Three days back, the veteran Indian born British actor Saeed Jeffrey passed away. I was reminded of this scene in Satyajit Ray’s 1976 movie Shatranj Ke Khiladi (The Chess Players) based on a story by Munshi Premchand. The scene is the last scene of the movie in which two rich noblemen of Awadh kingdom, Mirza Sajjad Ali (Sanjeev Kumar) and Mir Roshan Ali (Saeed Jeffrey) continue playing chess, a game they are obsessed with, even when a small boy alarmingly brings the news to them that just next to where they are engaged in their game of chess, British forces are marching to take over Awadh, without opposition.
Shatranj Ke Khilari; they kept playing chess even when the British forces marched by to take over Awadh, unopposed
The story by Munshi Premchand and its outstanding portrayal by Satyajit Ray is a true reflection of the attitude of our countrymen in general and noblemen (the elite) in particular about matters concerning national security. They are the modern-day Noahs; the same Noah, who during the deluge, in a lighthearted ditty, was brought out with seemingly unconcerned repose:
“And Noah, he often said to his wife,
Whenever he sat down to dine,
“I don’t care where the water goes,
If it doesn’t get into the wine.”
And what about the government? A report in a national daily brought out that “the government is losing patience with the veterans”. How preposterous can that be? After 42 years of the government having snatched OROP from the veterans, after numerous promises by subsequent governments, after repeated recommendations of several committees including the 2011 Koshiyari Committee, after being passed by two parliaments and upheld by the Supreme Court of India, after five months of continuous agitation by the veterans, the government notifies a much truncated OROP, and – hold your breath – it is the government that is losing patience. The only analogy that comes to mind is that of a rapist complaining to a rape-victim about her crying.
The fact is that the government has already assessed that even after five months of agitation, neither the noblemen nor the countrymen appear to be bothered. Presently, the veterans are fighting a lone battle.
And in the meantime another Colonel (Colonel Mahadik) is killed in the valley bravely fighting the terrorists. But then, as one of the politicians said, “They are paid to die”. Who is really bothered? Also, in the meantime, in PM’s own state, last week, Army had to control even small scale riots that police and para-military forces couldn’t control. Armed forces are the preferred forces for disaster relief and even for law and order situations that someone else is paid to do. But, they do their job and are forgotten and no one is bothered.
We are all Shatranj Ke Khiladi; we don’t care as long as the water doesn’t get into our wine.
Another ludicrous statement attributed to the Raksha Mantri Shri Manohar Parrikar in a national daily was: Let the veterans prove that their agitation is not political. The pot calling the kettle black? As recently as 05 Sep 15, it is you and your government, Mr. Parrikar, who played politics with OROP by announcing it just before the Bihar elections; when there was no need for any such announcement since it was already passed by the parliament. The UPA government played politics with OROP all those four decades and just before the parliamentary elections. And, you, have the temerity to ask veterans to prove that their agitation is not political. Once again, you have assessed that our people are not concerned about the specifics of any issue. Hence, knowing anything about OROP would be beyond the grasp of average Indians. Why only politicians and bureaucrats? Even the Indian justice system works on the principle of delaying justice so long that it becomes fait-accompli.
The present government started off with the promise that it would be a government with a difference in its approach towards all issues concerning the nation and its citizens. So then, what appears to have gone wrong with the promise to implement the full OROP within 100 days of coming to power? Is it so helpless and, more importantly, blinded by the designs of the bureaucracy that it cannot trust its faujis against the same bureaucracy; especially when the Indian faujis have amply proved to be amongst the best in the world and the Indian babus have proved to be amongst the worst?
Or, is it that since the previous governments paid only lip-service to the OROP issue, this government, in a bid to take credit for finally having sanctioned the OROP, is losing patience with the veterans for denying it its carefully crafted moment of glory? If that is the case then hasn’t the government got itself to blame? Shouldn’t it have studied the issue independently rather than through the coloured glasses of the bureaucracy?
It is quite likely that the government must have by now realised that something that should have brought it enormous goodwill and credit seems to have backfired by its playing into the hands of the bureaucracy. In that case, rather than reinforcing an erroneous stand should it not do the honourable thing of exposing these wily babus and let the nation know that it made a mistake? I am sure the government would immediately win back the trust of the faujis. There is no glory in the government being at war with its own armed forces; and, even if the government wins, India and Indians lose though it may not be apparent to them straightway.
I run a Facebook page called Lyrical wherein I often give theme based songs. The current theme, since 12th Aug 15, is The Best Raaga Based Songs In Hindi Movies.
What is the first thing that you think of when you think of Raag Yaman? Well, nine out of ten of us will think of evening time. Even though, in later times, Raagas could be performed any time of the day, traditionally, these were based on the time of the day. And, like Hemant Kumar would sing: Hum ne shaam chuni hai.
Yaman is a raag that emerged from the Carnatic Music, whereat it is known as Kalyani or Kalyan. It is such a basic Raaga that often it is the first Raaga that is taught to the students of classical music.
It is a sampooran (complete) raaga in that all the seven swar (heptatonic) are present in the raaga. The notes of the raaga are considered similar to the Western Lydian scale of tones.
There is some discussion about the origin of the name of the Raaga Yaman. Some say its origin is Persian ‘Ei’man’ whereas the others feel that its origin is Raag Yamuna (Lord Krishna used to call Radha at the banks of Yamuna in the evenings with his flute) and over a period of time, it transformed into Yaman. The raaga is also called Kalyan or Yaman-Kalyan. There are, of course, traditionalists who feel that these are separate raagas.
With this background, it would be right to say that just like Raag Bhairavi there are hundreds of Hindi songs that are based on Raag Yaman or Kalyan and we are certainly going to have great time.
Lets recommence our journey into Raag Yaman based songs.
In the last two parts, we have taken compositions by the following music directors:
Faiyyaz Shaukat (Har ek baat pe kehte ho ke tuu kyaa hai).
Khemchand Prakash (Diya jalao jag mag jag mag).
Roshan (Chhupa lo youn dil mein pyaar mera).
Nisar Bazmi (Ranjish hi sahi dil hi dukhaane ke liye aa).
Ravindra Jain (Jab deep jale aana).
Shankar Jaikishen (Ehsaan tera hoga mujh par).
Kalyanji Anandji (Chandan sa badan chanchal chitavan).
Salil Choudhury (Aaansu samajh ke kyun mujhe).
Anil Biswas (Seene mein sulgate hain armaan).
Khaiyyam (Phir naa kijai gustaakh nigaahon ka gila).
Ravi (Jiyo to aise jiyo jaise sab tumhaara hai).
SN Tripathi (Lagata nahin hai dil mera).
Rajesh Roshan (Ghar se nikalate hi).
Song #25 Woh jab yaad aaye bahut yaad aaye…
Here is our 25th music director composing in Raag Yaman or Kalyan: Laxmikant Pyarelal. I have several songs of their composed in this raaga to choose from; but, I have chosen this from the 1963 movie Parasmani as their best in this raaga. The movie starred Mahipal and Geetanjali in leading roles. Farooq Qaiser penned the lyrics and the song is one of the most remembered duets of Mohammad Rafi and Lata Mangeshkar.
vo jab yaad aae bahut yaad aae
Gam-e-zi.ndagii ke a.ndhere me.n hamane
chiraag-e-muhabbat jalaae bujhaae
aahaTe.n jaag uThii.n raaste ha.ns diye
thaamakar dil uThe ham kisii ke liye
ka_ii baar aisaa bhii dhokhaa huaa hai
chale aa rahe hai.n vo nazare.n jhukaae
dil sulagane lagaa ashq bahane lage
jaane kyaa-kyaa hame.n log kahane lage
magar rote-rote ha.nsii aa ga_ii hai
Kayaalo.n me.n aake vo jab muskuraae
vo judaa kyaa hue zi.ndagii kho ga_ii
shammaa jalatii rahii roshanii kho ga_ii
bahut koshishe.n kii.n magar dil na bahalaa
ka_ii saaz chhe.De ka_ii giit gaae
https://youtube.com/watch?v=lJti8tOpG0o%3F
Song #26 Jo tum todo piya main nahin todu…
Lets now take a composition by Pandit Ravi Shankar for the 1979 movie Meera that starred Hema Malini in the title role. It is a famous Meerabai bhajan sung by Vani Jairam.
Please enjoy in Raag Yaman: Jo tum todo piya main nahin todu…
jo tum to.Do piiyaa mai.n nahii.n to.Duu.N re
tosaa priit to.D kR^ishhN kaun sa.Ng jo.Duu.N re
tum bhae motii prabhu ham bhae dhaagaa
tum bhae sonaa ham bhae suhaagaa
miiraa kahe prabhu brij ke baasii
tum mere Thaakur mai.n terii daasii
https://youtube.com/watch?v=GyVfwxJrWfA%3F
Song #27Aaye ho meri zindagi mein tum bahaar banake..
Okay, we are now on to relatively newer composer Nadeem Shravan who composed this song for the 1996 Aamir Khan and Karishma Kapoor movie Raja Hindustani.
It has Sameer‘s lyrics and Alka Yagnik and Udit Narayan have sung it.
Please enjoy the composition in Raag Yaman of our 27th Music Director Nadeem Shravan: Aaye ho meri zindagi mein tum bahaar banake….
aa_e ho merii zi.ndagii me.n tum bahaar ban ke
mere dil me.n yuu.n hii rahanaa tum pyaar pyaar ban ke
aa_e ho merii zi.ndagii …
aa.Nkho.n me.n tum base ho sapane hazaar ban ke
mere dil me.n yuu.n …
mere saathii mere saajan mere saath yuu.n hii chalanaa
badalegaa ra.ng zamaanaa par tum nahii.n badalanaa
merii maa.ng yuu.n hii bharanaa taare hazaar ban ke
mere dil me.n yuu.n …
gar mai.n jo ruuTh jaa_uu.n to tum mujhe manaanaa
thaamaa hai haath meraa phir umr bhar nibhaanaa
mujhe chho.D ke na jaanaa vaade hazaar karake
mere dil me.n yuu.n …
https://youtube.com/watch?v=r7cUMWxS6Xo%3F
Song #28 Badhe bhole ho hansate ho sunake duhaai…
Look at the popularity of this Raaga Yaman or Kalyan that we are on to our 28th music director composing in it. This is by Vasant Desai. This song is a Hindi version of Marathi song ‘tuzya preetiche he’ by Vasant Desai for film ‘Ramjoshi’. The name of this 1959 movie is Ardhangini, which is one of the several intense movies starring Meena Kumar and Raj Kumar like Dil Apana Preet Praayi.
It too has Majrooh Sultanpuri’s lyrics and Lata Mangeshkar’s voice. It is a Krishna vandana.
Please enjoy in Raag Yaman: Badhe bhole ho hansate ho sunake duhaai…
ba.De bhole ho, o …
ba.De bhole ho ha.Nsate ho sunake duhaaii
kanahaaii kanahaaii kanahaaii
ba.De bhole ho …
bhaage hai.n jag merii chhaayaa se duur
tan man meraa sab kii Thokar se chuur
phir phir ke phir tumare dar pe aaii
ho… phir phir ke phir tumare dar pe aaii
ba.De bhole ho ha.Nsate ho sunake duhaaii
kanahaaii kanahaaii kanahaaii
ba.De bhole ho …
jalate aa.Nsuu… jalate aa.Nsuu
jalate aa.Nsuu bhiige nayano.n kaa haar
dekhaa to hai sab kuchh tumane gopaal
phir tumarii akhiyaa.N hai.n kyuu.N musakaaii
ho… phir tumarii akhiyaa.N hai.n kyuu.N musakaaii
ba.De bhole ho… ho… ba.De bhole ho
kit jaauu.N o…
kit jaauu.N mai.n mukh to kholo zaraa
chor banake chup kyuu.N ho bolo zaraa
achchhii ye ba.nsii kii oTh lagaaii
ho… achchhii ye ba.nsii kii oTh lagaaii
ba.De bhole ho ha.Nsate ho sunake duhaaii
kanahaaii kanahaaii kanahaaii
ba.De bhole ho …
https://youtube.com/watch?v=pFBIFfJvZBo%3F
Song #29 Maangne se jo maut mil jaati…
I am now giving you the last of the music directors composing in this basic raag: Raag Yaman or Kalyan: Bulo C Rani.
It is from the 1966 movie Sunhere Qadam that starred Shashikala and Rehman. Lyrics were by Mahendra Pran and the singer is Lata Mangeshkar.
Please enjoy in Raag Yaman: Maangne se jo maut mil jaati….
maangane se jo maut mil jaatii, kaun jiitaa is zamaane me.n
dard hotaa naa bekalii ? hotii, dam naa ghuTataa yuu.N viiraane me.n
maa.Ngane se jo maut mil jaatii, kaun jiitaa is zamaane me.n
(aa.Nsuuo.n kii shamaa se gar Gam kii taariikiyaa.N miTatii)-2
tujh ko Kushiyo.n kii raushanii hotii zi.ndagii ke is fasaane me.n
maa.Ngane se jo maut mil jaatii, kaun jiitaa is zamaane me.n
(aarazuuo.n ke janaaze ko leke kaa.ndhe pe ham ghuume)-2
chalke manzil jo aaii milane ko, ham hii na rahe is zamaane me.n
maa.Ngane se jo maut mil jaatii, kaun jiitaa is zamaane me.n
https://youtube.com/watch?v=iKVTXhePlHs%3F
Song #30 Zindagi bhar nahi bhoolegi wo barsaat ki raat…
Now that we have finished with all the music directors who have composed songs in this raag, I shall present some top three directors who deserve to be given more than one song.
The first of this is Roshan. Earlier, we heard his song from Mamta: Chhupa lo youn dil mein pyaar mera. Now we take up his best composition in Raag Yaman.
This is from the 1960 movie Barsaat Ki Raat. Unlike Raj Kapoor’s first major directorial attempt of 1949 called Barsaat (which could have been called anything since it had nothing to do with Barsaat except for the songs), Barsaat Ki Raat actually revolves around those few minutes on a rainy night when Madhubala, taking shelter from sudden rain, accidentally bumps into Bharat Bhushan, her favourite poet. The entire movie, thereafter, revolves around those moments in Barsaat Ki Raat.
These are also some of the finest lyrics of Sahir Ludhainvi, comparable with best of Shakeel Badayuni: Mere mehboob tujhe meri mohabbat ki kasam.
Mohammad Rafi sings it first; and just like Mere Mehboob song, Lata Mangeshkar sings it later.
Please enjoy in Raag Yaman: Zindagi bhar nahin bhoolegi wo barsaat ki raat…..
zi.ndagii bhar nahii.n bhuulegii vo barasaat kii raat
ek a.njaan hasiinaa se mulaakaat kii raat
zi.ndagii bhar nahii.n bhuulegii …
haay vo reshamii zulfo.n se barasataa paanii
phuul se gaalo.n pe rukane ko tarasataa paanii
dil me.n tuufaan uThaate hue
dil me.n tuufaan uThaate hue haalaat kii raat
zi.ndagii bhar nahii.n bhuulegii …
Dar ke bijalii se achaanak vo lipaTanaa usakaa
aur phir sharm se balakhaake simaTanaa usakaa
kabhii dekhii na sunii aisii ho
kabhii dekhii na sunii aisii tilismaat ki raat
zi.ndagii bhar nahii.n bhuulegii …
surkh aa.nchal ko dabaakar jo nicho.Daa usane
dil pe jalataa huaa ek tiir saa chho.Daa usane
aag paanii me.n lagaate hue
aag paanii me.n lagaate hue jazabaat ki raat
zi.ndagii bhar nahii.n bhuulegii …
mere naGmo.n me.n jo basatI hai vo tasvIr thI vo
naujavAnI ke hasI.n Kvaab kI tAbIr thI vo
aasmano.n se utar aaI thI jo raat kI raat
zi.ndagii bhar nahii.n bhuulegii …
[lataa:]
zi.ndagii bhar nahii.n bhuulegii vo barasaat kii raat
ek a.njaan musaafir se mulaaqaat kii raat
zi.ndagii bhar nahii.n bhuulegii
haay jis raat mere dil ne dha.Dakanaa siikhaa
shoKh jazabaat ne siine me.n bhaDakanaa siikhaa
merii taqadiir me.n nikharii huii, ho
merii taqadiir me.n nikharii huii saramaat kii raat
zi.ndagii bhar nahii.n bhuulegii
dil ne jab pyaar ke ra.ngiin fasaane chhe.De
aa.Nkho.n aa.Nkho.n ne vafaao.n ke taraane chhe.De
soz me.n Duub gaii aaj vahii
soz me.n Duub gaii aaj vahii naGhamaat kii raat
zi.ndagii bhar nahii.n bhuulegii
[rafii]
ruuThanevaalii!
ruuThanevaalii merii baat pe maayuus naa ho
bahake bahake Khayaalaat se maayuus naa ho
khat_ma hogii naa kabhii tere, ho
khat_ma hogii naa kabhii tere mere saath kii raat
zi.ndagii bhar nahii.n …
https://youtube.com/watch?v=Hw3Cy3wVg0I%3F
Song #31 Tum bin jeevan kaise beeta….
I started this last part of Raag yaman by giving you a song by Laxmikant Pyarelal, viz, oh jab yaad aaye bahut yaad aaye. That time I mentioned that although I introduced the duo very late in the proceedings, they actually composed several songs in this Raag, eg, Jeevan dore tumhi sang bandhi, Tum gagan ke chandrama, and Tum bin jeevan kaise beeta. Lets listen to the last one.
I am going to give you this from 1965 movie Anita because of several reasons: One, it has been shot close to my home place Shimla. Two, the lyrics are by my second most favourite lyricist Raja Mehdi Ali Khan. Three, Mukesh has sung it so well.
Please enjoy in Raag Yaman: Tum bin jeevan kaise beeta puuchho mere dil se….
tum bin jiivan kaise biitaa,
puuchho mere dil se, puuchho mere dil se
saavan ke din aae, biitii yaade.n laae
kaun jhukaakar aa.Nkhe.n, mujhako paas biThaae
kaisaa thaa pyaaraa ruup tumhaaraa,
puuchho mere dil se, puuchho mere dil se
tum bin jiivan …
prem kaa saagar haay, chaaro.n taraf laharaae
jitanaa aage jaauu.N, gaharaa hotaa jae
Gam ke bha.nvar me.n, kyaa kyaa Duubaa,
puuchho mere dil se, puuchho mere dil se
tum bin jiivan …
jaise juganuu ban me.n, tuu chamake a.nsuvan me.n
ban kar phuul khilii ho, jaane kis bagiyan me.n
mai apanii kismat pe royaa,
puuchho mere dil se, puuchho mere dil se
tum bin jiivan …
https://youtube.com/watch?v=-c6iyy_Zpqg%3F
Song #32 Man re tu kaahe naa dheer dhare…
The 1964 movie Chitralekha had some of the finest numbers of Sahir Ludhianvi as lyricist and Roshan as Music Director. Two of these have been composed in Raag Yaman: Sansaar se bhaage phirte ho; and this one. I have chosen this one because of the excellent quality of singing by Mohammad Rafi singing playback for Pradeep Kumar.
Please enjoy in Raag Yaman: Man re tu kaahe na dheer dhare…
man re tuu kaahe naa dhiir dhare
vo nirmohii moh naa jaane, jinakaa moh kare
man re …
is jiivan kii cha.Dhatii Dhalatii
dhuup ko kisane baa.ndhaa
ra.ng pe kisane pahare Daale
rup ko kisane baa.ndhaa
kaahe ye jatan kare
man re …
utanaa hii upakaar samajh koI
jitanaa saath nibhaa de
janama maraN kaa mel hai sapanaa
ye sapanaa bisaraa de
koI na sa.ng mare
man re …
https://youtube.com/watch?v=aSRN316hGFA%3F
Song #33 Kabhi kabhi mere dil mein khayaal aata hai…
This has the genius of the lyrics of Sahir Ludhianvi and is a composition of Khaiyyam (earlier we took up Khaiyyam’s: Phir naa kijai meri gustaakh nigaahi kaa gila).
The song has been sung by Mukesh and Lata Mangeshkar separately.
Please enjoy in Raag Yaman: Kabhi kabhi mere dil mein khayaal aata hai..
kabhii kabhii mere dil me.n, Kayaal aataa hai
ke jaise tujhako banaayaa gayaa hai mere liye
tuu abase pahale sitaaro.n me.n bas rahii thii kahii.n
tujhe zamii.n pe bulaayaa gayaa hai mere liye
kabhii kabhii mere dil me.n, Kayaal aataa hai
kabhii kabhii mere dil me.n, Kayaal aataa hai
ke ye badan ye nigaahe.n merii amaanat hai.n
ye gesuo.n kii ghanii chhaa.Nv hai.n merii Kaatir
ye ho.nTh aur ye baahe.n merii amaanat hai.n
kabhii kabhii mere dil me.n, Kayaal aataa hai
kabhii kabhii mere dil me.n, Kayaal aataa hai
ke jaise tuu mujhe chaahegii umra bhar yuu.Nhii
uThegii merii taraf pyaar kii nazar yuu.Nhii
mai.n jaanataa huu.N ke tuu Gair hai magar yuu.Nhii
kabhii kabhii mere dil me.n, Kayaal aataa hai
kabhii kabhii mere dil me.n, Kayaal aataa hai
ke jaise bajatii hai.n shahanaaiyaa.n sii raaho.n me.n
suhaag raat hai ghuu.NghaT uThaa rahaa huu.N mai.n (2)
simaT rahii hai tuu sharamaa ke merii baaho.n me.n
kabhii kabhii mere dil me.n, Kayaal aataa hai
https://youtube.com/watch?v=dLjvPShWkos%3F
Song #34 Paan khayo sainyya hamaro…
The 1966 movie Teesri Kamam by lyricist Shailendra was a work of passion for him even though it wasn’t a commercial success. Raj Kapoor was the main protagonist in the movie directed by Basu Bhattacharya. Hiraman (Raj Kapoor) is a rustic villager, a bullock cart driver, from a remote village in Bihar. Hiraman takes two vows based on difficult situations in his life. He then meets and befriends Hirabai (Waheeda Rehman), a nautanki dancer. In the end, Hiraman takes a third vow never to be involved with a nautanki dancer.
Waheeda Rehman does several dances in the movie in a viallge repertory theatre. This was one of them. It has Shailendra’s lyrics, Shankar Jiakishen’s music and Asha Bhosle’s voice.
Please enjoy in Raag Yaman: Paan khayo sainyya hamaaro…
( hamane ma.Ngaa_ii suramedaanii
le aayaa zaalim banaaras kaa zaradaa ) -2
aa
apanii hii duniyaa me.n khoyaa rahe wo
hamare dil kii na puuchhe bedardaa
puuchhe bedardaa
( khaa ke gilorii shaam se uu.Nghe
so jaaye wo diiyaa-baatii se pahale ) -2
haa
aa.Ngan-aTaarii me.n ghabaraa_ii Doluu.N
chorii ke Dar se dil moraa dahale
dil moraa dahale
We have taken up one of the compositions of this great music director in this raag: Savere ka suraj tumhaare liye hai. Here is one with his favourite lyricist SH Bihari (you may remember him from Kashmir Ki Kali). The name of this 1966 movie is Bharen Phir Bhi Aayengi starring Dharmendra, Tanuja and Mala Sinha. The movie had another beautiful number enacted by Dharmendra on piano and both Tanuja and Mala Sinha feel that he is singing for them.
This has, as with all songs of OP Nayyar with female voice, Asha Bhosle’s voice.
Please enjoy in Raag Yaman: Woh hans ke mile hamase…
vo ha.Ns ke mile ham se ham pyaar samajh baiThe
bekaar hii ulfat kaa izahaar samajh baiThe
vo ha.Ns ke mile …
aisii to na thii qismat apanaa bhii ko_ii hotaa -2
apanaa bhii ko_ii hotaa
kyuu.N Kud ko muhabbat kaa haqadaar samajh baiThe
vo ha.Ns ke mile …
ro_e.N to bhalaa kaise khole.n to zubaa.N kyuu.N kar -2
khole.n to zubaa.N kyuu.N kar
Darate hai.n ki jaane kyaa sa.nsaar samajh baiThe
bekaar hii ulfat kaa …
https://youtube.com/watch?v=pLwozZZaOP0%3F
Song #36 Jaa re badra bairi jaa re…
I end with the genius of Madan Mohan (earlier we took up Bhooli hui yaadon; and there are more such as Jiya le gayo ji mora saanwariya, and Zara si aahat hoti hai). This song has the best combination of Rajinder Krishan as lyricist, Madan Mohan as composer and Lata Mangeshkar as the singer.
The name of the movie is Bahana, a 1960 movie starring Meena Kumari and Sajjan.
Please enjoy in Raag Yaman: Jaa re badra bairi jaa re….
jaa re badaraa bairii jaa re jaa re
piyaa kaa sandesavaa laa re laa re laa re
jaa re badaraa bairii jaa re jaa re
pii ke daras ko jiyaraa tarase
pii kii khabariyaa laa re laa re laa re
jaa re …
kahiyo sajan se man kii batiyaa
ro ro haal sunaa
jaa re …
baaT takat morii haarii najariyaa
kab aaye.nge saa.Nvariyaa
mohe kyo.n sataaye paapii
shor machaaye jaa re
moraa saa.Nvariyaa laa re laa re laa re
jaa re …
https://youtube.com/watch?v=qMpfQzszkL8%3F
That brings us to the end of my choice of three dozen songs composed in Raag Yaman or Kalyan in Hindi movies.
We have so far taken up Raag Bhairavi and Raag Kalyan based songs. Our next Raag is a royal raag from the south of India: Raag Darbari Kanada. Please wait for that.
I run a Facebook page called Lyrical wherein I often give theme based songs. The current theme, since 12th Aug 15, is The Best Raaga Based Songs In Hindi Movies.
What is the first thing that you think of when you think of Raag Yaman? Well, nine out of ten of us will think of evening time. Even though, in later times, Raagas could be performed any time of the day, traditionally, these were based on the time of the day. And, like Hemant Kumar would sing: Hum ne shaam chuni hai.
Yaman is a raag that emerged from the Carnatic Music, whereat it is known as Kalyani or Kalyan. It is such a basic Raaga that often it is the first Raaga that is taught to the students of classical music.
It is a sampooran (complete) raaga in that all the seven swar (heptatonic) are present in the raaga. The notes of the raaga are considered similar to the Western Lydian scale of tones.
There is some discussion about the origin of the name of the Raaga Yaman. Some say its origin is Persian ‘Ei’man’ whereas the others feel that its origin is Raag Yamuna (Lord Krishna used to call Radha at the banks of Yamuna in the evenings with his flute) and over a period of time, it transformed into Yaman. The raaga is also called Kalyan or Yaman-Kalyan. There are, of course, traditionalists who feel that these are separate raagas.
With this background, it would be right to say that just like Raag Bhairavi there are hundreds of Hindi songs that are based on Raag Yaman or Kalyan and we are certainly going to have great time.
Lets recommence our journey into Raag Yaman based songs.
Song #13 Diya jalao jag mag jag mag…
I have been dying to give you this song from the beginning. However, since I had already given you a KL Saigal number composed by Pankaj Mullick, I held back to give you another by KL Saigal. Nevertheless, this is by another music director Khemchand Prakash.
Of course, some of you have already guessed the number. It is from the 1943 movie Tansen in which KL Saigal did the title role. Pt Indra penned the lyrics.
Please enjoy in Raag Kalyan: Diya jalao jag mag jag mag…..
din suunaa suuraj binaa
aur chandaa bin rain
ghar suunaa diipak binaa
jyoti bin do nain
How about the music director Roshan‘s composition in Raag Yaman or Kalyan? Well, there are several indeed. But, this one that I am giving you is special indeed. It has been sung by Hemant Kumar and Lata Mangeshkar; some of the best duets in Hindi movies have been sung by both of them. Here, they have sung for Ashok Kumar and Suchitra Sen respectively.
You have already guessed the name of the movie. But, for those who haven’t, let me tell you that it is 1966 movie Mamta. Majrooh Sultanpuri penned the lyrics of this outstandingly beautiful duet.
Please enjoy in Raag Yaman: Chhupa lo youn dil mein pyaar meraa……
chhupaa lo yuu.N dil me.n pyaar meraa
ke jaise ma.ndir me.n lau diye kii
tum apane charaNo.n me.n rakh lo mujhako
tumhaare charaNo.n kaa phuul huu.N mai.n
mai.n sar jhukaae kha.Dii huu.N priyatam – 2
ke jaise ma.ndir me.n lau diye kii
ye sach hai jiinaa thaa paap tum bin
ye paap maine kiyaa hai ab tak
magar hai man me.n chhavi tumhaarii – 2
ke jaise ma.ndir me.n lau diye kii
phir aag birahaa kii mat lagaanaa
ke jalake mai.n raakh ho chukii huu.N
ye raakh maathe pe maine rakh lii – 2
ke jaise ma.ndir me.n lau diye kii
https://youtube.com/watch?v=GXgKgZt9Jik%3F
Song #15 Ranjish hi sahi dil hi dukhaane ke liye aa…..
Even though this is not really a Hindi Movie song, I am tempted to give you my second most favourite ghazal by Mehdi Hasan (my most favourite is: Zindagi mein to sabhi pyaar kiya karte hain). The lyricist is Ahmed Faraz-Talib Baghpati and it is composed by Nisar Bazmi.
Please forgive me only for one detour from the declared title of ‘Best Raaga Based Songs in Hindi Movies’.
Please enjoy in Raag Yaman: Ranjish hi sahi dil hi dukhaane ke liye aa…..
ra.njish hii sahii dil hii dukhaane ke liye aa
aa phir se mujhe chho.D ke jaane ke liye aa
pahale se maraasim naa sahii phir bhii kabhii to
rasm-o-rah-e-duniyaa hii nibhaane ke liye aa
% The following one sher is not by faraaz but by Talib
maanaa ke muhabbat kaa chhupaanaa hai muhabbat
chupake se kisii roz jataane ke liye aa
kuchh to mere pi.ndaar-e-muhabbat kaa bharam rakh
tuu bhii to kabhii mujhako manaane ke liye aa
% The following one sher is not by faraaz but by Talib
jaise tujhe aate hai.n, na aane ke bahaane
aise hii kisii roz na jaane ke liye aa
% The following shers were not in the version I heard
ab tak dil-e-Kushafaham ko hai.n tujh se ummiide.n
ye aaKirii shamme.n bhii bujhaane ke liye aa
ik umr se huu.N lazzat-e-giriyaa se bhii maharuum
ai raahat-e-jaa.N mujhako rulaane ke liye aa
https://youtube.com/watch?v=cgKDqh2ccuU%3F
Song #16 Jab deep jale aana…
I have great pleasure in putting up this song from the 1976 movie Chitchor at this stage. The period 1975 to about 1980, just after I became a commissioned officer in the Indian Navy was the period when they brought in fresh faces in Hindi films: Farooq Sheikh, Amol Palekar, Smita Patil, Deepti Naval, Zarina Wahab, Naseeruddin Shah etc.
Chitchor had Amol Palekar and Zarina. Like Dosti, it was a Rajshri Production film directed inhouse by Tarachand Barjatya. When I saw the movie, I was stunned by the freshness of the story. Zareena Wahab’s family, who are in village Madhupur, are informed by her elder sister Meera who lives in Mumbai that an engineer would be coming to their village and they could assess him as a possible match for Zarina (Geeta). Amol Palekar (Vinod) duly arrives and the family and Zarina take liking to him. He even teaches Zarina how to sing and that’s how some beautiful classical raaga based songs came up including this one.
The family was in for a shock when they receive communication from Meera that the engineer Vijayinder Ghatge was delayed and would now arrive soon! They had already taken liking for Amol Palekar whom they now discover is only an overseer!
Ravindra Jain wrote these lovely lyrics. He composed the music too. Yesudas sang for Amol Palekar and Hemlata sang for Zarina Wahab.
Please enjoy in Raag Yaman Kalyan: Jab deep jale aana, jab shaam dhale aana……
nit saa.njh savere milate hai.n
unhe.n dekhake taare khilate hai.n
lete hai.n vidaa ek duuje se kahate hai.n chale aanaa
jab diip jale aanaa …
% ni re ga, re ga, pa ga re sa sa ni
% pa pa ma^, re (ga) , sa ni sa ga pa ma^ pa
% where ma^ is the tiivra madhyam and (ga) is re ga pa re ga in one beat.
nii re ga, re ga, ma ga re sa sa nii
pa pa ma, re ga, sa nii sa ga pa ma pa
mai.n palakan Dagar buhaaruu.ngaa
terii raah nihaaruu.ngaa
merii priit kaa kaajal tum apane naino.n me.n male aanaa
jab diip jale aanaa …
jahA.n pahalI baar mile the ham
jis jagah se sa.ng chale the ham
nadiyA ke kinAre aaj usI
amavA ke tale aanaa
jab diip jale aanaa …
https://youtube.com/watch?v=11yh-UCeev4%3F
Song #17 Ehsaan tera hoga mujh par….
Those of you who are perceptive would have noticed that I haven’t given you a single song by Shankar Jaikishen so far though I have given you as many as 16 songs in Raag Yaman by 16 different music directors. And it is not as if SJ didn’t compose in Yaman.
Here is one from 1961 movie Junglee starring Shammi Kapoor and Saira Bano. Hasrat Jaipuri penned the lyrics. Both Mohammad Rafi and Lata Mangeshkar sang it separately; but the composition is the same for both.
Please enjoy in Raag Yaman: Ehsaan tera hoga mujh par…
ehasaan teraa hogaa mujhapar, dil chaahataa hai vo kahane do
mujhe tumase muhabbat ho gaI hai mujhe
palako.n kii chhaa.No me.n rahane do
(tumane mujhako ha.nsanaa sikhaayaa – 2)
rone kahoge ro le.nge ham
aa.Nsuu kaa hamaare Gam naa karo
vo bahate hai.n to bahane do …
(chaahe banaa do, chaahe miTaa do – 2)
mar bhii gae to de.nge duaae.n
u.D-u.D ke kahegii Kaak sanam
ye dard-e-muhabbat sahane do …
https://youtube.com/watch?v=Zmh2Au15yfo%3F
Song #18 Chandan sa badan chanchal chitavan…
Okay, here is our 18th Music Director composing in Raag Yaman. Yes, I am talking about Kalyanji Anandji. This is from the 1968 movie Saraswati Chandra starring Nutan and Manish. Lyrics are those of Indeevar and the singer is Mukesh.
Please enjoy in Raag Yaman: Chandan saa badan chanchal chitavan dheere se tera ye muskaana…..
chandan saa badan cha.nchal chitavan
dhiire se teraa ye muskaanaa
mujhe doshh na denaa jag vaalo.n – (2)
ho jaauu.N agar mai.n diivaanaa
chandan saa …
ye kaam kamaan bha.Nve terii
palako.n ke kinaare kajaraare
maathe par si.nduurii suuraj
ho.nTho.n pe dahakate a.ngaare
saayaa bhii jo teraa pa.D jaae – (2)
aabaad ho dil kaa viiraanaa
chandan saa …
tan bhii su.ndar man bhii su.ndar
tuu su.ndarataa kii muurat hai
kisii aur ko shaayad kam hogii
mujhe terii bahut zaruurat hai
pahale bhii bahut mai.n tarasaa huu.N – (2)
tuu aur na mujhako tarasaanaa
chandan saa …
https://youtube.com/watch?v=O_ZFtaonBPQ%3F
Song #19 Aansu samajh ke kyun mujhe aankh se tune gira diya…
Salil Choudhary is often known as the music director who based his songs on western classical beats. However, his songs based on raagas are also classic. This is a favourite of mine. This is from the 1961 movie Chhaya and sung outstandingly well by Talat Mehmood for Sunil Dutt singing for Asha Parekh. Rajinder Krishan was the lyricist.
Please enjoy in Raag Yaman: Aansu samajh ke kyun mujhe aankh se tune gira 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://youtube.com/watch?v=lkP1V-HjTyo%3F
Song #20 Seene mein sulagate hain armaan…
Another music composer that I haven’t given so far in Raag Yaman is Anil Biswas, the genius music director. This one is an all time favourite of mine sung as a duet between Talat Mehmood and Lata Mangeshkar singing for Dilip Kumar and Madhubala for the 1951 Taraana that brought out the best chemistry between the reel and real loving couple of those times until Madhubala’s father stood in the way of their real wedding.
Please remember that songs are, for me, chain reaction. My having put up a Talat Mehmood song just before this (Aansu samajh ke kyun mujhe) led to this.
It is a Prem Dhawan penned song from Taraana, which I saw recently to understand this much talked about chemistry.
Please enjoy in Raag Yaman: Seene mein sulagte hain armaan….
talat: sIne me.n sulagate hai.n aramaa.n
aa.Nkho.n me.n udaasI chhaaI hai
ye aaj terI duniyaa se hame.n
taqadIr kahaa.N le aaI hai
sIne me.n sulagate hai.n aramaa.n
latA: kuchh aa.Nkh me.n aa.NsU baakI hai.n
jo mere Gam ke saathI hai.n – 2
ab dil hai.n naa dil ke aramaa.n hai.n – 2
bas mai.n hU.N merI tanhaaI hai
sIne me.n sulagate hai.n aramaa.n
talat: na tujhase gilaa koI hamako
nA koI shikaayat duniyaa se
do chaar kadam jab manzil thii – 2
qismat ne Thokar khaaI hai
sIne me.n sulagate hai.n aramaa.n
lata: kuchh aisI aag lagI man me.n
jIne bhI naa de marane bhI naa de …
chup hU.N to kalejaa jalataa hai – 2
bolU.N to terii rusavaaI hai
both: sIne me.n sulagate hai.n aramaa.n
https://youtube.com/watch?v=GMlTeyN3zo4%3F
Song #21 Phir na kijai meri gustaakh nigaahon ka gila….
Frankly, the only song that goes well with the other two that I have put up above has been composed by an equally accomplished composer like Salil da and Anil Biswas before this. Yes, it is Khaiyyam. And, it was not my find. It is the find of a friend in my Facebook group Yaad Kiya Dil Ne for the singer Mukesh‘s Death Anniversary that day. It is a duet between him and Asha Bhosle.
Sahir Ludhianvi wrote these superb lyrics for the 1958 movie Phir Subah Hogi wherein he had another outstanding song: Wo subah kabhi to aayegi.
The song is picturised on Raj Kapoor and Mala Sinha.
Please enjoy in Raag Kalyan: Phir na kijai meri gustaakh nigaahon ka gila….
mukesh: phir nA kIjai merI gustaaK nigaaho.n kA gilaa
dekhiye aap ne phir pyaar se dekhaa mujhako
aashaa: mai.n kahaa.N tak ye nigaaho.n ko palaTane detii
aap ke dil ne ka_ii baar pukaaraa mujhako
mukesh: is kadar pyaar se dekho nA hamaarii jaanii
dil agar aur machal jaaye to mushkil hogii
aashaa: tum jahaa.N merI taraf dekh ke ruk jaaoge
vohii ma.njil merI taqadIr kii ma.njil hogii
mukesh: dekhiye aap ne phir pyaar se dekhaa mujhako
aashaa: aap ke dil ne ka_ii baar pukaaraa mujhako
mukesh: ek yuu.Nhii.n sI najar dil ko jo chhuu letii hai
kitane aramaan jagaa detii hai tumhe kyA maaluum
aashaa: rUh bechain hai kadamo.n se lipaTane ke liye
tumako har saa.Ns bulaatii hai tumhe kyA maaluum
mukesh: dekhiye aap ne phir pyaar se dekhaa mujhako
aashaa: aap ke dil ne ka_ii baar pukaaraa mujhako
mukesh: har nazar aap kii jazabaat ko ukasaatii hai
mai.n agar haath paka.D luu.n to khafaa mat honaa
aashaa: merI duniyaa-e-mohabbat hai tumhaare dam se
merI duniyaa-e-mohabbat se judaa mat honaa
mukesh: dekhiye aap ne phir pyaar se dekhaa mujhako
aashaa: aap ke dil ne ka_ii baar pukaaraa mujhako
https://youtube.com/watch?v=rau5gPhmYwE%3F
Song #22 Jiyo to aise jiyo jaise sab tumhaara hai…
The last three Raag Yaman based songs in this part. I am going to take up those music directors who have so far not figured in the list of composers put up by me for having composed in Raag Yaman.
The first is my namesake: Ravi
The name of this 1965 movie is Bahu Beti starring Joy Mukherjee and Mala Sinha. The lyrics were penned by Sahir Ludhianvi and Mohammad Rafi sang it.
Please enjoy in Raag Yaman: Jiyo to aise jiyo jaise sab tumhaara hai…
jiyo to aise jiyo jaise sab tumhaaraa hai
maro to aise ki jaise tumhaaraa kuchh bhii nahii.n
ye ek raaz hai ki duniyaa na jisako jaan sakii
yahii vo raaz jo zindagii se haasil hai
tumhii.n kaho ye raaz tumhe.n kaise samajhaa_uu.N
ke zindagii kii ghuTan zindagii kii qaatil hai
har ek nigaah ko ye qudarat kaa ishaaraa hai
jiyo to aise jiyo …
jahaa.N me.n aa ke jahaa.N se khi.nche-khi.nche na raho
vo zindagii hii nahii.n jisame.n aas bujh jaa_e
ko_ii bhii pyaas dabaa_e se dab nahii.n sakatii
isii se chain milegaa ki pyaas bujh jaa_e
ye kahake mu.Dataa hu_aa zindagii kaa dhaaraa hai
jiyo to aise jiyo …
ye aasamaa.N ye zamii.n ye fizaa ye nazaare
taras rahe hai.n tumhaarii ik nazar ke li_e
nazar churaa ke har ek shai ko yuu.N na Thukaraa_o
ko_ii shariiq-e-safar Dhuu.NDh lo safar ke li_e
bahut qariib se maine tumhe.n pukaaraa hai
jiyo to aise jiyo …
https://youtube.com/watch?v=dVDHTeRr8LQ%3F
Song #23 Lagata nahin hai jee mera ujhade dyaar mein….
We have heard Raag Yaman or Kalyan songs of 22 different music directors. Here is the 23rd: SN Tripathi.
This is actually the last Mughal Emperor Bahadur Shah Zafar‘s famous ghazal at the twilight of his life, for the 1960 movie Laal Qila. Mohammad Rafi has sung it so well that it has become immortal.
Please enjoy in Raag Kalyan: Lagata nahin hai jee mera ujhade dyaar mein….
lagataa nahii.n hai jii meraa uja.De dayaar me.n
kis kii banii hai aalam-e-naa-paayedaar me.n
bulabul ko baaGabaa.n se na saiyyaad se gilaa
qismat me.n qaid thii likhii fasal-e-bahaar me.n
umr-e-daraaz maa.Ng ke laaye the chaar din
do aarazU me.n kaT gaye, do i.ntazaar me.n
kah do in hasarato.n se kahii.n aur jaa base.n
itanii jagah kahaa.N hai dil-e-daaGadaar me.n
hai kitana badanasiib zafar dafn ke liye
do gaz zamiin bhii na milii kU-e-yaar me.n
https://youtube.com/watch?v=KiAfTauealQ%3F
Song #24 Ghar se nikalate hi, kuchh door chalate hi….
Here is the last of our famous composers who composed in Raag Kalyan or Yaman: the 24th one: Rajesh Roshan. It is from the 1996 movie Papa Kehte Hain starring Jugal Hansraj and Anupam Kher. Lyrics are by Javed Akhtar and voice is that of Udit Narayan.
Please enjoy in Raag Yaman: Ghar se nikalate hi, kuchh door chalate hi….
(ghar se nikalate hii, kuchh duur chalate hii
raste me.n hai usakaa ghar
kal subah dekhaa to bal banatii vo
khi.Dakii me.n aayii nazar) -2
maasuum chaharaa, niichii nigaahe.n
bholii sii la.Dakii, bholii adaaye.n
na apsaraa hai, na vo parii hai
lekin yah usakii jaaduugarii hai
diivaanaa kar ke vo, ek ra.Ng bhar ke vo
sharmaa ke dekhe jidhar
ghar se nikalate hii kuchh duur chalate hii
raste me.n hai usakaa ghar …
karataa huu.N usake ghar ke mai.n phere
ha.Nsane lage hai.n ab dost mere
sach kah rahaa huu.N, usakii kasam hai
mai.n phir bhii khush huu.N, bas ek Gam hai
jise pyaar karataa huu.N, mai.n jisape marataa huu.N
usako nahii.n hai khabar
ghar se nikalate hii kuchh duur chalate hii
raste me.n hai usakaa ghar …
la.Dakii hai jaise, koii pahelii
kal jo milii mujhako usakii sahelii
mai.nne kahaa usako, jaake yah kahanaa
achchhaa nahii.n hai, yuu.N duur rahanaa
kal shaam nikale vo, ghar se tahalane ko
milanaa jo chaahe agar
ghar se nikalate hii kuchh duur chalate hii
raste me.n hai usakaa ghar …
https://youtube.com/watch?v=arK4ybYfH4k%3F
With this we have finished with Part II of Best Raaga Yaman Based Hindi Songs. The last part, Part III, would have mixed bag of some of the other most popular songs composed in this popular raaga. Please wait for it.
Life in the armed forces, as anyone would tell you, is tough. Armed forces are not a vocation but a way of life; and hence, one is on duty 24/7 throughout the year. You hardly have any family life. With the perpetual shortage of officers in the armed forces, you actually end up doing the work of your absent friends, in addition to your own. Hence, when you retire after nearly 37 years, as I did, all that you are looking for is some well deserved peace and quiet. You know that with your armed forces’ savings you cannot have too much of a comfort and would get just about 900 feet of accommodation poorly constructed house in an Air Force Naval Housing Board colony; poorly constructed being more a norm than an exception in AFNHB (Air Force Naval Housing Board) houses.
After retirement, I shifted to this flat I had bought through AFNHB in installments. I soon found out that because of poor construction, most flats leaked and most flats had renovation going on even after eleven years of construction, causing perpetual noise of tile cutting and other machines especially on the weekends. Each one of us had to shell out more than one tenth of the original cost of the flats (available at the same rate as any accommodation in civil areas; thereby doing away with any advantage whatsoever for having found a flat through the armed forces) to leak proof the houses collectively. In addition, each one has spent more than twice the sum in leak-proofing bathrooms and other rooms. And this is for a housing colony in Indian Navy’s station whereat it has its premiere command.
To add to these woes is the fact that some denizens of our society love noise. Indeed, they have promoted, together with many people in modern India, noise as a form of devotion. They get very vociferous and violent if told to curb noise. Their reasoning is that the government, whilst respecting the sentiments of people (Please read: ‘Who Are The “People” Whose “Sentiments Need To Be Respected”?’) have permitted noise up to certain hours and hence they intend to make full use of those hours. Pleas to them that government orders only condone the noise but do not make it compulsory for people to have noise falls on – you guessed it – deaf ears (Please read: State Sponsored Noise). Reminders about the fact that throughout our fauji lives we never made religious noise in the open have no effect on them. When people all around you are making religious noise, you feel left out.
So, now, if there is one thing that the denizens of our colony guard fiercely, it is their right to make noise so that they won’t be seen as less religious in comparison to our neighbouring colonies who make unfettered noise during festivals. Indeed, it appears that if there is one thing that they ruefully missed whilst being in active service in the armed forces, it is noise. So, now that they have come out of the imposed discipline, they want to do with vengeance what they missed all these years.
Recently, when it was proposed that since ours is a colony that already has an indoor community hall for such purposes and that they don’t have to make noise in the open, they took their petition straight to God. It went like this:
God: You don’t have to rely on loudspeaker to make me hear your prayers. I can hear all my devotees even when they silently pray to me.
Noisy Devotee: We know it, God. But, we want people to hear our prayers DTH.
God: What is DTH, for heavens’ sake?
ND (looking shocked and surprised): You don’t have cable TV in heaven? DTH is Direct To Home. When we pray in the open with loudspeaker, people really don’t have to come to pooja pandal since they can hear it DTH. Also, God, what’s the point in praying to you unless maximum people come to know that we are praying to you. This cannot happen in indoor community hall. There only the devotees who are present can hear the prayers.
God: You appear to be confused; are you praying to me or to them?
ND: Don’t abandon us, God; already there are people who behave like as if they are God. Today they would ban noise; tomorrow they may have objection to our breathing too. Ham dharam ka satyanaash nahin hone denge.
God: I am not convinced. I think you are imposing your own style of worship on others who have a choice to worship me in their own quiet way.
ND: We beg you, God; don’t do that. There is hardly any religion left in this world. People hate you. We are the only ones who still have devotion for you; the noisier we are, the more godly we become and the closer we get to you.
God: Sorry. I made each one of my people in my likeness. I cannot make any special concessions for you because of your propensity to make loudspeaker noise.
ND (On his knees now): Please God, don’t take away from us our right to make noise. If you wish, take away anything else that you have given us or intend giving us. But, we are emotionally attached to having us heard on the loudspeakers.
God: You have too many issues; OROP for example…
ND (Eagerly): We can do without it, God. In any case, the politicians and bureaucrats took it away from us 42 years back. Noise is all that is left with us; something that we can call our own. What’s the point in living in a free country if you cannot make noise 15 days in a year?
God: You have water shortage in your colony; what about that?
ND: We are used to being without water. On our ships, water used to be available only once or twice a day for short durations. But, we cannot do without our right to make noise.
Listening to this conversation, I wonder what used to happen to devotion of people when loudspeakers were not invented. I also repeatedly ask myself in the nearly three months of noise immediately after the rains ‘A Quiter Mumbai – Is It A Pipe Dream?’ It is not just 15 days of relentless noise, as ND told God; it is actually a full season of noise.
Deepawali, for example, used to be a festival of lights (Deep + Awali = Row of Lights) to commemorate our Lord Ram returning to Ayodhaya after 14 years of exile. In our colony, for the last six years that I have been here, it is no Deepawali but ‘Patakhawali and Bombawali That Has Nothing In Common With Depawali’. With incessant explosive detonations during the Diwali week or ten days (it is not a day’s festival in our colony), we often feel that we are ‘In The War Zone’.
So, now that, about one fourth of the year is taken up by noise, the question is why don’t we raise our voice against this flagrant noise? You cannot raise voice against noise because that adds to the noise. We can only educate people about the ill effects of noise. Fortunately, in our colony, there are also many right minded people who are convinced that we need to carry these people too with us. Already, it has become a worrisome problem and people are engaged in finding solutions.
A number of solutions have been suggested:
When you admonish children not to watch too much of television, the incorrect method is to just rhetorically keep telling them not to do so; the more you tell them, the more they want to watch. The best method is to create an alternative to television that adds to their learning as well as is equally entertaining. Similarly, some of the members have suggested that we engage the community in something constructive in the name of religion rather than in destructive crackers and noise.
We have so much of poverty in our country and we have underprivileged children. We, as a colony, can sponsor anti-poverty programmes and programmes for the education of the underprivileged. We can collect funds to do so rather than wasting these on crackers and loudspeakers.
We can educate the people that chanting hymns and mantras over loudspeakers is not the only method of devotion and worship. We can have indoor discourses about our religion, history and heritage and even plays and drama. After all, we are all religious in our own ways and not pagans.
I am sure making noise in the name of religion or otherwise is a problem not only in our colony but also in thousands of colonies. Already, the High Courts are ruling that people can get together to have pooja pandals at a central place rather (to be shared by many colonies) than at hundreds and thousands of these places making cacophony that doesn’t help anyone. Noise by itself is bad. However, competitive noise that we have got used to now is really harming the society. Perhaps we should listen to the courts and not the politicians who have vested interests in promoting parochialism and religious noise.
When people get used to a way of doing things (Read: Whose God Is It Anyway?), it is generally very difficult to wean them away from their habits. As Abba Eban said: “History teaches us that men and nations behave wisely once they have exhausted all other alternatives”. For every argument that we present to them now, the noise-makers have a counter argument. They would probably listen after they have exhausted all such arguments.
I am, on the other hand, a great believer in the intrinsic goodness of people. I sincerely believe that we have all been made by God in His own likeness and that goodness finally prevails. I can only do my bit to nudge them in the right direction.
If you have any suggestions or even differences of opinion, please do write in the comments below.
I run a Facebook page called Lyrical wherein I often give theme based songs. The current theme, since 12th Aug 15, is The Best Raaga Based Songs In Hindi Movies.
What is the first thing that you think of when you think of Raag Yaman? Well, nine out of ten of us will think of evening time. Even though, in later times, Raagas could be performed any time of the day, traditionally, these were based on the time of the day. And, like Hemant Kumar would sing: Hum ne shaam chuni hai.
Yaman is a raag that emerged from the Carnatic Music, whereat it is known as Kalyani or Kalyan. It is such a basic Raaga that often it is the first Raaga that is taught to the students of classical music.
It is a sampooran (complete) raaga in that all the seven swar (heptatonic) are present in the raaga. The notes of the raaga are considered similar to the Western Lydian scale of tones.
There is some discussion about the origin of the name of the Raaga Yaman. Some say its origin is Persian ‘Ei’man’ whereas the others feel that its origin is Raag Yamuna (Lord Krishna used to call Radha at the banks of Yamuna in the evenings with his flute) and over a period of time, it transformed into Yaman. The raaga is also called Kalyan or Yaman-Kalyan. There are, of course, traditionalists who feel that these are separate raagas.
With this background, it would be right to say that just like Raag Bhairavi there are hundreds of Hindi songs that are based on Raag Yaman or Kalyan and we are certainly going to have great time for the next ten days or so.
Song #1 Saaranga teri yaad mein…
This was the song of the cover picture of Raag Yaman based songs on Lyrical.
It was penned by Bharat Vyas and Sardar Malik was the one who composed it in Raag Kalyan or Yaman. As you already know Sardar Malik is the father of present day composer Anu Malik. He was not counted as one of the top 5 composers of his times: Naushad, Shankar Jaikishen, SD Burman, C Ramchandra and OP Nayyar. However, this and a few other songs that he composed are memorable indeed. The singer was Mukesh.
The song is nostalgic for me. I was a seven years old in a colony in the city of Mandi in Himachal Pradesh. People in our colony had frequent get-togethers (my father was in the horticulture department). Sing song sessions were aplenty. I have listened to this popular song many times from one of my dad’s friends.
It is from the 1961 movie Saaranga starring Sudesh Kumar and Jayashree.
Please enjoy in Raag Yaman: Saaranga teri yaad mein….
saara.ngaa terI yaad me.n nain hue bechain
madhur tumhaare milan binaa
din kaTate nahii.n rain, ho~
saara.ngaa terI yaad me.n …
vo ambuvaa kA jhuulanaa, vo pIpal kii chhaa.Nv
ghuu.NghaT me.n jab chaa.Nd thA, meha.ndii lagI thI paa.nv
ho, (aaj uja.Dake rah gayaa – 2)
vo sapano.n kA gaa.Nv, ho …
saara.ngaa terI yaad me.n …
sa.ng tumhaare do gha.Dii, bIt gaye jo pal
jal bharake mere nain me.n, aaj hue ojhal
ho, (sukh leke duHkh de gayii.n -2)
do akhiyA.N cha.nchal, ho …
saara.ngaa terI yaad me.n …
https://youtube.com/watch?v=AXQgClapKYc%3F
Song #2 Do naina matvaare tihaare ham pe zulm karen….
I gave you Saaranga teri yaad mein as the very first song in Raag Yaman. The fact is that even a novice in Raagas, that’s what I am (since I am learning together with you), this was the first song that I became aware of the Raaga in which it was composed! This is the beauty of this fundamental Raaga.
I am compelled now to take you back straightway to KL Saigal who sang many a song in this basic Raaga. This one was composed by Pankaj Mullick for the 1944 movie Meri Behen or My Sister. Lyrics were penned by Pt. Bhushan. KL Saigal, as always, sang for himself in the movie. This is amongst his top ten numbers.
Please enjoy: Do naina matvaare tihaare ham pe zulm karen….
do nainaa matavaare tihaare – 2, ham par zulm kare
do nainaa matavaare tihaare – 2, ham par zulm kare
naino.n me.n rahe to, sudh budh khoye – 2
chhupe to chain hare
do nainaa matavaare tihaare – 2, ham par zulm kare
tan tan ke chalAe tIr, nas nas me.n uThAe pIr – 2
madabhare rasIle niThor ba.De, na Dare na dhar dhare
do nainaa matavaare tihaare – 2, ham par zulm kare
jab hotI ho tum us paar, nas nas me.n uThAe pIr – 2
man kI bInA ke baj uThate, jor jor se taar
do nainaa matavaare tihaare – 2, ham par zulm kare
paas Ae to aise bhUl gae, pal khyan me.n saba kuchh bhUl gae – 2
khushiyo.n ke sote ubal pa.De, har a.ng to ra.ng bhare
do nainaa matavaare tihaare – 2, ham par zulm karen
https://youtube.com/watch?v=T_URwqxX5lE%3F
Song #3 Abhi na jaayo chhod kar….
I am going to mix relatively newer with older songs composed in Raag Yaman Kalyan; if only for the fact that I saw this 1961 movie as late as last night on my computer. The music by Jaidev, the singing by Mohammad Rafi and Asha Bhosle, and the excellent lyrics by Sahir Ludhianvi need no reminder to tell you that it is an evening song, late evening that is.
It is, after all these years, still the number one duet between Mohammad Rafi and Asha Bhosle singing for Dev Anand and Sadhana. It is a duet that I heard live with my parents when I was samll.
Please enjoy in Raag Yaman: Abhi na jaayo chhod kar….
ra: abhii na jaao chho.D kar ke dil abhii bharaa nahii.n – (2)
abhii abhii to aaii ho – abhii abhii to
abhii abhii to aaii ho, bahaar banake chhaaii ho
havaa zaraa mahak to le, nazar zaraa bahak to le
(ye shaam Dhal to le zaraa – 2), ye dil sambhal to le zaraa
mai.n tho.Dii der jii to luu.N, nashe ke ghuu.NT pii to luu.N
nashe ke ghuu.NT pii to luu.N
abhii to kuchh kahaa.Nahii.n, abhii to kuchh sunaa nahii.n
abhii na jaao chho.Dakar ke dil abhii bharaa nahii.n
aa: sitaare jhilamilaa uThe, sitaare jhilamilaa uThe, charaaG jagamagaa uThe
bas ab na mujhako Tokanaa
bas ab na mujhako Tokanaa, na ba.Dhake raah rokanaa
agar mai.n ruk ga_ii abhii to jaa na paauu.Ngii kabhii
yahii kahoge tum sadaa ke dil abhii nahii.n bharaa
jo khatm ho kisii jagah ye aisaa silasilaa nahii.n
ra: abhii nahii.n abhii nahii.n
aa: nahii.n nahii.n nahii.n nahii.n
ra: abhii na jaao chho.Dakar ke dil abhii bharaa nahii.n
ra: adhuurii aas, adhuurii aas chho.Dake, adhuurii pyaas chho.Dake
jo roz yuu.Nhii jaaogii to kis tarah nibhaaogii
ki zi.ndagii kii raah me.n, javaa.N dilo.n kii chaah me.n
ka_ii muqaam aae.nge jo ham ko aazamaae.nge
buraa na maano baat kaa ye pyaar hai gilaa nahii.n
aa: haa.N, yahii kahoge tum sadaa ke dil abhii nahii.n bharaa
ra: haa.N, dil abhii bharaa nahii.n
aa: nahii.n nahii.n nahii.n nahii.
https://youtube.com/watch?v=9VlDX_U2PkI%3F
Song #4 Woh shaam kuchh ajeeb thi…
Just like Raag Bhairavi, for Raag Yaman too, we have already taken up three different music directors: Sardar Malik, Pankaj Mullick and Jaidev.
Now, I start with Hemant Kumar just to drive home the point regarding Yaman being a Raaga of the evening. This has some of the finest lyrics of Gulzar and Kishore Kumar‘s voice. You have already guessed it; but, for those who didn’t the song is from the 1969 movie Khamoshi.
This movie is often considered to be most successful film of Waheeda Rehman.
The film was shot in Calcutta. The film is based on Bengali short story titled, ‘Nurse Mitra’ by noted Bengali writer, Ashutosh Mukherjee, and is an almost frame by frame remake of director Asit Sen‘s own Bengali film, Deep Jwele Jaai (1959) starring Suchitra Sen.
Director Asit Sen (not to be confused with the actor-comedian Asit Sen) acted in the original Bengali film Deep Jélé Jaai (1959) in a role, which was essayed by Dharmendra in Khamoshi, where the movie-goers actually could not recognise him because it was a dark scene marked with the baritone voice of Hemant Kumar. Later he revealed himself in an interview in the 1990s. After his success in off-beat films, Mamta (1966) and Anokhi Raat (1968), Sen wanting to make it big in Bombay as well decided to remake his Bengali hit.
Actress Waheeda Rehman suggested the name of actor Rajesh Khanna, having been impressed by his work in Aakhri Khat (1966), though she later said, after the movie was released, that “he (Rajesh Khanna) was not mature enough to enact such a complex character” and that Sanjeev Kumar would have been a better choice. She also said that nobody could really hope to equal Basanta Choudhury in the Bengali original, and that her own performance came “nowhere near Suchitra Sen.” She credited the director for helping her lot during difficult scenes.
Please enjoy in Raag Yaman: Woh shaam kuchh ajeeb thi….
vo shaam kuchh ajiib thii, ye shaam bhii ajiib hai
vo kal bhii paas paas thii, vo aaj bhii kariib hai
jhukii huii nigaah me.n, kahii.n meraa Kayaal thaa
dabii dabii ha.Nsii.n me.n ik, hasiin saa savaal thaa
mai.n sochataa thaa, meraa naam gunagunaa rahii hai vo
na jaane kyuu.N lagaa mujhe, ke muskuraa rahii hai vo
vo shaam kuchh ajiib thii …
meraa Kayaal hai.n abhii, jhukii huii nigaah me.n
khulii huii ha.Nsii bhii hai, dabii huii sii chaah me.n
mai.n jaanataa huu.N, meraa naam gunagunaa rahii hai vo
yahii Kayaal hai mujhe, ke saath aa rahii hai vo
vo shaam kuchh ajiib thii, ye shaam bhii ajiib hai
vo kal bhii paas paas thii, vo aaj bhii kariib hai
https://youtube.com/watch?v=MDXFi3avqo0%3F
Song #5 Savere ka suraj tumhaare liye hai…
Just want to tell the patrons that all Shaam songs are not in Raag Yaman. For example, the Pushpanjali song sung by Manna De and Lata Mangeshkar that you all are so fond of: Shaam dhale Jamuna kinaare, aaja Radhe aaja tohe shaam pukaare has been composed in Raag Khammaj and we shall come to that when we take up that Raag.
Here is a different type of shaam song by the great music director OP Nayyar whose favourite Raag was Pilu or Peelu. In this song, through he has composed so well in Raag Yaman that one is stunned. The 1972 movie Ek Baar Muskara Do starred the two brothers Deb and Joy Mukherjee opposite Tanuja.
I would give full credit to Indeevar for the excellent lyrics and Kishore Kumar that he was able to sing so many different types of songs. In the last stanza, he does a high-pitch, a la Mohammad Rafi style.
Please enjoy this gem in Raag Yaman: Savere ka suraj tumhare liye hai…..
savere kA suuraj tumhAre liye hai
ye bujhate diye ko nA tum yaad karanaa
hue ek biitii huI baat ham to
koI aa.Nsuu ham par nA barabaad karanaa
tumhAre liye ham, tumhAre diye ham
lagan kI agan me.n abhii tak jale hai.n
hamaarii kamii tum ko mahasuus kyo.n ho
tumhaarii subah ham tumhe.n de chale hai.n
jo har dam tumhArI khushI chaahate hai.n
udaas hoke unako nA naashaad karanaa
savere …
sabhii vaqt ke aage jhukate rahe hai.n
kisI ke liye vaqt rukataa nahii.n hai
chiraaG apanii dharatii kaa bujhataa hai jab bhii
sitaare to ambar ke hote nahii.n hai.n
koI naav tuufaan me.n Duube to kyaa hai
kinaare to saagar ke hote nahii.n hai.n
kinaare to saagar ke hote nahii.n hai.n
hai.n ham Dolatii naav Duube to kyaa hai
kinaare ho tum, tum na fariyaad karanaa
savere kaa suuraj …
chaman se jo ek phUl bichha.Daa to kyaa hai
naye gul se gulashan ko aabaad karanaa
savere …
https://youtube.com/watch?v=m6Y55w1JMfw%3F
Song #6 Bhuuli hui yaadon mujhe itana naa sataayo….
As is to be expected, Madan Mohan composed a number of songs in Raag Yaman. My choice of the best by him in Raag Yaman or Kalyan is from the 1961 movie Sanjog starring Pradeep Kumar and Anita Guha. As is mostly the case with Madan Mohan songs, Rajinder Krishan was the lyricist.
bhuulii huii yaado.n, mujhe itanaa naa sataao
ab chain se rahane do, mere paas na aao
bhuulii huii yaado.n …
daaman me.n liye baiThaa huu.N, (TuuTe hue taare – 2)
kab tak mai.n jiyuu.Ngaa yuu.Nhii, (khvaabo.n ke sahaare – 2)
dIvaanaa huu.N, ab aur naa dIvaanaa banaao
ab chain se rahane do, mere paas na aao
bhuulii huii yaado.n …
lUTo naa mujhe is tarah, (doraahe pe laake -2 )
aavaaz na do ek (nayI raah dikhaake – 2)
sa.nbhalaa huu.N mai.n gir-girake mujhe, phir naa giraao
ab chain se rahane do mere paas naa aao
bhuulii huii yaado.n, mujhe itanaa naa sataao
ab chain se rahane do, mere paas na aao
bhuulii huii yaado.n …
The Best Raaga Based Songs in Hindi Movies
https://www.youtube.com/watch?v=dzu4VKQ7nAE
Song #7 Dilrubaa maine tere pyaar mein kyaa kyaa na kiya…
Does it seem like I am ignoring Shakeel and Naushad? Well, you have another guess coming since I live by them all the time.
This is from the 1966 movie Dil Diya Dard Liya when love between Dilip Kumar and Waheeda Rehman had gone sour. Mohammad Rafi has sung this with so much of feelings that it is amongst his best.
Please enjoy in Raag Yaman: Dilrubaa maine tere pyaar mein kyaa kyaa na kiya….
dilarubaa maine tere pyaar me.n kyaa-kyaa naa kiyaa
dil diyaa dard liyaa -2
kabhii phuulo.n me.n guzaarii kabhii kaa.NTo.n pe jiyaa
dil diyaa dard liyaa -2
zindagii aaj bhii hai bekhudii aaj bhii hai
pyaar kahate hai.n jise vo Kushii aaj bhii hai
maine din-raat mohabbat kaa terii jaam piyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
kyaa kahuu.N tere li_e maine aa.Nsuu bhii pi_e
kabhii Kaamosh rahaa kabhii shikave bhii ki_e
kar liyaa chaaq garebaa.n kabhii daaman ko siyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
pyaar kii aan hai tuu dil kaa aramaan hai tuu
kaun duniyaa se Dare jab nigehabaan hai tuu
apanii kashtii ko sahaare pe tere chho.D diyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
https://youtube.com/watch?v=_MX-KmQjp0c%3F
Song #8 Is mod se jaate hain…
What about Rahul Dev Burman? Well, he, like his father Sachin Dev Burman was so steeped in Raagas that some of his compositions are out of this world; eg, his first song for Lata ji for Chhote Nawab was in litle heard of Raag Malgunji: Ghar aaja ghir aaye badra saanwariya.
His Aandhi songs are awesome indeed and 40 years after the movie was made in 1975, they are as fresh today.
This needs no introduction when I tell you that these were penned by Gulzar and are rated amongst his best. This particular one has been sung by Lata Mangeshkar and Kishore Kumar.
Please enjoy in Raag Yaman: Is mod se jaate hain…..
la: is mo.D se jaate hai.n – (2)
kuchh sust qadam raste kuchh tez qadam raahe.n – (2)
ki: patthar kii havelii ko shiishe ke gharau.ndo.n me.n
tinako.n ke nasheman tak is mo.D se jaate hai.n
la: aa.Ndhii kii tarah u.Dakar ik raah guzaratii hai – (2)
sharamaatii huii koii qadamo.n se utaratii hai
in reshamii raaho.n me.n ik raah to vo hogii
tum tak jo pahu.nchatii hai is mo.D se jaatii hai
is mo.D se jaate hai.n…
ki: ik duur se aatii hai paas aake palaTatii hai – (2)
ik raah akelii sii rukatii hai na chalatii hai
la: ye sochake baiThii huu.N ik raah to vo hogii
tum tak jo pahu.nchatii hai is mo.D se jaate hai.n
is mo.D se jaate hai.n
kuchh sust qadam raste kuchh tez qadam raahe.n
ki: patthar kii havelii ko shiishe ke gharo.ndo.n me.n
tinako.n ke nasheman tak is mo.D se jaate hai.n
la: is mo.D se jaate hai.n
https://youtube.com/watch?v=STOM6NZfcrs%3F
Song #9 Jay jay he Jagdambe mata….
Long time no bhajan; even though you already know that Bhajans are my favourite genre’ of music.
This one is from the 1964 movie Ganga Ki Lehren starring Kishore Kumar and Kumkum. This movie has a favourite Chitragupta number of mine: Chhedo na meri zulfen. The way, Chitragupta elongates the singing of Chhedo is really enchanting. Then there is another beautiful number from the movie: Machalati hui hawa mein chham chham.
This is a favourite bhajan. It has been penned by Majrooh Sultanpuri and sung by Lata Mangeshkar.
Please enjoy in Raag Yaman: Jay jay he Jagdambe mata….
jay-jay he jagadambe maataa
dvaar tihaare jo bhii aataa bin maa.Nge sab-kuchh paa jaataa
tuu chaahe to jiivan de-de chaahe pal me.n jiivan le-le
janm-maraN sab haath me.n tere he shakti he maataa
jay-jay he …
paapii ho yaa hove pujaarii raajaa ho yaa hove bhikhaarii
phir bhii tuune jo.Daa sabase maa.N-beTe kaa naataa
jay-jay he …
jab-jab jisane tujhako pukaaraa tuune diyaa hai ba.Dhake sahaaraa
har bhuule raahii ko teraa pyaar hii raah dikhaataa
jay-jay he …
https://youtube.com/watch?v=rq9cAFNo9cA%3F
Song #10 Inhi logo ne le leena dupatta mera…
So far, we have taken up the following nine music directors’ songs:
Lets now turn to Ghulam Mohammad, composer of most of the songs for the 1972 Kamal Amrohi movie Paakeezah. Though this song has been composed twice, for example in the 1943 movie Aabru, Ghulam Mohammad’s composition is superb indeed.
Majrooh Sultanpuri was the lyricist for most of Pakeezah’s songs. The song has been sung by Lata Mangeshkar and picturised on Meena Kumari as the tawaif Sahibjaan.
Please enjoy in Raag Yaman: Inhi logon ne le leena dupatta mera….
inhii.n logo.n ne -4
inhii.n logo.n ne le liinaa dupaTTaa meraa -2
inhii.n logo.n ne le liinaa dupaTTaa meraa -2
hamarii na maano bajajavaa se puuchho
hamarii na maano sayyaa.N … bajajavaa se puuchho
jisane … jisane asharafii gaz diinaa dupaTTaa meraa
hamarii na maano ra.Ngarajavaa se puuchho -2
jisane gulaabii ra.Ng diinaa dupaTTaa meraa -2
inhii.n logo.n ne -3
hamarii na maano sipahiyaa se puuchho -2
aa
hamarii na maano
hamarii na maano sipahiyaa se puuchho
sipahiyaa se
sipahiyaa se puuchho
jisane
jisane bajariyaa me.n chhiinaa dupaTTaa meraa -2
inhii.n logo.n ne -3
inhii.n logo.n ne le liinaa dupaTTaa meraa
dupaTTaa meraa -፬
https://youtube.com/watch?v=EDwvnOkDqSg%3F
Song #11 Aansu bhari hain yeh jeevan ki raahen…
Here is a Raj Kapoor song that has been penned by Hasrat Jaipuri and sung by Mukesh, his singing voice, but has not been composed by Shankar Jaikishen. It actually has Dattaram‘s music.
It is from the 1958 movie Parvarish that Raj Kapoor did with Mala Sinha.
This is amngst the most famous, if not the most famous song of Mukesh.
Please enjoy in Raag Kalyan: Aansu bhari hain ye jeevan ki raahen….
aa.Nsuu bharii hai.n ye jiivan kii raahe.n
koii unase kah de hame.n bhuul jaae.n
aa.Nsuu …
vaade bhulaa de.n qasam to.D de.n vo – (2)
haalat pe apanii hame.n chho.D de.n vo
unhe.n ghar mubaarak hame.n apanii aa.Nhe.n
koii unase kah de …
barabaadiyo.n kii ajab daastaa.N huu.N – (2)
shabanam bhii roe mai.n vo paasabaa.N huu.N
aise jahaa.N se kyuu.N ham dil lagaae.n
koii unase kah de …
aa.Nsuu …
https://youtube.com/watch?v=ETYfiRPLRDs%3F
Song #12 Har ek baat pe kehate ho ke tuu kyaa hai..
I think, going by the genre’ of the music direrctors and lyricists taken up so far, we are ready to take up Mirza Ghalib now. This would have been sung by many singers including KL Saigal and Jagjit Singh; but, I have taken up the Lata Mangeshkar version that has been composed by Faiyaaz Shauqat.
Please enjoy in Raag Yaman: Har ek baat pe kehate ho ke tuu kyaa hai….
har ek baat pe kahate ho tum ke tuu kyaa hai
tumhii.n bataa_o ye andaaz-e-guftaguu kyaa hai
rago.n me.n dau.Date phirane ke ham nahii.n qaa_il
jab aa.Nkh hii se na Tapakaa to phir lahuu kyaa hai
e piyuu.N sharaab agar Kum bhii dekh luu.N do-chaar
ye shiishaa-o-qadah-o-kuuzaa-o-subuu kyaa hai
hu_aa hai shah kaa musaahib phire hai itaraataa
wagaranaa shahar me.n Gaalib kii aabaruu kyaa hai
https://youtube.com/watch?v=8zFw7YMJUSk%3F
That brings us to the end of Part I in the Best of Hindi Songs composed in Raag Yaman or Kalyan. I hoped you liked my choices so far. Brace yourself for Part II coming up shortly.
Most defence colonies in India, this Diwali, present a desolate look as a mark of protest against the machinations of netas and babus who denied the veterans full OROP despite its approval by two parliaments. The idea of the babus, as we understand, is to discredit and dishonour the faujis in the eyes of the general public. What do they think of themselves? In a country, wherein we are often told that we have the worst bureaucracy in the world, how can these faujis continue being proud of being amongst the best armed forces in the world? It is incumbent on us babus to bring them down to our level. Now how do we do it? Simple, the moment they are long enough on the streets protesting, the public loses respect for them since they are now deemed to be of the same mould as us. If they are assaulted in the Jantar Mantar, their medals snatched, their shirts torn, it shows them in poor light to have been there in Jantar Mantar with ordinary protesters in the country.
This Diwali, the babus are enjoying the fruits of their labour and rejoicing. They feel that the general public is losing respect for the faujis in the same manner as sooner or later people lose respect for rape victims working on the analogy (since then made famous by a Goa MLA) that they deserved to be raped!
(Pic courtesy: www.newindianexpress.com)
Dear Babus, this Diwali, our homes are dark. We are saddened by your continued intransigence towards OROP and veterans. This song comes to you from us on the day of Deepawali, in remembrance of our Lord Ram having returned after fourteen years of exile. I have tinkered with the original song put together by Anand Bakshi as lyricist, Rahul Dev Burman as composer and Kishore Kumar as singer to send this earnest request across to you:
देखो ऐ बाबू, तुम ये काम ना करो
फौजी का नाम बदनाम ना करो, बदनाम ना करो
फौजी ने हँस कर सब सुख त्यागे, तुम सब दुख से डर कर भागे
जवान ने कर्म की रीत सिखाई – २
तुमने फ़र्ज़ से आँख चुराई, ओ राम दुहाई
जय जवान जय किसान (chorus)
उसकी OROP को अपनी NFU का गुलाम न करो
फौजी का नाम बदनाम ना करो, बदनाम ना करो
देखो ऐ बाबू …
OROP को समझो, फौजी को जानो, नींद से जागो ओ मस्तानो
एक दिन झेलना सीने पे गोली
खून की खेलना इक दिन होली
जय जवान जय किसान (chorus)
OROP की मौत का इंतजाम न करो
फौजी का नाम बदनाम ना करो, बदनाम ना करो
देखो ऐ बाबू, तुम ये काम ना करो
फौजी का नाम बदनाम ना करो, बदनाम ना करो
(Pic courtesy: www.spora.in)
Dekho ai baabu, tum ye kaam nA karo
Fauji ka naam badnaam na karo, badnaam nA karo
Fauji ne ha.Ns kar sab sukh tyAge, tum sab dukh se Dar kar bhaage
Jawan ne karm kI riit sikhAI
Tumane farz se aa.Nkh churaa_ii, o raam duhaa_ii
Jai Jawan, Jai Kisaan (chorus)
Usaki OROP ko apni NFU ka gulaam na karo
Fauji kA naam badanAm nA karo, badanAm nA karo
Dekho ai baabu …
OROP ko samajho, fauji ko jaano, nI.nd se jaago o mastaano
Ek din jhelna seene pe goli
Khoon ki khelna ik din Holi
Jai Jawan, Jai Kisaan (chorus)
OROP ki maut ka intejaam na karo
Fauji kA naam badanAm nA karo, badanAm nA karo
Dekho ai baabu, tum ye kaam nA karo
Fauji kA naam badanAm nA karo, badanAm nA karo
Armed forces personnel, even after retirement, by and large, continue being apolitical. That’s how it should be in a democracy. However, armed forces personnel should be politically savvy. They do vote, don’t they? What politicians do affects them, in many cases, even more than the civilians. For example, they say, war is politics by other means; soldiers, sailors and airmen die in war and all because of international and national politics. Similarly, their life-style, liberties, position in society, salaries and pensions are dependent upon political considerations. Hence, to expect that armed forces personnel shouldn’t or won’t be interested in outcomes of elections, national and international politics would be naive and wrong.
Why were the Bihar elections and their outcome important to faujis? It would be appropriate to remember that Shri Narendra Modi’s government itself linked OROP to Bihar election considerations by making an announcement on OROP on 5th Sep 15, just before the Bihar elections. It was widely discussed that the very announcement of OROP without a matching notification was to pull all plugs out to favour the ruling party at the centre since Bihar accounts for one of the largest induction of faujis in the Indian armed forces. That, apart from this electoral consideration, the government was not serious about actually honouring the approval of OROP by two parliaments, can be made out from the following:
It pooh-poohed the UPA government for announcing OROP at the fag-end of its tenure with a token budget of only Rupees 500 Crores. It tried to bring out that the UPA government was playing politics with OROP for electoral gains. However, whilst it tried to bring out that the UPA government was never serious about OROP, by itself it questioned the very definition of OROP once it came into power; the same definition that was approved by two parliaments earlier.
During the electoral campaign for the Lok Sabha, it promised that it would implement (already approved OROP) within 100 days of coming to power. However, when it finally announced OROP after 16 months of coming to power, it became apparent why the government required so much of time. It twisted and turned the approved concept of OROP so that its announcement of 05 Sep 15 would have very little to do with the approved OROP and would be only an apology for the same (because of its seven serious flaws).
The country never questioned as to what was the need of the announcement on 05 Sep 15 when the OROP had already been passed by the parliament. All that the government was required to do was to notify the OROP. However, as is clear now, the government played into the hands of the wily bureaucracy who revel in keeping the faujis always dissatisfied. This same wily bureaucracy, belatedly, and without any discussions with the faujis, introduced clauses into the OROP announcement that made a mockery of it (eg, VRS, review after five years, to be reviewed by 7th CPC, to have calendar year 2013 as the base year and not financial year 2013-14, effective date being 01 Jul 14 rather than 01 April promised earlier, and midway band of pay to be considered for pension rather than earlier promised highest of pay band). Naturally, it made the faujis very distrustful of the government, politicians and bureaucrats (Please read: As A ‘Fauji’ I Don’t Trust You Anymore) and they concluded, with enough justification, that the government required extra time (four times the time promised) so as to tinker with the approved OROP and reduce it to nothingness.
It built up to the excuse that it couldn’t notify even the truncated OROP because of electoral code of conduct for Bihar elections when actually, since it had been earlier approved by the parliament, it had nothing to do with Bihar elections. This stance conveyed that the government was banking on the protests against its chicanery of 05 Sep 15 to die down (time is a great healer!) before making the notification as a fait-accompli.
Now that the Bihar election results are out, it appears that the gamble of the BJP to play politics with OROP before the elections, just as Congress did before the Lok Sabha elections, failed. It doesn’t look like that the political constituency in Bihar was hoodwinked into believing that the government was sincere about something like OROP. The faujis, despite dissatisfaction with the BJP government, didn’t do anything to sabotage its chances in Bihar because of the apolitical tag that they feel they are committed to. But, now, after the results, one can safely surmise that the results would have been much more disastrous for the BJP otherwise.
Yes, the faujis by themselves are very small constituency for the political parties to lose their sleep over. But, in this regard, their comparison to the mainstream English language media is apt. The English language media is very small as compared to the vernacular (in states like Gujarat, for example, until about a decade and a half back, it was unheard of). However, its influence over policy matters is disproportionately large. It is the same with the faujis. By and large, the countrymen hold the faujis in high esteem. In states like Punjab, Haryana, and Himachal, for example, every second family has someone in the armed forces. That makes it a fairly influential lobby; if that’s the language that the politicians understand.
BJP would have also realised that the politics of arrogance is not fetching it the desired results. Before and after Delhi elections, it supported by its henchmen media (exactly how the media is doing it now with OROP news), ridiculed AAP with undisguised arrogance and had a complete blackout of the massive AAP rallies. Even with all this, the BJP received only three seats but it was unruffled thinking that probably Delhi was a fluke case and Bihar would get back everything. It thus staked its reputation on the outcome of Bihar elections. When it started becoming clear that it was nowhere near winning Bihar, it still didn’t abandon the politics of arrogance. It indulged in divisive and parochial politics and even declared that those who don’t vote for BJP deserve to be sent to Pakistan.
BJP MP Giriraj Singh who was banned by the Election Commission from campaigning in Jharkhand and Bihar for his controversial remarks that people who do not vote for Narendra Modi will have to find a place in Pakistan. (Pic courtesy: www.deccanchronicle.com)
I am sure that now, it would do well to reconsider arrogance as a governance model. Sheer numbers do not win battles, even electoral ones; the righteous, courageous and the moral do. The famous Battle of Saragarhi was fought on 12 September 1897 between just 21 committed Sikhs and 10000 Afghans. It is ranked by the United Nations as one of the bravest battles ever fought. Each one of the 21 Sikhs was given the highest honour by the British: Indian Order of Merit (equivalent to the present Param Vir Chakra or the Victoria Cross of the British). That is the power of the righteous. Numbers are merely deceptive.
Political parties, over the years (42 years to be exact since 1973 when they snatched the OROP from faujis), have played politics with what is now highly emotional issue affecting the izzat of the faujis. The picture of the 82 years old Vishambar Singh with his shirt torn, his medals snatched, after being assaulted by the police at Jantar Mantar on 14th Aug 15 would be enough to galvanise the faujis to fight another Saragarhi and defend their honour against all odds. Petty politics, the kind the BJP played recently, and UPA played all these years earlier, is not going to deter them. Soon it may occur to the government that the politics of arrogance is losing politically too.
Those engaged in the agitation for a full and undiluted OROP have given a call for Black Diwali; that is, Diwali minus the accompanying lighting of lamps without and happiness within. It may not be making enough clamour now or later when they, nation-wide, go about returning their medals in disgust. But, it is time to start listening.
Maj Gen Satbir Singh, SM, who spearheads the UFESM (United Front of Ex Service Men) campaign for OROP (One Rank One Pension), whilst speaking at the OROP Rally at Azad Maidan, Mumbai, on Saturday, 31 Oct 11, exhorted the faujis to observe Black Diwali this year by not lighting any lamps or indulging in any celebration. He said that the unfulfilled promise on OROP by the government has ruled out any joy of Diwali.
Yes, it is true that Narendra Modi’s government reneged on its election promises that it would implement OROP within 100 days of coming to power. Yes, it is true that the attitude of the government towards OROP after coming to power in May 2014 has been substantially different from the promissory attitude before that. Yes, it is true that the PM and his FM have even started questioning the very definition of OROP when Koshiyari Committee 2011 definition of the OROP has been universally accepted “by all stakeholders” including parliament, government, Ex Service Men and their organisations. Yes, it is true that the announcement by Shri Manohar Parrikar, the RM, on 5th Sep 15 has been a slap in the face of agitators since it is a much diluted OROP than what was approved by the two parliaments. Yes, it is true, that even this truncated OROP has not been notified. And yes, it is true that the veterans won’t be in any mood to celebrate Diwali.
दे दी काली दिवाली, बुरा है OROP का हाल, मान गए तुझे मोदी, तूने कर दिया कमाल
The somber mood is also dictated by the fact that it has been 42 long years since OROP was done away by the government in 1973. Curiously, these 42 years are exactly three times the period of exile of Lord Ramchandra. We celebrate Diwali or Deepawali in remembrance of people of Ayodhaya who lit lamps rejoicing the return from exile of our Lord Ram. No such luck for the veterans; they are still exiled from OROP.
But, for the justification for Kaali or Black Diwali, I am not merely thinking of the exiled veterans. I am also thinking of the average countrymen. During the despondent times under the last UPA govt, they voted for a change, strong leadership, developmental agenda and straightforward approach towards significant issues. Now, after 17 months of the new government’s inauguration, we seem to be getting back to despondency. Think of the following:
1. Dithering by Manmohan Singh and party has been replaced by arrogance by NaMo and party especially by Arun Jaitley.
2. Developmental agenda has been replaced by non issues such as beef-ban, equating Shah Rukh Khan with a known terrorist Syed Hafeez, “those who vote against BJP in Bihar should go to Pakistan”, and Hindu chauvinism and relentless justification for ushering in the period of intolerance by going on the offensive with the facts that Hindus have been the most tolerant of people in the world.
3. Strong leadership and straightforward approach have been substituted by guile and chicanery as in the response towards parliament approved OROP.
We appear to be back to square one making the countrymen choose between the devil and the deep sea.
Black Diwali is particularly for us faujis. But, the rest of the countrymen cannot have a reason to rejoice.
All cats are grey in dark; NaMo proved that.
Lets take up some of these issues in slightly greater detail:
PM Manmohan Singh never had the manoeuvring space due to the fact that the entire UPA commanded only 229 seats in a the Lok Sabha with a strength of 545 and the INC had only 206 seats. It was, therefore, easy for the pressure groups to derail the developmental agenda on specious pretexts and because of vested interests. In contrast, BJP by itself in the 16th Lok Sabha constituted on 26 May 2014 has 282 of the 545 seats. Indeed, there is no leader of opposition as the Indian Parliament rules say that a party must have at least 10 percent of seats to be called opposition. Congress has only 44 seats. Instead of arrogance being the style of governance, the NDA could have, by now, put the country firmly on the path of development. Nay, even the black money in Swiss banks to be exposed and brought back to the country, as per the election promise of Modi, has been given a go by; making the people speculate that there is perhaps a quid-pro-qua as perhaps was there in denying the nation the full exposure of Bofors deal when NDA was last in power under Atal Bihari Vajpayee.
Nearly five years back, on our 62nd Republic Day, I wrote a piece titled ‘How Proud Should We Be Of The Indian Republic At 62?’ I had brought out that UN figures show that 80 percent of our population lives below US $ 2 a day. Forty-five percent of our population lives Below Poverty Line (BPL; a term used to describe those who have less than the UN stipulated $1.25 a day). In all human growth indices we are near the bottom, certainly much below the 100 mark. And yet, dividing the people along communal lines has been a priority with almost all of our political parties rather than focusing on developmental issues so as to eradicate poverty. Take this government, which has squarely been given the mandate by the people on the developmental issue. And yet, its focus has been elsewhere: Banning beef and such other issues. Following the tenet of ‘borrowing from Peter to pay Paul’ and conscious of the fact that in the more than one-fourth of its tenure it has done nothing much to address poverty and other developmental issues, it has come up with a ludicrous argument that giving veterans their right of OROP (which has been passed by two parliaments and hence the government having no power to deny it) would rob the poor. All our political parties have learnt from the British the art of Divide and Rule; and the present NDA is no exception.
The Bihar elections are so important and prestigious for BJP that everything else has been made subservient to it including OROP, communal harmony and even principles of ethics and decency. BJP came up with such ridiculous arguments as “those who do not vote for BJP deserve to be ousted to Pakistan” and that Shah Rukh Khan talks like Hafiz Saeed, the terrorist and the mastermind of 26/11 who enjoys covert and overt support from Pakistan state. What arrogance, that voting against BJP is to be considered anti-national!
All right-minded Indians know that the UPA in general and Congress in particular, under its banner of pseudo-secularism, played the communal card rather dangerously (Also read: ‘Is Communal Disharmony A Challenge To India’s March To Greatness?’) However, the NDA under BJP appears to be doing exactly the same in another manner so as to garner votes by dividing communities. This portends ill for the nation; if the nation can very well do without the pseudo-secularism of Congress, it can also do without the other extreme of return to Hindu chauvinism. Two wrongs can never make a right. It is high time we abandon the idea of dividing communities along religious lines and use the unifying force of humanitarianism and developmental agenda.
I have brought out only some of the significant issues. There is thus no reason for the the countrymen in general and faujis in particular to celebrate Diwali. There is nothing to rejoice about. It is indeed, return to despondency, which we saw during the last UPA regime. But, at that time, at least there was a hope that a Narendra Modi, in shining armour, would emerge to take us out of the morass. Most of such hopes have been shattered.
As if to add to the mood, yesterday, the country was witness to a most horrible video of police brutally beating up a boy and girl inside a police station. Whilst the police beat up the boy mercilessly, the girl’s screams could be heard for miles and yet they continued. The country must now quickly contemplate whether the citizens should permit the authorities to control everything from food habits to religion to socializing to morality. Should the average Indian citizen live under terror not from across the border but from our own people whom we voted to improve our lot?
I don’t know about you; but, this Diwali, many of us shall sit with bowed head in darkness, to match the somber mood of the country, and pray to our Lord Ram, to ensure that our leaders return to the agendas they promised and were voted to power for.
I run a Facebook page called Lyrical wherein I often give theme based songs. The current theme, since 12th Aug 15, is The Best Raaga Based Songs In Hindi Movies.
The word Raga or Raaga actually means colour or hue but is associated with melody in Indian classical music. A raga uses a series of four or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raaga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.
I am going to take Raagas at random and associate them with time of the day and with Hindi songs.
We start with Raag Bhairavi. It is a Hindustani music raaga of Bhairavi Thaat. A thaat is a mode in northern Indian or Hindustani music. Thaats always have seven different pitches (called swara) and are a basis for the organization and classification of raagas in North Indian classical music.
Ragmala Painting of Rag Bhairavi (circa A.D. 1725) (Pic courtesy: chandrakantha.com)
In Part – I and Part – II of this blog, we took up twenty – four music directors whose songs composed in Raag Bhairavi we have listened to so far under these series:
1. Shankar Jaikishen
2. Naushad Ali
3. SD Burman
4. OP Nayyar
5. Roshan
6. RD Burman
7. Ravi
8. Kalyanji Anandji
9. Vasant Desai
10. Anil Biswas
11. RC Boral and
12. Pankaj Mullick.
13. Chitragupta
14. Jaidev
15. Hemant Kumar.
16. Khaiyyam
17. Madan Mohan
18. C Ramchandra
19. Ashok Patki and Louis Banks
20. AR Rehman
21. N Dutta
22. Salil Choudhary
23. Laxmikant Pyarelal
24. SN Tripathi
Lets now start with the third and final part. Actually there are hundreds of songs composed in this most popular Raaga. However, since I have decided to give you only the best, I have restricted the number to three dozens only.
Song #25 Saanvre saanvre….
Eight days, 24 songs, and all 24 songs from different music directors. And yet, we haven’t exhausted all the music directors.
Now, I bring you a song composed by Pandit Ravi Shankar for the 1960 movie Anuradha starring Leela Naidu in the title role, together with Balraj Sahni.
Shailendra penned the lyrics and Lata Mangeshkar lent her voice to it. This is the first time in the movie that Anuradha Rai sings on the radio together with the credits.
Song #26 Kisi nazar ko tera intezzaar aaj bhi hai…
Okay, then, the last of the music directors composing in Raag Bhairavi and this time it is Bappi Lahiri. What taste does Lyrical have to be choosing Bappi Lahiri, you are bound to ask! However, wait a minute; this one is good, really good.
It is from the 1985 movie Aitbaar starring Dimple Kapadia, Raj Babbar and Suresh Oberoi. It is a ghazal by Hasan Kamaal sung as duet between Bhupinder and Asha Bhosle singing for Suresh Oberoi and Dimple as former lovers even when her husband Raj Babbar looks on through the window.
Please enjoy: Kisi nazar ko tera intezzaar aaj bhi hai…
Bhupinder:
kisii nazar ko teraa i.ntazaar aaj bhii hai
kahaa.N ho tum ki ye dil beqaraar aaj bhi hai
Bhupinder:
vo vaadiyaa.N vo fazaaye.n ki ham mile the jahaa.N
merii vafaa kaa vahii.n par mazaar aaj bhii hai
Bhupinder:
na jaane dekh ke kyo.n un ko ye huaa ehasaas
ki mere dil pe u.nhe.n iKhtiyaar aaj bhii hai
Asha:
vo pyaar jis ke liye hamane chho.D dii duniyaa
vafaa kii raah pe ghaayal vo pyaar aaj bhii hai
Bhupinder:
yakii.n nahii.n hai magar aaj bhii ye lagataa hai
merii talaash me.n shaayad bahaar aaj bhii hai
Asha:
na puuchh kitane mohabbat ke zaKhm khaaye hai.n
ki jin ko soch ke dil soGavaar aaj bhii hai
https://youtube.com/watch?v=3B7MZf6Th2s%3F
Song #27 Teri nigaahon pe mar mar gaye ham…
As soon as you start playing this song, you will say that it is nice to be following Lyrical because some songs are just there in the layers of your mind and in Lyrical I bring them up and make you feel great for having remembered these all these years.
This is one of those songs. Our 26th music director composing in Raag Bhairavi: Usha Khanna. The name of this 1964 movie is Shabnam. Lyricist is Javed Anwar, singer is Mukesh and the song is picturised on Mehmood and Vijaylaxmi.
Please enjoy in Raag Bhairavi: Teri nigaahon pe mar mar gaye ham….
terii nigaaho.n pe mar-mar ga_e ham
baa.Nkii adaa_o.n pe mar-mar ga_e ham
(kyaa kare.n ) -3
terii nigaaho.n pe …
zulfo.n me.n leke saarii raat chale
saaraa zamaanaa li_e saath chale
aise me.n jiine kaa mazaa hai sanam
aa.Nkho.n se terii-merii baat chale
bevafaa ek nigaah dekh le dekh bhii le
terii nigaaho.n pe …
terii adaa kaa to javaab nahii.n
merii vafaa kaa bhii hisaab nahii.n
suurat tumhaarii ba.Dii Kuub sahii
dil to hamaaraa bhii Karaab nahii.n
bevafaa ek nigaah dekh le dekh bhii le
terii nigaaho.n pe …
https://youtube.com/watch?v=sf-o3RyR_Ck%3F
Song #28 Tera jaana dil ke armaano ka lut jaana…..
Now that I have given you 27 different songs by 27 different composers, I am going to reserve the last ten songs for their popularity, uniqueness and remarkable music or lyrics or singing quality.
The first one is from Raj Kapoor’s 1959 movie Anaadi starring Nutan opposite him. As is always the case in Raj Kapoor’s movies until Jaikishan died, lyrics are by Shailendra and the music is by Shankar Jaikishan. Lata Mangeshkar sang for Nutan. It starts with her playing on the piano and his leaving her house after she has been forced by her foster father to say no to him.
Please enjoy in Raag Bhairavi one of my favourite S-J numbers: Tera jaana, dil ke armaano ka lut jaana….
( tera jaanaa
dil ke aramaano.n kaa luT jaanaa ) -2
ko_ii dekhe -2
ban ke taqadiiro.n kaa miT jaanaa
teraa jaana
teraa Gam terii Kushii
meraa Gam merii Kushii
tujhase hii thii zindagii
ha.Ns kar hamane thaa kahaa
jiiwan bhar kaa saath hai
ye kal hii kii baat hai
aa
teraa jaanaa
dil ke aramaano.n kaa luT jaanaa
ko_ii dekhe -2
ban ke taqadiiro.n kaa miT jaanaa
teraa jaana
jab-jab chandaa aayegaa
terii yaad dilaayegaa
saarii raat jagaayegaa
mai.n ro kar rah jaa_uu.Ngii
dil jab zid par aayegaa
dil ko kaun manaayegaa
aa
teraa jaanaa
dil ke aramaano.n kaa luT jaanaa
ko_ii dekhe -2
ban ke taqadiiro.n kaa miT jaanaa
teraa jaana
https://youtube.com/watch?v=URfoTtyxOdU%3F
Song #29 Barsaat mein humse mile tum sajan….
In the last nine days we regaled ourselves with best of the songs composed in Raag Bhairavi by 27 different music directors ranging from Shankar Jaikishen to Bappi Lahiri. You would agree with me that it has been quite a feast.
It is not intended by me to give similar durations to all the other Raagas. Raag Bhairavi was important to us since it is the most widely used Raaga in songs composed in Hindi movies on Raagas.
I am going to take the last three days in giving you nine more songs composed in this Raaga since I feel that these need to be included in the Best.
The first one depicts, once again, Shankar Jaikishen‘s mastery over this Raaga which was so favourite with them that firstly, they composed the title song of their first movie in this Raaga and secondly, when a daughter was born to Jaikishen, he named her Bhairavi!
Please enjoy this super-hit song composed in Raag Bhairavi by Shankar Jaikishen in their debut movie, the 1949 movie Barsaat, on the lyrics of Shailendra and sung by Lata Mangeshkar, the first movie in which her name appeared in the credits: Barsaat mein hum se mile tum sajan, tum se mile hum barsaat mein….
ko : tak dhinaa dhin
dhinaa dhin
tak dhinaa dhin
barasaat me.n
ko : tak dhinaa dhin
barasaat me.n hamase mile tum sajan tumase mile ham
barasaat me.n
ko : tak dhinaa dhin
barasaat me.n hamase mile tum sajan tumase mile ham
barasaat me.n
ko : tak dhinaa dhin
priit ne si.ngaar kiyaa
mai.n banii dulhan -2
sapano.n kii rimajhim me.n
naach uThaa man
meraa naach uThaa man
aaj mai.n tumhaarii hu_ii tum mere sanam
tum mere sanam
barasaat me.n
ko : tak dhinaa dhin
barasaat me.n hamase mile tum sajan tumase mile ham
barasaat me.n
ko : tak dhinaa dhin
naino.n se jhaa.nkii jo
merii mast jawaanii
duniyaa se kahatii phire
dil kii kahaanii
mere dil kii kahaanii
unakii jo huu.N mai.n
unase kaisii sharam
ye samaa.N hai jaa rahe ho
kaise manaa_uu.N -2
mai.n tumhaarii raah me.n ye
nain bichhaa_uu.N -2
tum naa jaa_o tumako merii
jaan kii qasam -2
der naa karanaa kahii.n ye
aas chhuuT jaaye
saa.Ns TuuT jaaye
tum naa aa_o dil kii lagii
mujhako hii jalaaye
Kaaq me.n milaaye
aaG kii lapaTo.n me.n pukaare ye meraa man
mil naa sake haay mil naa sake ham -2
https://youtube.com/watch?v=uHl7fyblU-w%3F
Song #30 Ramaiyya vastavaiyya….
Again on Shankar Jaikishen, with their favourite Raag. If I don’t put it in the best, I would be doing great injustice.
Ram or Ramaiyya, I knew you’d come; that’s what Ramaiyya Vastavaiyya is translated into in this outstanding song from Raj Kapoor’s 1955 movie Shree 420, in which his characterisation has drawn heavily from Charlie Chaplin’s Tramp.
A stage comes in the life of Ranbir Raj (Raj Kapoor) when he has to choose the life of Vidya (Nargis) or the life of Maya (Nadira) and with this song he chooses the former.
Please enjoy Mohammad Rafi, Lata Mangeshkar and Mukesh sing in Raag Bhairavi on the lyrics of Shailendra: Ramaiyya vastavaiyya….
ramayyaa vastaavayyaa, ramayyaa vastaavayyaa – 2
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa
naino.n me.n thii pyaar kii roshanii
terii aa.Nkho.n me.n ye duniyaadaarii na thii
tuu aur thaa teraa dil aur thaa
tere man me.n ye miiThii kaTaarii na thii
mai.n jo dukh paauu.N to kyaa, aaj pachhataauu.N to kyaa
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
us desh me.n tere parades me.n
sone chaa.ndii ke badale me.n bikate hai.n dil
is gaa.Nv me.n dard kii chhaa.nv me.n
pyaar ke naam par hii ta.Dapate hai.n dil
chaa.Nd taaro.n ke tale, raat ye gaatii chale
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
aa …
yaad aatii rahii dil dukhaatii rahii
apane man ko manaanaa na aayaa hame.n
tuu na aae to kyaa bhuul jaae to kyaa
pyaar karake bhulaanaa na aayaa hame.n
vahii.n se duur se hii, tuu bhii ye kah de kabhii
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
rastaa vahii aur musaafir vahii
ek taaraa na jaane kahaa.N chhup gayaa
duniyaa vahii duniyaavaale vahii
koii kyaa jaane kisakaa jahaa.N luT gayaa
merii aa.Nkho.n me.n rahe, kaun jo tujhase kahe
maine dil tujhako diyaa – 2
haa.N ramayyaa vastaavayyaa, ramayyaa vastaavayyaa …
https://youtube.com/watch?v=rW72kDrJvwA%3F
Song #31 Sab kuchh seekha hamane naa seekhi hoshiyari….
Finally, another gem in Raag Bhairavi by Shankar Jaikishen: my Facebook profile song from Raj Kapoor’s 1959 movie Anaadi that he did with Nutan.
Once again Mukesh has lent his voice to Raj Kapoor on the lyrics of Shailendra and music of Shankar Jaikishen.
Please enjoy in Raag Bhairavi: Sab kuchh seekha hamane naa seekhi hoshiyari….
sab kuchh siikhaa hamane naa siikhii hoshiyaarii
sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
duniyaa ne kitanaa samajhaayaa
kaun hai apanaa kaun paraayaa
phir bhii dil kii choT chhupaa kar
hamane aapakaa dil bahalaayaa
khud pe mar miTane kii ye zid thii hamaarii (2)
sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
asalii nakalii chehare dekhe
dil pe sau sau pahare dekhe
mere dukhate dil se puuchho
kyaa kyaa khvaab sunahare dekhe
TuuTaa jis taare pe nazar thii hamaarii (2)
sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
dil kaa chaman uja.Date dekhaa
pyaara kaa ra.nga utarate dekhaa
hamane har jiine vaale ko
dhan daulat pe marate dekhaa
dil pe marane vaale mare.nge bhikhaarii (2)
sach hai duniyaavaalo.n ki ham hai.n anaa.Dii
https://youtube.com/watch?v=OLZoBJxlQBA%3F
Song #32 Tumhi ho mata pita tumhi ho…
I just noticed that I didn’t give you a single bahajan composed in Raag Bhairavi. Well, here too, I am going to give you my most favourite, composed by Chitragupta for the 1962 movie Main Chup Rahungi. Lata Mangeshkar has sung this. The lyrics have been penned by Rajinder Krishan.
Please enjoy in Raag Bhairavi: Tumhi ho mata pita tumhin ho…
tumhi ho mata pita tumhi ho
tumhi ho bandhu sakha tumhi ho
tumhi ho mata pita tumhi ho
tumhi ho bandhu sakha tumhi ho
tumhi ho saathi tumhi sahare
koi na apna siwa tumhaare
tumhi ho saathi tumhi sahare
koi na apna siwa tumhaare
tumhi ho naiyya tumhi khewayya
tumhi ho bandhu sakha tumhi ho
tumhi ho mata pita tumhi ho
tumhi ho bandhu sakha tumhi ho
jo khil sake na wo phool ham hain
tumhaare charno ki dhool ham hain
jo khil sake na wo phool ham hain
tumhaare charno ki dhool ham hain
daya ki drishti sada hi rakhna
tumhi ho bandhu sakha tumhi ho
tumhi ho mata pita tumhi ho
tumhi ho bandhu sakha tumhi ho
https://youtube.com/watch?v=jUmYNTvZ0h8%3F
Song #33 Jyot se jyot jalaate jalo…
Another favourite Bhajan of mine has also been composed in this Raag and this time by Laxmikant Pyarelal. I have taken it from the 1964 movie Sant Gyaneshwar. It has Bharat Vyas‘s lyrics and has been sung by Lata Mangeshkar and Mukesh.
Please enjoy in Raag Bhairavi: Jyot se jyot jagaate chalo….
jyot se jyot jagaate chalo, prem kii ga.ngaa bahaate chalo
raah me.n aae jo diin dukhii, sabako gale se lagaate chalo
jisakaa na koii sa.ngii saathii iish{}var hai rakhavaalaa
jo nirdhan hai jo nirbal hai vah hai prabhuu kaa pyaaraa
pyaar ke motii luTaate chalo, prem kii ga.ngaa…
aashaa TuuTii mamataa ruuThii chhuuT gayaa hai kinaaraa
ba.nd karo mat dvaar dayaa kaa de do kuchh to sahaaraa
diip dayaa kaa jalaate chalo, prem kii ga.ngaa…
chhaaI hai chhaao.n aur a.ndheraa bhaTak ga_ii hai.n dishaae.n
maanav ban baiThaa hai daanav kisako vyathaa sunaae.n
dharatii ko svarg banaate chalo, prem kii ga.ngaa…
Mukesh version
jyot se jyot jagaate chalo prem kii ga.ngaa bahaate chalo
raah me.n aa_e jo diin dukhii sab ko gale se lagaate chalo
prema kii ga.ngaa bahaate chalo …
kaun hai uu.Nchaa kaun hai niichaa sab me.n vo hii samaayaa
bhed bhaav ke jhuuThe bharam me.n ye maanav bharamaayaa
dharm dhvajaa phaharaate chalo, prem kii ga.ngaa …
saare jag ke kaN kaN me.n hai divya amar ik aatmaa
ek brahm hai ek satya hai ek hii hai paramaatmaa
praaNo.n se praaN milaate chalo, prem kii ga.ngaa …
https://youtube.com/watch?v=-klcwFRgwvI%3F
Song #34 Jaise Radha ne mala japi Shyam ki…
This is not a bhajan but is a favourite of mine from the 1971 movie Tere Mere Sapne.
This piece of melodious music is composed based on Raag Bhairavi (Tal Hinch), by S D Burman, its poetic lyrics created by Gopal Das Neeraj and it is sung by Lata Mangeshkar. Together, they create a magic that makes you belong to a different world. It is Raag Bhairavi at its innovative and artistic best. It is also a number that depicts the transforming nature of Bollywood music in early seventies, a trend that was carried further by R D Burman and subsequently, many other masters.
Please enjoy in Raag Bhairavi: Jaise Radha ne mala japi Shyam ki….
jaise raadhaa ne maalaa japii shyaam kii – 2
mai.n ne o.Dhii chunariyaa tere naam kii
tere naam kii ho piyaa, tere hii naam kii
raadhaa ne …
priit kyaa ju.Dii
priit kyaa ju.Dii, Dor kyaa ba.Ndhii
binaa jatan binaa yatan ho gaii mai.n nayii
binaa mol kii mai.n bikii, binaa daam kii
raadhaa ne …
kyaa tara.ng hai
kyaa tara.ng hai, kyaa uma.ng hai
more a.Ng a.Ng rachaa pii kaa ra.ng hai
sharm aaii, kaise kahuu.N baat shyaam kii
raadhaa ne …
paa liyaa tujhe, paa liyaa
paa liyaa tujhe, paaii har khushii
chaahuu.N baar baar cha.Dhuu.N terii paalakii
subah shaam kii ye pyaas ba.De kaam kii
raadhaa ne …
https://youtube.com/watch?v=b7_rhnmOdXY%3F
Song #35 Pagri sambhal jatta…
I am so happy that so far you have liked my choice of songs composed in Raag Bhairavi.
Guess what? In the list of 27 different music directors whose compositions in Raag Bhairavi I shared with you, I omitted a really important one: Prem Dhawan!
Let me remedy that straight way. I admit that possibly my bias against Manoj Kumar kept me from putting this up. But, the song from 1965 movie Shaheed, wherein Manoj Kumar acted as Bhagat Singh is a great one.
Prem Dhawan penned the lyrics and composed the music and Mohammad Rafi sang it.
Please enjoy our 28th music director composing in Raag Bhairavi: Pagadi sambhal jataa, pagadhi sambhal oy….
paga.Dii sambhaal oy~
paga.Dii sambhaal oy aa~
paga.Dii sambhaal jaTTaa
paga.Dii sambhaal oy
paga.Dii sambhaal teraa
luT gayaa maal oy~
tuu dharatii kii maa.Ng sa.Nvaare soye khet jagaaye
saare jag kaa peT bhare tuu annadaataa kahalaaye
phir kyo.n bhuukh tujhe khaatii hai aur tuu bhuukh ko khaaye
luT gayaa maal teraa luT gayaa maal oy
paga.Dii sambhaal jaTTaa …
deke apanaa khuun pasiinaa tuune fasal ugaayii
aa.Ndhii dekhii tuufaa.N jhele bipadaa sabhii uThaayii
fasal kaTii to le gaye zaalim terii nek kamaayii
luT gayaa maal teraa luT gayaa maal oy
paga.Dii sambhaal jaTTaa …
uTh aur uTh ke khaaq se zarre ek sitaaraa ban jaa
bujhaa bujhaa kyo.n dil hai teraa ik a.ngaaraa ban jaa
o sadiyo.n ke Thahare paanii bahatii dhaaraa ban jaa
luT gayaa maal teraa luT gayaa maal oy
paga.Dii sambhaal jaTTaa …
https://youtube.com/watch?v=zH_OPZTYPSM%3F
Song #36 Phul gaindwa na maaro….
My choice of Best songs composed in Raag Bhairavi has to have this song composed by Roshan. Earlier I have given you Laaga chunari mein daag. This one is equally good.
This is from the 1964 movie Dooj Ka Chand. Lyrics are by Sahir Ludhianvi and the singer, once again, is Manna Dey.
Please enjoy in Raag Bhairavi: Phul gaindwa na maaro….
haay
ajii phul gendawaa na maaro, na maaro
lagat karejawaa me.n choT
phul gendawaa na maaro, na maaro (2)
lagat karejawaa me.n choT
phul gendawaa na maaro, na maaro
lagat karej
t karej (3)
gat karejawaa me.n choT
he dahakaa hu_aa ye a.ngaaraa, a.ngaaraa haa.N
dahakaa hu_aa ye a.ngaaraa
jo gendawaa kahalaaye hai
ajii tan par jahaa.N gire paapii
wahii.n daaG pa.D jaaye hai
a.ng-a.ng moraa piir kare aur kar ke kahe
phul gendawaa na maaro
phul gendawaa na maaro, na maaro
lagat karejawaa me.n choT
he phul gendawaa na maaro
ajii phul gendawaa na maaro
phul gendawaa na maaro -2
ma_ika
na maaro -3
phul gendawaa na maaro, na maaro
lagat karejawaa me.n choT
ruk jaa_o -5
na sataa_o mohe julamii balam, o balam -2
maan jaa_o, binatii abalaa kii
dekho-dekho ab duu.Ngii mai.n duhaa_ii
kaahe chatur banat chhichhorii karat harjaa_ii
phul gendawaa na maaro
na maaro na maaro na
pa pa dha
dha dha dha ni dha
pa ma dha pa ma
ga ma ga re sa
sa sa sa sa sa sa
phul gendawaa na maaro
na maaro (6)
lagat karejawaa me.n choT
karejawaa me.n choT (2)
sa ga ga re re sa
sa ma pa ma ga ga re sa sa ni
sa dha dha dha sa pa pa pa sa pa sa pa sa
pa ni ma
phul gendawaa na -3
na maaro -3
arre phul gendawaa na maaro, na maaro
lagat karejawaa me.n choT
phul gend
dawaa dawaa dawaa dawaa
dawaa dawaa dawaa dawaa
dawaa na maaro, na maaro
lagat karejawaa me.n choT
https://youtube.com/watch?v=jX_8TpSCyBY%3F
Song #37 Dil aaj shayar hai gham aaj naghma hai…
I have a long list still not shared with you of lovely songs composed in Raag Bhairavi but I am going to conclude with this by SD Burman. It is a different sort of song and a personal favourite.
It is from the 1971 Dev Anand movie Gambler. Neeraj penned the lyrics and Kishore Kumar sang it.
I simply love this composition and the lyrics.
Please enjoy: Dil aaj shayar hai gham aaj nagma hai….
dil aaj shaayar hai, Gam aaj naGamaa hai
shab ye Gazal hai sanam
gairo.n ke shero.n ko o sunane vaale
ho is taraf bhii karam
(aake zaraa dekh to terii khaatir
ham kis tarah se jiye) – 2
aa.Nsuu ke dhaage se siite rahe ham
jo zakhm tuune diye
chaahat kii mahafil me.n Gam teraa lekar
qismat se khelaa juaa
duniyaa se jiite par tujhase haare
yuu.N khel apanaa huaa …
(ye pyaar hamane kiyaa jis tarah se
usakaa na koii javaab) – 2
zarraa the lekin terii lau me.n jalakar
ham ban gae aafataab
hamase hai zi.ndaa vafaa aur ham hii se
hai terii mahafil javaa.N
jab ham na ho.nge to ro roke duniyaa
Dhuu.NDhegii mere nishaa.n …
(ye pyaar koii khilaunaa nahii.n hai
har koii le jo khariid) – 2
merii tarah zi.ndagii bhar ta.Dap lo
phir aanaa isake kariib
ham to musaafir hai.n koii safar ho
ham to guzar jaae.nge hii
lekin lagaayaa hai jo daa.nv hamane
vo jiit kar aae.nge hii …
https://youtube.com/watch?v=vTQ_qbsz7Dw%3F
There, that’s is my list of 36 best songs in Hindi films based on Raag Bhairavi. In these, I have given you, in three parts of a dozen songs each, 28 different composers ranging from Shankar Jaikishen to Prem Dhawan.
I hope you liked my choice.
My next Raaga is Raaga Yaman or Kalyan. Please wait for that.
I run a Facebook page called Lyrical wherein I often give theme based songs. The current theme, since 12th Aug 15, is The Best Raaga Based Songs In Hindi Movies.
The word Raga or Raaga actually means colour or hue but is associated with melody in Indian classical music. A raga uses a series of four or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raaga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.
I am going to take Raagas at random and associate them with time of the day and with Hindi songs.
We start with Raag Bhairavi. It is a Hindustani music raaga of Bhairavi Thaat. A thaat is a mode in northern Indian or Hindustani music. Thaats always have seven different pitches (called swara) and are a basis for the organization and classification of raagas in North Indian classical music.
Ragmala Painting of Rag Bhairavi (circa A.D. 1725) (Pic courtesy: chandrakantha.com)
Lets recommence our journey into the world of Raag Bhairavi:
Song #13 Aap ki yaad aati rahi raat bhar
The Best Raaga Based Songs in Hindi Movies
In the last part I have given you 12 songs composed by 12 different music directors in this very popular Raag in Hindi movies. The 12 music directors have been: 1. Shankar Jaikishen 2. Naushad Ali 3. SD Burman 4. OP Nayyar 5. Roshan 6. RD Burman 7. Ravi 8. Kalyanji Anandji 9. Vasant Desai 10. Anil Biswas 11. RC Boral and 12. Pankaj Mullick.
You would agree with me that it has been a veritable treat so far.
Lets start with our 13th song from 13th Music Director Jaidev. He composed Maqdoom Mohiuddin’s famous ghazal in Raag Bhairavi for the 1978 movie Gaman starring Farooq Sheikh and Smita Patil.
Our next music director composing in Raag Bhairavi is Chitragupta. I have a number of songs to choose from such as Albeli naar pritam duaar, O gauri teri banki, and Sajna sajna kaahe bhuul gaye. But, since I have decided to give you the best, I give you a song from the 1978 movie Guest House that has Prem Dhawan’s lyrics. Lata Mangehskar is the singer.
Please enjoy: Tera jaadu na chalega o sapere….
teraa jaaduu na chalegaa o sapere
kaahe maare merii galiyo.n ke phere
meraa rasiyaa to man me.n hai mere
tuu hai kaun meraa rastaa jo ghere
dekh tuu mujhako na haath lagaa jhuum ke mai.n Das luu.Ngii
aag lage terii nas-nas me.n aisaa zahar bhar duu.Ngii
o kahii.n ta.Dape na saa.Njh sabere
teraa jaaduu na chalegaa …
ek thaa dil jo mai.n de hii chukii kyaa tum lene aa_e
nainan jab chitachor base ko_ii na aur samaa_e
o nahii.n aane vaalii haath mai.n tere
teraa jaaduu na chalegaa …
https://youtube.com/watch?v=_KiVxxTUVZI%3F
Song #15 Saaqiya aaj mujhe neend nahin aayegi….
Now, I have to give you a song composed in Raag Bhairavi by my favourite composer and singer Hemant Kumar. Once again there are many songs such as Chali gori pi ke milan ko chali. However, I would be partial towards this from 1962 movie Sahib Bibi Aur Ghulam because it has Shakeel Badayuni’s lyrics. The singer is Asha Bhosle.
saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai
aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai
ko : saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai
aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
aa : aa
saaqii hai aur shaam bhii
ulfat kaa jaam bhii
ho
taqadiir hai usii kii
jo le inase kaam bhii
ra.ng-e-mahafil hai raat bhar ke liye
ko : ra.ng-e-mahafil hai raat bhar ke liye
aa : sochanaa kyaa abhii sahar ke liye
ko : sochanaa kyaa abhii sahar ke liye
aa : ra.ng-e-mahafil hai raat bhar ke liye
sochanaa kyaa abhii sahar ke liye
teraa jalawaa ho terii suurat ho
aur kyaa chaahiye nazar ke liye -2
aaj suurat terii beparadaa nazar aayegii
ko : sunaa hai terii mahafil me.n ratajagaa hai
saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
aa : aa
mohabbat me.n jo miT jaataa hai
wo kuchh kah nahii.n sakataa
haa.N
ye wo kuuchaa hai jisame.n
dil salaamat rah nahii.n sakataa
kisakii duniyaa yahaa.N tabaah nahii.n
ko : kisakii duniyaa yahaa.N tabaah nahii.n
aa : kaun hai jisake lab pe aah nahii.n
ko : kaun hai jisake lab pe aah nahii.n
aa : kisakii duniyaa yahaa.N tabaah nahii.n
kaun hai jisake lab pe aah nahii.n
husn par dil zaruur aayegaa
isase bachane kii ko_ii raah nahii.n -2
zindagii aaj nazar milate hii luT jaayegii
ko : sunaa hai terii mahafil me.n ratajagaa hai
aa : o o o
ko : saaqiyaa aaj mujhe nii.nd nahii.n aayegii
aa : aa aa aa
ko : aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
https://youtube.com/watch?v=wlw1HMNy_as%3F
Song #16 Jeet hi lenge baazi hum tum…
Now I have given you 15 songs composed by 15 different music directors, you may have concluded that there is none more. Well, you have another guess coming. At this juncture I give you Raag Bhairavi based songs of Khaiyyam, Madan Mohan and C Ramchandra.
First Khaiyyam. This one is on Kaifi Azmi’s lyrics and sung by Mohammad Rafi and Lata Mangeshkar. It is from the 1961 movie Shola Aur Shabnam starring Dharmendra and Tarla Mehta. Khaiyyam is the gentlest of the music composers. Even his Raag Bhairavi composition is gentle.
Please enjoy in Raag Bhairavi: Jeet hi lenge baazi hum tum…
rafii:
jiit hii le.nge baazii ham tum, khel adhuuraa chhuuTe na
pyaar kaa ba.ndhan, janm kaa ba.ndhan, janm kaa ba.ndhan TuuTe na
milataa hai jahaa.N dharatii se gagan, aao vahii.n ham jaae.n
tuu mere liye, mai.n tere liye – 2
is duniyaa ko Thukaraaye.n – 2
duur basaa le dil kii jannat – 2
jisako zamaanaa luuTe nA, pyaar kA ba.ndhan
lataa:
milane kii khushI nA milane kA gam, khatm ye jhaga.De ho jaae.n
tU tU nA rahe, mai.n mai.n nA rahuu.N – 2
ik duuje mai.n kho jaae.n – 2
mai.n bhI nA chho.Duu.n pal bhar daaman – 2
tU bhI pal bhar ruuThe nA, pyaar kA ba.ndhan …
https://www.youtube.com/watch?v=wrFAUJADF1c
Song #17 Doli chadake hi Heer ne bain kiye….
Okay, lets get to our 17th Music Director composing his song in Raag Bhairavi, the most popular Raag of Hindi movies.
This one is a Heer and the moment I mention it, you would know the Music Director. Yes, you are absolutely right. It is Madan Mohan.
Now, for those of you who are not from Punjab and North India, I must explain what a Heer is as far as genre’ of songs is concerned:
Heer Ranjha is one of several popular tragic romances of Punjab. The others are Sasi Pannu, Mirza Sahiba, and Sohni Mahiwal. There are several poetic narrations of the story, the most famous being ‘Heer’ by Waris Shah written in 1766. It tells the story of the love of Heer and her lover Ranjha.
This Heer has been written by Kaifi Azmi for the 1970 movie Heer Ranjha starring Rajkumar and Priya Rajvansh. Lata Mangehskar and chorus sang it.
Please enjoy in Raag Bhairavi: Doli chadake hi Heer ne bain kiye…
Dolii cha.Dhate hii hiir ne bain kiye o~
mujhe le chale baabul le chale
ve~ mujhe rok le baabul rok le tuu
Dolii bairii kahaar lai chale re
do chaar gha.Dii bhii na chain paayaa
duHkh dard musiibate.n lai chale
ve~ meraa kahaa sunaa sab maaf karanaa
kuchh roz tere ghar rah chale ve
tujhe raa.Njhanaa rab ke havaale kiyaa
ham des me.n zaalimaa ke chale
ve~ rahii pyaar kii jholii dekh khaalii
koii chiiz bhii saath na le chale ve
mere baad Kabar terii kaun legaa
tere bhaag me.n hai tanhaa_iyaa.N
ve~ mujhe aur ummiid thii aur huaa
kii rab ne beparavaa_i.nyaa ve
o~ kii rab ne beparavaa_i.nyaa ve
https://youtube.com/watch?v=2y18VDKo7c4%3F
Song #18 Kaise jaayun Jamuna ke teer….
Our last song was a Heer by Madan Mohan. And I know what must have gone through your mind whilst listening to it: it is that how well Lata Mangeshkar has sung it! She and her Bhai Sahib Madan Mohan together made some of her best songs.
Well, here is our 18th Music Director and the last one tonight who composed a song in Raag Bhairavi: C Ramchandra, who, at one time was romantically inclined towards Lata Mangeshkar.
The song is a personal favourite of mine. Lyrics are by Rajinder Krishan, singer once again is Lata ji and the movie is 1956 movie Devta.
Please enjoy in Raag Bhairavi: Kaise aayun Jamuna ke teer…
kaise aauu.n jamunaa ke tiir
paa.Nv pa.Dii za.njiir shaamaa
paa.Nv pa.Dii za.njiir ho
kaise aauu.n jamunaa ke tiir
kaahe lagaayaa bairii akhiyo.n me.n kajaraa
akhiyo.n me.n kajaraa kalaiyaa me.n gajaraa
rah ga{}ii haar si.ngaar kiye mai.n
kaun ba.ndhaa{}e dhiir
kaise aauu.n jamunaa ke tiir
shaam milan ko jiyaa moraa tarase
kaah karuu.n kaise nikaluu.n mai.n ghar se
priit bhare man kii ye duniyaa
haaye na jaane piir
kaise aauu.n jamunaa ke tiir
https://youtube.com/watch?v=Js7LosaknB8%3F
Song #19 Mile sur mera tumhaara..
At this juncture, on Lyrical, when I was putting up these songs, we came to 15th Aug 15, the day of our 69th independence. So, on this day, I put up three relevant patriotic songs composed in Raag Bhairavi (I am used to putting up on Lyrical just three songs everyday)
The first of the Independence Day songs composed in Raag Bhairavi that I am giving you is Mile Sur Mera Tumahara…
“Ek sur” (One Tune) (languages of India), or “Mile Sur Mera Tumhara” as it is better known, is an Indian song and accompanying video promoting national integration and unity in diversity.
The concept for Mile Sur was developed in 1988 by Lok Seva Sanchar Parishad and promoted by Doordarshan (then India’s sole TV broadcaster) and India’s Ministry of Information. The song was composed by Ashok Patki and arranged by Louis Banks, with lyrics by Piyush Pandey (then an Account Manager and presently the Executive Chairman and Creative Head of Ogilvy and Mather, India). The project was conceived by Suresh Mallik and Kailash Surendranath and directed by Kailash Surendranath and recorded by people from all walks of life, including a supergroup of Indian celebrities—musicians, sports persons, movie stars, etc.
The national integration video was intended to instill a sense of pride and promote unity amongst Indians, highlighting India’s different linguistic communities and societies—India’s unity in diversity, so to speak. Mile Sur was telecast for the first time on Independence Day 1988, after the telecast of the Prime Minister’s speech from the ramparts of the Red Fort.
It quickly captivated India, gaining and maintaining near-anthem status ever since.
Please enjoy in Raag Bhairavi: Mile sur mera tumhaara…..
Mile sur mera tumharaa
To sur bane hamaraa
Sur ki nadhiyaan
har disha se behkee saagar mein milee
Baadalon ka roop lekar
bharse halke halke
Mile sur mera tumharaa to sur bane hamaara
Mile sur mera tumhara…
Chain taraj tahin nyay taraj
Ek but baniye saayen taraj
Tera sur mile mere sur de naal
milke bane ek nava surtaal
Mile sur mera tumharaa
To sur bane hamaara..
Mohnja sur tohi desa pyara mile
Jadein geet ashaanjo madhur tarano bane tadein
Sur ka dariya bahte saagar me mile
Badlaan da roop leke barasien haule haule
Isaindhal namm iruvarin suramum namadhakum.. Dhisai veru aanalum
Aazi ser aarugal Mugilai mazaiyai pozivadu pol isai Namm
Isssai Thik thakida thathikakida
Thaka Thimi Thaka junu
Nanna dhwanige ninna dhwaniya
Seridante namma dhwaniya
Naa swaramu nee swaramu sangammamai
Mana swaram ga avatarinchey
Sur ki nadiya har disha se behke saagar mein mile
Baadlo ka roop leke barse halke halke
O Mile sur mera tumhara to
sur bane hamara
Mile Sur mera tumhara
To sur bane hamara
To sur bane hamara
To sur bane hamara
https://youtube.com/watch?v=-jf6pwtPqCs%3F
Song #20 Rang de basanti…..
We have taken Raag Bhairavi based songs from 19 different Music Directors. Here is our 20th: the Oscar winner AR Rehman.
This is from the 2006 movie Rang De Basanti, co written, co produced and directed by Rakeysh Omprakash Mehra. It featured an ensemble cast comprising Aamir Khan, Siddharth Narayan, Soha Ali Khan, Kunal Kapoor, Madhavan, Sharman Joshi, Atul Kulkarni and British actress Alice Patten in the lead roles.
The story is about a British documentary filmmaker who is determined to make a film on Indian freedom fighters based on diary entries by her grandfather, a former officer of the British Indian Army. Upon arriving in India, she asks a group of five young men to act in her film.
Here is the song in Raag Bhairavi sung by Daler Mehndi and Chitra on AR Rehman’s music and Prasoon Joshi’s lyrics.
Please enjoy: Rang de basanti….
Ding Ding Ding Ding Ding Ding Ding
Ding Ding Ding Ding Ding
Thodisi Dhuul Meri Dharti Ki Mere Watan Ki… (2)
Thodisi Khushbuu Baurai Si Mast Pawan Ki
Thodisi Dhondhane Waali Dhak-Dhak Dhak-Dhak Dhak-Dhak Saansein
Jin Mein Ho Junoon Junoon Woh Boonde Laal Lahuu Ki
Yeh Sab Tuu Mila Mila Le Phir Rang Tuu Khila Khila Le… (2)
Aur Mohe Tuu Rang De Basanti Yaara
Mohe Tuu Rang De Basanti
Mohe Mohe Tuu Rang De Basanti… (8)
Oh Mohe Rang De Basanti Basanti Rang De Basanti… (2)
( Ding Ding Ding Ding Ding Ding Ding
Ding Ding Ding Ding Ding )… (2)
Sapnen Rang De, Apne Rang De
Khushiyaan Rang De, Gam Bhi Rang De
Naslen Rang De, Faslein Rang De
Rang De Dhadkan, Rang De Sargam
Rang De Surat, Rang De Darpan
Aur Mohe Tuu Rang De Basanti Yaara
Mohe Tuu Rang De Basanti
Thodisi Dhuul Meri Dharti Ki Mere Watan Ki… (2)
Thodisi Khushbuu Baurai Si Mast Pawan Ki
Thodisi Dhondhane Waali Dhak-Dhak Dhak-Dhak Dhak-Dhak Saansein
Jin Mein Ho Junoon Junoon Woh Boonde Laal Lahuu Ki
Yeh Sab Tuu Mila Mila Le Phir Rang Tuu Khila Khila Le… (2)
Aur Mohe Tuu Rang De Basanti Yaara
Mohe Tuu Rang De Basanti
Dheemi Aanch Pe Tuu Zara Ishq Chadha
Thode Jharne Laa, Thodi Nadi Mila
Thode Saagar Aa, Thodi Gaagar Laa
Thoda Chhidak Chhidak, Thoda Hila Hila
Phir Ek Rang Tu Khila Khila
Mohe Mohe Tuu Rang De Basanti Yaara
Mohe Tuu Rang De Basanti
Basti Rang De, Hasti Rang De
Hans Hans Rang De, Nas Nas Rang De
Bachpan Rang De, Joban Rang De
Ab Der Na Kar Sachmuch Rang De
Rang Rez Mere Sab Kuchh Rang De
Mohe Mohe Tuu Rang De Basanti Yaara
Mohe Tuu Rang De Basanti
Thodisi Dhuul Meri Dharti Ki Mere Watan Ki… (2)
Thodisi Khushbuu Baurai Si Mast Pawan Ki
Thodisi Dhondne Waali Dhak-Dhak Dhak-Dhak Dhak-Dhak Saansein
Jin Mein Ho Junoon Junoon Woh Boonde Laal Lahuu Ki
Yeh Sab Tuu Mila Mila Le Phir Rang Tuu Khila Khila Le… (2)
Mohe Mohe Tuu Rang De Basanti Yaara
Mohe Mohe Tuu Rang De Basanti… (8)
Mohe Rang De Basanti Basanti Rang De Basanti… (4)
Rang De Rang De Rang De Basanti
( Ding Ding Ding Ding Ding Ding Ding
Ding Ding Ding Ding Ding )… (3)
Mohe Rang De Basanti Basanti Rang De Basanti Basanti
Mohe Rang De Basanti Rang De Basanti Rang De Basanti Yaara
https://youtube.com/watch?v=LgMF26J0F5I%3F
Song #21 Tuu Hindu banega na Musalmaan banega…..
With the last AR Rehman song from Rang De Bsanti, we covered 20 different music directors who composed their songs in Raag Bhairavi.
Here is the 21st and the name of the music director is N Dutta. This is the need of the hour and hence I am sharing this on the eve of our independence day.
The song is from the 1959 movie Dhool Ka Phool. Sahir Ludhianvi, with his innate idealism has written these very meaningful lyrics and the singer is Mohammad Rafi.
Please enjoy in Raag Bhairavi: Tu Hindu banega naa musalmaan banega, insan ki aulad hai insaan banega….
tuu hindu banegA nA musalamAn banegaa
insaan kI aulAd hai insaan banega
kudarat ne to banAI thI ek hI duniyA
hamane use hindU aur musalamAn banAyA
tuu sabake liye aman kA paigaam banegA
insaan kI aulAd hai insaan banegA
ye din ye ImAn dharam bechane vAle
dhan-daulat ke bhUkhe vatan bechane vAle
tuu inake liye maut kA ailaan banegA
insaan kI aulAd hai insaan banegA
https://youtube.com/watch?v=jqcyUkUFzrc%3F
Song #22 Jaa re jaa re udh jaa re panchhi….
Okay, lets take stock of the number of music directors whose songs composed in Raag Bhairavi we have listened to so far under the new series:
1. Shankar Jaikishen
2. Naushad Ali
3. SD Burman
4. OP Nayyar
5. Roshan
6. RD Burman
7. Ravi
8. Kalyanji Anandji
9. Vasant Desai
10. Anil Biswas
11. RC Boral and
12. Pankaj Mullick.
13. Chitragupta
14. Jaidev
15. Hemant Kumar.
16. Khaiyyam
17. Madan Mohan
18. C Ramchandra
19. Ashok Patki and Louis Banks
20. AR Rehman
21. N Dutta
Now we take up three other music directors: Salil Choudhary, Laxmikant Pyarelal, and SN Tripathi.
Lets start with Salil Choudhary whose music has always been a fusion between Indian and Western classical music.
I have taken this superb song from the 1961 movie Maya starring Dev Anand and Mala Sinha; one of those rare Dev Anand movies that doesn’t have SD Burman’s music.
Salil da composed this fine music on the lyrics of Majrooh Sultanpuri and Lata ji sang it with the kind of feelings that the song deserved.
Please enjoy in Raag Bhairavi: Jaa re jaa re udh jaa re panchhi….
jaa re, jaa re u.D jaa re pa.nchhii
bahaaro.n ke des jaa re
yahaa.N kyaa hai mere pyaare
kyuu.N uja.D ga_ii bagiyaa mere man kii
jaa re …
mai.n viiNaa uThaa naa sakii
tere sa.ng gaa naa sakii
Dhale mere giit aaho.n me.n
jaa re …
https://youtube.com/watch?v=DGgwrG0Iw0w%3F
Song #23 Beshak mandir masjid todo…..
The popularity of Raag Bhairavi in the Hindi movies can be made out from the fact that we have taken up as many as 22 different music directors composing the best of their songs in this Raag.
Lets now take up the 23rd: Laxmikant Pyarelal.
Once again there are several songs to choose from and I have chosen this song from the 1973 movie Bobby starring Rishi Kapoor and Dimple Kapadia due to several reasons. First of all, this was the first time in a Raj Kapoor movie that Shankar Jaikishen didn’t compose music. Secondly, the movie was a trend-setter in young love (Rishi Kapoor was 21 and Dimple only 16 when the movie was made) choosing their partners irrespective of the dictates of class and status. Thirdly, this song was so different in Hindi movies. Thirdly, the song was sung by Narendra Chanchal a singer of Punjabi songs on the very meaningful lyrics of Raj Kavi Indrajeet Singh Tulsi.
Please enjoy in Raag Bhairavi: Beshak mandir masjit todo Bulle Shah ye kehta….
(beshaq ma.ndir masjid to.De, bulleshaa ye kahataa) – 2
par pyaar bharaa dil kabhii na to.Do…
is dil me.n dilavar rahataa
jis pala.De me.n tule mohabbat…
jis pala.De me.n tule mohabbat
usame.n chaa.Ndii nahii.n taulanaa
taubaa merii naa Dolanaa mai.n nii bolanaa
o nahii.n bolanaa jaa, mai.n nahii.n bolanaa jaa
o mai.n nahii.n bolanaa jaa, Dolanaa mai.n nii bolanaa
taubaa merii na Dolanaa mai.n nii bolanaa
aag te ishq baraabar dono, par paanii aag bujhaae – (2)
aashiq ke jab aa.Nsuu nikale, aur agan lag jaae
tere saamane baiThake ronaa…
o tere saamane baiThake ronaa dil kaa dukha.Daa nahii.n Tolanaa
Dolanaa mai.n nii bolanaa
o nahii.n bolanaa jaa, mai.n nahii.n bolanaa jaa
ve mai.n nahii.n bolanaa jaa, bolanaa mai.n nii bolanaa
taubaa merii na Dolanaa mai.n nii bolanaa
ve mai.n nahii.n bolanaa, o ve mai.n nahii.n bolanaa
ve mai.n nahii.n bolanaa, te mai.n nahii.n bolanaa
nahii.n bolanaa, Dolanaa mai.n nii bolanaa
nahii.n bolanaa, nahii.n bolanaa…
https://youtube.com/watch?v=Eo7ytzDx1fs%3F
Song #24 Bat chalat nai chunari rang daari….
Lastly, in this part, let us take up the composition in Raag Bhairavi of our 24th Music Director: SN Tripathi who gave us such marvellous songs as: Zara saamane to aa o chhaliye, Na kisi ki aankh ka noor hoon and Aa laut ke aaja mere meet from the 1959 movie Rani Roopmati starring Nirupa Roy in the title role and Bharat Bhushan opposite her.
In the same movie, SN Tripathi composed this lovely number in Raag Bhairavi on the lyrics of Bharat Vyas. Mohammad Rafi and Krishnarao Chonkar sang this beautiful number.
Please enjoy in Raag Bhairavi: Bat chalat nai chunari rang daari….
aa .a .a
baaT chalat na_ii chunarii ra.Ng Daarii
he .a .a aiso hai bedardii banawaarii
baaT chalat …
aiso hai niDar, Darat na kaahuu.N se la.ngar
apane dhi.ngaa-dhi.ngii karat hai Dagar
he more raam, he more raam, he more raam
baaT chalat …
itane dinan me.n mose kabahuu.N na aTakyo
aa .a .a, baaT chalat
itane dinan me.n mose kabahuu.N na
aa .a .a, baaT chalat
itane dinan me.n mose kabahuu.N na aTakyo
nita prati jaat galin me.n subah shaam
aavat phaagun itaraat jaat de-de taarii
he more raam, he more raam, he more raam
baaT chalat …
baaT chalat na_ii chunarii ra.Ng Daarii re
chunarii ra.Ng Daarii re, chunarii ra.Ng Daarii re,
chunarii ra.Ng Daarii, baaT chalat …
dha, pa ma ga re saa nii saa, re ga ma pa dha, pa
dha pa, ma ga, re saa, saa ga re ma saa ma ga
pa dha nii dha ma ga, ma dha nii saa, aa .a.a
baaT chalat …
https://youtube.com/watch?v=ejt-0jMN7mM%3F
That brings us to the end of the Second Part of Raag Bhairavi based songs. We have another one parts that I shall be putting up shortly. I hope you enjoyed the songs I put together for you so far. Please await the next part.
Dear Netas, Babus, Mediamen, Industrialists, Film Personalities and my Countrymen,
I am a fauji. I was never rich in money terms but I was made to feel rich by the job that was given to me to defend the country and the izzat that you gave me. In the average perception of the countrymen I was made to feel that I was wanted, admired and held in high esteem for my values. A number of movies were made on my valour, commitment and dedication. In these, in folklore and in the news I was always shown as the winner and the righteous. It was enough to keep my morale high and to sacrifice my life, liberty and comfort for the country. In short, it was an honourable profession.
But, it changed totally as soon as I became aware of how consistently you have denied me my dignity, izzat and One Rank One Pension (OROP). Despite your attitude ranging from non-caring to deception, I still clung on to the hope that perhaps I mattered despite all your betrayals since the year 1973 when, shortly after the 1971 war with Pakistan when I gave you the most spectacular victory (sorting out once and for all times, the problem of East Pakistan), you suddenly denied me the OROP and reduced my pension. Gradually, over years, you lowered my status and simultaneously augmented yours and finally, I was made to feel like a used condom.
Yes, some of you, made movies on the theme of my heroism and some of you paid lip-service to publicly singing songs of praise for me. But, looking back, now that I am at the end of my patience of waiting for you to restore my OROP, dignity and izzat, I am beginning to feel that it was all, perhaps for your own vested interests. I don’t trust you anymore and I am increasingly getting more convinced that you don’t deserve me and my sacrifices.
Please consider that God made all of us equal and he has given me too – just as he has given you – only one life. I used to think that your life is precious for me to safeguard with my life, even though I am not a mercenary (Please read, if you can find time from looking after your self-interest: Armed Forces And The Indian Society). Now that I have found that whilst I was ready to sacrifice my life for you, none of you has spared a thought for me or even time, I am beginning to wonder whether the profession of arms is honourable anymore or not. When I used to stand alone and unprotected at the highest battleground in the world: Siachin glacier, or at sea with kilometers of salty water under me, or in the air battling elements, I used to entertain a hope, since then proved false, that me and my family would be looked after by you. But, now I have discovered to my shock that you’d rather look after a cricketer, film-star or the like from whom you can obtain adequate publicity and return on your investment rather than me, I regret having ever entertained the hope that you care for me. I have also found that you have even started questioning whether in this peaceful atmosphere, I am required anymore.
Sadly, I have discovered, that you are chips of the same block. Didn’t the Radiia tapes bring out the unholy nexus that exists between politicians, bureaucrats, industrialists and media persons? It is all on record and yet despite that a media person squarely having sold herself to your interests was given Padma Shri.
On the television debates, some of you, driven by jingoism rather than by any genuine feelings, make a show of touching my feet. But otherwise, I openly ask you now, how is it that after nearly five months of my agitating on the streets, none of it has made any dent with you? You, who would be up in arms against the perpetrators of bias and crime against minorities, women and the so-called underprivileged; you who would write reams of paper on anything and everything of what you call public interests; you who would readily reward a batsman one crore rupees for hitting six sixes in an over of six balls; you who get concerned on the third day of truckers strike against enhancement of toll (Please read: Long Time No War); how is that you displayed total disinterest when one of me ilk, an 82 years grenadier, was roughed up by the police on the eve of independence? How is it that you confidently feel that none of this affects you?
I don’t trust you anymore. You are good at making promises. You are good at making insignificant things into issues of national interest and conversely, you ignore the issues that are indeed significant. I don’t trust you anymore.
I hope, in this atmosphere of hopelessness for me, you have an alternate plan ready just in case you discover and re-discover that there is indeed threat to national security and to your assets and that no one is willing to take up that challenge anymore. I hope that you have a Plan B ready when you discover that the youth of the country refuse to join the armed forces knowing that these are the people who are remembered in crises but quickly forgotten, ignored and put to shame when the crises no longer exist, at least in your perception. I hope you have enough money to buy security when your erstwhile trusted source has dried out in disdainful despondency.
Even you know that it isn’t a fight for money. It is indeed one for regaining lost status and izzat. I don’t trust you anymore even with the outcome. Even if you announce it on Diwali, as you now claim in your thousandth promise, I really don’t trust you. I would be skeptical that you would lose no opportunity to show me down even after giving me my right. You would come up with senseless statements, for example, that you had to snatch it from the poor to give to me. I thought you shouted from house-tops that you had almost eradicated poverty after nearly six and half decades of independence; so then, who are these poor from whom you are snatching to give to me? Are you obliquely accepting the fact that there are indeed poor in the country despite your promises, election after election, that you would eradicate poverty? Are you also accepting that your promises are indeed mere promises? Are you now saying that you would have, but, those who gave their life for the country are standing in the way of your fulfilling your promise?
How about asking the industrialists, film personalities, cricketers like you to donate towards eradicating poverty? Is taking from one poor to give to the other, the only pragmatic solution that you can think of?
You also threaten me with the challenge of para-military forces and the like also waiting in the sidelines to clamour for OROP. Didn’t various commissions and committees including Koshiyari Committee of 2011 rule it out because of difference in retirement ages and unique service conditions? Are you yourself being party to this clamour now so as to silence the veterans?
I don’t trust you anymore You are now catching at straws to somehow deny me my due. You have almost lost me now; you are not big enough and rich enough to buy me back. You would rue the following moment for as long as you live:
I don’t trust you anymore; I never will. And you yourself are responsible for that.
Yours (you would hope) faithfully (I am not too sure) Fauji
Okay, ladies and gentlemen, this is the last one before I sign off on the eve of the OROP Rally, Azad Maidan, Mumbai, Saturday, 31 Oct 15, from 11 AM to 1 PM. This one brings out how we cannot take their promises at the face value.
The original, from where I have made the parody, is from the 1971 movie Dushman (What a name? The faujis are quite used to facing him across the border and within the country!) The beautiful lyrics were written by Anand Bakshi and the music was composed by Laxmikant Pyarelal. The voice was that of Kishore Kumar.
Please enjoy the parody: Waada tera waada….
सचाई छुप नहीं सकती, बनावट के असूलों से
की खुश्बू आ नहीं सकती कभी कागज़ के फूलों से
मैं इंतेज़्ज़ार करूँ, ये दिल निसार करूँ
तेरी OROP स्वीकार करूँ, मगर कैसे ऐतबार करूँ
झूठा है तेरा वाद
वादा तेरा वादा, वादा तेरा वादा
वादे पे तेरे मारा गया
फौजी मैं सीधा साधा
वादा तेरा वादा, वादा तेरा वादा
1973 में तुम ने, OROP छीन ली थी
अपनी खुद की life, मगर रंगीन की थी
युद्ध हमने लड़े थे, तुम्हें कुछ याद नहीं
तुम्हारे सामने थे, तुम्हारे बाद नहीं
OROP की कित्ताबों में तो फौजी का नाम नहीं
Service में मरता रहा वह, बाद में आराम नहीं – (2)
बढे खडूस हो तुम, फौजियों के लिए मनहूस हो तुम – (2)
मगर नेताओं के लिए, yes yes चापलूस हो तुम
Pension घटा के सोचा कोई नुक्सान नहीं
फौजी के पास चाहे रोटी, कपड़ा मकान नहीं
दामन में तेरे फूल हैं काम, और कांटे हैं ज़्यादा
वादा तेरा वादा, वादा तेरा वादा – (2)
वादे पे तेरे मारा गया, फौजी में सीधा साधा
वादा तेरा वादा, वादा तेरा वादा – (2)
जब कभी भी तुमको, मिलता रहा है मौका,
बेचारे फौजी को तुम, देते रहे हो धोका,
अच्छी खासी है तुमने, उसकी हालत बनायी,
बेचारा सड़क पे आके, देने लगा है दुहाई
तुम में अब भी ना जाने, भरी है चतुराई
सरकार के तुम जो ठहरे, बढे चेहते जमाई – (2)
बढे चालाक हो तुम, महज़ नापाक हो तुम – (2)
फौजियों के लिए तो, कड़वी खुराक हो तुम
देश की सुरक्षा का, तुम्हें कुछ ख़याल नहीं
OROP अभी हम लेंगे, अगले साल नहीं
और नहीं हम देंगे, इसमें से हिस्सा आधा
वादा तेरा वादा, वादा तेरा वादा – (2)
वादे पे तेरे मारा गया, फौजी में सीधा साधा
वादा तेरा वादा, वादा तेरा वादा – (2)
Sachaai chhup nahin sakati, banaavat ke asuulon se
Ki khushbuu aa nahin sakati kabhi kaagaz ke phuulon se
Main intezzaar karun, ye dil nisaar karun
Teri OROP sweekaar karun, magar kaise aitbaar karun
Jhoota hai tera waada
Waada tera waada, waada tera waada
Waade pe tere maara gaya
Fauji main seedha saadha
Waada tera waada, waada tera waada
1973 mein tum ne, OROP chheen li thi
Apani khud ki life, magar rangeen ki thi
Yudh hamane ladhe the, tumhen kuchh yaad nahin
Tumhaare saamne tha, tumhaare baad nahin
OROP ki kittabon mein to fauji ka naam nahin
Service mein marta raha woh, baad mein aaraam nahin – (2)
Badhe khadoos ho tum, faujiyon ke liye manhoos ho tum – (2)
Magar netaayon ke liye, yes yes chaaploos ho tum
Pension ghata ke socha koi nuksaan nahin
Fauji ke paas chaahe roti, kapada makaan nahin.
Daaman mein tere phool hain kam, aur kaante hain zyaada
Waada tera waada, waada tera waada – (2)
Waade pe tere maara gaya, Fauji mein seedha saadha
Waada tera waada, waada tera waada – (2)
Jab kabhi bhi tumako, milta raha hai mauka,
Bechaare fauji ko tum, dete rahe ho dhoka,
Achhi khaasi hai tumane, usaki haalat banaayi,
Bechaara sadak pe aake, dene laga hai duhaayi
Tum mein ab bhi na jaane, bhari hai chaturayi
Sarkaar ke tum jo thehare, badhe chehte jamaayi – (2)
Badhe chaalaak ho tum, mehaz naapak ho tum – (2)
Faujiyon ke liye to, kadawi khuraaq ho tum
Desh ki suraksha ka, tumhen kuchh khayaal nahin
OROP abhi hum lenge, agle saal nahin
Aur nahin hum denge, ismein se hissa aadha
Waada tera waada, waada tera waada – (2)
Waade pet ere maara gaya, Fauji mein seedha saadha
Waada tera waada, waada tera waada – (2)
We have pledged to restore the OROP that was denied to the veteran faujis in 1973 by an ex-parte order of the government of India. I cannot do better than to put up the parody of the famous song that was shot in the National Defence Academy (NDA) for the 1970 movie Aadmi Aur Insaan. If you recall it has Sahir Ludhianvi’s lyrics and a very catchy and fauji tune given by my namesake Ravi. The singers were S Balbir, Joginder and Mahendra Kapoor.
Please enjoy the parody of Yaara dildara mera dil karta….
दिल करता, ओ यारा दिलदारा मेरा दिल करता
ओ, यारा दिलदारा मेरा दिल करता
ऐसा कुछ कर पाएं
OROP ले आएं
दिल करता, ओ यारा दिलदारा मेरा दिल करता
हो, सदियों जहान में हो चर्चा हमारा
दिल करता, ओ यारा दिलदारा मेरा दिल करता
आ गए अब तक हम बाबुओं की बातों में
बाबुओं की बातों में
होय होय
काम करते रहे हम आधी आधी रातों में
आधी आधी रातों में
होय होय
हँसते रहे ये बाबू हमारे हालातों पे
हमारे हालातों पे
होय होय
लातों के भूत हैं यह, माने नहीं बातों से
हो, सदियों जहान में हो चर्चा हमारा
दिल करता, ओ यारा दिलदारा मेरा दिल करता
हमारे जैसा फौजी कभी मिले न हज़ारों में
मिले न हज़ारों में
होय होय
पैदल हम मार्च करें यह घूमे हैं कारों में
घूमे हैं कारों में
होय होय
अपनी तो गिनती हो किस्मत के मारों में
किस्मत के मारों में
होय होय
लेकिन ये संग बैठें फ़िल्मी सितारों के
फ़िल्मी सितारों के
हो, सदियों जहान में हो चर्चा हमारा
दिल करता, यारा दिलदारा मेरा दिल करता
तिरंगे की शान हैं हम देश के सैनानी
देश के सैनानी
होय होय
देश की आज़ादी है हम वीरों की कुर्बानी
वीरों की कुर्बानी
होय होय
OROP ले के रहेंगे यह हमने है ठानी
हमने है ठानी
होय होय
याद आएगी इन बाबुओं को अपनी ही नानी
अपनी ही नानी
हो सदियों जहान में हो चर्चा हमारा
दिल करता, ओ यारा दिलदारा मेरा दिल करता
Dil karta, O yaara dildara mera dil karta
O, yaara dildara mera dil karta
Aisa kuchh kar paayen
OROP le aayen
Dil karta, O yaara dildara mera dil karta
Ho, sadiyon jahaan mein ho charch hamaara
Dil karta, O yaara dildara mera dil karta.
Aa gaye ab taq hum baabuyon ki baton mein
Baabuyon ki baton mein
Hoy hoy
Kaam karte rahe hum aadhi aadhi raaton mein
Aadhi aadhi raaton mein
Hoy hoy
Hansate rahe ye babu hamaare haalaton pe
Hamaare haalaton pe
Hoy hoy
Laaton ke bhoot hain yeh, mane nahin baton se
Ho, sadiyon jahaan mein ho charcha hamaara
Dil karta, O yaara dildaara mera dil karta.
Hamaare jaisa fauji kabhi mile na hazaaron mein
Mile na hazaaron mein
Hoy hoy
Paidal hum march Karen yeh ghoome hain kaaron mein
Ghoome hain kaaron mein
Hoy hoy
Apani to ginati hai kismet ke maaron mein
Kismet ke maaron mein
Hoy hoy
Lekin ye sang baithen filmi sitaron ke
Filmi sitaron ke
Ho, sadiyon jahaan mein ho charcha hamaara
Dil karta, yaara dildara mera dil karta
Tirange ki shaan hain hum desh ke sainani
Desh ke sainani
Hoy hoy
Desh ki azaadi hai hum veeron ki kurbaani
Veeron ki kurbaani
Hoy hoy
OROP le ke rahenge yeh hamane hai thaani
Hamane hai thaani
Hoy hoy
Yaad aayegi in baabuyon ko apani hi naani
Apani hi naani
Hosadiyon jahaan mein ho charcha hamaara
Dil karta, O yaara dildara mera dil karta
Yesterday, I put up an article titled OROP Rally, Azad Maidan, Mumbai, Saturday, 31st October explaining the history of the OROP agitation and the reasons for its continuation even after the government’s announcement on 05 Sep 15.
OROP has been a history of un-kept and broken promises by the governments. It started off in 1973 when the OROP was withdrawn unilaterally by the government in 1973 with a promise that it would be restored in the then forthcoming 3rd Central Pay Commission.
The latest of these have been by the present Prime Minister Narendra Modi in his election campaign in Rewari, Haryana in Sep 2013 that OROP would be implemented within 100 days of his government coming to power. Then he made a promise at the heights of the Siachin on the occasion of Diwali last year that OROP would be implemented shortly. Yet another Diwali is around the corner. Lord Rama went on 14 years of exile. The veterans have done 14 multiplied by three, that is, 42 years of exile. And now the latest buzz is that the government intends making the notification before next Diwali.
Promises galore.
I am reminded of this Daag Dehlavi ghazal sung so beautifully by Mohammad Rafi on Khaiyyam’s music: Ghazab kiya tere waade pe intezaar kiya…
https://youtube.com/watch?v=wWSBDsEtQ0Y%3F
Here is my parody on it, to be sung on the same tune:
ग़ज़ब किया तेरे वादे पे ऐतबार किया
तमाम लाइफ OROP का इंतज़ार किया
घटा घटा के मेरी पेंशन को शर्मसार किया
तसलियाँ मुझे दे दे के बेक़रार किया
हम ऐसे चालाक ना थे के होश आ जाता
मगर तेरी दग़ाबाज़ी ने होशियार किया
कमेटियां आप ने बनायी कमीशन आप ने बिठाए
कुछ ऐतबार किया और कुछ ना ऐतबार किया
वह दिन भी आएगा बाबू जब तुम भी जागोगे
अभी तो पैसे और ताक़त ने तुम्हें खराब किया
ग़ज़ब किया तेरे वादे पे ऐतबार किया
तमाम लाइफ OROP का इंतज़ार किया
Ghazab kiya tere waade pe aitbaar kiya,
Tamaam life OROP ka intezaar kiya.
Ghata ghata ke meri pension ko sharamsaar kiya,
Tasaliyaan mujhe de de ke beqraar kiya.
Hum aise chaalak na the jo hosh aa jaata,
Magar tumahaari dagaabaazi ne hoshiyaar kiya.
Kametiyan aap ne banaayi, commission aap ne bithaaye,
Kuchh aitbaar kiya aur kuchh na aitbaar kiya.
Woh din bhi aayega baabu jab tum bhi jaagoge
Abhi to paise aur taaqat ne tumhen kharaab kiya.
Ghazab kiya tere waade pe aitbaar kiya
Tamaam life OROP kaa intezaar kiya.
By an ex-parte order of the GoI, the OROP that the veterans enjoyed since independence was withdrawn in 1973. Because of their peculiar service conditions and short lengths of service (most men retire between 35 to 37 years so as to have them as jawans (young men) in the armed forces), they were at that time given 70 % of last pay drawn as pension and civil service personnel 33 %. By the same order, it was raised to 50 % for civil services and reduced to 50 % for officers and 37 % for men.
Several representations by armed forces followed. Typically, the government appointed committees and commissions such as 3rd CPC in 1973, Estimates Committee, 1980-81, KP Singh Deo Committee of 1984, 4th CPC in 1987, Jafa Committee of 1989, Sharad Pawar Committee of 1990-91, 5th CPC, GoM Committee of 2005, and 6th CPC in 2006. Instead of restoring OROP, the government in 2008 provided OROP to civil and police services in 2008 at highest pay grades and they made sure, by an internal memo, that 100 % of them became eligible to do so because of NFU (Non-functional Financial Upgradation; which meant that if one in a batch was promoted, the others automatically became eligible to draw the increased pay).
This was betrayal of the worst kind. Agitations followed and veterans returned medals to the President at Jantar Mantar, New Delhi. Govt appointed a Ten Member committee under BJP MP Bhagat Singh Koshiyari. In Dec 2011, the committee gave report strongly favouring OROP and gave a definition of OROP accepted by all parties including the parliament. Since then, two parliaments have passed the OROP but is yet to be implemented.
Shri Narendra Modi declared in election campaign at Rewari, Haryana, on 15th Sep 2013, that his government would implement OROP within 100 days of coming to power. Again, on 2014 Diwali day at Siachin, the PM announced OROP to soldiers. However, the RM’s announcement of OROP on 5th Sep 2015 (after 16 months of being in power) was an apology for OROP. It has seven distinct shortcomings and if implemented in the present form it would totally kill the very definition of OROP. The UFESM (United Front of Ex-Servicemen) decided to, therefore, continue with the renewed agitation that started on 14th June 15 at Jantar Mantar including Relay Hunger Strikes from 15th June 15. Rallies are being held across the country to make people aware of the machinations of the babus-netas who have relentlessly denied OROP to veterans after withdrawing it in 1973 within 18 months of the 1971 War victory.
Koshiyari Committee Report and the Flaws in GoI Announcement on 05 Sep 15
Post 2008 agitations, a ten member committee was appointed under the BJP MP Bhagat Singh Koshiyari. It gave its report in Dec 2011 and not just strongly recommended OROP to be implemented but gave a definition of OROP as follows:
OROP “implies that uniform pension be paid to the Armed Forces Personnel retiring in the same rank with the same length of service irrespective of their date of retirement and any future enhancement in the rates of pension to be automatically passed on to the past pensioners.” The concept includes “bridging the gap between the rate of pension of the current pensioners and the past pensioners, and also future enhancements in the rate of pension to be automatically passed on to the past pensioners. In armed forces, equality in service has two components, namely, rank and length of service. The importance of rank is inherent in armed forces as it has been granted by the President of India and signifies command, control and responsibility in consonance with ethos of service. These ranks are even allowed to be retained by the individual concerned after his/her retirement. Hence, two armed personnel in the same rank and equal length of service should get same pension irrespective of date of retirement and any future enhancement in rates of pension be automatically passed on to the past pensioners.”
The Koshiyari Committee definition of OROP was accepted by the government, endorsed by the parliament and by the ex-servicemen organisations. Since then two parliaments approved OROP. But, the government’s announcement on OROP on 05 Sep 15 fell much short of the approved definition of OROP. It has the following serious flaws:
It brought out that those who seek VRS (Voluntary Retirement Scheme) would be kept out of the OROP. This shocked all those engaged in the agitation. It appears that this particular clause has been added at the last minute at the behest of the bureaucracy who is hell-bent to deny the complete OROP to the veterans. Armed forces, unlike some corporates and public sector units, do not have the concept of VRS. They have Pre-Mature Retirement (PMR). Now, if a person has completed his pensionable service and then sought PMR, why should he or she be denied OROP?
The government has declared that a review of the pensions would be done every five years. This means that in this period of five years pensioners would have five different pensions and not one as envisaged in Koshiyari definition of OROP.
The base year for calculation of OROP has been selected as calendar year 2013 and not financial year 2013-14 as is normally the basis of all salary and pension related matters. Again, there is an attempt to deny the increments that would have been due in a financial year.
The government has been petty-minded even for the date of award. They had agreed to the date of 01 Apr 14 in all talks with ESMs. But, at the last minute changed it to 01 Sep 14.
Whilst earlier the government had agreed to provide pension at the highest point of pay band for a rank, the government has done a volte-face and now conceived to provide it at mean average of lowest and highest points.
Government plans to appoint a one man judicial council to decide the matter in six months time against the suggested constitution of five members: one each veterans from each service, one serving armed forces member and one bureaucrat. The ESM have also questioned that six months shouldn’t be required after 42 years and the report should be ready in one month’s time.
OROP should have been awarded in perpetuity and not linked to pay commission as the government has done.
Sense of Betrayal and the Agitation Continues
Many of our countrymen initially, after the GoI announcement on 05 Sep 15, felt that whereas the government seems to have gone out of its way to announce OROP, the ex-servicemen appear to be fussy in continuing with the agitation. Gradually, it has dawned on our people that the chasm between the neta-babu nexus before the announcement seem to have deepened with the announcement. There has been a deep-rooted sense of betrayal that several governments played into the hands of the babus to deny the full and accepted definition of OROP and that, even after 42 years, the BJP government keen to take credit for finally announcing OROP, has taken refuge in petty-mindedness rather than large-heartedness. The government should have also known that the government is not authorised to tinker with OROP after it has been approved twice by two parliaments.
It was, therefore, decided by United Front of ESM (UFESM) to continue with the agitation until full implementation of OROP. There have been promises galore in the last several decades. The latest ones have been by Prime Minister Narendra Modi’s goverment that it would be implemented within 100 days of NDA government coming into power (it did in May 2014 and the OROP is still to be implemented). There are latest ones going around that it would be implemented after Bihar elections, and by Diwali. These really sound hollow after so many betrayals.
Mumbai Rally at Historic Azad Maidan, Saturday, 31st Oct 15
The UFESM under Major General Satbir Singh, SM, Retd., therefore, decided to continue with the agitations and spread awareness amongst the citizens of India by holding rallies in various parts of the country such as Ambala, Dharamshala, and Chennai. The last rally was in Jalandhar, Punjab, and the next is in the historic Azad Maidan in Mumbai on 31st Oct 15. It is the same venue where the Father of the Nation, Mahatma Gandhi held a rally against the British in Dec 1931.
A video of the issues of the forthcoming rally has been prepared by Navi Mumbai TV (NMTV) under the guidance of Commander SH Kalawat, Retd., Convener of ESM in Mumbai, Colonel Harbhajnik Singh, Retd., our point-man for dealing with the press, and self:
https://youtube.com/watch?v=ej2uRX92s9k%3F
There has been concerted media and social media campaign. We addressed a press-conference on 26 Oct 15:
Some glimpses of the social-media campaign besides articles and stories:
The issues are, therefore, in public domain. We request all veterans and families and citizens of this great city of Mumbai to join us in our fight for the just cause.
In the end, as Major General Satbir and other veterans have often said, it is not an issue of money; it is an issue of dignity and izzat of the veterans.
