately. And no sooner that my staff would succeed in closing one particular porthole pointed out by AFC that another would open. By the morning, in this Porthole Test Match, the Army had won 127 – 82 to the Navy represented by my staff of just five. We didn’t even know which porthole had light showing through it until we would get a nasty signal. Significantly, in my report post the Amphex, I did mention that in the next Amphex the Navy need to get vessels without any portholes. Saawan me andhe ko hara hi hara dikhaayi deta hai(the one who becomes blind in monsoons sees only greenery). Likewise, I associate Amphex with portholes.
My team and I managed to get about 2 hours of sleep each in the wee hours of morning.
If we had this complaint against the Army about the portholes discipline or lack of it, their list of complaints ran into hundreds of pages. If portholes were to be kept closed then messes were stuffy, was one of them. The others ranged from cooking standards, shortage of water and not having to do anything worthwhile at sea.
I had another three days and nights to go before we would reach Carnicobar, our place of amphibious assault. And I reckoned that I had to think fast so that the rest of the time on board won’t be as miserable as the first night.
But, who should I turn to for advice? Captain Kabina, the master of the MV Nancowry was a former Commander of the Indian Navy and that too from my branch: Communication. However, till as long as his ship was chartered to the Indian Navy, for operational purposes, he was to be under my orders as per the Navy Act. Hence, turning to him for advice in an operational matter was ruled out.
The only other person to turn to was Commodore Mukherjee, the AFC. I raised him on the walkie-talkie. One of the difficulties of naval communications is that with the signalese perfected over a period of time, one is never able to convey one’s emotions properly, even if one is on walkie – talkie. It is not like a wife telling a husband, “Sunate ho jee, Bunty ne phir aaj apani nicker phaad di; main to tang aa gayi hoon usake kapade seete seete. Mera sir phata jaa raha hai. (Are you listening? Bunty has again torn his shorts; I am tired of mending his clothes. I have a splitting headache”. Naval communications, on the other hand, go something like this:
One Alpha, this is Charlie Six: Over
This is One Alpha Over, what is the trouble? Over.
(You want to tell him that the trouble is not over but only just begun; but you control your emotions, the unnecessary part of naval communications)
This is Charlie Six: Sir, how to keep the pongoes (naval slang for army personnel) busy? Over.
Charlie Six, this is One Alpha: Find a way. I repeat: find a way. Over and out.
Some of the departmental sailor chiefs who have approached their departmental officers for specific instructions to sort out vague problems have often returned with the age-old order, “Carry on, Chief Saab”. I was stunned that the AFC had subjected me to similar treatment. Urdu poets of yore had wonderful couplets for this situation; one juicy one being:
“Unase mil kar badhi aur dil ki khalish,
Guftugoo bhi hui khaamoshi ki tarah”
(A tryst with her increased the anxiety of my heart,
Discussion took place like total silence)
The inventor of a location or position called Square One must have been happy to see me occupying the position after my guftugoo with the AFC. But, the fact is that one cannot spend one’s life in Square One; one has to move on. I thought and thought and thought and came up with options I had. And finally it hit me like a bolt from the blue. I issued out orders regarding the routine of the day from Hands Call to Pipe Down with Morning and Evening PT (Physical Training) thrown in, in good measure.
It was nice to see hundreds of jawans, NCOs and JCOs and officers lining up the upper decks twice a day and sweating it out to the whistle of our PTI. In an earlier article, I had written how a good haircut is seen to solve most naval problem (Please read ‘Cut, Cut, Cut…..’). Now, a few good rounds of PT at sea solved the following problems:
1. Coming on the upper decks helped jawans to fill up air in their lungs and hence portholes could be kept closed at night.
2. The strenuous (at sea it is strenuous to do these things since one has to do so countering the rolling and pitching of the ship) exercises built up appetites and they attacked their food without complaining (hungry souls hardly complain about quality of cooking).
3. They had something to keep themselves busy at sea. Their officers added their own drills and orders to keep them busy.
In the night, my walkie-talkie crackled again:
Charlie Six this is One Alpha: Over.
One Alpha this is Charlie Six: It is over Sir.
This is One Alpha: Good boy. Roger out.
Next day on the Bridge I wanted to ask senior communicator Captain Kabina how was it that whilst stressful emotions were scarcely conveyed over naval communication nets, feelings of elation were instantly communicated?
MY EXPERIENCES WITH THE ARMY – PART I
I underwent the Higher Command Course with the Army from Jul 1996 to May 1997 (HC 25, that is) in the College of Combat (presently called the Army War College) at Mhow, near Indore in Madhya Pradesh. In our course, there were 37 officers from the Army, six from the IAF and two from the Navy. My first humorous article that appeared in Aug 1996 issue of Combat News is reproduced below.
Just before coming for the HC-25, friends gathered around me, with drinks in their hands, re-enacting ‘The Last Supper’. Naturally, the conversation veered around to the Army and their ‘peculiar habits’. It was unknown territory. “Basically, they are nice people,” said one in the manner of a visitor consoling a cancer patient, “And you have nothing to worry”. A civilian friend wanted me to confirm (“just to settle a bet”) if the Army men did everything with their boots on.
After having spent the first month here, I am able to report back that I have met some of the nicest people, who are as normal and professional (if not more) as we pretend to be. The main thing different or peculiar, I found, is the Army’s penchant to use abbreviations and acronyms – a sort of ‘bikini speech’ clothed in minimum words and that too shortened. It is rumoured that our SI (South Indian) Army friends cannot enjoy their food unless they have RSVP, ie, Rasam Sapadam, Varellum, Papadam; and those from P, H and D prefer PPK, ie, Papad, Pickle and Kuchamber.
Human mind has marvelous adaptability. Very soon I got used to living in KLP rather than in an officers’ mess, the former being in more of a mess than the latter. Nowadays, when someone speaks of the ‘conc area’, I am not reminded of the pogroms and when I see ‘junc’ written on a map, I do not associate it with a scrapyard.
Sometimes, of course, various explanations come to my mind as to why the bikini speech. The English language and literati owe a lot to the nautical terms and phrases which are in common usage now. Bikini Speech may be Army’s way of Indianising the English language. After all, how many of the English and the Chinese will be able to identify with the English and Chinese foods that we serve in our messes? On the other hand, the Army man may actually be in a hurry (note how they have changed even short words like night and enemy into shorter ni and en), expecting a ‘short and swift battle’ as the cliche goes. But then an incoming Exocet missile would give only 45 to 60 seconds reaction time before it hits a ship and still we have the time to say ‘Aye-aye Sir’ or acknowledge (not ack) a report by saying “Very Good”.
It may be to inculcate brevity? But this could not be the case. The Army orders are really very long and exhaustive. In Staff College, for example, when we were dumbfounded by nine pages of ‘Parking Instrs’, full of abbreviated words, we asked an Army officer to decipher. He quickly went through the edict and summed up, “Parking anywhere in the College, by student officers, is forbidden”.
Are we selectively brief exhorting our juniors to employ the bikini speech so that we will not have to read lots of junc – sorry – junk? A little FFT (Food For Thought). Whatever be the explanation, the sys appears to work in the Army. So press on Army. Maybe you can prove the makers of MR Coffee wrong and real pleasure may actually be in an ‘instant’. (This was a take on the MR Coffee ad that became quite controversial since it hit instant coffee so suggestively. I am reproducing the ad of those days starring Malaika Arora and Arbaz Khan):
P.S. By publishing this item in the Combat News the Army has proved that they are very nice people indeed but that henceforth, I should avoid conc areas in dark alleys, when they have their boots on (which is all the times).
SUFFIX ‘EX’ IS FOR EXERCISES IN THE NAVY – PART I (AMPHEX ON NANCOWRY), EPISODE I
In the Navy, names of all exercises are suffixed with the letters EX. Hence, we have TACEX as Tactical Exercise, SPRINGEX as a Theatre Level Exercise during Spring Time, REACTIONEX as an Exercise at sea to assess the reactions of the ship’s company, and so on.
The suffix EX also gives rise to a new and entirely naval vocabulary. So, if you come across an officer in the wardroom in totally disengaged state, and you happen to ask him what is he doing, he is likely to reply with a single coded word: COOLEX; which is roughly the equivalent of the modern teenager telling you that he is chilling.
Navy guys never rue the loss of girl-friends or beloveds (you never come across guys who have chucked themselves under trains or buses because their flames have gone to light up someone else’s life). Hence, other than to signify exercises, the suffix EX doesn’t have another significance for them. The suffix EX also lends some dignity to what they are engaged in. For example, BALLEX sounds frightfully more important than merely admitting that one is having a ball. Many decades back, Wills (Cigarettes) were the sponsors of the Navy Ball in Bombay. Their posters put up all over Bombay – at traffic circles, railway stations, Marine Drive, on the BEST buses, et al – read: THE NAVY IS HAVING A BALL. The navy big-wigs were not amused. Wills didn’t exactly have a ball (of a time) taking down the offending posters.
Many decades back the only use that the Army could think of the Navy was to land troops, tanks and vehicles for them at remote places. Hence, Amphibious Operations assumed tremendous significance. That was precisely the time when one of the most important roles of the Eastern Naval Command at Vizag was to exercise Amphibious Operations. Thus, the concept of AMPHEX (Amphibious Exercise) came into being.
I was involved in a number of Amphexes. My first major involvement was when I was merely a Lieutenant Commander and sent to Vizag on temporary duty. I was happily engaging myself in such activities as young officers often engage in – from rum to rummy, that is, and an activity known in the Navy by its acronym only: FRCS (Other than telling you that CS is Country-Side, I won’t tell you more: my lips are sealed).
One fine day, my ex CO of Agrani, who was appointed as CO Circars (the depot establishment in Vizag) was nominated to become the Amphibious Forces Commander and lead an amphibious force from Vizag to the Anadaman and Nicobar islands. Four passenger liners from the trade were chartered by the Navy to carry troops across to A&N for an amphibious assault. Senior Commanders were appointed as Naval Liaison Officers on three of the ships. However, for a ship called MV Nancowry (the name taken from one of the islands in A&N), I, a junior Lieutenant Commander, was appointed as the NLO. This was because my ex CO had tremendous faith in my abilities; a little more than I had.
I had a Lieutenant, a Sub-Lieutenant and a handful of sailors with me in my team to prepare the ship for over 500 army personnel, their weapons, vehicles and equipment, install naval communications, and control all the operations at sea. We had sleepless nights preparing all the plans and orders. The ship was available for less than 48 hours to familiarise ourselves and make her ready for the embarkation. We prepared detailed orders, for example, for accommodation and messing, ration-embarkation, communications and operations at sea.
With this, it was to be expected that things would go on smoothly. Like most war plans they didn’t even last the first shot.
The embarkation started at night so as to afford a measure of secrecy. My team had even marked the routes for various personnel so as to enable them to reach their messes. However, for the first one hour, no embarkation whatsoever took place. I was getting most jittery because at midnight I was supposed to make a report to Cmde Mukherjee, the AFC, that the embarkation was completed. And here, in the first one hour no embarkation had taken place. The Lieutenant in my team informed me that the army personnel had declined to embark since we had omitted to make provision for the Mandir (Temple). “How serious?” I asked him, barely able to control my anxiety. “Very serious” he replied on the walkie-talkie.
The Commodore wanted to know the progress from me since we were supposed to sail late at night. I told him that gods were being appeased. Taking it as one of my usual remarks (since he had been my CO earlier), he responded with “Very Good”. Some of you may not be familiar with this response but it is a standard response by the senior officer in the navy to acknowledge the report by a junior (I have seen/heard junior officer reporting to the senior excitedly that a certain compartment was on fire and the senior calmly acknowledging it with “Very Good” as if he couldn’t have asked for anything better).
My team and I re-worked everything and the icon of the goddess was installed in a compartment to be occupied by three army pujaris, complete with dhotis, white topis and tilaks. Coconuts were broken, agarbattis lit, pooja was performed, prasad distributed and then only the embarkation started.
We sailed at wee hours of the morning escorted by several naval ships under CATF (Commander Amphibious Task Force). These had started sailing in the evening; the minesweepers having sailed much earlier. One ship was reported to have been torpedoed by a lurking enemy submarine. Luckily, thanks to our having appeased the goddess, we escaped.
Many years later, I underwent Higher Command Course with the Army and realised the importance of Mandir, Masjid, Gurudwara to the jawans wherever they are even at the heights of Leh and Siachin. One lives and learns.
This post is just an introductory post to the series of posts on Amphex and other EXercises. Please await the sequels.