[lineate][/lineate]She held it in her hand[lineate][/lineate]Pulled out the pin with her teeth[lineate][/lineate]And hurled it where I stood[lineate][/lineate]And suddenly it exploded[lineate][/lineate]All around me.[lineate][/lineate]Everything was torn to shreds:[lineate][/lineate]Ego, pride, shame, pretence[lineate][/lineate]All lay in tatters, blown to bits[lineate][/lineate]And I lay there zapped[lineate][/lineate]Stunned but alive[lineate][/lineate]Blinded and deaf[lineate][/lineate]To anything but Love[lineate][/lineate]She saw me[lineate][/lineate]Saw my condition[lineate][/lineate]And rested her hand[lineate][/lineate]That was ready to pull[lineate][/lineate]Another pin[lineate][/lineate]From another Love Grenade[lineate][/lineate]Total triumph from her side[lineate][/lineate]Complete surrender from mine.[lineate][/lineate]
Suddenly, the age old adage has come alive for the airlines: ‘Travel light, if you must’; not the lean-and-hungry look but the lean-and-mean look. Heavy weights may be alright in politics; they may be of immense value in industry and bureaucracy. But, they are a big No No for the airlines. Reminds you of the Blue Jeans revolution of the sixties and seventies. Until then, the clothes were tailor-made for you. But, with the advent of Blue Jeans it was one-size-fits-all and you had to re-shape yourself to fit into those jeans. They came up with ‘ideal figure’ (Twiggy) and you had no choice but to be ideal.
Similarly, GoAir, for example, has given NoGoAir sign to its male stewards since they are generally heavier than their female counterparts. If it was the other way round, by this time Jantar Mantar would have been full of women activists telling the whole world through their middle fingers that the government must take charge of GoAir for showing sexual discrimination. But, men are supposed to take it lying down. Preity Zinta, the promoter of GoAir, for example, first made inroads into the till then men’s world of cricket and is now chucking out men from a traditionally female world.
However, the way the airlines are at it, sky is the limit for traveling light. Anything and everything is chargeable. Very soon we may have little children serving us in the flight in their cute infantile babble, “Uncle, hele iz yore maltini; and aunty, you will like some chicken na?” After all, they weigh the least and the airlines may be able to save a few more crores of rupees by employing them.
Another bright idea that will occur to the airlines is to come up with a dress code for travel. No suits, shoes and ties…in any case you have to remove your jacket, belt and shoes at the Security. So, why wear them at all? The airlines will tout this as a ‘customer friendly’ idea as it results in ‘hassle-free security check’. The airlines tend to gain a few crores per year and it appears that every rupee counts.
I suspect that the airlines will soon come up with another ‘customer friendly’ idea – after all, the customer is the king (Ha ha) as proclaimed by them – which is, to have you visit the gym between check-in and security check. The programme will make you lose a few kilos and the airlines can then squeeze in a few more passengers between the last row and the toilets.
Frequent flyers programme will have additional points for those less than fifty kgs and carrying less than ten kgs of check-in baggage and/or nil cabin baggage.
The very first announcement after you board will be, “Ladies and gentlemen, in order to cut down on unnecessary weighty items in the aircraft, we have done away with in-flight magazines, newspapers and instructions cards for wearing the life jackets. You have ten minutes to download these on your mobile phones by accessing www.GoAir.Wecareforguests site. You may not be able to use your mobiles during the flight as these interfere with the navigation systems.”
What about those who used to carry various kinds of foot-wear: Jogging shoes, sandals, brown shoes to go with brown clothing, black with black, and just one extra pair just in case required. Well, research is on to come up with new modular footwear that can change over from chappals to party-wear by pressing a few light-weight buttons.
Another idea that the airlines are working on is to give all passengers, male or female, close hair-cuts (appropriately called crew-cuts) prior to take-off. This too will be a customer friendly (airlines are committed to be customer-friendly all the way) idea since the airlines will offer to share half the cost of haircut with you at merely Rupees Five Hundred a hair-cut (Frequent Light-weight Flyers will be given such crew-cuts free).
And finally back to the male stewards of flights who have been told it is NoGoAir for them; they might actually have the last laugh when the air-hostesses are told – in the same fashion as instructions from Badminton Association of India last year to female players – to wear as little clothing as possible. At last the male passengers will then say, “Finally, you have come up with a real customer-friendly idea.”
Trying a ‘Fast Poem’ on cellphone, similar to ‘Fast Food’.
Here goes:
[lineate][/lineate]Purple hair,[lineate][/lineate]Green nails,[lineate][/lineate]Orange eyes,[lineate][/lineate]Indigo brows,[lineate][/lineate]Red hot cerebral cells?[lineate][/lineate]Lemon coloured blood?[lineate][/lineate]Ultra modern world.[lineate][/lineate]
Pic courtesy: listofimages.con
[lineate][/lineate]And yet,[lineate][/lineate]The look in your eyes[lineate][/lineate]Gave you away,[lineate][/lineate]As it did in the life before[lineate][/lineate][lineate][/lineate][lineate][/lineate][lineate][/lineate]And before[lineate][/lineate]And ages before.[lineate][/lineate]
[lineate][/lineate]Juliet? Meera? Sohni?[lineate][/lineate]The colour of love,[lineate][/lineate]Engulfing my world[lineate][/lineate]With richness beyond words[lineate][/lineate]Beyond hues[lineate][/lineate]Beyond feelings[lineate][/lineate]Beyond thoughts[lineate][/lineate]
[lineate][/lineate]In every life[lineate][/lineate]I came[lineate][/lineate]I saw[lineate][/lineate]I was conquered.[lineate][/lineate]I loved[lineate][/lineate]I loved[lineate][/lineate]I love..[lineate][/lineate]Try, if you please[lineate][/lineate]A different camouflage in the next life.[lineate][/lineate]
Lets start our journey through the Final Part, the Part III.
We had completed Day – 7 of the 15 days tribute in Part II.
Day – 8
Lets begin tonight with the 1955 movie Udan Khatola starring Dilip Kumar and Nimmi. An uran khatola is a fictional flying vehicle in the traditional folktales of North India and Pakistan. The term literally means ‘flying bedstead’ or ‘flying cot’ but in folklore the term is used more expansively to cover any flying vehicle.
It was also synonym with Flight of Fancy and hence the song penned by Shakeel was so appropriate: O door ke musafir, hum ko bhi saath le le, hum reh gaye akele. There are no surprises: Naushad composed the music and Mohammad Rafi sang the song.
Enjoy: O door ke musafir hamko bhi saath le le…
chale aaj tum jahaa.N se, huii zi.ndagii paraayii
tumhe.n mil gayaa Thikaanaa, hame.n maut bhii na aayii
o duur ke musaafir ham ko bhii saath le le re
ham ko bhii saath le le
ham rah gaye akele
tuune vo de diyaa Gam, bemaut mar gaye ham
dil uTh gayaa jahaa.N se, le chal hame.n yahaa.N se
le chal hame.n yahaa.N se
kis kaam kii ye duniyaa jo zi.ndagii se khele re
ham ko bhii saath le le, ham rah gaye akele
suunii hai.n dil kii raahe.n, khaamosh hai.n nigaahe.n
naakaam hasarato.n kaa uThane ko hai janaazaa
uThane ko hai janaazaa
chaaro.n taraf lage hai.n barabaadiyo.n ke mele re
ham ko bhii saath le le, ham rah gaye akele
o duur ke musaafir ham ko bhii saath le le re
ham ko bhii saath le le
ham rah gaye akele
https://youtube.com/watch?v=pD7HziV7204%3F
Udan Khatola has this number where Shakeel expressed the dark side of Mohabbat.
The number is: Mohabbat ki raahon pe chalna sambhal ke, Yahan jo bhi aaya gaya haath mal ke…
muhabbat kii raaho.n me.n
chalanaa sambhal ke
yahaa.N jo bhii aayaa
gayaa haath mal ke
na paaii kisii ne muhabbat kii ma.nzil
qadam Dagamagaae, zaraa duur chal ke
hame.n Dhuu.NDhatii hai, bahaaro.n kii duniyaa
kahaa.N aa gae ham, chaman se nikal ke
kahii.n Duub jaae na, hasarat bharaa dil
na yuu.N tiir fe.nko, nishaanaa badal ke
https://youtube.com/watch?v=2bUviGAnI9s%3F
Lets now turn to the 1967 movie Ram Aur Shyam. This too had music by Naushad and lyrics by Shakeel Badayuni. The movie starred Dilip Kumar, Pran, Waheeda Rehman, Mumtaz, Nirupa Roy.
The theme owes its origins to Alexandre Dumas’s story The Corsican Brothers: twins separated at birth who grow up with very different temperaments and then exchange places, leading to the villain being taught a lesson. Like The Corsican Brothers, which has been adapted into several feature films, Ram Aur Shyam has inspired remakes in Hindi movies too, with Seeta Aur Geeta (featuring female twins, played by Hema Malini) in 1972; Chaalbaaz (starring Sridevi) in 1989; and Kishen Kanhaiya (starring Anil Kapoor) in 1990.
This one was a super hit song from the movie:
Enjoy: Aaj ki raat mere dil ki salaami le le…
THIS TOO IS A PIANO NUMBER
ye raat jaise dulhan ban gaI hai chiraago.n se
karu.ngaa ujaalaa mai.n dil ke daaGo.n se
aaj kii raat mere, dil kii salaamii le le
dil kii salaamii le le
kal terii bazm se diivaanaa chalaa jaaegaa
shammaa rahe jaaegii paravaanaa chalaa jaaegaa
terii mahafil tere jalave ho.n mubaarak tujhako
terii ulfat se nahii.n aaj bhii inakaar mujhe
teraa may-khaanaa salaamat rahe ai jaan-e-vafaa
muskuraakar tuu zaraa dekh le ik baar mujhe
phir tere pyaar kaa mastaanaa chalaa jaaegaa
maine chaahaa ki bataa duu.N mai.n haqiiqat apanii
tuune lekin na meraa raaz-e-muhabbat samajhaa
merii ulajhan mere haalaat yahaa.N tak pahu.nche
terii aa.Nkho.n ne mere pyaar ko nafarat samajhaa
ab terii raah se begaanaa chalaa jaaegaa
tuu meraa saath na de raah-e-muhabbat me.n sanam
chalate-chalate mai.n kisii raah pe mu.D jaauu.ngaa
kahakashaa.n chaa.nd sitaare tere chuume.nge qadam
tere raste kii mai.n ek dhuul huu.N u.D jaauu.ngaa
saath mere meraa afasaanaa chalaa jaaegaa
https://youtube.com/watch?v=PrjHjEFwz5g%3F
Shakeel Badayuni was to Dilip Kumar what Hasrat Jaipuri and Shailendra were to Raj Kapoor. This lovely number from the 1968 movie Sanghursh shows Dilip Kumar at his dancing best. And why not, when he sings:
Mere pairon mein ghunghru pehna de to phir meri chaal dekh le…
https://youtube.com/watch?v=HCYCIVXCz10%3F
Before we take on our usual ghazal ending, lets take this absolutely enchanting song from Ganga Jamuna starring Dilip Kumar and Vyjayantimala. Lata Mangeshkar sang it on Naushad’s music.
Enjoy: Dagabaaz tori batiya na maanu re…
Naa maanuu.N naa maanuu.N naa maanuu.N re
dagaabaaj torii batiyaa.N naa maanuu.N re
piyaa man me.n tore kaa hai mai.n naa jaanuu.N re
dagaabaaj torii batiyaa.N …
saa.Njh kahe tose ( chundarii ma.nga_ibe ) -2
chundarii ma.nga_ibe tose chundarii ma.nga_ibe
bhor bha_e to bisar ga_ii batiyaa.N -2
naa maanuu.N re
dagaabaaj torii batiyaa.N …
hamarii garaj pe ( mukh se naa bole ) -2
mukh se naa bole sai.nyaa mukh se naa bole
apanii garaj pe milaay le akhiyaa.N
naa maanuu.N re
dagaabaaj torii batiyaa.N …
https://youtube.com/watch?v=KtlMv1j5Evw%3F
And finally the promised ghazal:
Duur hai manzil raahe.n mushkil aalam hai tanahaa_ii kaa aaj mujhe ehasaas huaa hai apani shikastaapaa_ii kaa
[shikastaah_paaii=infirmity of the feet]
dekh ke mujh ko duniyaaa vaale kahane lage hai.n diivaanaa
aaj vahaa.N hai ishq jahaa.N kuchh Khauf nahii.n rusavaa_ii kaa
chho.D de.n rasm-e-Khud_nigarii ko to.D de.n apanaa iimaa.N
Khatm kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa
Note: Peenaz Masani sinsg this as:
chho.D de rasm-e-Khud_nigarii ko chho.D de apanaa haath yahaa.N
Khaak kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa
mai.n ne ziyaa husn ko baKhshii us kaa to ko_ii zikr nahii.n
lekin ghar ghar me.n charchaa hai aaj terii raanaa_ii kaa
ahal-e-havas ab ghabaraate hai.n Duub ke behar-e-Gam me.n “Shakeel”
pahale na thaa bechaaro.n ko a.ndaazaa geharaa_ii kaa
[havas=desire; behar=sea, gulf, bay]
Enjoy Begum Akhtar sing this famous ghazal:
https://youtube.com/watch?v=PHwT0PF2c2E%3F
Day – 9
There are instances in one’s life when one wants to sing Shakeel’s verses written for Ananrkali in the 1960 movie Mughal-e-Azam: Hamen kaash tumase mohabbat na hoti! The fact is that Dil is not under the control of the Dimaag and mohabbat ho hi jaati hai. Once again, Naushad is the music director and the singer is Lata Mangeshkar.
Enjoy: hame.n kaash tum se muhabbat na hotii
kahaanii hamaarii haqiikat na hotii
na dil tum ko dete na majabuur hote
na duniyaa na duniyaa ke dastuur hote
qayaamat se pahale qayaamat na hotii
hamii.n ba.Dh gaye ishq me.n had se aage
zamaane ne Thokar lagaayii to jaage
agar mar bhii jaate to hairat na hotii
tumhii.n phuu.Nk dete nasheman hamaaraa
muhabbat pe ahasaan hotaa tumhaaraa
zamaane se koi shikaayat na hotii
https://youtube.com/watch?v=8-Hu4tr8Mv8%3F
This is from the 1954 movie Amar on similar theme as the Mughal-e-Azam song. Shakeel, Naushad, Lata made this too.
.Enjoy: (na shikawaa hai koii na koii gilaa hai)-3
salaamat rahe tuu ye merii duaa hai
na shikawaa hai koii
(bahut hii kaThin hai.n mohabbat kii raahe.n)-2
zaraa bach ke chalanaa zamaanaa buraa hai
na shikawaa hai koii
(ajab terii mahafil me.n dekhaa tamaashaa
kahii.n raushanii hai kahii.n hai a.Ndheraa)-2
kahii.n hai a.Ndheraa
(muqaddar chiraaGo.n ke badale hue hai.n)-2
koii bujha rahaa hai koii jal rahaa hai
na shikawaa hai koii
(mubaarak tujhe ho tere dil kii duniyaa
merii zi.ndagii kaa koii Gam na karanaa)-2
koii Gam na karanaa
(ye sab gardishe.n hai.n nasiibo.n kii pyaare)-2
na merii Kataa hai na terii Kataa hai
na shikawaa hai koii
https://youtube.com/watch?v=U40XA559-UY%3F
This is a beautiful Talat Mehmood number sung by him on his own acting in the 1953 movie Dil-e-Nadaan. Shakeel’s lyrics were adorned by Ghulam Mohammed’s music.
Enjoy: Jo khushi se chot khaaye vo jigar kahan se laayun?
terI khAtir sitam dil pe gavaaraa kar liyaa mai.nne
kahaa kisane muhabbat se kinaaraa kar liyaa mai.nne
jo khushI se choT khaaye,
vo jigar kahaa.N se laauu.n – 2
kisii aur ko jo dekhe,
vo najar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
mujhe terI aarazuu hai,
mere dil me.n tuu hii tuu hai – 2
base gair jisame.n aa kar,
mai.n vo ghar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
terI berukhii pe sadake,
terI har adaa pe kurbaa.n – 2
kare aur ko jo sajade,
mai.n vo sar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
vo jigar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
https://youtube.com/watch?v=CDG0C9HiZJg%3F
Shakeel Badayuni, Ravi and Mohammad Rafi have put together this sad number for the 1964 movie Door Ki Awaaz.
Enjoy: Kya younhi rooth ke jaane ko mohabbat ki thi Zindagi meri mitaane ko mohabbat ki this?
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
https://youtube.com/watch?v=Q6p-ylR6v_k%3F
Day – 10
I started telling you about ‘the beauty of the Lyrics of Shakeel Badayuni’ ten days back and by this time you must know as to why I have been so fond of his songs, nazms, ghazals etc. Lets begin Day 10 with a ghazal that is so full of meaning:
Various singers have sung this beautiful ghazal such as Begum Akhtar and Ustad Raza Ali Khan. I have, however, chosen Farida Khanum singing it live. Remember her? Her famous ghazal: Aaj jaane ki zid naa karo, younhi pehlu mein baithe raho? Of course you remember; how can anyone forget?
Enjoy:
Mere Ham-Nafas, Mere Ham-Navaa, Mujhe Dost Banake Dagaa Na De Main Hun Dard-E-Ishq Se Jaanvalab, Mujhe Zindagi Ki Duaa Na De
[Jaanvalab=death, Dead]
Mere Daag-E-Dil Se Hai Raushani, Usi Raushani Se Hai Zindagi
Mujhe Dar Hai Aye Mere Chaaraagar, Ye Charaag Tu Hi Bujhaa Na De
[Chaaraagar=physician]
Mujhe Chhod De Mere Haal Par, Teraa Kyaa Bharosaa Hai Chaaraagar
Ye Teri Nawaazish-E-Mukhtasar, Meraa Dard Aur Badaa Na De
[Mukhtasar=brief]
Meraa Azm Itanaa Baland Hai Ke Paraaye Sholon Kaa Dar Nahin
Mujhe Khauf Aatish-E-Gul Se Hai, Ye Kahin Chaman Ko Jalaa Na De
[Sholon=balls Of Fire; Aatish=fire]
Wo Uthe Hain Leke Hom-O-Subu, Arey O ‘Shakeel’ Kahaan Hai Tu
Teraa Jaam Lene Ko Bazm Mein Koi Aur Haath Badaa Na De
[Hom=burnt Offering; Subu=wine Cup]
https://youtube.com/watch?v=JGpOe3Rn_Kc%3F
How I have dedicated the start of Day 10 to a deceiving friend! The first song is also so dedicated to the same person. It is from the 1952 movie Aan starring Dilip Kumar and Nimmi. Music is by Naushad and the song is a duet between Mohammad Rafi and Lata Mangeshkar.
Enjoy: Tujhe kho diya hamane paane ke baad…
https://youtube.com/watch?v=lGq7Fh21FvE%3F
Shakeel, Naushad, Rafi again on the same theme but for the 1951 movie Deedar starring Dilip Kumar Nimmi, Nargis and Ashok Kumar. This was amongst the rare movies in which the career of Mohammad Rafi coincided with that of his idol GM Durani. The movie had some lovely numbers such as:
1. Bachpan Ke Din Bhoola Na Dena – Male Mohammad Rafi
2. Hue Hum Jinke Liye Barbad – I Mohammad Rafi
3. Hue Hum Jinke Liye Barbad – II Mohammad Rafi
4. Naseeb Dar Pe Tera Aazmane Aya Hon Mohammad Rafi
5. Meri Kahani Bhoolne Wale Mohammad Rafi
6. Dekh Liya Maine Kismat Ka Tamasha Mohammad Rafi & Lata Mangeshkar
7. Tu Kon Hai Mera Kehde Balam Lata Mangeshkar
8. Le Ja Meri Duayeein Le Ja Lata Mangeshkar
9. Duniya Ne Teri Duniyawale Lata Mangeshkar
10. Bachpan Ke Din Bhoolana Dena – Female Shamshad Begum & Lata Mangeshkar
11. Chaman Mein Rakhe Verana Shamshad Begum
12.Nazar Na Phero Humse Shamshad Begum & GM Durani
What a veritable treat! On an everyday basis I am literally finding dozens of songs by Shakeel Badayuni penned so beautifully that one marvels at his ability to write. Lets just take one: Huye ham jinake liye barbaad. Even before you see and hear, just read and digest the lyrics:
(asire panjae ahade shabab karke mujhe
kaha gaya meraa bachpan, kharab kaa key mujhe
ha ha ha ha aa…..)
huye ham jhinke liye barbad, woh hamko chahe kare naa yad
jivan bhar, jivan bhar unkee yad me, (ham gaye jayenge -2)
ek jamana tha woh pal bhar (hamse rahe naa dur -2)
ek jamana hai key huye hai (milane se majbur -2)
rahe woh dil kaa nagar aabad, basee hai jis me kisee kee yad
ham dil ko -2 unkee yad se, bahelaye jayenge gaye jayenge
me hu aisa dipak jis me (naa batee naa tel -2)
bachpan bita, banee muhobbat (char dino kaa khel -2)
woh gham se lakh rahe aajhad, sune naa dard bharee fariyad
afsana -2 unke pyar kaa ham gaye jayenge, gaye jayenge
huye ham jhin key liye barbad………
SHAKEEL BADAYUNI I SALUTE YOU!
https://youtube.com/watch?v=N7dWUwyffxE%3F
One can spend a whole night singing not just Shakeel Badayuni songs but just Deedar songs. Here is another on the same theme:
mere giit sune duniyaa ne magar
meraa dard koI na jaan sakaa
ek teraa sahaaraa thaa dil ko
par tuu bhii na mujhe pahachaan sakaa
bachapan ke vo giit puraane aaj tujhe na yaad rahe
merii kahaanii
mai.n apanaa fasaanaa kah na sakaa
mere dil kii tamannaa dil me.n rahii
lo aaj kinaare par aake
aramaano.n kii kashtii Duub ga_ii
qismat ko ma.nzuur yahii thaa lab par mere fariyaad rahe
merii kahaanii
https://youtube.com/watch?v=gkbU2zUmxmk%3F
Before we call it a day, I am going to give you yet another number from Deedar. It is a duet between Mohammad Rafi and Lata Mangeshkar.
Enjoy: Dekh liya maine kismet ka tamaasha dekh liya
ra : dekh liyaa maine
qisamat kaa tamaashaa dekh liyaa
ik aaG bujhii
ik aaG lagii
aa.Nkho.n ne merii kyaa dekh liyaa
la : dekh liyaa maine
saajan teraa vaadaa dekh liyaa
rasate pe huu.N mai.n
ma.nzil pe hai tuu
ye pyaar kaa naataa dekh liyaa
dekh liyaa maine
ra : aayaa mai.n kisii kii mahafil me.n
mahafil me.n
tuufaan liye laakho.n dil me.n
milakar bhii rahaa mai.n mushkil me.n
milane kaa natiijaa dekh liyaa
ik aaG bujhii
ik aaG lagii
aa.Nkho.n ne merii kyaa dekh liyaa
dekh liyaa maine
la : chhupate hii tere o chaa.Nd mere
o chaa.Nd mere
suuraj bhii na nikalaa aa.Ngan me.n
phir Gam kii a.Ndherii raat hu_ii
do din kaa ujaalaa dekh liyaa
rasate pe huu.N mai.n
ma.nzil pe hai tuu
ye pyaar kaa naataa dekh liyaa
dekh liyaa maine
dekh liyaa maine
saajan teraa vaadaa dekh liyaa
ra : dekh liyaa maine
qisamat kaa tamaashaa dekh liyaa
https://youtube.com/watch?v=1W8ZEbF_q3c%3F
I am going to do something rare tonight:
After all these lovely songs, even though I started with a ghazal, I am going to end with another ghazal of Shakeel Badayuni.
Enjoy: Begum Akhtar sing:
Khush huu.N ki meraa husn-e-talab kaam to aayaa Khaalii hii sahii merii taraf jaam to aayaa
[talab=pursuit; jaam=wineglass]
kaafii hai mere dil ki tasallii ko yahii baat
aap aa na sake aap kaa paiGaam to aayaa
apano.n ne nazar pherii to dil ne to diyaa saath
duniyaa me.n koii dost mere kaam to aayaa
wo subah kaa ehasaas ho yaa.N merii kashish ho
Duubaa hua Khurshiid sar-e-baam to aayaa
[kashish=strife; Khurshiid=sun; baam=morning]
log un se ye kahate hai.n ki kitane hai.n “Shakeel” aap
is husn ke sadaqe me.n meraa naam to aayaa
https://youtube.com/watch?v=WKD1yBTuWjs%3F
Day – 11
This is one of the most famous ghazals of Shakeel Badayuni; indeed the first that I heard during my boyhood days. To say that it has been penned beautifully is only saying the obvious. I leave it to you to refresh your memory of this ghazal:
Nazar nawaaz nazaaron mein jee nahin lagtaa aa wo kyaa gaye ke bahaaron mein jee nahin lagtaa aa
na poochh mujh se tere gham mein kyaa guzarti hai ae
na poochh mujh se tere gham main kyaa gujarti hai ae
yahi kahoongaa hazaaron mein jee nahin lagtaa aa
nazar nawaaz nazaaron mein jee nahin lagtaa aa
kuchh iss qadar hai gham-e-zindagi se dil-e-manoos
kuchh iss qadar hai gham-e-zindagi se dil-e-manoos
fizaan gayi to bahaaron mein jee nahin lagtaa aa
nazar nawaz nazaaron mein jee nahin lagtaa aa
fasaana e shab-e-gham khatm hone waala hai ae
fasaana e shab-e-gham khatm hone walaa hai ae
Shakeel ab chaand sitaaron mein jee nahin lagtaa aa
wo kyaa kahen ke bahaaron mein jee nahin lagtaa aa
This ghazal also owes a lot to the singing of Shanti Hiranand Mansukhani who was born in Lucknow in a business family in 1940. From the childhood, she was drawn towards singing. So her mother admitted her to a music college in Lucknow. However, her father had to shift to Lahore for business purposes. Being the youngest in the family, Shanti Hiranand went with her parents to Lahore in early 40s. Here, she came into contact with a blind woman who was a music teacher. She learnt the nuances of classical singing from her for about 5 years. In 1947, she gave her first singing performance on All India Radio, Lahore. After partition, the family returned to Lucknow where she began learning music from Ustad Aijaz Hussain Khan. She continued to participate in singing and musical dramas on AIR, Lucknow. It was one of AIR Lucknow’s senior staff who introduced her to Begum Akhtar. In 1957, she became the disciple of Begum Akhatar who trained her in thumri, dadra and ghazal singing. After the death of Begum Akhtar in October 1974, Shanti Hiranand propagated her style of singing by giving public concerts both in India and abroad. She was instrumental in bringing out a book ‘The Story of My Ammi Begum Akhtar’. She also acted in Conard Rooks’s ‘Siddhartha’ (1972) donning the role of Shashi Kapoor’s mother.
Enjoy the ghazal of a great poet by a great singer:
https://youtube.com/watch?v=WYQRvcaU8FA%3F
And what about the idol of Shanti Heranand Mansukhani: the great Begum Akhtar herself? She was simply called Mallika-e-Ghazal (the Queen of Ghazals). I have already put up her singing of Shakeel’s most famous ghazal ‘Ai mohabbat tere anjaam pe rona aaya’. Here is another Nazar ghazal by her (penned by Shakeel) for the 1948 movie Anokhi Ada on the music of Naushad. The movie starred Naseem Bano, Murad, Cuckoo and Surendra.
Enjoy: Nazar mil gayi jaane kis ki nazar se…
nazar mil ga_ii jaane kis kii nazar se – 2
Dha.Dakane lagaa dil mohabbat ke Dar se-2
nazar mil ga_ii jaane kis kii nazar se
uThii huu.N ki yuu.N aaj pahaluu me.n jaise
pahaluu me.n jaise – 2
uThii huu.N ki yuu.N aaj pahaluu me.n jaise
ko_ii chiiz Takaraa ga_ii hai jigar se – 2
jaane kis kii nazar se
nazar mil ga_ii jaane kis kii nazar se
Dha.Dakane lagaa dil mohabbat ke Dar se
nazar mil ga_ii jaane kis kii nazar se
ko_ii jaane vaale kii himmat to dekhe
himmat to dekhe – 2
ko_ii jaane vaale kii himmat to dekhe
mujhii ko churaa le gayaa mere ghar se – 2
jaane kis kii nazar se
nazar mil ga_ii jaane kis kii nazar se
Dha.Dakane lagaa dil mohabbat ke Dar se
nazar mil ga_ii jaane kis kii nazar se
https://youtube.com/watch?v=nR56_u1EV6w%3F
Last of Nazar songs/ghazals tonight. This is a duet between Shanti Heranand Mansukhani’s idol Begum Akhtar and Mohammad Rafi’s idol GM Durrani. It is from the 1951 movie Deedar starring Dilp Kumar, Ashok Kumar, Nimmi and Nargis. Last night too I gave two or three songs from the same movie.
Each one of us has a desire, sometimes, to live in another era. How I wish I could live in the era of Shakeel Badayuni. Many a times when someone chooses to compare him with other lyricists and poets, I feel like telling him/her about the pristine beauty of Shakeel’s lyrics. This tribute of mine that has been going on for the last eleven days is as a result of this feeling.
Enjoy: Nazar Phero Na Hamse Ham Hain Tum Par Marne Walon Mein
Nazar Phero Na Hamse
Ham Hain Tum Par
Marne Walon Mein
Hamara Naam Bhi Likh Lo
Mohabbat Karne Walon Mein
Shamshad : Jahan Nazaren Mili
Bole Ke Ham Hain Marne Walon Mein
Banawat Hi Banawat Hai
Mohabbat Karne Walon Mein
Gm: O
Tumhari Shokiyon Ko Dil Mera
Nakam Kar Dega
Aa..N
Suna Kar Pyar Ke Nagmein
Tumhein Badnam Kar Dega
Haan
Aji Ye Dil Nahi Chhip-Chhip Ke
Aahen Bharne Walon Mein
Hamara Naam Bhi Likh Lo
Mohabbat Karne Walon Mein
Shamshad: Wahi Dil Hai Jo Is Duniya Mein
Apna Nam Kar Jaye
Mohabbat Kya Karega Wo
Jo Badnami Se Dar Jaye
Haan
Nahi Ham Aapki In Dhamkiyon Se
Darne Walon Mein
Banawat Hi Banaawat Hai
Mohabbat Karne Walon Mein
https://youtube.com/watch?v=F59isyJfYA4%3F
During the good old days, expressing love wasn’t as easy as it is these days; young boys and girls now announce it on facebook and twitter and put up photos etc.
Here is the old andaaz; though very forward looking during those days! It is from 1963 movie Mere Mehboob. Rafi sings it on Naushad’s music.
Enjoy: Tumase izhaar-e-haal kar baithe Bekhudi mein kamaal kar baithe…
aaj furakat kA khvaab TuuT gayaa
mil gaye tum hijaab TuuT gayaa
tum se izahaar-e-haal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kho gaye husn kI bahaaro.n me.n
kah diyaa raaz-e-dil ishaaro.n me.n
kaam ham bemisaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kitane majabuur ho gaye dil se
soche samajhe bagair qaatil se
zindagii kA savaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
ye adaae.n ye shokhiyaa.n taubaa
bas khudaa hii khudaa hai us dil kA
jo tumhaaraa khayaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
https://youtube.com/watch?v=-fmYt9Qa_BA%3F
Day – 12
How I wish Shakeel would have lived longer and I would reach the 100th day still putting up his songs, nazms and ghazals!
Lets start with the usual ghazal and pay attention to the second couplet:
terii mahafil se uThakar ishq ke maaro.n pe kyaa guzarii muKhaalif ik jahaa.N thaa jaane bechaaro.n pe kyaa guzarii
sahar ko ruKhsat-e-biimaar-e-furqat dekhane vaalo
kisii ne ye bhii dekhaa raat bhar taaro.n pe kyaa guzarii
sunaa hai zindagii viiraaniyo.n ne luuT lii milakar
na jaane zindagii ke naaz_baradaaro.n pe kyaa guzarii
ha.Nsii aa_ii to hai bekaif sii lekin Khudaa jaane
mujhe masaruur paakar mere Gam_Khvaaro.n pe kyaa guzarii
asiir-e-Gam to jaa.N dekar rihaa_ii paa gayaa lekin
kisii ko kyaa Khabar zindaa.N kii divaaro.n pe kyaa guzarii
Rare picture shows Rafi, Lata, Shakeel and Naushad.
I have already given you a Zindagi number from the 1948 movie Mela starring Dilip Kumar and Nargis. The song is the ultimate lesson of life that life will go on even when we won’t be there…. How about a Mukesh number from the same movie? Surely, this would rank amongst the best of Mukesh’s songs even though Mukesh normally sang the lyrics of Shailendra or Hasrat Jaipuri. Music is by Naushad.
Enjoy: Gaaye jaa geet Milan ke, tu apni lagan ke, Sajan ghar jaana hai…
gaae jaa giit milan ke, tuu apane lagan ke
sajan ghar jaanaa hai
kaahe chhalake naino.n kii gagarii kaahe barase jal
tum bin suunii saajan kii nagarii paradesiyaa ghar chal
pyaase hai.n diip nayan ke, tere darshan ke
sajan ghar…
luT na jaae jiivan kaa Dheraa mujhako hai ye Gam
ham akele, ye jag luTeraa bichha.De.n na milake ham
biga.De nasiib na banake ye din jiivan ke
sajan ghar…
Dole nayanaa priitam ke dvaare milane kii ye dhun
baalam teraa tujhako pukaare yaad aanevaale sun
saathii mile.nge bachapan ke khile.nge phuul man ke
sajan ghar…
https://www.youtube.com/watch?v=oYknpzlVlxo
In the various genres of poetry, the one that Shakeel had perfected the best was the Irony. He did it so marvelously that it left you gaping. Take this one from Mughal-e-Azam. The Emperor has granted Anarkali her last wish to spend one night with Prince Salim before she is thrown into the dungeon; she having traded her own life to save his life. Read every word of this qwaali carefully, digest every sentence when you hear it and then compare it with the scene that I have described….and the irony will make you get goose pimples. Only, Shakeel could write as if he himself was present at the scene!
Enjoy: Lata singing on Naushad’s music: Jab raat hai aisi matvaali phir subah ka aalam kyaa hoga…
Jab raat hai aisi matvaali
Phir subah kaa aalam kaya hoga?
ye dil kii lagii kam kyaa hogii
ye ishq bhalaa kam kyaa hogaa
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
naGamo se barasatii hai mastii
chhalake hai.n khushI ke paimaane – 2
aaj aisI bahaare.n aaii hai.n
kal jinake bane.nge afasaane – 2
ab ise jyaadaa aur hasii.n ye pyaar kA mausam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
ye aaj kA ra.ng aur ye mahafil
dil bhI hai yahaa.N diladaar bhI hai – 2
aa.Nkho.n me.n kayaamat ke jalave
siine me.n sulagataa pyaar bhI hai – 2
is ra.ng me.n koI jii le agar marane kA use Gam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
haalat hai ajab dIvaano.n kii
ab khair nahii.n paravaano.n kii – 2
anjaam-e-mohabbat kyaa kahiye
laya ba.Dhane lagI aramaano.n kii – 2
aise me.n jo paayal TuuT gayii phir ai mere hamadam kyaa hogaa – 2
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
https://www.youtube.com/watch?v=7vLKhdjXBkg
Finally to end tonight, let me give you a ghazal sung by Melody Queen Lata Mangeshkar:
Enjoy: Aankh se aankh milata hai koi, Dil ko kheenche liye jaata hai koi
aa.Nkh se aa.Nkh milaataa hai koii
dil ko khii.nche liye jaataa hai koii
hai ye hairat ki bharii mahafil me.n
mujhako tanhaa nazar aataa hai koii
chaahiye Kud pe yaqiin-e-qaamil
hausalaa kisakaa ba.Dhaataa hai koii
sab karishmaat-e-tasavvur hai shaqiil
van.raa aataa hai na jaataa hai koi
Day – 13
What about magical simplicity? You mean “Jaadu”? Well, that is the name of the 1951 movie for which Shakeel wrote his lyrics. This one is a particularly enchanting number. Lata sings it for Nalini Jayawant singing for Suresh, on Naushad‘s music.
Enjoy: Lo pyaar ki ho gayi jeet, Balam ham tere ho gaye…
lo pyaar kii ho gayii jiit
balam ham tere ho gaye
ham tujh se lagaa kar priit
nayii duniyaa.N me.n kho gaye
naino.n ne tere saajan
man ko lubhaa ke chho.Daa
dil pe kiyaa vo jaaduu
apanaa banaa ke chho.Daa
mere dil me.n khushii kaa ra.ng
ho.nTho.n pe khushii ke giit
lo pyaar kii ho gayii jiit …
aramaan bhare do dil hai.n
duniyaa.N pe hai javaanii
terii qasam o saajan
rut hai ba.Dii suhaanii
o~
rahe.n mil ke sadaa ham tum
yuu.Nhii jaaye umariyaa biit
lo pyaar kii ho gayii jiit …
How about starting tonight with a duet, for a change? It is sung by Mohammad Rafi and Asha Bhosle. The film is the 1963 movie Gehra Dagh. Ravi composed the music on Shakeel’s lyrics….
Enjoy: Tumhen paa ke hamne jahan paa liya hai,
Zameen to zameen aasman pa liya hai….
aa : tumhe.n paa ke hamane jahaa.N paa liyaa hai -2
zamii.n to zamii.n aasamaa.N paa liyaa hai
ra : tumhe.n paa ke …
aa : miTaa na sakegii jise ab Kizaa.N bhii
jalaa na sake.ngii ab bijaliyaa.N bhii
mohabbat kaa vo aashiyaa.N paa liyaa hai
tumhe.n paa ke …
ra : zamaane ke Gam pyaar me.n Dhal ga_e hai.n -2
ummiido.n ke laakho.n di_e jal ga_e hai.n -2
ke jabase tumhe.n meharabaa.N paa liyaa hai
tumhe.n paa ke …
aa : jahaa.N se mohabbat kii raahe.n milii hai.n
ra : vahii.n se merii gardishe.n tham ga_ii hai.n
do : na bichha.De.nge ham kaaravaa.N paa liyaa hai
tumhe.n paa ke …
Day – 14
Only a week left for the Death Anniversary of the great poet and lyricist who wrote from the heart…. The 1966 movie Do Badan, a Raj Khosla directed movie was another one that had the combination of Shakeel Badayuni and Ravi for its songs. The movie not only had some excellent songs but some of the saddest songs; which, as mentioned by the poet Shelley, are amongst our sweetest.
Jab Chali Thandi Hawa Asha Bhosle
Bhari Duniya Mein Akhir Dil Mohammad Rafi
Raha Gardishun Main Har Dum Mohammad Rafi
Naseeb Mein Jisko Jo Mohammad Rafi
Lo Aa Gayi Unki Yaad Lata Mangeshkar
Mat Jayio Naukariya Chor Ke Asha Bhosle
Raha Gardishun Mein (Reprise) Mohammad Rafi
Lo Aa Gayi unki Yaad (Reprise) Lata Mangeshkar
To understand the beauty of these songs, one has to know the story: Vikas (Manoj Kumar) comes from a poor family, and is attending college so that he can complete his studies, get a job, and look after himself and his dad. He meets with wealthy Asha (Asha Parekh) at this college, and after a few misunderstandings, both fall in love. Vikas’ dad passes away during the exams. Because Vikas leaves to attend the funeral, he is unable to complete his studies. Asha feels sorry for him and arranges to get him employed with her dad, without telling Vikas about it. Asha’s dad wants her to get married to Ashwini (Pran), and he soon announces their engagement. Ashwini finds out that Asha is in love with Vikas, and arranges an accident for Vikas. Vikas survives the accident, but loses his eyesight. After this incident, Vikas does not want to burden Asha, and strikes up a new friendship with Dr. Anjali (Simi Grewal). Meanwhile, Ashwini informs Asha that Vikas has died in the accident. Asha loses interest in life after listening to the news of Vikas’s death. Ashwini then meets Vikas and requests him to convince Asha that he does not love her any more. Vikas agrees and convinces Asha that he is having an affair with Dr. Anjali. Asha marries Ashwini but refuses to live with him in the same room.Vikas starts singing to earn money. Dr. Anjali asks him to get an eye operation, but Vikas refuses. One day Dr. Anjali visits Asha and requests her to persuade Vikas for the operation. While Asha is asking Vikas to undergo the operation, Ashwini takes her away and locks her in a room. She feels suicidal. One day Asha’s uncle goes to meet her and feels saddened by her condition. He takes her to her father’s home. Within three days, Asha becomes sick and doctors are unable to do anything for her. Meanwhile, Vikas’s eye operation is successful. Ashwini apologizes to Asha. He goes to Vikas and tells him about Asha’s condition. Vikas and Ashwini go to Asha. She dies after taking one look at Vikas. He is not able to bear that and also dies. Both of them reunite after their death.
With this background, you will be able to understand the emotions behind this song for which Shakeel was nominated for the Best Lyricist award that year:
Enjoy Mohammad Rafi singing: Naseeb mein jisake jo likha tha…
nasiib me.n jisake jo likhaa thaa
vo terii mahafil me.n kaam aayaa
kisii ke hisse me.n pyaas aaii
kisii ke hisse me.n jaam aayaa
mai.n ik fasaanaa huu.N bekasii kaa
ye haal hai merii zi.ndagii kaa
na husn hii mujhako raas aayaa
na ishq hii mere kaam aayaa
nasiib me.n …
badal ga_ii.n terii ma.nzile.n bhii
bichha.D gayaa mai.n bhii kaaravaa.n se
terii muhabbat ke raaste me.n
na jaane ye kyaa makaam aayaa
nasiib me.n …
tujhe bhulaane ki koshishe.n bhii
tamaam naakaam ho ga_ii hai.n
kisii ne zikr-e-vafaa kiyaa jab
zubaa.N pe teraa hii naam aayaa
nasiib me.n …
This too was a Shakeel – Ravi combine movie; only it came three years earlier than Do Badan. The movie was ‘Pyar Kiya To Darna Kya’ starring Shammi Kapoor and Saroja Devi…. This is another sad sad song on almost the same thought as the one of Do Badan. Ravi’s music is fantastic and suits the personality of Shammi Kapoor.
Enjoy: Zindagi kya hai, gam ka dariya hai
Na jeena yahan bas mein, na marna yahan bas mein
Ajab duniya hai…
zindagii kyaa hai Gam kaa dariyaa hai
na jiinaa yahaa.N bas me.n na maranaa yahaa.N bas me.n
ajab duniyaa hai
zindagii kyaa hai …
haay re vo insaan ke jisako Gam kii nazar lag jaa_e
chupake-chupake aahe.n bhare aur mu.Nh se na kuchh kah paa_e
dil apanaa ha.Nsataa hai khud par ( aur kabhii rotaa hai ) -2
zindagii kyaa hai …
jhuuThii hai.n duniyaa kii bahaare.n ra.ng hai.n saare kachche
vaqt pa.De to thaam le.n daaman phuul se kaa.NTe achchhe
is gulashan me.n qadam-qadam par ek ( nayaa dhokhaa hai ) -2
zindagii kyaa hai …
jab insaan akelaa thaa to dukh bhii na the jiivan me.n
paayaa jab hamaraahii usane Duub gayaa ulajhan me.n
ye duniyaa hai begaano.n kii kaun ( yahaa.N apanaa hai ) -2
zindagii kyaa hai …
https://www.youtube.com/watch?v=dzA2H_xErPE
Yet another piano number! This one is sung by Jagjit Kaur for the 1953 movie Dil-e-Nadaan starring Shyama and Talat Mehmood. Ghulam Mohammad is the music composer. The other night I had put up another beautiful number from the same movie: Jo khushi se chot khaaye.
Tonight, enjoy: Khamosh zindagi ko ik afsaana mil gaya…
( Kaamosh zi.ndagii ko o
Kaamosh zi.ndagii ko ik afasaanaa mil gayaa
ajii afasaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa ) -2
o
dil me.n Kumaariyaa.N sii
mastii jagaate giit ho -2
diiwaanagii me.n kaun ye diiwaanaa mil gayaa
ajii diiwaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
o
sabakaa hai dil ke hosh me.n
aane ke din gaye -2
aaye bahaar shiishe se paimaanaa mil gayaa
ajii paimaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
o
laayaa hai ko_ii mere liye
dil kii dha.Dakane -2
nazaro.n ke chaar hote hii nazaraanaa mil gayaa
ajii nazaraanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
Kaamosh zi.ndagii ko o
Kaamosh zi.ndagii ko ik afasaanaa mil gayaa
ajii afasaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
What would you say about this most enchanting bhajan; whether the credit goes to Shakeel as lyricist or Sachin Dev Burman as music director? I think both are deserving of our deep appreciation. The bhajan has been sung by Mohammad Rafi, Sudha Malhotra and SD Batish. Its music and lyrics leave you spellbound. The movie is the 1964 movie Kaise Kahoon. The other night I had put up: Tum hamen pyaar karo ya na karo, ham tumhen pyaar kiye jaayenge.
Enjoy: Manmohan mein ho tumhin…..
shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …
SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~
As usual lets end tonight with a ghazal. Please forgive me for the poor quality of the audio.
Here is Talat Mahmood singing Shakeel’s ghazal: Un se ummiid-e-ruunumaa_ii hai
kyaa nigaaho.n kii maut aa_ii hai
dil ne Gam se shikast khaa_ii hai
umr-e-raftaa terii duhaa_ii hai
dil kii barbaadiyo.n pe naazaa.N huu.N
fatah paakar shikast khaa_ii hai
mere maa_abad nahii.n hai dair-o-haram
ehatiyaatan jabii.n jhukaa_ii hai
vo havaa de rahe hai.n daaman kii
haaye kis vaqt niind aa_ii hai
khul gayaa un kii aarazuu me.n ye raaz
ziist apanii nahii.n paraa_ii hai
duur ho Gunche merii nazar se
tuu ne merii ha.Nsii churaa_ii hai
gul fasurdaa chaman udaas ‘Shakeel’
yuu.N bhii aksar bahaar aa_ii hai
https://www.youtube.com/watch?v=QopXvVHibYs
Final Day
It has been exactly two weeks back that I started this tribute to Shakeel Badayuni whom I call the Best Lyricist and Ghazal writer that the Hindi film industry has ever seen; before it rejoiced in being bastardized as “Bollywood”.
On this day, 43 years back, at the age of 53, Shakeel from the town of Badayun in Uttar Pradesh succumbed to diabetes. As I said, in the beginning of my tribute, he left but he left with generations to come some of the finest songs and ghazals that we ever heard such as Ai mohabbat tere anjaam pe rona aaya, Gam-e aashiqui se keh do raah-e aam taq na pahunche, bana bana ke tamanna mitaayi jaati hai, nazar nawaaz nazaron mein dil nahin lagata, mere mehboob tujhe meri mohabbat ki kasam, chaudhvinh ka chand ho, beqraar karake hamen youn naa jayiye, husn vale tera jawaab nahin, ye zindagi ke mele duniya mein kam na honge, suhani raat dhal chuki, koi sagar dil ko behlata nahin…..and many many more.
Tonight, I may repeat some though I shall try not to.
I have already put up the song: Husn vale tera jawaab nahin for the 1962 movie Gharana for which Shakeel Badayuni got the Best Lyricist Award for the second time. Also, I have brought out the fact that even though Shakeel Badayuni was an Urdu poet, he wrote some of the best Hindi bhajans; the best out of them being Man tadpat Hari darshan ko aaj.
On the occasion of Ramnavami, whilst wishing my friends, I brought out that we are blessed indeed that Lord Ram was born in our midst. He set before the world the finest example of service before self. I accompanied my greetings with an Anand Bakshi bhajan: Ram ji ki nikali sawaari, Raam ji ki leela hai nayari.
Lets celebrate Ramnavami with this beautiful Ram bhajan from Shakeel Badayuni: Please enjoy: Jay Raghunandan, Jay Siyaram sung by Mohammad Rafi and Asha Bhosle on Ravi’s music.
jay raghunandan jay siyaaraam
he dukhabha.njan tumhe.n praNaam
bhraat-bhraat ko he parameshvar sneh tumhii.n sikhalaate
nar-naarii ko he parameshvar sneh tumhii.n sikhalaate
o naiyaa ke khevanahaare japuu.N mai.n tumharo naam
jay raghunandan …
tum hii dayaa ke saagar prabhu jii tum hii paalanahaare
chain tumhii.n se paa_e bekal manavaa saa.Njh-sakaare
jo bhii tumhaarii aas lagaa_e bane usii ke kaam
jay raghunandan …
The 1963 movie Grahasti was released at the height of Shakeel Badayuni’s popularity as a lyricist. The movie starred Ashok Kumar, Manoj Kumar, Rajshree, Nirupa Roy, Mehmood, Shubha Khote, Indrani Mukherjee and others. I want to draw your attention to the simplicity of this Hindi (not Urdu) song (bhajan) written by Shakeel sung by Asha Bhosle on Ravi‘s music: jiivan jyot jale
jiivan jyot jale
kou na jaane kab nikase din
aur kab raat Dhale
jiivan jyot jale …
bhor bhaye to man muskaaye
sa.Njh bhaye to niir bahaaye
ek pal maan kare sa.nsaarii
ek pal haath male
jiivan jyot jale …
https://www.youtube.com/watch?v=UemDW8KonE8
The 1954 movie Amar had the complete quartet together of Shakeel as Lyricist, Naushad as Music Director, Mohammad Rafi as singer and Dilip Kumar as actor opposite Madhubala who was head over heels in love with Dilip Kumar and wanted to marry him.
Lets go to the temple together with Dilip Kumar and Madhubala and hear and see the beauty of Shakeel’s lyrics for this song:
##during casting##
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
ra: kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
##casting ends here##
part 2
##Dilip and Madhubaalaa go to temple##
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
hai.n paa.Nv tere phir bhii tuu aane se hai majabuur
aane se hai majabuur
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
insaaf kaa mandir hai ye bhagavaan kaa ghar hai
dukh de ke jo dukhiyo.n se na insaaf karegaa
bhagavaan bhii usako na kabhii maaf karegaa
ye soch le -2
ye soch le har baat kii daataa ko Kabar hai
daataa ko Kabar hai
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
Part 3:
##at the end##
ra: maayuus na ho haar ke taqadiir kii baazii
pyaaraa hai vo Gam jisame.n ho bhagavaan bhii raazii
dukh dard mile
dukh dard mile jisame.n wohii pyaar amar he
wohii pyaar amar he
ye soch le har baat kii daataa ko Kabar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
I have already put up two songs from the 1960 Guru Dutt movie Chaudhvinh Ka Chand: the title song and Mili khaak mein mohabbat. This one is picturised on Waheeda Rehman who was Guru Dutt’s find. She acted as a vamp in her first movie C.I.D. and then as a heroine in Guru Dutt’s 1957 classic Pyasa. Three years later, in 1960, she acted in Guru Dutt’s movie Chaudhvinh Ka Chand and look how she had matured as an actor.Marvel at the beauty of the lyrics by Shakeel. Lata Mangeshkar sang it on Ravi’s music.
Enjoy: Badale badale mere sarakaar nazar aate hai.n -2
chaudahavii.n kaa chaa.Nd ho, yaa aafataab ho
jo bhii ho tum khudaa ki qasam, laajavaab ho
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
https://www.youtube.com/watch?v=Pjf9ORFDwQA
The 1965 movie Bedaagh had Nanda, Manoj Kumar, Shashikala and Mehmood in the lead roles together with Shubha Khote and Laita Pawar…. This song has Shakeel’s lyrics and talks about the inevitability of every path in hero Manoj Kumar’s life leading back to his lost love. Mohammad Rafi has sung this on Roshan‘s music.
Enjoy: Zindagi ke mor par jo koi raasta mila
Teri gali se jaa mila…
zindagii ke mo.D par jo ko_ii raastaa milaa
terii galii se jaa milaa -2
aaj khaate hai.n Thokare.n shahar me.n zindagii ke ham -2
tujhase chale the duur-duur Gam kii sharaab pii ke ham -2
terii taraf bahak ga_e -2
aisaa hame.n nashaa milaa
teraa Kyaal chho.D ke ba.Dh ga_ii.n aur ulajhane.n
tere hii naam kii sadaa detii hai dil kii dha.Dakane.n -2
ab ye hii sochate hai.n ham ruuTh ke tujhase kyaa milaa -2
tujhase ko_ii garaz nahii.n phir bhii hai terii aarazuu
dil ne tujhe bhulaa diyaa phir bhii hai dil me.n tuu hii tuu -2
tujhase bichha.D ga_e to ab -2
teraa hame.n pataa milaa -2
terii galii se jaa …
https://www.youtube.com/watch?v=qXaw5Dw69QY
We have already talked about the 1954 movie Baiju Bawra, who went to the court of Emperor Akbar to win in a contest against the great musician Tansen in order to avenge his father’s death. Baiju Bawra got Meena Kumari her first (out of four) Best Actress awards and Music Director Naushad his first and only Best Music Director award.
Shakeel penned some of his loveliest numbers for the movie and I have already put up one of them: Tu Ganga ki mauj. Here are the others:
sh: duur koii gaae dhun ye sunaae
tere bin chhaliyaa re baaje na muraliyaa re
ra: ho jii ho
ko: duur ko_ii gaa_e dhun ye sunaae
tere bin chhaliyaa re baaje na muraliyaa re
sh: man ke a.Ndar ho pyaar kii agni
ko: ho man ke a.Ndar pyaar kii agnii
sh: nainaa khoye-khoye ki are raamaa naina khoye-khoye
ko: are ramaa nainaa khoye khoye
sh: ho abhii se hai ye haal ho
abhii se hai ye haal to aage
naa jaane kyaa hoe
ko: ke are raamaa na jaane kyaa hoe
nii.nd nahii.n aae birahaa sataae
tere bin chhaliyaa re
baaje na muraliyaa re
ra: ho ji ho
ko: duur ko_ii gaa_e …
la: ho more a.Nganaa laaj kaa paharaa
ko: laaj kaa paharaa raamaa laaj kaa paharaa
la: paa.Nv pa.Dii za.njiir
ki are raamaa paa.Nv pa.Dii za.njiir ho
yaad kisii kii jab-jab aae
laage jiiyaa pe tiir
yaad kisii kii jab-jab aae
laage dil pe tiir
ko: ke are raamaa lage dil pe tiir
la: aa.Nkh bhar aae jal barasaae
tere bin chhaliyaa re baaje na muraliyaa re
ra: ho ji ho
ko: duur ko_ii gaaye …
Until Sahir Ludhianvi’s 1968 tear-jerker song for the movie Neelakamal (Babul ki duyaanyen leti jaa) came on the scene, the standard doli number for Indian weddings was from the 1950 movie Babul starring Dilip Kumar and Madhubala. Shakeel penned the lyrics, Naushad composed the music and Mohammad Rafi, Talat Mehmood and Shamshad Begum sang it together with chorus.
Enjoy: Chhod babul ka ghar…
Part I
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : yaad mayake kii tan se bhulaaye chalii
ko : haa.N bhulaaye chalii
sha : priit saajan kii man me.n basaaye chalii
ko : haa.N basaaye chalii
sha : yaad kar ke ye ghar, ro_ii.n aa.Nkhe.n magar
muskuraanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : ( chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa ) -2
% Part II
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : sa.ng sakhiyo.n ke bachapan bitaatii thii mai.n
ko : haa.N bitaatii thii mai.n
sha : byaah gu.Diyo.n kaa ha.Ns-ha.Ns rachaatii thii mai.n
ko : haa.N rachaatii thii mai.n
sha : sab se mu.Nh mo.D kar, kyaa bataa_uu.N kidhar
dil lagaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
% Part III
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
ho
aaj jaanaa pa.Daa
pahan ulafat kaa gahanaa dulhan mai.n banii
Dolaa aayaa piyaa kaa sakhii mai.n chalii
ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : aa
ra : aa_o saajan kha.De hai.n duwaar
lene ko aaye kahaar
Dolii me.n ho jaa sawaar
sha : ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
I can go on and on and it has been only two weeks and I have only given about 100 top songs and ghazals of the greatest Lyricist in Hindi movies: Shakeel Badayuni. I have given you many songs from the movie Bees Saal Baad, eg: Beqraar karke, kahin deep jale kahin dil, sapane suhaane ladakpan ke and ai muhabbat meri duniya mein tera kaam na tha.Why am I partial towards these songs? These have Hemant Kumar’s music and some of them his singing.
Let me end my tribute to Shakeel Badayuni with this one.
Enjoy: Zara nazaron se keh do ji….
zaraa nazaro.n se kah do jii nishaanaa chuuk na jaae
zaraa nazaro.n se kah do jii
mazaa jab hai tumhaarii har adaa qaatil hii kahalaae
zaraa nazaro.n se…
qaatil tumhe pukaaruu.N ke jaan-e-vafaa kahuu.N
hairat me.n pa.D gayaa huu.N ke mai.n tum ko kyaa kahuu.N
zamaanaa hai tumhaaraa
zamaanaa hai tumhaaraa chaahe jisakii zi.ndagii le lo
agar meraa kahaa maano to aise khel na khelo
tumhaarii is sharaarat se na jaane kis kii maut aae
zaraa nazaro.n se…
haay, kitanii maasuum lag rahii ho tum
tumako zaalim kahe vo jhuuThaa hai
ye bholaapan tumhaaraa
(ye bholaapan tumhaaraa ye sharaarat aur ye shokhii
zaruurat kyaa tumhe.n talavaar kii tiiro.n kii kha.njar kii ) – (2)
nazar bhar ke jise tum dekh lo vo khud hii mar jaae
zaraa nazaro.n se…
ham pe kyo.n is qadar biga.Datii ho
chhe.Dane vaale tumako aur bhii hai.n
bahaaro.n par karo gussaa ulajhatii hai.n jo aa.Nkho.n se
havaao.n par karo gussaa jo Takaraatii hai.n zulfo.n se
kahii.n aisaa na ho koii tumhaaraa dil bhii le jaae
zaraa nazaro.n se…
https://www.youtube.com/watch?v=eqts8urMO-g
Ladies and gentlemen,
It has been veritable pleasure putting up 100 Best Ghazals and Songs of the greatest Lyricist and Poet in the Hindi movies in three parts. His poetry and songs were all about love – particularly irony in love, feelings, emotions and a host of other things. As he himself said:
[lineate][/lineate]Main Shakeel Dil Ka Hoon Tarjuman[lineate][/lineate]Keh Mohabbaton Ka Hoon Raazdaan[lineate][/lineate]Mujhe Fakhr Hai Meri Shayari[lineate][/lineate]Meri Zindagi Se Juda najin[lineate][/lineate]
My Page on Facebook called Lyrical has always given you the best of songs from the best of Lyricists; it is because the Lyrics are the origin of the song, the thought and emotion behind it. In all the songs that I have on my cell-phone, whenever I want to hear them during my walks, the first few numbers are always from Raja Mehdi Ali Khan. Can anyone guess why?
It is rather simple: in any album or playlist, the songs sort out alphabetically; and since Raja Mehdi Ali Khan is credited with the word ‘Aap‘ in songs, these are usually the first few songs that I hear. By far the first always is: Aapki nazaron ne samajha pyaar ke kaabil mujhe from the 1962 movie Anpadh starring Dharmendra and Mala Sinha.
Having been born in 1928 in Jehlum in undivided India, when the partition of India took place, Raja Mehdi Ali Khan and wife Tahira refused to go to Pakistan despite communal riots. His patriotism came to fore in 1948 itself when he wrote the famous number: Watan ki raah mein watan ke naujwaan shahid hon for the movie Shaheed starring Dilip Kumar.
Raja Mehdi Ali Khan paired with the Music Director Madan Mohan to produce some of Lata Mangeshkar‘s best numbers. She has acknowledged so.
Lets turn to the 1962 movie Anpadh. Here are five songs sung by Lata Mangeshkar with lyrics penned by Raja Mehdi Ali Khan and music composed by Madan Mohan. Four out of these are amongst the best songs of Lata:
1. Aapakii nazaro.n ne samajhaa.
2. Hai isii me.n pyaar kii aabaru.
3. Jiyaa le gayo jii moraa saa.nvariyaa.
4. Ra.ng\-bira.ngii raakhii leke aa_ii bahana.
5. Vo dekho jalaa ghar kisii kaa.
Please enjoy: Aapki nazaron ne samajha pyaar ke kaabil mujhe…
aap kii nazaro.n ne samajhaa, pyaar ke kaabil mujhe
dil kii ai dha.Dakan Thahar jaa, mil ga_ii ma.nzil mujhe
aap kii nazaro.n ne samajhaa
jii hame.n ma.nzuur hai, aapakaa ye faisalaa – 2
kah rahii hai har nazar, ba.ndaa-paravar shukariyaa
do jahaa.N kii aaj khushiyaa.N ho ga_ii.n haasil mujhe
aap kii nazaro.n ne samajhaa …
aap kii ma.nzil huu.N mai.n merii ma.nzil aap hai.n – 2
kyuu.N mai.n tuufaan se Daruu.N mere saahil aap hai.n
koii tuufaano.n se kah de, mil gayaa saahil mujhe
aap kii nazaro.n ne samajhaa …
pa.D ga_ii dil par merii, aap kii parchhaa_iyaa.N – 2
har taraf bajane lagii.n saika.Do.n shahanaa_iyaa.N
ha.Nsake apanii zi.ndagii me.n, kar liyaa shaamil mujhe
aap kii nazaro.n ne samajhaa …
Here is one more song from the 1962 movie Anpadh. We have many initiatives for the education of the girl-child; Anpadh was amongst the first ones. Here is the story: Chaudhary Shambhunath (Balraj Sahni) considers the accumulation of wealth to be more important than education. He condones his sister’s (Mala Sinha) inattention at school and consequently she grows up anpadh (illiterate). When she finds herself married to a bibliophile her problems really begin. Unable to read the poetry her husband loves and being a rotten cook too, she becomes despised by her husband and her in-laws. Circumstances conspire to leave her homeless, widowed and pregnant. Narrowly escaping from the attentions of a panderer she falls amongst friends and, with the birth of her daughter, she starts on the long road to redemption. An entertaining plea for education in general and for the education of girls in particular.
Please enjoy: Hai isi mein pyaar ki aabru wo zafa karen main wafa karun…
hai isii me.n pyaar kii aabaruu
vo zafaa kare.n mai.n vafaa karuu.N
jo vafaa bhii kaam na aa sake
to vohii kahe.n ke mai.n kyaa karuu.N
hai isii …
(mujhe Gam bhii unakaa aziiz hai
ke unhii.n kii dii huii chiiz hai ) – (2)
ke unhii.n kii dii huii chiiz hai
yahii Gam hai ab merii zi.ndagii
ise kaise dil se judaa karuu.N
hai isii …
(jo na ban sake mai.n vo baat huu.N
jo na khatm ho mai.n vo raat huu.N ) – (2)
jo na khatm ho mai.n vo raat huu.N
ye likhaa hai mere nasiib me.n
yuu.Nhii shammaa banake jalaa karuu.N
hai isii …
(na kisii ke dil kii huu.N aarazuu
na kisii kii nazar kii huu.N justajuu ) – (2)
na kisii kii nazar kii huu.N justajuu
mai.n vo phuul huu.N jo udaas ho
na bahaar aae to kyaa karuu.N
hai isii …
Raja Mehdi Ali Khan could have been the greatest lyricist of all times; except that he preferred to be Raja (King) of his own world. The fact is that in order to win popularity, he never brought down the quality of his lyrics even though he experimented with many music directors such as the popular ones like Laxmikant Pyarelal. Songs, to me, mean emotions, thoughts, moods, hopes, aches, frustrations and triumphs….and all these are brought out by the lyricist. Others such as Music Directors, Actors and Singers only add to these or subtract from these; but, if there is no lyricist, there is no song!
I have given you two really nice numbers from the 1962 movie Anpadh. Here are the next two beautiful numbers before we take on others.
The first one is: Jiya le gayo ji mera saanvariya….
jiyaa le gayo jii moraa saa.nvariyaa
laagii man me.n lagan huii baavariyaa
pa ni ni ni re re re ma ma ma dha pa ma pa re
ni re re re ma ma ma dha dha dha saa ni dha ni pa
o papiihe, o papiihe
tuune papiihe nahii.n dekhe more sai.nyaa
dekhe to le-legaa unakii bala_iyaa.n
jaa re dIvaane, maar naa taane,
piyaa kii sun jaake baa.nsuriyaa
saamane aae to mai.n aa.Nkho.n me.n chhupaa luu.N
thaamake bai.nyaa unhe.n dilame.n biThaa luu.N
shaam savere, saath ho mere
gorii ke sa.ng jaise gaagariyaa
aaj kisii ne mujhe apanaa banaayaa
saath rahuu.ngii jaise piyaa kii mai.n chaayaa
ThaNDii havaao.n tum bhii to gaao
priit kii dekho baaje jhaa.Njhariyaa
This one takes you to the depths of depression: that’s a good lyricist for you – one moment he takes you the crest of the waves and next he makes you experience the trough.
Whilst listening to this number, give a thought to how well Lata Mangeshar used to sing in her youth. Madan Mohan’s music enhances her lugubrious mood. It is really a super song: well crafted in every facet.
Please enjoy: Woh dekho jala ghar kisi ka…
vo dekho jalaa ghar kisii kaa ye TuuTe hai.n kisake sitaare
vo qismat ha.Nsii aur aise ha.Nsii ke rone lage Gam ke maare
vo dekho jalaa …
gayaa jaise jho.nkaa havaa kaa hamaarii Kushii kaa zamaanaa
di_e hamako qismat ne aa.Nsuu jab aayaa hame.n muskaraanaa
binaa hamasafar hai suunii Dagar kidhar jaa_e.N ham besahaare
vo dekho jalaa …
hai.n raahe.n kaThin duur ma.nzil ye chhaayaa hai kaisaa a.Ndheraa
ki ab chaa.Nd-suuraj bhii milakar nahii.n kar sakegaa saveraa
ghaTaa chhaa_egii bahaar aa_egii naa aa_e.Nge vo din hamaare
vo dekho jalaa …
idhar ro rahii hai.n aa.Nkhe.n udhar aasamaa.N ro rahaa hai
mujhe kar ke barabaad zaalim pashemaan ab ho rahaa hai
ye barakhaa kabhii to ruk jaa_egii ruke.nge naa aa.Nsuu hamaare
vo dekho jalaa …
Ladies and gentlemen, I am convinced that with the introduction to Raja Mahdi Ali Khan that I have given and with the first four songs from his 1962 movie Anpadh, you are convinced that his poetry and lyrics rank amongst the best of Urdu songs (erroneously called Old Hindi songs).
Let me now go back to his first movie Do Bhai of 1947 starring Ulhas, Rajan and Kamini Kaushal. Geeta Dutt has sung this song on Sachin Dev Burman‘s music.
Geeta Dutt was a most accomplished singer who didn’t get the kind of recognition she should have; her genres included naughty bar numbers, bhajans, serious and melancholic songs and of course some effervescent numbers as well.
This one is on the melancholic side. Full marks to her and full marks to Raja for having conceived it.
Enjoy one of the most famous songs of the early days of Hindi cinema: Mera sundar sapana beet gaya…
Mera sunder sapana beet gaya,
Main prem mein sab kuchh haar gayi,
Bedard zamaana jeet gaya.
o cho.D ke jaane vaale aa
dil to.D ke jaane vaale aa
aa.Nkhe.n asuvan me.n Duub gayii.n
ha.Nsane kaa zamaanaa biit gayaa
meraa sundar sapanaa biit gayaa
har raat merii divaalii thii
mai.n piyaa kii hone vaalii thii
is jiivan ko ab aag lage, aag lage
is jiivan ko ab aag lage
mujhe cho.Dake jiivan miit gayaa
meraa sundar sapanaa biit gayaa
Let me know if it is the same with you but for me Songs are like a chain of memories….one invariably leads to others. And, when it comes to Raja Mehdi Ali Khan, there is no stopping the flood.
We just talked about Do Bhai and Geeta Dutt and the next thing I know is Yaad karoge song from her. It should really be the signature number of Geeta Dutt; she sang it so well.
Enjoy: Yaad karoge, yaad karoge, ik din hamako yaad karoge…
yaad karoge …
yaad karoge, yaad karoge, ik din ham ko yaad karoge
ta.Dapoge, fariyaad karoge, ik din ham ko yaad karoge
aaye.ngii jab saawan kii raate.n
jaag uThe.ngii bhuulii baate.n
dard se dil aabaad karoge,
ik din ham ko yaad karoge
jise basaayaa thaa kabhii man me.n
Dhuu.NDhoge, Dhuu.NDhoge use baaG me.n ban me.n,
Dhuu.NDhoge …
dil kaa sukuu.N barabaad karoge,
ik din ham ko yaad karoge
dil me.n basaa ke chhoD diyaa hai
apanaa hii ghar barabaad kiyaa hai
kaise use aabaad karoge,
ik din ham ko yaad karoge
kho kar ham ko paa na sakoge
ho.nge jahaa.N ham aa na sakoge
aa na sakoge, paa na sakoge,
ta.Dapoge, ta.Dapoge fariyaad karoge
yaad karoge, yaad karoge …
For the 1950 movie Madhosh, starring Meena Kumari and Manhar Desai, he gave his best number ever. Imagine him writing this at the age of 22! Also, since I gave you those two deep numbers of Do Bhai numbers, you have to imagine Raja writing these at the age of 19!
This one has been sung by Talat Mahmood on the music of Madan Mohan and happens to be one of the best of Talat Mahmood too.
Please enjoy: Meri yaad mein tum na aansu bahana Na ji ko jalaana mujhe bhool jaana…
merii yaad me.n tum na aa.Nsuu bahaanaa
na jii ko jalaanaa, mujhe bhuul jaanaa
samajhanaa ke thaa ek sapanaa suhaanaa
vo guzaraa zamaanaa, mujhe bhuul jaanaa
merii yaad me.n…
judaa merii ma.Nzil, judaa terii raahe.n -2
mile.ngii na ab terii-merii nigaahe.n
mujhe terii duniyaa se hai duur jaanaa
merii yaad me.n…
ye ro-ro ke kahtaa hai TuuTaa huaa dil -2
nahii.n huu.N mai.n terii mohabbat ke kaabil
meraa naam tak apane lab pe na laanaa
na jii ko jalaanaa, mujhe bhuul jaanaa
merii yaad me.n…
I am sure all of you have heard of the Producer, Director and Screen-writer Raj Khosla or Rajveer Singh Khosla, who like the poet and lyricist Sahir, hailed from Ludhiana in Punjab. His films often had focus on women. Initially, he started being an assistant to Guru Dutt but later emerged as an independent Producer and Director of such movies as Ek Musafir Ek Haseena, C.I.D., Woha Kaun Thi and Mera Saya and later Main Tulsi Tere Aangan Ki.
Raja Mehdi Ali Khan was his preferred lyricist. In the 1962 Raj Khosla movie Ek Musafir Ek Haseena, Raja Mehdi Ali Khan wrote two songs (the others were by SH Behari and Shewan Rizwi). The first song has the word ‘Aap’ which Raja introduced in songs and others followed. Music is by OP Nayyar. This duet is between Mohammad Rafi and Asha Bhosle since none of OP Nayyar’s songs were ever sung by Lata Mangeshkar. He didn’t allow her.
Enjoy: Aap younhi agar hamse milate rahe dekhiye ek din pyaar ho jaayega….
ra: aap yuu.N hii agar hamase milate rahe
dekhi_e ek din pyaar ho jaaegaa
aa: aisii baate.n na kar ai hasii.n jaaduugar
meraa dil terii nazaro.n me.n kho jaaegaa
ra: piichhe-piichhe mere aap aatii.n hai.n kyo.n -2
merii raaho.n me.n aa.Nkhe.n bichhaatii hai.n kyo.n
aap aatii hai.n kyo.n …
aa: kyaa kahuu.N aapase ye bhii ek raaz hai
ek din isakaa izahaar ho jaaegaa
ra: kaisii jaaduugarii kii are jaaduugar -2
tere chahare se haTatii nahii.n ye nazar
hai ye nazar …
aa: aisii nazaro.n se dekhaa agar aapane
sharm se ra.Ng gulanaar ho jaaegaa
ra: mai.n mohabbat kii raaho.n se a.njaan huu.N -2
kyaa karuu.N kyaa kyaa karuu.N pareshaan huu.N
mai.n pareshaan huu.N …
aa: aapakii ye pareshaaniyaa.N dekhakar
meraa dil bhii pareshaan ho jaaegaa
We are talking about the 1962 movie Ek Musafir Ek Haseena directed by Raj Khosla. The film was produced by Sashadhar Mukherjee; who, made his son Joy Mukherjee the hero in the movie, opposite Sadhana. This lovely duet written by Raja Mehdi Ali Khan can be played over and over again. It is between Mohammad Rafi and Asha Bhosle singing for Joy Mukherjee and Sadhana on the music of OP Nayyar.
Please enjoy: Main pyaar ka rahi hoon…
ra: mai.n pyaar kaa raahii huu.N
terii zulf ke saae me.n
kuchh der Thahar jaauu.N
aa: tum ek musaafir ho
kab chho.Dake chal doge
ye sochake ghabaraauu.N
ra: mai.n pyaar kaa raahii huu.N
ra: tere bin jii lage na akele
aa: ho sake to mujhe saath le le
ra: naazanii.n tuu nahii.n jaa sakegii
chho.Dakar zindagii ke jhamele
naazanii.n
aa: jab bhii chhaae ghaTaa
yaad karanaa zaraa
saath ra.ngo.n kii umr kahaanii
ra: mai.n pyaar kaa raahii huu.N
ra: pyaar kii bijaliyaa.N muskuraae.n
aa: dekhiye aap par gir na jaae.n
ra: dil kahe dekhataa hii rahuu.N mai.n
saamane baiThakar ye adaae.n
dil kahe
aa: na mai.n huu.N naazanii.n
na mai.n huu.N mahajabii.n
aap hii kii nazar hai diivaanii
ra: mai.n pyaar kaa raahii huu.N
The 1967 movie ‘Dulhan Ek Raat Ki’ starred Dharmendra, Nutan and Rehman; the same trio that did ‘Dil Ne Phir Yaad Kiya’ one year earlier. But, for the latter, Sonik Omi composed the music and GL Rawal wrote the lyrics. For Dulahan Ek Raat Ki, Raja Mehdi Ali Khan wrote the lyrics and music was by Madan Mohan.
The movie has one of the best numbers with the trio of Raja Mehdi Ali Khan, Madan Mohan and Lata Mangeshkar.
Please enjoy: Sapano mein agar mere tum aao to so jaayun…
sapano.n me.n agar mere
tum aa_o to so jaauu.N -2
sapano.n me.n agar mere
baaho.n ki agar maalaa
pehanaa_o to so jaauu.N -2
sapano.n me.n agar mere
sapano.n me.n kabhii saajan
baiTho mere paas aake
jab siine pe sar rakh duu.n
mai.n pyaar me.n sharamaate
ek giit muhabbat kaa
tum gaa_o to so jaauu.N -2
sapano.n me.n agar mere
biitii huii wo yaade.n
ha.Nsatii huii aatii hai.n
leharo.n kii tarah dil me.n
aatii kabhii jaatii hai.n
yaado.n kii tarah tum bhii
aa jaa_o to so jaauu.N -2
sapano.n me.n agar mere
tum aa_o to so jaauu.N -2
sapano.n me.n agar mere
The second song from the 1967 movie ‘Dulhan Ek Raat Ki’ is one of the best of Mohammad Rafi. Madan Mohan’s music is superb.
Enjoy: Ik haseen shaam ko dil mera kho gaya…
ik hasiin shaam ko dil meraa kho gayaa
pahale apanaa huaa karataa thaa
ab kisiikaa ho gayaa
muddato.n se aarazuu thii
mere dil me koii aaye
suunii suunii zindagii me.n
ek shammaa jhilamilaaye
vo jo aaye to roshan zamaanaa ho gayaa
ik hasiin …
mere dil ke kaaravaa.n ko
le chalaa hai aaj koii
shabanamii sii jisakii aa.Nkhe.n
tho.Dii jaagii tho.Dii soyii
unako dekhaa to mausam suhaanaa ho gayaa
ik hasiin …
The 1964 movie Aap Ki Parchhayiyan starred Dharmendra opposite beautiful eyed Shashikala. Raja Mehdi Ali Khan wrote his best song ever for this movie that was sung with matching passion by the God of Songs: Mohammad Rafi. When it came to gentle songs, there was nobody to beat the music of Madan Mohan.
Please enjoy one of the best of Rafi’s song: main nigaahen tere chehre se hatayun kaise..
mai.n nigaahe.n tere chehare se haTaa_uu.N kaise
lut ga_e hosh to phir hosh me.n aa_uu.N kaise
chhaa rahii thii terii mahakii hu_ii zulfo.n kii ghaTaa
terii aa.Nkho.n ne pilaa dii to mai.n piitaa hii gayaa
taubaa taubaa taubaa taubaa taubaa taubaa
vo nashaa hai ki bataa_uu.N kaise
shoK nazare.n ye sharaarat se na baaz aa_e.ngii
kabhii ruuThe.ngii kabhii mil ke palaT jaa_e.ngii
tujh se nibh jaa_egii mai.n in se nibhaa_uu.N kaise
As I mentioned to you earlier, Raja Mehdi Ali Khan paired with Madan Mohan (just like Rajinder Krishan and Madan Mohan) to make some of the best songs sung by Lata Mangeshkar during her young days when her voice was really heavenly. This one is particularly superb.
Please enjoy: Agar mujhase mohabbat hai mujhe sab apne gam de do..
Please notice the liberal use of Urdu in songs of that era.
agar mujh se muhabbat hai mujhe sab apane Gam de do
in aa.Nkho.n kaa har ik aa.Nsuu mujhe merii qasam de do
agar mujh se …
tumhaare Gam ko apanaa Gam banaa luu.N to qaraar aae
tumhaaraa dard siine me.n chhupaa luu.N to qaraar aae
vo har shay jo tumhe.n dukh de mujhe mere sanam de do
agar mujh se …
shariik-e-zi.ndagii ko kyuu.N shariik-e-Gam nahii.n karate
dukho.n ko baa.NT kar kyuu.N in dukho.n ko kam nahii.n karate
ta.Dap is dil kii tho.Dii sii mujhemere sanam de do
agar mujh se …
We are paying tribute to a great lyricist who paired with many music directors to produce some very melodious and poignant songs in Hindi movies. His combination with Music Director Madan Puri resulted in some …of the most memorable songs.
Here is one. The movie is the 1965 movie Neela Akash (Blue Sky) starring Dharmendra, Mala Sinha, Shashikala, Mehmood and Madan Puri. The music for the song is composed by Madan Mohan. It is one of the best songs enacted by Dharmendra and the lyrics are just wonderful. Mohammad Rafi sang it.
Enjoy: Aakhiri geet mohabbat ka suna loon to chalun, Main chala jayunga, do ashq baha loon to chalun.
aakhirii giit muhabbat kaa sunaa luu.n to chaluu.n
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
aaj mai.n Gair huu.n kuuchh din hu_e mai.n Gair na thaa
merii chaahat merii ulfat se tujhe bair na thaa
mai.n huu.n ab Gair yakii.n dil ko dilaa luu.n to chaluu.n
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
aaj wo din hai ke tuune mujhe Thukaraayaa hai
apanaa anjaam in aa.Nkhon ko nazar aayaa hai
dahashat-e-dil mai.n zaraa hosh me.n aa luu.N to chaluu.N
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
terii duniyaa se mai.n ek roz chalaa jaau.ngaa
aur gaye waqt ki maani.nd nahii.n aauu.ngaa
phiir na aane kii qasam aaj mai.n khaa luu.n to chaluu.n
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
There is one more song of Neela Akash, the 1965 movie starring Dharmendra and Mala Sinha but, somehow, I am not much enamoured with it. It is, “Tere paas aake mera waqt nikal jaata hai”. The reason why I don’t like it is because whatever the situation in the movie, the song tends to use a woman as a ‘time-pass’. However, there is this duet in the movie that starts with the word ‘Aap’ that Raja Mehdi Ali Khan intoduced in Hindi songs.
The duet is between Mohammad Rafi and Asha Bhosle on Madan Mohan’s music.
Please enjoy: Aapko pyaar chhupaane ki buri aadat hai…
aap ko pyaar chhupaane kii burii aadat hai
aap ko pyaar jataane kii burii aadat hai
aap ne siikhaa hai kyaa dil ke lagaane ke sivaa
aap ko aataa hai kyaa naaz dikhaane ke sivaa
aur hame.n naaz uThaane kii burii aadat hai …
kis liye aap ne sharamaa ke jhukaa lii aa.Nkhe.n
is liye aap se ghabaraa ke bachaa lii aa.Nkhe.n
aap ko tiir chalaane kii burii aadat hai …
ho chukii hai der bas ab jaaiyegaa jaaiyegaa
bandaa paravar zaraa tho.Daa saa kariib aa_iyegaa
aap ko paas na aane kii burii aadat hai …
I have given you songs from Raj Khosla’s 1962 movie Ek Musafir Ek Haseena. Two years later he made a most successful suspense thriller Woh Kaun Thi starring Sadhana, Manoj Kumar and Prem Chopra. Once again Madan Mohan composed the music. The movie had five songs, all of them became super hit. Here is the list:
1. Chhod kar tere pyaar kaa daaman.
2. Jo hamane daastaan apani sunaayi aap kyun roye.
3. Lag jaa gale ki phir ye haseen raat ho na ho.
4. Nainaa barasen rimajhim rimajhim.
5. Shokh nazar ki bijaliyaan dil pe mere giraaye jaa.
The song ‘Lag jaa gale se phir’ is amongst the top ten songs of Lata Mangeshkar and has been acknowledged so by herself. It has the perfect combination of enigmatic lyrics, music that tugs at you, and singing that is so captivating.
Please enjoy: Lag jaa gale se phir ye haseen raat ho na ho…
lag jaa gale ki phir ye hasii.n raat ho na ho
shaayad phir is janam me.n mulaaqaat ho na ho
lag jaa gale se …
hamako milii hai.n aaj, ye gha.Diyaa.N nasiib se
jii bhar ke dekh liijiye hamako qariib se
phir aapake nasiib me.n ye baat ho na ho
phir is janam me.n mulaaqaat ho na ho
lag jaa gale ki phir ye hasii.n raat ho na ho
paas aaiye ki ham nahii.n aae.nge baar-baar
baahe.n gale me.n Daal ke ham ro le.n zaar-zaar
aa.Nkho.n se phir ye pyaar ki barasaat ho na ho
shaayad phir is janam me.n mulaaqaat ho na ho
lag jaa gale ki phir ye hassii.n raat ho na ho
shaayad phir is janam me.n mulaaqaat ho na ho
lag jaa gale ki phir ye hassii.n raat ho na ho
Lets take one more song from the 1964 movie Woh Kaun Thi starring Sadhana, Manoj Kumar and Prem Chopra before turning in for the night. This too has the same combination of Raja Mehdi Ali Khan, Madan Mohan and Lata Mangeshkar. It is very poignant number and like the number before this, tugs at your heart with great force.
Please enjoy: Jo hamane dastaan apani sunaayi aap kyun roye…
jo hamane daastaa.n apanii sunaaii, aap kyo.n roe
tabaahii to hamaare dil pe aaii, aap kyo.n roe
hamaaraa dard-e-Gam hai ye, ise kyo.n aap sahate hai.n
ye kyo.n aa.Nsuu hamaare, aapakii aa.Nkho.n se bahate hai.n
Gamo.n kii aag hamane khud lagaaii, aap kyo.n roe
bahut roe magar ab aapakii khaatir na roe.nge
na apanaa chain khokar aapakaa ham chain khoe.nge
kayaamat aapake ashko.n ne Dhaaii, aap kyo.n roe
na ye aa.Nsuu ruke to dekhiye, ham bhii ro de.nge
ham apane aa.Nsuo.n me.n chaa.Nd taaro.n ko Dubo de.nge
fanaa ho jaaegii saarii khudaaii, aap kyo.n roe
Here is another soulful number from the same movie; this too a perfect blend of lyrics, music and singing.
(vo din merii nigaaho.n me.n
vo yaade.n merii aaho.n me.n) -2
ye dil ab tak bhaTakataa hai
terii ulfat kii raaho.n me.n
suunii-suunii raahe.n, sahamii-sahamii baahe.n
aa.Nkho.n me.n hai baraso.n kii pyaas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
(nazar tujh bin machalatii hai
mohabbat haat malatii hai) -2
chalaa aa mere paravaane
vafaa kii shamaa jalatii hai
o mere hamaraahii, phiratii huu.N ghabaraaii
jahaa.N bhi hai, aa jaa mere paas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
adhuuraa huu.N mai.n afasaanaa
jo yaad aauu.N chale aanaa
meraa jo haal hai tujh bin
vo aakar dekhate jaanaa
bhiigii-bhiigii palake.n, chham-chham aa.Nsuu chhalake.n
khoii-khoii aa.Nkhe.n hai.n udaas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
(ye laakho.n Gam ye tanahaaii
mohabbat kii ye rusavaaii) -2
kaTii aisii ka_ii raate.n
na tum aae na maut aaii
ye bi.ndiyaa kaa taaraa, jaise ho a.ngaaraa
maha.ndii mere haatho.n kii udaas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, rimajhim rimajhim
piyaa tore aavan kii aas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
https://www.youtube.com/watch?v=RURaAWQ1hF0
It wasn’t Lata Mangeshkar all the way in the 1964 movie Woh Kaun Thi; Asha Bhosle too sang a beautiful number and she sang it with matching verve.
Please enjoy: Shokh nazar ki bijliyan dil pe mere giraaye jaa…
shoK nazar kii bijaliyaa.N dil pe mere giraa_e jaa
meraa na kuchh Kyaal kar tuu yuu.N hii muskaraa_e jaa
shoK nazar kii …
jaag uThii hai aarazuu jaise chiraaG jal pa.De
ab to vafaa kii raah pe ham tere saath chal pa.De
chaahe ha.Nsaa_e jaa hame.n chaahe hame.n rulaa_e jaa
shoK nazar kii …
chain kahii.n kisii gha.Dii aa_e ne tere bin mujhe
kaash mai.n is jahaan se chhiin luu.N ek din tujhe
shoK nazar kii …
Raj Khosla made Ek Musafir Ek Haseena and Woh Kaun Thi with Sadhana in 1962 and 1964 respectively. So captivated was he by her (his movies had a decidedly female focus) that he made, in 1966, another movie with her: ‘Mera Saya’, with the male lead being Sunil Dutt.
Raj Khosla continued with Lyricist Raja Mehdi Al Khan and Music Director Madan Mohan for the songs. Mera Saya, therefore, had some really beautiful songs by this pair:
1. “Tu Jahaan Jahaan Chalegaa Mera Saaya Saath Hoga” Lata Mangeshkar
2. “Jhumka Gira Re, Bareli Ke Bazaar Mein” Asha Bhosle
3. “Nainon Mein Badra Chhaye” Lata Mangeshkar
4. “Aap Ke Pehloo Mein Aakar Roh Diye” Mohammad Rafi
5. “Nainonwali Ne Haye Mera Dil Loota” Lata Mangeshkar
Lets start with the title song.
Please enjoy: Tu jahan jahan chalega mera saya saath hoga…
kabhii mujhako yaad karake, jo bahe.nge tere aa.Nsuu
to vahii.n pe rok le.nge, unhe.n aake mere aa.Nsuu
tuu jidhar kaa rukh karegaa, meraa saayaa, saath hogaa …
tuu agar udaas hogaa, to udaas huu.Ngii mai.n bhii
nazar aauu.N yaa naa aauu.N, tere paas huu.Ngii mai.n bhii
tuu kahii.n bhii jaa rahegaa, meraa saayaa, saath hogaa …
mai.n agar bichha.D bhii jaauu.N, kabhii meraa Gam na karanaa
meraa pyaar yaad karake, kabhii aa.Nkh nam na karanaa
tuu jo mu.Dake dekh legaa, meraa saayaa, saath hogaa …
meraa Gam rahaa hai shaamil, tere dukh me.n, tere Gam me.n
mere pyaar ne diyaa hai, teraa saath har janam me.n
tuu koI janam bhii legaa, meraa saayaa saath hogaa …
By now you would have already perceived that half of the Top Ten Songs of Lata Mangeshkar have been penned by Raja Mehdi Ali Khan. He had penned his ‘Aap ki nazaron ne smajha’ for the 1962 movie Anpadh at the age of 24. Mera Saya too had a song amongst her top ten.
These are outstanding lyrics. In the movie, it is picturised without any clouds (badara) and lightening (bijli) so as to bring home the point that the mood is not outside but within her!
prem diivaanii huu.N me.n
sapano.n kii raanii huu.N mai.n
pichhale janam se terii
prem kahaanii huu.N mai.n
aa is janam me.n bhii tuu
apanaa banaa le
naino.n me.n…
Just like in 1964 Woh Kaun Thi, in the 1966 Mera Saya too, Asha Bhosle too sang a super-hit number. In the latter, it was and it still is very popular.
Please enjoy: Jhumaka gira re Bareilley ke bazaar mein…
jhumakaa giraa re
haay
jhumakaa giraa re barelii ke bazaar me.n
jhumakaa giraa jhumakaa giraa jhumakaa giraa
haay haay haay jhumakaa giraa re …
ghar kii chhat pe mai.n kha.Dii, galii me.n dilabar jaanii -2
ha.Nsake bole niiche aa, ab niiche aa diiwaanii
yaa a.NguuThii de apanii yaa chhallaa de nishaanii
ghar kii chhat pe kha.Dii-kha.Dii mai.n huii sharam se paanii
haay huii sharam se paanii
##Male voice:## phir kyaa huaa?
daiyaa! phir jhumakaa giraa re ham dono.n ke is pyaar me.n
jhumakaa giraa re …
bagiyaa me.n balamaa ne merii laT ulajhii sulajhaaii -2
thaamake aa.Nchal bole, gorii tuu mere man bhaaii
aa.Nkh jhukaake kuchh naa bolii
kuchh naa bolii haay, haay, haay
aa.Nkh jhukaake kuchh naa bolii, dhiire se musakaaii
sai.nyaa.N ne jab chhe.Daa mujhako, ho ga_ii haathaapaayii
haay ho ga_ii haathaapaayii
##Male voice:## are, phir kyaa huaa?
phir jhumakaa giraa re, mai.n kyaa boluu.N bekaar me.n
jhumakaa giraa re …
This is a superb Mohammad Rafi number from the same movie Mera Saya with lyrics by Raja Mehdi Ali Khan and music by Madan Mohan. Rafi sang for Sunil Dutt.
Please enjoy: Aapke pehlu mein aakar ro diye…
aapake pahaluu me.n aakar ro diye – 2
daastaan-e-Gam sunaakar ro diye
aapake pahaluu me.n aakar ro diye
zindagii ne kar diyaa jab bhii udaas
aa gaye ghabaraa ke ham ma.nzil ke paas
sar jhukaayaa, sar jhukaakar ro diye
aapake pahaluu me.n aakar ro diye
shaam jab aa.Nsuu bahaatii aa ga_ii – 2
har taraf Gam kii udaasii chhaa ga_ii
diip yaado.n ke jalaakar ro diye
aapake pahaluu me.n aakar ro diye
Gam judaaii kaa sahaa jaataa nahii.n
aapake bin ab rahaa jaataa nahii.n
pyaar me.n kyaa-kyaa ga.Nvaakar ro diye
daastaan-e-Gam sunaakar ro diye
aapake pahaluu me.n aakar ro diye
Raja Mehdi Ali Khan was really like the proverbial Lily of a Day in May; not known for penning volumes. However, whatever he wrote was always straight from his heart and, went straight to the hearts of his fans. I am one of them.
Part II of A Fifteen Days Tribute Leading Up To His Death Anniversary, 20 Apr 13
As I mentioned in the post ‘Shakeel Badayuni – The King Amongst Lyricists And Poets – Part I’, this tribute was done on both: a music group called ‘Dil Ki Nazar Se’ and on my page ‘Lyrical’ on Facebook. This tribute is not about his history or past, for example, being from the town Badayun in Uttar Pradesh, having been born on 3rd Aug 1916 and having completed his journey on earth on 20th April 1970. This post is about his poems, ghazals and songs that are erroneously referred to as Old Hindi Songs (probably because these were sung in Old Hindi Movies) but are actually Old Urdu Songs (Read ‘Urdu – A Language of the Heart’)
I thank everyone who have read the Part I. I was pleasantly surprised to see overwhelming response, which only goes to prove that I share my adoration of Shakeel Badayuni with many others.
Day – 3
As usual lets start with a ghazal or nazm. This is one of those that when you reach the last couplet, you are fully soaked…
Enjoy: Once again it is King of Ghazals Talat Mehmood singing a ghazal by the Emperor of Ghazals and Songs: Merii zindagii hai zaalim, tere Gam se aashkaaraa….
merii zi.ndagii hai zaalim tere Gam se aashakaaraa
teraa Gam hai dar haqiiqat mujhe zi.ndagii se pyaaraa
tuu agar buraa na maane to jahaan-e-ra.ng-o-buu me.n
mai.n sukuun-e-dil kii Kaatir ko_ii Dhuu.NDh luu.N sahaaraa
mai.n bataa_uu.N farq naaseh jo hai mujhame.n aur tujhame.n
merii zi.ndagii talaatum terii zi.ndagii kinaaraa
ko_ii ai ‘shakiil’ puuchhe ye junuu.N nahii.n to kyaa hai
ki usiike ho gaye ham jo na ho sakaa hamaaraa
Tonight I am in a mood for the melancholic songs of Dil Diya Dard Liya. On the screen, such songs of intoxication were sung best by Dev Anand; if you recall his songs in Sharabi (Kabhi na kabhi, kahin na kahin, koi na koi to aayega; Saawan ke mahine mein; and Mujhe le chalo phir aaj us gali mein), Manzil (Yaad aa gayin vo nasheeli nigaahen) and Guide (Din dhal jaaye, raat naa jaaye) and Hum Dono (Kabhi khud pe kabhi halaat pe rona aaya) etc. However, Dilip Kumar was no less (remember: mujhe duniya waalo sharaabi na samajho) and especially since Shakeel wrote songs for him, how would he do it? See for yourself in his songs for the 1966 movie Dil Diya Dard Liya (What a barter!). The movie was based on Emile Bronte’s Wuthering Heights, that was amongst the first of the novels that I read. I am going to give you several songs from the movie, all sung by Mohammad Rafi and all with Naushad‘s music.
The first one is Guzren hain aaj ishq mein hum us maqaam se, Nafrat si ho gayi hai mohabbat ke naam se..
Enjoy: guzare hai.n aaj ishq me.n ham us maqaam se…
guzare hai.n aaj ishq me.n ham us maqaam se
nafarat sii ho ga_ii hai muhabbat ke naam se
hamako na ye gumaan thaa, o sa.ngadil sanam
raah-e-vafaa se tere bahak jaae.nge qadam
chhalakegaa zahar bhii terii aa.Nkho.n ke jaam se
o bevafaa teraa bhii yuu.N hii TuuT jaae dil
tuu bhii ta.Dap-ta.Dap ke pukaare haay dil
teraa bhii saamanaa ho kabhii, Gam kii shaam se
ham vo nahii.n jo pyaar me.n rokar guzaar de.n
parachhaaI.n bhii ho terii to Thokar se maar de.n
vaaqif hai.n ham bhii Kuub har ek i.ntaqaam se
When you have unrequited love, liquor and wine don’t help. They only help to enhance your sadness. Shakeel has given a similar thought to this song whose lyrics reverberate in your mind long after you finish listening to the song. I am giving you the lyrics here so that you can enjoy even when the song is being loaded.
Enjoy: Koi saagar dil ko behlaata nahin…
koii saagar dil ko bahalaataa nahii.n – 2
bekhudii me.n bhii qaraar aataa nahii.n, koI saagar …
kal to sab the kaaravaa.N ke saath saath – 2
aaj koI raah dikhalaataa nahii.n
koI saagar …
zi.ndagii ke aa_ine ko to.D do – 2
isame.n ab kuchh bhii nazar aataa nahii.n
koI saagar …
Lets also hear the title song about this barter between giving someone your heart and getting heartache in return. To understand this barter, one has to know the story. In short it is: A kind-hearted, widowed landlord, Thakur, lives a wealthy lifestyle with his son, Ramesh; daughter, Roopa; and an adopted child, Shankar. Ramesh hates Shankar and often abuses him.Years pass by. Thakur dies, and all three children have grown up. Ramesh (Pran) frequents a beautiful courtesan, drinks alcohol, and continues to abuse and mercilessly beat Shankar (Dilip Kumar), who bears this in silence, as he and Roopa (Waheeda Rehman) are in love with each other. When Ramesh finds out that Roopa wants to wed Shankar, he has him severely beaten and thrown off a cliff. Ramesh then arranges Roopa’s marriage to another wealthy man, Satish (Rehman), while he continues to romance Tarabai (Rani) and even signs over his entire estate and home to her.
A few years later, Shankar returns as the wealthy Raja of Belapur. He is fully prepared to compromise with Ramesh and propose to Roopa. He finds out that nothing has changed, however. Ramesh, though rendered penniless by Tara, still hates Shankar. Satish is engaged to Roopa and a marriage date has been fixed. Shankar’s love is now replaced by vengeance and hate, and all he can think of is destroying the lives of Ramesh, Roopa, Satish and his sister, Mala (Shyama), and he devises several plans to destroy his opponents’ lives. He abuses and insults Roopa, attempting to avenge himself upon her for her apparent unfaithfulness by romancing Mala, but love conquers all in the end.
Anyway, we are not at the end of the story but at the title song.
Enjoy: Dlruba maine tere pyaar mein kya kya na kiya, Dil diya dard liya….
dilarubaa maine tere pyaar me.n kyaa-kyaa naa kiyaa
dil diyaa dard liyaa -2
kabhii phuulo.n me.n guzaarii kabhii kaa.NTo.n pe jiyaa
dil diyaa dard liyaa -2
zindagii aaj bhii hai bekhudii aaj bhii hai
pyaar kahate hai.n jise vo Kushii aaj bhii hai
maine din-raat mohabbat kaa terii jaam piyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
kyaa kahuu.N tere li_e maine aa.Nsuu bhii pi_e
kabhii Kaamosh rahaa kabhii shikave bhii ki_e
kar liyaa chaaq garebaa.n kabhii daaman ko siyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
pyaar kii aan hai tuu dil kaa aramaan hai tuu
kaun duniyaa se Dare jab nigehabaan hai tuu
apanii kashtii ko sahaare pe tere chho.D diyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
One of my friends wants me to put up songs from Bees Saal Baad and here they are. The movie is extremely close to my heart because of several reasons:Shakeel Badayuni was given the Best Lyricist award for Kahin deep jale kahin dil.
Hemant Kumar produced the movie.
Hemant Kumar composed the music.
Hemant Kumar sang some of the songs.
It was based on Sherlock Holmes’ The Hound of Baskerville and as a boy these used to be my favourite stories.
Bees Saal Baad also belonged to Lata Mangeshkar and has some of her finest songs. Lets start with this song for which Shakeel received the Best Lyricist Award for 1962.Enjoy: Kahin deep jale kahin dil…a piano number
kahii.n diip jale kahii.n dil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
meraa giit tere dil kii pukaar hai
jahaa.N mai.n huu.N vahii.n teraa pyaar hai
meraa dil hai terii mahafil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
naa mai.n sapanaa huu.N naa ko_ii raaz huu.N
ek dard bharii aavaaz huu.N
piyaa der na kar, aa mil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
dushman hai.n hazaaro.n yahaa.N jaan ke
zaraa milanaa nazar pahachaan ke
ka_ii ruup me.n hai.n qaatil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
https://www.youtube.com/watch?v=NHNb5uypKvA
Even though Shakeel Badayuni got the Best Lyricst award for Kahin deep jale kahin dil, the song or ghazal close to my heart is this and Lata Mangeshkar has sung this rather well.
Enjoy: Ai mohabbat meri duniya mein tera kaam na tha…
ai mohabbat merii duniyaa me.n teraa kaam na thaa
tuu naa aa_ii thii to Gam kaa bhii kahii.n naam na thaa
ai mohabbat merii duniyaa …
jaane kyuu.N aaj hai shikavaa mujhe duniyaa bhar se
isase pahale to kisii par ko_ii ilzaam na thaa
ai mohabbat merii duniyaa …
merii qismat ki mujhe ashq hii piine ko mile
mere hisse me.n mohabbat kaa ko_ii jaam na thaa
ai mohabbat merii duniyaa …
dene vaale mujhe kyo.n tuune mohabbat de dii
kyaa mujhe ishq se pahale ko_ii aaraam na thaa
ai mohabbat merii duniyaa …
https://www.youtube.com/watch?v=jPf9T1O8aEI
To end tonight, I leave you with a promise for more Shakeel songs and ghazals tomorrow. To depict this theme is this lovable song from the 1968 movie Aadmi starring Waheeda Rehman and Dilip Kumar and Manoj Kumar. Music is by Naushad.
Enjoy: Lata Mangeshkar singing Kal ke sapne aaj bhi aana, Pritam ko bhi saath mein laana…
It was sung by the Queen of Melody, Lata Mangeshkar, on K Mahavir’s music.
kal ke sapane aaj bhii aanaa
priitam ko bhii saath me.n laanaa
kal ke sapane …
aaj bhii din hai madhur suhaanaa baaj rahii hai man kii baa.Nsuriyaa
naino.n ke taT pe prem ke path pe lauT ke ab to aajaa saa.Nvariyaa
mai.n bhii sunaa_uu.N dil kaa taraanaa -2
kal ke sapane …
jhuumate baadal gaate jharane aaj kisii ko Dhuu.NDh rahe hai.n
mai.n to ye jaanuu.N saare nazaare sajanaa tumako Dhuu.NDh rahe hai.n
aaj mujhe bhii daras dikhaanaa -2
kal ke sapane …
merii nagariyaa aa more rasiyaa Dagar-Dagar mai.n a.Nkhiyaa.N bichhaa_uu.N
dil me.n biThaa ke nain milaa ke janam-janam kii pyaas bujhaa_uu.N
tohe sikhaa_uu.N priit nibhaanaa -2
kal ke sapane …
Day – 4
Lets start with our usual ghazal: Aankh se aankh milata hai koi…
aa.Nkh se aa.Nkh milaataa hai koii
dil ko khii.nche liye jaataa hai koii
hai ye hairat ki bharii mahafil me.n
mujhako tanhaa nazar aataa hai koii
chaahiye Kud pe yaqiin-e-qaamil
hausalaa kisakaa ba.Dhaataa hai koii
sab karishmaat-e-tasavvur hai shaqiil
van.raa aataa hai na jaataa hai koii
Shakeel Badayuni had a long association with the Music Director Naushad, Mohammad Rafi – the singer, and Dilip Kumar the actor. The 1950 movie Babul had all of them together.Those were the days when movies usually had six to eight songs. But, Babul had as many as thirteen and all of them great hits! You can gauge the success of the movie from the fact that the movie became the second highest grosser of the year with 1.25 Crore Rupees of earnings!
Here are the songs:
Bachapan yaad aaye (dha.Dake meraa dil, mujhako)
Chhod babul kaa ghar mohe pii ke nagar.
Duniyaa badal gayi.
Husn vaalon ko na dil do ye miTaa dete hain.
Huve majabuur ham … kisii ke dil me.n rahanaa thaa.
Jaadu bhare naino.n me.n Dole jiyaa, terii qasam.
Lagan more man kii balam nahii.n jaane.
Meraa jiivan saathii bichha.D gayaa.
Milate hii aa.nkhe.n dil huaa diivaanaa kisiikaa.
Na sochaa thaa ye dil lagaane ke pahale.
Nadiyaa me.n uThaa hai shor … shaam suhaanii aa_ii.
Nadi kinaare.
pa.nchhii ban me.n piyaa\-piyaa gaane lagaa.
As you can see from the list, all of them have been penned beautifully. Lets take one tonight as I want to turn in early.
The song that I have selected is the duet sung between Talat Mahmood and Shamshad Begum.
Enjoy: Milate hi aankhen dil hua deewaana kis ka, Afsaana mera ban gaya afsaana kisi ka…
This too is a piano number!
ta: milate hii aa.Nkhe.n dil huaa diivaanaa kisiikaa
sh: milate hii aa.Nkhe.n dil huaa diivaanaa kisiikaa
ta: afasaanaa meraa ban gayaa, afasaanaa kisiikaa
sh: afasaanaa meraa ban gayaa, afasaanaa kisiikaa
ta: puuchho naa mohabbat kaa asara, haay na puuchho
haay naa puuchho
sh: puuchho naa mohabbat kaa asara, haay na puuchho
haay naa puuchho
ta: dam bhara me.n koI ho gayaa, paravaanaa kisiikaa
sh: dam bhara me.n koI ho gayaa, paravaanaa kisiikaa
dono: afasaanaa meraa ban gayaa, afasaanaa kisiikaa
milate hii aa.Nkhe.n dil huaa diivaanaa kisiikaa
ta: ha.nsate hii naa aa jaaye.n kahii.n, aa.Nkho.n me.n aa.Nsuu
aa.Nkho.n me.n aa.Nsuu
sh: ha.nste hii naa aa jaaye.n kahii.n, aa.Nkho.n me.n aa.Nsuu
aa.Nkho.n me.n aa.Nsuu
ta: bharate hii chhalaka jaaye naa, paimaanaa kisiikaa
sh: bharate hii chhalaka jaaye naa, paimaanaa kisiikaa
dono: afasaanaa meraa ban gayaa, afasaanaa kisiikA
https://www.youtube.com/watch?v=GXFURlgbMF0
Alright, just one more number since two is hardly anything to keep you all going. Here is a Lata Mangeshkar number from Babul in 1950. Marvel at the beauty of her voice even then, 63 years back!Enjoy: Lagan mere man ki balam nahin jaane…
It is picturised on Nargis who acted opposite Dilip Kumar.
lagan more man kii balam nahii.n jaane -2
balam nahii.n jaane sajan nahii.n jaane
lagan more man kii balam nahii.n jaane
laaj kii maarii mai.n to mu.Nh se naa boluu.N
mu.Nh se naa boluu.N
bhed kisii se kabhii dil ke na kholuu.N
dil ke na kholuu.N
Thes jiyaa pe laage -2
chhup-chhup ro luu.N -2
ta.Dap birahan kii balam nahii.n jaane
balam nahii.n jaane sajan nahii.n jaane
lagan more man kii balam nahii.n jaane
Duub na jaaye.n kahii.n aashaa ke taare
aashaa ke taare
nain churaa ke haay saiyaa.N hamaare
saiyaa.N hamaare
nehaa lagaane gaye -2
sautan dwaare -2
kadar mere dhan kii balam nahii.n jaane
balam nahii.n jaane sajan nahii.n jaane
lagan more man kii balam nahii.n jaane
Day – 5
Let me do something different today; let me not start with his ghazal but with a song. Yesterday, we talked about the 1952 movie Babul and how the film had thirteen songs and all of them hit. We shall come to that later. Lets talk about another super hit movie of my times: Aan starring Dilip Kumar, Nimmi, Nadira and Premnath. It was directed by Mehboob Khan, who later became famous for setting up Mehboob Studios in Bandra; as also for his 1957 movie Mother India.
Aan was the highest grosser of that year and all its ten songs became popular. Music Director was Naushad. Here is the list of songs:
1.”Maan Mera Ehsan” — Mohammed Rafi
2.”Dil Mein Chhupake Pyar Ka” — Mohammed Rafi
3.”Tujhe Kho Diya Hamne” — Lata Mangeshkar
4.”Aaj Mere Man Mein” — Lata Mangeshkar, Chorus
5.”Mohabbat Choome Jinke Haath” — Mohammed Rafi
6.”Gao Tarane Man Ke” — Mohammed Rafi, Lata Mangeshkar, Shamshad Begum
7.”Takra Gaya Tumse” — Mohammed Rafi
8.”Khelo Raang Hamare Sang” — Shamshad Begum, Lata Mangeshkar
9.”Aag Lagi Tan Man Mein” — Shamshad Begum
10.”Mein Raani Hoon Raja Ki” — Shamshad Begum
One doesn’t know where to start!
Anyway, let me start with one of my favourite Shakeel Badayuni number.
Enjoy: Dil mein chhupa ke pyaar ka toofan le chale…
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ham aaj apanii maut kaa saamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ha ha haa a aa
miTataa hai kaun dekhiye ulafat kii raah me.n
he
ulafat kii raah me.n
miTataa hai kaun dekhiye ulafat kii raah me.n
wo le chale hai.n aan to ham jaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ha ha haa a aa
manzil pe hogaa faisalaa qisamat ke khel kaa
aa
qisamat ke khel kaa
manzil pe hogaa faisalaa qisamat ke khel kaa
kar de jo dil kaa Kuun wo mehamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
https://www.youtube.com/watch?v=Dua-vIwaNQ4
Lets take one more song from the 1952 movie Aan. During those days, it was common for a woman to think of her lover as Krishna whilst thinking of herself as Radha. Needless to say Shakeel excelled in such songs. This one is a very enchanting number.
Enjoy: Aaj mere man mein sakhi baansuri bajaae koi Pyaar bhare geet sakhi baar-baar gaaye koi
la: aa haa haa…
aaj mere man me.n sakhii baa.Nsurii bajaae koii
aaj mere man me.n…
aaj mere man me.n sakhii baa.Nsurii bajaae koii
pyaar bhare giit sakhii baar-baar gaa_e koii
baa.Nsurii bajaae…
baa.Nsurii bajaae, sakhii gaa_e sakhii re, koii chhailavaa ho
ko: koii alabelavaa ho, koii chhailavaa ho
la: ra.Ng merii javaanii kaa ki_e jhuumataa ghar aayaa hai saavan
ko: ra.Ng merii javaanii kaa ki_e jhuumataa ghar aayaa hai saavan
la: aa haa haa…
ho sakhii, ho re sakhii, aayaa hai saavan
ko: mere naino.n me.n hai saajan
la: in uu.Ndii ghaTaao.n me.n, havaao.n me.n sakhii, naache meraa man
ho sakhii, naache meraa man
ko: ho aa.Ngan me.n saavan man-bhaavan ho jii
la: ho, in uu.Ndii ghaTaao.n me.n, havaao.n me.n sakhii, naache meraa man
ko: lallaa laalaa laa laalaa
la: dil ke hi.nDole pe mohe jhuule na jhulaae koii
ko: pyaar bhare giit sakhii, baar-baar gaa_e koii
la: baa.Nsurii bajaae sakhii gaae sakhii re
koii chhailavaa ho
ko: koii alabelavaa ho, koii chhailavaa ho
la: kahataa hai ishaaro.n me.n koii
aa mohe ambu_aa ke tale mil
ko: bhalaa vo kaun hai ghaayal
kahataa hai ishaaro.n me.n koii
aa mohe ambu_aa ke tale mil
la: mai.n naam na luu.N
aaj lage laaj sakhii dha.Dake meraa dil ho sakhii dha.Dake meraa dil
ko: ho aa.Ngan me.n saavan man-bhaavan ho jii
la: ho, mai.n naam na luu.N
aaj lage laaj sakhii dha.Dake meraa dil ho sakhii dha.Dake meraa dil
ko: lallaa laalaa laa laalaa
la: taar pe jiivan ke madhur raaginii sunaae koii
ko: pyaar bhare giit sakhii baar-baar gaa_e koii
la: baa.Nsurii bajaae sakhii gaae sakhii re
la: koii chhailavaa ho
ko: koii alabelavaa ho, koii chhailavaa ho
Will they ever make songs like this again? This is from the 1950 movie Babul with Dilip Kumar and Nargis making it a great movie to watch. It is a Shakeel – Naushad song but look at the number of singers who put this together: Mohammad Rafi, Talat Mahmood, Shamshad Begum and Chorus.
Enjoy: Chhod babul ka ghar, mohe pi ke nagar aaj jaana pada…
Part I
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : yaad mayake kii tan se bhulaaye chalii
ko : haa.N bhulaaye chalii
sha : priit saajan kii man me.n basaaye chalii
ko : haa.N basaaye chalii
sha : yaad kar ke ye ghar, ro_ii.n aa.Nkhe.n magar
muskuraanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : ( chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa ) -2
Part II
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : sa.ng sakhiyo.n ke bachapan bitaatii thii mai.n
ko : haa.N bitaatii thii mai.n
sha : byaah gu.Diyo.n kaa ha.Ns-ha.Ns rachaatii thii mai.n
ko : haa.N rachaatii thii mai.n
sha : sab se mu.Nh mo.D kar, kyaa bataa_uu.N kidhar
dil lagaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
Part III
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
ho
aaj jaanaa pa.Daa
pahan ulafat kaa gahanaa dulhan mai.n banii
Dolaa aayaa piyaa kaa sakhii mai.n chalii
ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : aa
ra : aa_o saajan kha.De hai.n duwaar
lene ko aaye kahaar
Dolii me.n ho jaa sawaar
sha : ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
Since I had earlier claimed that Shakeel was the best for describing husn (a la Chaudhvinh Ka Chand), here is yet another song to depict this. This is from the 1961 movie Gharana. Ravi composed the music just as he did in CKC. However, once gain Rafi sang it, this time for Rajendra Kumar singing in praise of Asha Parekh.Enjoy: Husn waale tera jawaab nahin Koi tujhasa nahin hazaron mein…
tuu hai aisii kalii jo gulashan me.n
saath apane bahaar laayii ho
tuu hai aisii kiraN jo raat Dhale
chaa.Ndanii me.n nahaa ke aayii ho
ye teraa nuur ye tere jalave
jis tarah chaa.Nd ho sitaaro.n me.n
husn vaale …
terI aa.Nkho.n me.n aisii mastii hai
jaise chhalake hue ho.n paimaane
tere ho.nTho.n pe vo khaamoshii hai
jaise bikhare hue ho.n afasaane
terii zulfo.n kii aisii ra.ngat hai
jaise kaalii ghaTaa bahaaro.n me.n
husn vaale …
terii suurat jo dekh le shaayar
apane shero.n me.n taazagii bhar le
ek musavvir jo tujh ko paa jaae
apane Kvaabo.n me.n zi.ndagii bhar le
naGamaagar Dhuu.NDh le agar tujh ko
dard bhar le vo dil ke taaro.n me.n
husn vaale teraa javaab nahii.n …
https://www.youtube.com/watch?v=1Pn81ApIsfs
Tonight, lets end with a ghazal of his:
ruuh ko ta.Dapaa rahii hai un kii yaad
dard ban kar chhaa rahii hai un kii yaad
[ruuh=soul]
ishq se ghabaraa rahii hai un kii yaad
rukate rukate aa rahii hai un kii yaad
vo ha.Nse vo zer-e-lab kuchh kah uThe
Khvaab se dikhalaa rahii hai un kii yaad
[zer-e-lab=in a whisper/undertone]
mai.n to Khuddaarii kaa qaa_il huu.N magar
kyaa karuu.N phir aa rahii hai un kii yaad
[Khuddaarii=self-respect; qaa_il=in favour of/have faith in]
ab Khayaal-e-tark-e-rabt zabt hii se hai
Khud ba Khud sharmaa rahii hai un kii yaad
[Khayaal-e-tark=Thought of giving up; rabt=affinity]
[zabt=tolerance; Khud-ba-Khud=by itself (apane aap)]
Day – 6
Shakeel started taking part in mushairas at the age of twenty. It was only 8 years later that he moved to Bombay from Aligarh to write songs for movies. His friendship with music directors Naushad and Ravi is well known. Naushad gave him his break after asking him to describe his skill in just one line. This is what Shakeel wrote:
Hum dard Ka Afsana Duniya Ko Suna Denge,
Har Dil Main Mohabbat Ki Ek aag Laga Denge.
Shakeel, therefore, is all about dard and mohabbat. Here is one of his famous ghazals:
[lineate][/lineate]Kaise kah duu.N ki mulaaqaat nahii.n hotii hai[lineate][/lineate][lineate][/lineate]roz milate hai.n magar baat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]aap lillaah na dekhaa kare.n aaiinaa kabhii[lineate][/lineate][lineate][/lineate]dil kaa aa jaanaa ba.Dii baat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]chhup ke rotaa huu.N terii yaad me.n duniyaa bhar se[lineate][/lineate][lineate][/lineate]kab merii aa.Nkh se barasaat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]haal-e-dil puuchhane vaale terii duniyaa me.n kabhii[lineate][/lineate][lineate][/lineate]din to hotaa hai magar raat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]Jab bhii milate hai.n to kahate hai.n kaise ho “Shakeel”[lineate][/lineate]is se aage to koii baat nahii.n hotii hai[lineate][/lineate]
The name of this 1964 movie is Kaise Kahoon, a question that Shakeel Badayuni never would have asked; since he knew precisely how to express himself through words.
Unrequited love…but Shakeel made the heroine say:
tum hame.n pyaar karo yaa na karo
ham tumhe.n pyaar ki_e jaa_e.Nge
chaahe qismat me.n Kushii ho ke na ho
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
ham nahii.n vo jo Gam-e-ishq se ghabaraa jaa_e.N
ho ke maayuus zubaa.N par ko_ii shikavaa laa_e.N
chaahe kitanaa hii ba.Dhe dard-e-jigar
apane ho.nTho.n ko si_e jaa_e.Nge
tum hame.n pyaar …
tum salaamat ho to ham chain bhii paa hii le.nge
kisii suurat se lagii dil kii bujhaa hii le.nge
pyaar kaa jaam mile yaa na mile
ham to aa.Nsuu bhii pi_e jaa_e.Nge
tum hame.n pyaar …
to.D dii aas to phir itanaa hii ehasaan karo
dil me.n rahanaa jo na chaaho to nazar hii me.n raho
Thes lagatii jo hai dil par to lage
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
Day – 7
Many of my friends know that I am emotional about the title song of the 1963 movie Mere Mehboob. For reasons that I can’t share, I can never share this song; it is too sacred because of the emotions expressed in the song. However, I can take you through some of the other songs that Shakeel Badayuni crafted. Other than the title songs, there were seven songs in the movie that starred Rajendra Kumar and Sadhana in the lead roles:
“Mere Mehboob Tujhe” Mohammad Rafi
“Tere Pyar Mein Dildar” Lata Mangeshkar
“E – Husn Jara Jaag” Mohammad Rafi
“Mere Mehboob Mein Kya Nahin” Lata Mangeshkar and Asha Bhosle
“Tumse Izhar – E -Haal Kar Baithe” Mohammad Rafi
“Janeman Ek Nazar Dekh Le” Lata Mangeshkar and Asha Bhosle
“Yaad Mein Teri” Lata Mangeshkar and Mohammad Rafi
“Allah Bachaye Naujawano Se” Lata Mangeshkar
“Mere Mehboob Tujhe (Female)” – Lata Mangeshkar
What a treat! Lets start with Yaad Mein Teri jag jag ke ham raat bhar karvaten badalate hain….Mere Mehboob has music by Naushad and this song is a duet between Rafi and Lata.
Enjoy: yaad me.n terI jaag-jaag ke ham raat bhar karavaTe.n badalate hai.n
yaad me.n terI jaag-jaag ke ham
raat bhar karavaTe.n badalate hai.n
har gha.Dii dil me.n terI ulfat ke
dhiime dhiime chiraaG jalate hai.n
jabase tUne nigaah pherii hai
din hai suunaa to raat a.ndherii hai
chaa.Nd bhI ab najar nahii.n AtA
ab sitaare bhI kam nikalate hai.n
yaad me.n terI jaag-jaag ke ham …
luT gayii vo bahaar kI mahafil
chhuT gayii hamase pyaar kI ma.nzil
zi.ndagii kI udaas rAho.n me.n
terI yaado.n ke sAth chalate hai.n
yaad me.n terI jaag-jaag ke ham …
tujhako paakar hame.n bahaar milii
tujhase chhuTakar magar ye baat khulii
baaGabaan hii chaman ke phuulo.n ko
apane pairo.n se khud masalate hai.n
yaad me.n terI jaag-jaag ke ham …
kyA kahe.n tujhase kyuu.n huii duurii
ham samajhate hai.n apanii majabuurii
tujhako maaluum kyA ke tere liye
dil ke gam aa.Nsuo.n me.n Dhalate hai.n
yaad me.n terI jaag-jaag ke ham …
Shall we run a parallel between Mere Mehboob of 1963 and Mughal-e-Azam of 1960 since the profile picture of this group shows a song each from the two movies on wither side of the picture of the greatest Lyricist of all times: Shakeel Badayuni?
Mughal-E-Azam (English: The Greatest of the Mughals) is a 1960 Indian period epic film directed by K. Asif and produced by Shapoorji Pallonji. The film featured Prithviraj Kapoor, Dilip Kumar, Madhubala and Durga Khote in pivotal roles. Dilip Kumar was Prince Salim to Akbar the Great and Madhubala was Anarkali, a court dancer. Both fell in love.Whilst I can never put up the right hand side song from Mere Mehboob sung in the Aligarh Muslim University, I can at least put up the song depicted by the picture on the left hand side. Once gain Naushad is the music director and the song is sung by Lata Mangeshkar for Madhubala (as Anarkali) and Shamshad Begum for Nigar Sulatana as Bahar.
Enjoy: Teri mehfil mein kismet aazma kar ham bhi dekhenge…
(aalaap)
s: terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
gha.Dii bhar ko tere nazadiik aakar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge – 2
l: terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
tere kadamo.n pe sar apanaa jhukaa kar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge – 2
s: bahaare.n aaj paiGaam-e-mohabbat le ke aaii hai.n
ba.DI muddat me.n ummiido.n kii kaliyaa.n muskuraaI hai.n
ba.DI muddat me.n ajii haa.n
ba.DI muddat me.n ummiido.n kii kaliyaa.n muskuraaI hai.n
Gam-e-dil se jaraa daaman bachaakar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge
l: agar dil Gam se khaalii ho to jiine kA mazaa kyA hai
nA ho khuun-e-jigar to ashq piine kA mazaa kyA hai
nA ho khuun-e-jigar haa.n haa.n
nA ho khuun-e-jigar to ashq piine kA mazaa kyA hai
mohabbat me.n jaraa aa.Nsuu bahaakar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge
s: mohabbat karane vaalo kA hai bas itanaa hii afasaanaa
ta.Dapanaa chupake chupake aahe.n bharanaa ghuT ke mar jaanaa
ta.Dapanaa chupake chupake haa.n haa.n
ta.Dapanaa chupake chupake aahe.n bharanaa ghuT ke mar jaanaa
kisii din ye tamaashaa muskuraa kar ham bhI dekhe.nge – 2
terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
ajii haa.n ham bhI dekhe.nge
l: mohabbat hamane maanaa zindagii barabaad karatii hai
ye kyA kam hai ke mar jaane se duniyA yaad karatii hai
ye kyA kam hai ajii haa.n haa.N
ye kyA kam hai ke mar jaane se duniyA yaad karatii hai
kisii ke ishq me.n duniyA luTaakar ham bhI dekhe.nge – 2
terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
l: tere kadamo.n pe sar apanaa jhukaakar aa aa …
s: gha.Dii bhar ko tere nazadiik aakar aa aa …
dono.n: terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
s: ajii haa.n ham bhI dekhe.nge
l: ajii haa.n ham bhI dekhe.nge
https://www.youtube.com/watch?v=TC7LyI1GVYw
Returning to Mere Mehboob; yes, it has Shakeel Badayuni’s trademark husn song…and what a song it was! Some of the most beautiful lines have been written by Shakeel for this song. Naushad has done well to give it appropriate music and once again the voice is that of Mohammad Rafi.I feel that the complete lyrics need to be reproduced here to assimilate their beauty.
Enjoy: Ai husn zara jag tujhe ishq jagaye…
ai husn zaraa jaag tujhe ishk jagaaye
badale merii takadIr jo tU hosh me.n aaye (2)
ye pyaara ke nagame ye muhabbat ke taraane
tujhako ba.De aramaan se laayaa huu.N sunaane
ummId mere dil kii kahii.n TUT na jaaye
ye husn …
saaz-e-dile khaamosh me.n ek soj jagaa de
tU bhii merii Avaaz me.n Avaaz milaa de
aayaa huu.N tere dar pe ba.Dii aas lagaaye
ye husn …
ai shammaa tU aajaa zaraa chilamanase nikalake
hasarat hai ki rahaa jaa_uu.n terii aag me.n jalake
paravaanaa vo kyaa tujhape jo miTakar naa dikhaa de
ye husn …
https://www.youtube.com/watch?v=pnFYfKahhdY
Mughal-e-Azam belonged to Lata Mangeshkar just as Mere Mehboob belonged to Mohammad Rafi. I have earlier put up Mohabbat ki jhooti kahani pe roye when Anarkali was thrown into the dungeon by the Emperor Akbar. Bekas pe karam kijiye was the second song in the cell and is the plaintive cry of Anarkali for mercy and justice. The lyrics are great.
Enjoy: Beqas pe karam kijiye sarkar-e madina….
ai mere mushkil-kushaa, fariyaad hai, fariyaad hai
aapake hote hue duniyaa merii barabaad haibekas pe karam kiijiye, sarkaar-e-madiinaa
bekas pe karam kiijiye
gardish me.n hai taqadiir bha.Nvar me.n hai safiina -2
bekas pe karam kiijiye, sarkaar-e-madiinaa
bekas pe karam kiijiyehai vaqt-e-madad aaii biga.Dii ko banaane
goshiidaa nahii.n aapase kuchh dil ke fasaane
zaKmo.n se bharaa hai kisii majabuur kaa siinaa
bekas pe karam kiijiye …chhaaii hai musiibat kii ghaTaa gesuo.n vaale, gesuo.n vaale
lillaah merii Duubatii kashtii ko bachaale
tuufaan ke aasaar hai.n, dushvaar hai jiinaa
bekas pe karam kiijiye …
gardish me.n hai taqadiir bha.Nvar me.n hai safiina
bekas pe karam kiijiye, sarkaar-e-madiinaa
bekas pe karam kiijiye
ai mere mushkil-kushaa, fariyaad hai, fariyaad hai
https://www.youtube.com/watch?v=DaeiwBG_DbE
Lets end tonight with a ghazal of Shakeel Badayuni:[lineate][/lineate]Terii mahafil se uThakar ishq ke maaro.n pe kyaa guzarii[lineate][/lineate][lineate][/lineate]muKhaalif ik jahaa.N thaa jaane bechaaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]sahar ko ruKhsat-e-biimaar-e-furqat dekhane vaalo kisii ne ye bhii dekhaa[lineate][/lineate][lineate][/lineate]raat bhar taaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]sunaa hai zindagii viiraaniyo.n ne luuT lii milakar[lineate][/lineate][lineate][/lineate]na jaane zindagii ke naaz_baradaaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]ha.Nsii aa_ii to hai bekaif sii lekin Khudaa jaane[lineate][/lineate][lineate][/lineate]mujhe masaruur paakar mere Gam_Khvaaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]asiir-e-Gam to jaa.N dekar rihaa_ii paa gayaa lekin[lineate][/lineate][lineate][/lineate]kisii ko kyaa Khabar zindaa.N kii divaaro.n pe kyaa guzarii[lineate][/lineate]
Ladies and gentlemen, I hope you enjoyed Part II of Shakeel Badayuni’s ghazals and songs. I shall get back to you with Part III soon.
This April, I was on holiday to my home place Kandaghat, just 30 kms short of Shimla. I have been born and brought up in these surroundings and hence, I am at peace with the verdure, breeze, hills and surroundings. Song is on my lips at all times here.
Shimla is the place where you go to express your love and romantic feelings. It appears that as soon as I decided to join the Indian Navy in 1973, the Hindi Film Industry descended on Shimla in a big manner. One of them was a great movie maker: Yash Chopra who made the film Daag starring Rajesh Khanna and Sharmila Tagore and Rakhi. This song from the movie Daag has exactly the lyrics that tell of this quality of air of Shimla that your heart’s emotions find expression in song.
Ever fresh Shimla – The Ridge
It is penned by Sahir Ludhianvi and music is by Laxmikant Pyarelal. When one of India’s first pop singers Ajit came to Shimla for the Summer Festival, he sang it there, knowing its Shimla connection. Please enjoy: Mere dil mein aaj kya hai Tu kahe to main bata doon…
[lineate][/lineate]Mere dil me.n aaj kyaa hai[lineate][/lineate]tuu kahe to mai.n bataa duu.N[lineate][/lineate]terii zulf phir savaaruu.N[lineate][/lineate]terii maa.Ng phir sajaa duu.N[lineate][/lineate]mere dil me.n …[lineate][/lineate]
[lineate][/lineate]Mujhe devataa banaakar, terii chaahato.n ne puujaa – (2)[lineate][/lineate]meraa pyaar kah rahaa hai,[lineate][/lineate]mai.n tujhe khudaa banaa duu.N[lineate][/lineate]terii zulf phir …[lineate][/lineate]
[lineate][/lineate]Mere baazuo.n me aakar, teraa dard chain paae – (2)[lineate][/lineate]tere gesuo.n me chhupakar,[lineate][/lineate]mai.n jahaa.N ke Gam bhulaa duu.N[lineate][/lineate]terii zulf phir …[lineate][/lineate]
https://youtube.com/watch?v=ksapDF0DtG4%3F
But wasn’t Shimla (then spelled Simla) always attractive? For example, Tere Ghar Ke Samne was a 1963 movie, a good ten years before Yash Chopra’s Daag. It was produced by Dev Anand and directed by his brother Vijay Anand. It starred Nutan opposite him. In the movie, two families have deep rooted enmity until Dev Anand decides to architect a house in front of Nutan’s whose father is at daggers drawn with Dev Anand’s. In the movie Dev Anand goes following his heart-throb Nutan on a scooter and reaches Shimla. He has no idea in which house she is staying at and hence he goes through the streets of Shimla singing this song penned by Hasrat Jaipuri with music by SD Burman. Does he find her through the medium of this song? You bet he does.
Please Enjoy: Tu kahan ye bata is nasheeli raat mein …
[lineate][/lineate]Tuu kahaa.N, ye bataa,[lineate][/lineate]is nashiilii raat me.n[lineate][/lineate]maane naa meraa dil diivaanaa[lineate][/lineate]haay re … [lineate][/lineate]maane naa meraa dil diivaanaa[lineate][/lineate]
[lineate][/lineate]He … ba.Daa naTakhaT hai samaa – 2[lineate][/lineate]har nazaaraa hai javaa.N[lineate][/lineate]chhaa gayaa chaaro.n taraf, merii aaho.n kaa dhuaa.N[lineate][/lineate]dil meraa, merii jaa.N, naa jaanaa … tuu kahaa.N … [lineate][/lineate]
[lineate][/lineate]O o … aaii jab Tha.nDii havaa – 2[lineate][/lineate]maine puuchhaa jo pataa[lineate][/lineate]vo bhii kataraake gaI, aur bechain kiyaa[lineate][/lineate]pyaar se, tuu mujhe, de sadaa … [lineate][/lineate]tuu kahaa.N …[lineate][/lineate]
[lineate][/lineate]He … chaa.nd taaro.n ne sunaa – 2[lineate][/lineate]in bahaaro.n ne sunaa[lineate][/lineate]dard kaa raag meraa, rahaguzaaro.n ne sunaa[lineate][/lineate]tuu bhii sun, jaaneman, aa bhii jaa … [lineate][/lineate]tuu kahaa.N …[lineate][/lineate]
[lineate][/lineate]O o … pyaar kaa dekho asar – 2[lineate][/lineate]aae tum thaame jigar[lineate][/lineate]mil gaI aaj mujhe, merii manachaahii Dagar[lineate][/lineate]kyuu.N chhupaa, ek jhalak, phir dikhaa … [lineate][/lineate]tuu kahaa.N …[lineate][/lineate]
https://www.youtube.com/watch?v=wUgMMgANjV0
Shimla small gauge train, simply called Toy Train has been a major tourist attraction.
Here is excerpt from Wikipedia: “Shimla (then spelt Simla) was settled by the British shortly after the first Anglo-Gurkha war, and is located at 7,116 feet (2,169 m) in the foothills of the Himalayas. By the 1830s, Shimla had already developed as a major base for the British. It became the summer capital of British India in 1864, and was also the headquarters of the British army in India.
Prior to construction of the railway, communication with the outside world was via village cart. The railway was constructed on a two foot gauge (610mm) by the Delhi-Ambala-Kalka Railway Company commencing in 1898. The estimated cost of Rs 86,78,500, however, the cost doubled during execution of the project. The 96.54 km (59.99 mi) line was opened for traffic November 9, 1903. Because of the high capital and maintenance cost, coupled with peculiar working conditions, the Kalka–Shimla Railway was allowed to charge fares that were higher than the prevailing tariffs on other lines. However, even this was not good enough to sustain the company and then, the Government had to purchase it on January 1, 1906 for Rs 1,71,07,748.
In 1905 the line was re-gauged to 2’6″ gauge under guidelines from the Indian War Department seeking to ensure uniformity in all imperial narrow gauge systems. In mid-August 2007, the government of Himachal Pradesh declared the railway a heritage property in preparation for its review in September. For about a week starting on September 11, 2007, an expert team from UNESCO was on a visit to the railway to review and inspect the railway for possible selection as a World Heritage Site. On July 8, 2008, the Kalka–Shimla Railway was included in the UNESCO World Heritage List as part of the World Heritage Site Mountain Railways of India. The Mountain Railways of India (including Darjeeling Himalayan Railway and Nilgiri Mountain Railway) and Chhatrapati Shivaji Terminus in Mumbai have already been declared as world heritage properties.”
In the year 1973, when I joined the Indian Navy, my journey to the Naval Academy at Cochin (now spelt Kochi) began on this railway. In 1974 the movie Dost was released starring Dharmendra and the movie started with the famous song: Gaadi bula rahi hai, seeti baja rahi hai on the train from Shimla to Taradevi. Anand Bakshi penned the lyrics of the song and Laxmikant Pyarelal composed the music.
It was sung by Kishore Kumar.
Enjoy: Shimla Toy Train with the song: Gaadi bula rahi hai, seeti baja rahi hai…
https://youtube.com/watch?v=i46jlVrrwdQ%3F
Aa Gale Lag Ja was a movie released at a time when I joined the Naval Academy at Cochin. A large part of the movie was shot in Shimla. The movie starred Shashi Kapoor and Sharmila Tagore. The song that I am giving you was sung by Kishore Kumar for Shashi Kapoor. And since Shashi Kapoor and Sharmila went out in the snow and extreme cold, he fell unconscious and she had to save his life by “giving him her body warmth”. A son was, therefore, born to them as a result of this extraordinary way of saving life. Later, in the movie, their son singing this song brings the estranged couple together.
Sahir Ludhianvi penned the lyrics and RD Burman composed the music.
As an aside I must add that many young boys fell into the snow and tried to die but no one gave them equivalent medical treatment as was given by Sharmila Tagore to Shashi Kapoor.
Please enjoy: Tera mujhase hai pehle ka vaada koi, Younhi nahin dil lubhata koi…
https://youtube.com/watch?v=vO35DVm_5ts%3F
If Chopras came to Shimla for making movies, how can Mehras be left behind? When Prakash Mehra made his Muqaddar Ka Sikandar (Conqueror of Destiny) in 1978, I was already a commissioned officer in the Indian Navy and we had shifted to Kandaghat, 30 kms short of Shimla. My brother and I went by bus to Shimla to see the movie that was the third highest grosser of the decade after Sholay and Bobby.
This song became super hit. Amitabh Bachchan in the movie, when small, was orphaned and abused and was taken in by the kindness shown to him by the young daughter of a wealthy man who later becomes the film’s heroine Rakhi. Later, when Amitabh himself emerges as a wealthy person, he gives away all his wealth to an orphanage recalling that he himself was an orphan. He sings this childhood song in memory of his childhood friend. It is very touching indeed, and the Shimla scene is in the flashback. Please enjoy the absolute super hit number: O saathi re tere bina bhi kya jeena..
https://youtube.com/watch?v=OssRAVZhsRk%3F
It was not just Yash Chopra, but, it seems, all Chopras of Hindi Films love Shimla. Vidhu Vinod Chopra was born in Srinagar in Kashmir but both his most popular movies 1942 – A Love Story and 3 Idiots were shot in Shimla Hills.
Lets talk about the first one: 1942 – A Love Story; it starred Manisha Koirala already from the Hills of Nepal and Anil Kapoor. All songs of the movie had the freshness of the Shimla Hills. Lets listen to one of them: Pyar hua chupake se..
It shows the hills beyond Kufri. Jawed Akhtar penned the lyrics and Rahul Dev Burman composed the music. The song was sung by Kavitha Krishnamoorthy. Please enjoy: dil ne kahaa chupake se, ye kyaa hu_aa chupake se…
I know Vidhu Vinod Chopra’s 1942 – A Love Story does not meet the requirement of oldie goldie; but, since it takes you back to that era, I hope you will allow it to pass muster. Here is Monisha Koirala from the salubrious climate of Nepal coming to the wonderful Shimla hills and singing chupake se. Jawed Akhtar penned the lyrics and RD Burman composed the music. Enjoy: Kavitha Krishnamurthy sing chupake se…
I can go on and on with songs shot in Shimla. But, here is the last one. It is the title song of the 1974 J Om Prakash’s directorial debut movie Aap Ki Kasam starring Rajesh Khanna and Mumtaz. Anand Bakshi penned the lyrics and Rahul Dev Burman who received his only Filmfare Awards nomination for this movie, composed the music.
Enjoy the scenic skiing range of Kufri with the song: Karvate badalate rahe saari raat ham, Aap ki kasam…
In the 1978 Prakash Mehra movie Muqaddar Ka Sikandar, when Amitabh Bachchan as Sikandar was small, he was working for a rich man Ramnath whose daughter (later Rakhi) falls in love with his simplicity. One day, he is teasingly asked as to why he has such tomato red cheeks. He answers, “Because I am from Shimla”.
Ladies and gentlemen, whether or not you have crimson cheeks in Shimla, it is a place that inspires songs. I have given you only a few; there are dozens.
I have seen many great Admirals in the Indian Navy; smart, super intelligent, highly committed and professional. Strangely, most of them – if not all of them – take pride in their “man-management” and mastery over “human-psychology” in comparison to any other virtue or attribute. So, if you were ever to fault with your divisional duties (in the Navy, the ship’s company (what the civilians call as ‘crew’) is divided into various divisions such as Foxle (slang for Forecastle), Top Deck, Quarterdeck, Electrical, Engineering, and Logistic Divisions), you would have a prolonged harangue from these old timers as to how they never faulted with their divisional duties when they were young subalterns like you.
Some of the oft-repeated expressions that you were likely to hear were: “I knew every sailor like the back of my hand” and “Twenty-five years later I still remember the send-off my sailors gave; I had tears in my eyes (one liquid trying to compete with the other in the belly: Rum).”
Old-timers are happiest when they come across a sailor who was merely a Seaman First Class with them but had become a Master Chief Petty Officer now. “Master Chief Sahib”, they begin with more than a glint in their eyes, “Do you remember the Gunnery shoot when we brought down the PTA with our accurate firing? And do you remember the signal the Fleet Commander made to us: ‘IF YOU KEEP SHOOTING DOWN TARGETS LIKE THIS, SOON THERE WILL BE NO TARGETS LEFT FOR OTHER SHIPS TO PRACTICE ON’.”
Navy always has the stress on ‘Man-behind-the-gun’ (Pic courtesy: jhunjhunu.info)
Most sailors oblige the old-timers with sudden flashes of memory at this stage, whether or not they remember the incident. At this stage, the chest of the Admiral blooms larger than a large balloon and he walks through the rest of the Annual Inspection with the expressed feeling that he is proud of the stress on the Divisional System in that ship or establishment.
Master Chief Petty Officer First Class JK Singh of the establishment Agrani (a School for Leadership in the Navy), however, was a very honest sailor and highly competent. On his mother’s knee the one lesson about life he had learnt was never to lie. He was our best sailor-instructor at that time. We, who had started our career in the Navy only three years back, were in awe of him since JK was a recipient of Naosena Medal (NM) for having fought a difficult fire on the old carrier Vikrant with grit and valour.
This Admiral from the Naval Headquarters who was visiting our establishment Agrani had weaved the web of his being of the ‘man-management-type’ (“It is the man behind the gun that matters” he often declared in his booming voice). So, the Commanding Officer had lined up near his office, for interaction with the Admiral, the senior most of his sailors in addition to all of us officer-instructors present there. I noticed that JK stood looking tall, competent and exuding supreme confidence that he always did.
Hand-shaking with the officers, by the visiting Admiral, was done wasting the minimum time (in any case there would be time over PLD (Pre-Lunch Drinks) to know us better).
And then the Admiral started with the sailors. Looking at Master Chief Petty Officer First Class JK Singh brought the pride in the Admiral and his chest was about to burst; more so since JK wore the NM ribbon. The Admiral boomed confidently “Ah… Master Chief JK Singh; old chap, old ship-mate, how nice to see you again….you were with me on?…no, no, don’t tell me…let me guess….you were on Kiltan with me, right?”
JK Singh looked straight and erect and answered without flinching, “No Sir; I was not on Kiltan.”
The old-man wasn’t the one who’d give up easily (he won’t have made it to a Vice Admiral if he did), “Ah, now I know, you were the bright chap in the Foxle division on the old Rajput.”
They don’t make sailors like Master Chief Petty Officer First Class JK Singh anymore; indeed, even then he was a limited edition. Without batting an eye-lid, he replied, “No, Sir, I haven’t had the privilege to serve with you on Rajput.”
Now, it had become a do-or-die for the Admiral and the C.O. had already started winking at JK Singh to put the old man out of his misery. But, our Gunnery Officer had already instructed the sailors to look the Admiral in the eye whilst answering and not look “here and there”. In the proper Gunnery style, this drill had been carried out with them several times with the G.O. acting as the Admiral. So, our C.O.’s winking was wasted on JK Singh. JK’s expression was indicative of his will to follow the drill of the Gunnery Officer with the same resolve as had earlier got him the coveted Naosena Medal.
The Admiral had a brain wave (I haven’t yet come across an Admiral who doesn’t get one at the crucial time), “Oh my God; I must be getting forgetful with old age (this said mockingly to indicate that he was far from becoming old). Of course you were with me on Mysore and had got the Best Sailor award several times on board when I was the Commanding Officer….ha, next I will forget my own name.”
Our C.O. was visibly trembling by this time and had closed his eyes to fervently pray to God to drive some sense in the vacuous head of his (erstwhile) best sailor. But, JK Singh stood his ground and replied with becoming honesty, “I am sorry, Sir, I was never with you on Mysore.”
At this juncture, our CO was already motioning the Admiral to move on to Master Chief Second Class Pillai who was dying to agree with the Admiral on anything at all, even to say that it was he who gave the crucial pass to the Admiral when as Lieutenant he had scored his first goal in a football match against the Royal Naval Ship Kent. You won’t believe it but I gathered all this from the eager face of Pillai. I wish I had taken a photograph.
Admirals don’t give up so easily; as I have mentioned earlier, only the brightest, the smartest and the most professional make it to that rank. So, the visiting Admiral had a massive Tsunami that hit his brain and he came up with a clincher, “Ahhh, now I know; it was the other JK Singh who left service three years back. Strange, there is a very close resemblance….(and he turned to my C.O.) Don’t you feel, Satpal?”
My C.O.’s eagerness to nod his turbaned head put Pillai’s visible alacrity to shame and he seized the opportunity to declare cease-fire on further barrage of ‘man-management’, “That’s what I have been trying to tell you, Sir; this is not the same JK Singh…..(and added for effect); all smart sailors, in our great Navy look alike.”
Over the PLD, that afternoon, the Admiral recited several anecdotes about “that” JK Singh. Our C.O. added quite a few of his own and whole-heartedly agreed with the Admiral that “that” JK Singh was one of the greatest sailors “this side of the Suez”.
Satpal would have certainly made it to an Admiral’s rank had he not been court-martialed and cashiered that year for something as insignificant as embezzlement of funds. Dishonesty doesn’t always work.
Gunners do everything with guns; a supreme kind of macho feeling. When they have hostile intent they fire their guns to slam the daylights out of the enemy. However, when they have to signify friendly intent, they still say it with their guns; they salute you with gun-shots. It is as if, for a Gunner, it is guns or nothing. Nowadays, people ashore too fire gun-salutes, having borrowed the tradition from the naval gunners. In the olden days, when a warship entered a foreign port, it would harmlessly fire its cannons, until it finished with all ammunition, to show it didn’t have a hostile intent. As the tradition progressed over the years, a 21 Gun salute was fired for head of state (King, Queen, President or Prime Minister). Indeed, it is still fired as a mark of respect for the head of state when a ship enters a particular harbour for the first time. Down the line, the other dignitaries of the state are entitled to lesser number of gun-salutes.
What does One-Gun Salute mean? It is a rogue’s salute fired at Colours (usually 8 A.M.) on the day a naval court-martial has been ordered to assemble.
I was posted as Signal Communication Officer of the second one of the indigenous modified Leander Class design ships of the indigenous Godavari class: Indian Naval Ship Ganga. She was commissioned on 30th Dec 1985 by the then Prime Minister Rajiv Gandhi and we had the distinction of taking he and his wife Sonia for their famous (made infamous by a persistent questioner – who wanted to be compared to a dog, since he had ascribed to himself the role of a watch-dog: Ram Jethmalani) visit to Andaman & Nicobar islands.
We also went on a flag-showing visit to Jeddah (Saudi Arabia) and Masawa (Eritrea, adjoining Ethiopia). This was our first foreign visit on Ganga and we were excited. However, our Captain was a little edgy since we had the Fleet Commander, Rear Admiral Shekhawat (he later became the Chief of the Naval Staff) and his entire Fleet Staff embarked on board. With or without the Fleet Commander, the Fleet Staff rejoices in asking questions that make the ship’s staff cringe. As if that is not enough, they rub it into you hard by making some pippins of signals at sea intended to prove to anyone with a modicum of intelligence that the recipient of their signal (s) was standing last in the queue when God was dishing out brains. Some of the signals made at sea by some of the Fleet Commanders are (just to give you some sample signals):
You are slow like Chinese naval men.
The line (of ships) is higgledy – piggledy.
Where are you going? (To a ship that has misunderstood her station).
Your stupidity has spoiled the whole show.
Anyway, you have probably got the idea. Already, whilst heading towards Jeddah, the FOO (Fleet Operations Officer), Captain ‘Jerry’ Patel had enquired with a chuckle, “How come the Fleet Commander’s chair on the Bridge is covered with a white Turkish cloth whereas our Captain’s chair is covered with red Turkish cloth?” My riposte that it was to indicate whose ass was on fire boosted the morale of my Captain, only to return to being lugubrious later.
The eve before entering the Jeddah port he went to the Helicopter Deck to address the ship’s company to refrain from custom violations etc (the mandatory talk, which serves as much purpose as speed limit of 80 kmph on Mumbai-Pune Expressway).
We entered harbour ceremoniously dressed in white tunics and trousers and white peak-caps. A guard and band was paraded on the helo deck. At the appointed time and position we fired the Gun Salute to the King of Saudi Arabia, returned gun for gun (though lesser number of guns) for the Fleet Commander.
I need to explain this Gun Salute for my civilian readers:
Unlike the olden days custom of harmlessly firing the ship’s main guns, these days, there are especially made Saluting Guns that fire shells with very small charge so as to produce bang and fire but do no visible harm. Nevertheless, a charge is a charge and those firing it have to take adequate precautions. Have a look at the picture below:
Pic courtesy: navynews.co.uk
Now how do the Gunners keep timing of 10 to 15 seconds between two gun-shots so that the sound and fire would be at equal intervals and not haphazard? Here too, the Gunners have a unique system; between two gun shots, they load the shell saying out aloud: “If-I-were-not-a-Gunner-I-won’t-be-here…fire” and so on. In the last two articles on gunners I must have already convinced you that there is nothing more unique in the Navy as Gunners. Now you know that the Navy has two types of personnel: Gunners and the Others.
Anyway, the firing of the Gun Salutes was accomplished without a hitch. We paraded an Entering Harbour Ceremonial Guard and Band and took up our appointed berth. On the Bridge, whilst entering harbour, one look at my Captain’s face convinced me that he was as happy as a school-boy appearing for Algebra exam.
In the forenoon, we had a number of visitors on board. Each one of them was ceremoniously received on the Helo Deck by the Fleet Commander and my Captain. My Captain’s mood was becoming more and more sombre. This was rare since he was generally very genial who loved to guffaw loud on slightest pretext.
One reason, amongst others, that I could lay my finger on, was a small change of plan that the Fleet Commander and his staff had brought about for the evening reception on board. Since we were the first ship alongside, cocktails were going to be on our ship for all and dinner for a smaller number of important dignitaries was to be held on Ranjit’s helo deck. Why would our Captain sulk because of this? Simple; before leaving Mumbai, the Fleet Staff had prepared us for the dinner and we had gone about putting together the best of arrangements for it, which included fancy food-heaters that were not so common then as they are now. So, here was a chance to show-case our best logistic skills but, at the last minute, due to this change, we had to handover our best to Ranjit.
I was the DLC that day: the Duty Lieutenant Commander. I was also the Mess Secretary of the Wardroom. In the evening, in his dejected mood, the Captain had started pacing on the helo-deck to survey the evening’s arrangements for cocktails. I had never seen him in that mood. It appeared to me that he was on a spree of finding faults and anybody who was in his line-of-fire was getting it nice and proper.
I shared a special relationship with him; we would often crack the juiciest of the jokes when closed up on the Bridge. For example, when I had confided in him that I had four of my COs during that cruise (Captain Dabir (God rest his soul) as my erstwhile CO of Talwar, Rear Admiral Shekhawat – the Fleet Commander as my erstwhile CO of Himgiri; Captain ‘Jerry’ Patel, my next CO (after Shekhawat) of Himgiri and finally he, Captain KK Kohli of Ganga; he laughed out aloud and remarked, “You are a much ——ed man.” However, that evening, jokes and laughter were farthest from his mind. He ticked me off several times to indicate his dissatisfaction with the arrangements. “Come on” he quipped, “The party is about to start and nothing has been done so far.” I was about to remind him that there were still three hours to go for the party but one look at his face told me to think better of it.
Suddenly in the midst of ceremonial awnings, bar, chairs and sofas being set-up, he noticed the Saluting Guns (two on either side) that were still bolted to the deck. “Why are these here?” he screamed with the indignation of a diner suddenly spotting a fly in his soup. I innocently looked at the guns and confirmed the veracity of my Captain’s finding. My unsaid response was, “Trust the Gunners not to have cleared up after the shoot; don’t they do it with their mouths too?”
Anyway, to announce for the Gunnery team to clear off the Saluting Guns, more than eight hours after they had done their job, was for me the need of the hour. There is one thing that has to be said about the Gunners; whilst most times they may lie idle, at action and on broadcasts, they suddenly appear from nowhere to address themselves to the task at hand. They quickly got around to unbolting the guns and carrying these to Gunner’s Store.
Meanwhile the Captain had resumed his firing me with some choice words; the mildest of these being that I had no future in the navy if I couldn’t arrange something as simple as Cocktails without the Captain’s help. He was warming up to his prediction having come true, when he had first set eyes on me two years back, that of all the people I would fail him at a crucial juncture. He had then embarked on such nitty-gritties as that a good DLC would personally check the dress of the ceremonial sentry since he would be the first person seen by the guests. However, he stressed that only good DLCs would do that and I was certainly not in that category.
“Have you done this?….Have you ensured that?…blah…blah…blah…” there was no end to it and I didn’t know how to stop him. Suddenly, we heard a rogue’s gun being fired close to us….a loud crackling sound and flame….for heaven’s sake at 5:30 in the evening. We froze. My first reaction was that the CO had exploded in rage.
It came out that a Gunner was carrying one of the saluting guns, holding the barrel between his legs, since it was heavy; when, it suddenly fired. Apparently, in the morning firing of 21 guns-salute, one of the shells was still loaded after 21 had been successfully fired and – hold your breath – the Gunnery Team had forgotten about it. Forgotten shells and rounds have this uncanny habit of making their presence felt at the strangest of times. In this case, it had displayed the stuff it was made off exactly at the time when my Captain was trying to compete with it in sound and fury. The worst was that the shell had fired quite close to the sailor’s real gun and shells and he had a miraculous escape though his hand was injured and bleeding.
What a sobering effect this had on my Captain! The sailor soon became alright with first-aid given to him in the ship’s Sick Bay. My Captain too became totally normal immediately, especially with the quick realisation that it could have been much worse if the sailor was badly injured or if it were to take place at the time when the dignitaries were on board during the forenoon. He was, after that, his usual life-of-the-party, jovial and full of jokes and fun.
I heaved a sigh of relief remembering how he would handle the trickiest of situations at sea with calm and without losing his balance.
That night when I went to sleep, I learnt the full meaning of the (gunnery?) expression: to kill two birds with one stone. I gave a silent 21 gun salute to the Gunners in my dreams for having saved my life that evening.
Congratulations; so you are in love. It is the best feeling on earth. however, you can neither force it on nor get it off. Hindi movie songs are replete with tales of what happens to you when you fall in love. These range from being on top of the world and stepping into a wondrous world to being deprived of your sleep, rest and peace of mind forever. Some of these songs are so soulful and poignant that these touch the chords of your heart. As far as female songs are concerned, I feel that the best, most touching and heartrending songs are the ones that tell of how she is robbed of her sleep after falling in love.
I have a page on Facebook called Lyrical. The page is about songs, music, poems; that is, anything that is lyrical. I often do retrospectives of Lyricists, Music Directors and Singers of yore. This is a special retrospective on Neend (Sleep) songs, especially having lost sleep in love.
Lets begin this Lyrical special with this really emotional number from the 1966 movie Amrapali starring Vyjayantimala and Sunil Dutt and directed by Lekh Tandon. The movie depicts the life of the royal courtesan of Vaishali by the name of Amrapali. The story is about five hundred years before the beginning of the Christian Calendar when Ajatashatru, the king of Magadha Empire falls in love with Amrapali. He wages a war against Vaishali in order to win over the greatest asset of Vaishali, its courtesan Amrapali. Meaniwhile, Amrapali herself has been transformed due to her encounter with Gautama Buddha, who preached his last sermon there in 483 B.C. She becomes an Arahant (the perfected one who has attained Nirvana).
Surprisingly, though based on a not-so-popular hitorical event, the movie became a huge hit not at the time of its release but later when people realised what a classic it was. Its cinematography of battles by Dwarka Divecha and Buddhist period costumes by Bhanu Athaiya (of Richard Attenborough’s Gandhi fame) won special acclaim. But, as far as Lyricist is concerned, the lyrics of its songs by Shailendra and classical music by Shankar Jai Kishan are of special mention. And what songs these were! Though only five (a rarity during those days), these were all great songs; all sung by Lata Mangeshkar at the height of her singing excellence: 1. Jaao re jogi tum jaao re. 2. Tadap ye din raat ki. 3. Neel gagan ki chhaon mein. 4. Nacho gaao dhoom machaao; and finally this neend song.
Enjoy: Tumhe yaad karte karte jaayegi ran saari; tum le gaye ho apne sang neend bhi hamari…
(tumhe.n yaad karate karate jaaegii rain saarii
tum le gaye ho apane sa.ng nii.nd bhii hamaarii ) – 2
man hai ki jaa basaa hai, a.njaan ik nagar me.n
kuchh khojataa hai paagal khoii huii Dagar me.n
itane ba.De mahal me.n, ghabaraauu.N mai.n bechaarii
tum le gaye ho apane sa.ng nii.nd bhii hamaarii
tumhe.n yaad karate karate
virahaa kii is chitaa se tum hii mujhe nikaalo
jo tum na aa sako to, mujhe svapna me.n bulaa lo
mujhe aise mat jalaao, merii priit hai ku.Nwaarii
tum le gaye ho apane sa.ng nii.nd bhii hamaarii
tumhe.n yaad karate karate
The second Neend song that I have chosen for you is from the 1959 J Om Prakash movie Chacha Zindabad starring Kishore Kumar and Anita Guha. Lyrics were penned by Rajinder Krishan (he also wrote his name as Rajendra Krishan) and once again, Lata Mangeshkar sang it on the music of Madan Mohan.
I share two things with Rajinder Krishan and that’s where the commonality ceases: he was born on the 6th of June and he was from Shimla, though born in Gujarat. He started his career in a very humble manner; he became a clerk in the municipality at Shimla. But, his love for becoming a screen-writer took him to Bombay. He emerged as the richest screen-writer during those days since he won a jackpot at horse racing in Bombay of nearly Rupees Fifty Lakhs.
His richness was not only in money. He emerged as a rich-in-thoughts poet and lyricist besides being a screen-writer. He started with Badi Behan in 1949, at the age of 30. Some of his most successful movies were Albela, Nagin, Anarkali, Bharosa, Khandan (for which he received the best lyricist award), Rakhi, Manmouji, Jahan Ara, Sharabi, Padosan, Brahmachari, Bombay to Goa, Banarasi Babu, Doli and Yeh Raaste Hain Pyaar Ke.
He paired with Music Director C Ramachandra but also paired with Sahnkar Jaikishan, Madan Mohan, Hemant da, both the Burman brothers, Salil Choudhary and Laxmikant Pyarelal.
Some of the best and most popular songs of Lata Mangeshkar have been written by him. More often than not, in these songs, the music has been that of Madan Mohan or C Ramachandra.
Music Director Madan Mohan was born on 25th Jun 1924, a good five years after Rajinder Krishan in Erbil near Baghdad (Iraq; now Kurdistan), where his father was an Accountant General with Iraqi Police. After Iraq’s independence from the British, Madan Mohan’s father shifted them to their native place Chakwal in Jhelum district of Punjab. Madan Mohan got his love for music from his mother. And, even though his father goaded him to join the Army as an Emergency Commissioned Officer in 1943, he left after six years and joined the Hindi Film Industry as a Music Director. He has given music for some of the top songs of Lata Mangeshkar both on the lyrics of Rajinder Krishan and Raja Mehdi Ali Khan. Songs like Aapki nazaron ne samajha, Agar mujhase mohabbat hai mujhe sab apne gam de do, Lag jaa gale ke phir ye hasin raat ho na ho, Naino mein badara chhaye, and Jaana tha hamase door bahane bana liye, are all his compositions.
Please enjoy Lata Mangeshkar singing ‘Bairan neend naa aaye’, a song penned by Rajinder Krishan with music by Madan Mohan for the 1959 movie ‘Chacha Zindabad’:
bairan nii.nd na aa_e -2
mohe bairan nii.nd na aa_e
moraa jiyaa ghabaraa_e
bairan nii.nd na …
My third Neend song for you is from the 1966 movie Aasra starring Biswajeet and Mala Sinha. Satyen Bose directed the movie. He directed such movies as Jagriti, Dosti, Chalti ka Naam Gaadi and Raat Aur Din.
The Neend number in the movie was penned by Anand Bakshi and music was composed by Laxmikant Pyarelal. Anand Bakshi was born on 21 Jul 1930 in Rawalpindi (now in Pakistan). Anand Bakshi too has something in common with me; he joined the Indian Navy (that time it was called Royal Indian Navy) for two years in 1944. later he shifted to Army’s Corps of Signals in Jabalpur. He served in the Army for over two years. His first poem appeared in Army’s very popular publication called Sainik Samachar. He was so encouraged by the publication of his poem in a prestigious magazine that he thought of trying his luck in the Hindi film industry as a writer. He also tried to join as a singer but he failed. He rejoined the Army in Corps of Electrical and Mechanical Engineers and eventually left in 1950 to join the Hindi Films as a lyricist. Some of his songs are: Aaj mausam bada beimaan hai, Aan mili sajana, Achha to ham chalate hain, Baagon mein kaise ye phool khilate hain, Choli ke peechhe kya hai, Jaadu teri nazar khushboo tera badan, Kankariya maar ke jagaya, Kisi raah mein kisi mod par, Mehbooba mehbooba and other Sholay songs and Pardesiyon se na akhiyan milana. Indeed, he emerged as the most versatile lyricist in the Hindi movies and wrote all genres of lyrics including bhajans.
What can you say about the Music Directors Laxmikant Pyarelal? If you have a look at the honours list of Binaca Geet Mala, an A.I.R programme compered by Amir Sayani, you would notice that they are credited with the most popular numbers in the Hindi movies. They were together until 1998 when Laxmikant died. Some of their most successful and popular films are: Milan, Shagird, Inteqaam, Do Raaste, Roti Kapada Aur Makaan, Sargam, Hero, Sanjog, Naam, Tezaab, Ram Lakhan and Khal Nayak.
Lets listen to this song from Aasra put together by Anand Bakshi, Laxmikant Pyarelal and Lata Mangeshkar singing for Mala Sinha: Neend kabhi rehati thi aankhon mein, ab rehate hain saanwariya.
nii.nd kabhii rahatii thii aa.Nkho.n me.n ab rahate hai.n saa.Nvariyaa
chain kabhii rahataa thaa is dil me.n ab rahate hai.n saa.Nvariyaa
log mujhase kahe.n dekho udhar nikalaa hai chaa.Nd
kaun dekhe udhar jaane kidhar nikalaa hai chaa.Nd
chaa.Nd kabhii rahataa thaa nazaro.n me.n ab rahate hai.n saa.Nvariyaa
nii.nd kabhii rahatii thii …
baat pahale bhii aur tuufaan se Darate the ham
baat ab aur hai ab hai hame.n kaahe kaa Gam
saath kabhii maa.Njhii thaa sa.ng lekin ab rahate hai.n saa.Nvariyaa
nii.nd kabhii rahatii thii …
https://www.youtube.com/watch?v=PtBO7OQsKGo
My fourth Neend number is from the 1966 movie Dulhan Ek Raat Ki starring Dharmendra, Nutan and Rehman. I have already given you above, a song by the combine of Rajinder Krishan with Madan Mohan: bairan neend na aaye. This one is put together by Raja Mehdi Ali Khan as Lyricist and Madan Mohan as Music Director. In all the songs that I have on my cell-phone, whenever I want to hear them during my walks, the first few numbers are always from Raja Mehdi Ali Khan. Can anyone guess why?
It is rather simple: in any album or playlist, the songs sort out alphabetically; and since Raja Mehdi Ali Khan is credited with the word ‘Aap’ in songs, these are usually the first few songs that I hear. By far the first always is: Aapki nazaron ne samajha pyaar ke kaabil mujhe from the 1962 movie Anpadh starring Dharmendra and Mala Sinha.
Having been born in 1928 in Jehlum in undivided India, when the partition of India took place, Raja Mehdi Ali Khan and wife Tahira refused to go to Pakistan despite communal riots. His patriotism came to fore in 1948 itself when he wrote the famous number: Watan ki raah mein watan ke naujwaan shahid hon for the movie Shaheed starring Dilip Kumar.
He is credited with having as many as five numbers in Lata Mangeshkar’s Top Ten. Songs such as Aapki nazaron ne samajha, Naino mein badara chhaye, Lag jaa gale se phir, Naina barase rimjhim rimjhim, and Hai isi mein pyaar ki aabru are all penned by him.
We are now ready to hear this really touching number picturised on Nutan and sung by Lata Mangeshkar from the movie Dulhan Ek Raat Ki.
Please enjoy: Sapano mein agar mere tum aao to so jayun…
sapano.n me.n agar mere
tum aa_o to so jaauu.N -2
sapano.n me.n agar mere
baaho.n ki agar maalaa
pehanaa_o to so jaauu.N -2
sapano.n me.n agar mere
sapano.n me.n kabhii saajan
baiTho mere paas aake
jab siine pe sar rakh duu.n
mai.n pyaar me.n sharamaate
ek giit muhabbat kaa
tum gaa_o to so jaauu.N -2
sapano.n me.n agar mere
biitii huii wo yaade.n
ha.Nsatii huii aatii hai.n
leharo.n kii tarah dil me.n
aatii kabhii jaatii hai.n
yaado.n kii tarah tum bhii
aa jaa_o to so jaauu.N -2
sapano.n me.n agar mere
tum aa_o to so jaauu.N -2
sapano.n me.n agar mere
https://youtube.com/watch?v=JHJYFhac0ks%3F
Finally, my last choice in the top five Neend songs is from the 1963 movie Mere Mehboob, which assumed iconic proportions for its title song. Lyrics of this movie’s songs are by Shakeel Badayuni, about whom I have already written posts to the effect of his being the best lyricist and poet of the Hindi movies and outside the movies (Read: Shakeel Badayuni – The King Amongst Lyricists and Poets – Part I and The Best of Old Hindi Songs – Rafi, Shakeel, Naushad and Dilip Kumar Together). Music is composed by another great Music Director Naushad. Naushad Ali was born on 25 Dec 1919. So successfula and popular was he that amongst his various awards are Dadasaheb Phalke award in 1982 and Padma Bhushan in 1992. He gave music for, amongst others, Mela, Kanoon, Sanjog, Dard, Andaz. babul, Dastaan, Deedar, Aan, Baiju Bawra, Shabab, Uran Khatola, Mother India, Sohni Mehiwal, Kohinoor, Mughal-e-Azham, ganga Jamuna, Son of India, DilDiya Dard Liya, Pakeezah, Aadmi, Sanghursh, and Ram Aur Shyam. Most often than not, he paired with Shakeel Badayuni to give the best of songs. Two of their songs are iconic: Mere Mehboob nad Suhani Raat Dhal Chuki.
Please enjoy this Neend song from Mere Mehboob sung as a duet between Mohammad Rafi and Lata Mangeshkar singing for Rajendra Kumar and Sadhana: Yaad mein teri jaag jaag ke ham…
yaad me.n terI jaag-jaag ke ham
raat bhar karavaTe.n badalate hai.n
har gha.Dii dil me.n terI ulfat ke
dhiime dhiime chiraaG jalate hai.n
jabase tUne nigaah pherii hai
din hai suunaa to raat a.ndherii hai
chaa.Nd bhI ab najar nahii.n AtA
ab sitaare bhI kam nikalate hai.n
yaad me.n terI jaag-jaag ke ham …
luT gayii vo bahaar kI mahafil
chhuT gayii hamase pyaar kI ma.nzil
zi.ndagii kI udaas rAho.n me.n
terI yaado.n ke sAth chalate hai.n
yaad me.n terI jaag-jaag ke ham …
tujhako paakar hame.n bahaar milii
tujhase chhuTakar magar ye baat khulii
baaGabaan hii chaman ke phuulo.n ko
apane pairo.n se khud masalate hai.n
yaad me.n terI jaag-jaag ke ham …
kyA kahe.n tujhase kyuu.n huii duurii
ham samajhate hai.n apanii majabuurii
tujhako maaluum kyA ke tere liye
dil ke gam aa.Nsuo.n me.n Dhalate hai.n
yaad me.n terI jaag-jaag ke ham …
https://youtube.com/watch?v=2b_Ka4aQFso%3F
With this I have given you the Best of Lack of Sleep songs due to being in love. If you surf the net you will find hundreds of these songs. However, I have carefully chosen the five and given you reasons as to why I consider these top be the best. You are free to post your own choice (s) in the Comments. Please remember that the Milan song: Ram kare aisa ho jaaye, meri nindiya tohe mil jaaye is not because of her having lost sleep in love but because of her tragedy. Also, there is a difference between lullabies and lack of sleep songs; for example, Tumheen mere mandir, tumheen meri pooja is a lullaby (bahut raat beeti chalo mein sula doon).
It is getting late in the night and I must sleep now; even though I am in love with putting up such posts!
India had and has much to offer to the West as far as Music is concerned. Both the major forms of classical music: Carnatic and Hindustani were and are popular. However, when it came to Hindi films music, we were influenced in a big way by the Western style, score and beat.
Until independence, because of Gandhi’s Swadeshi and Quit India movements, there was only sporadic influence of the Western music. However, after independence, particularly during the 1950s, we took to Western form of music in Hindi movies in a big way. Indeed, gradually, we started calling the Hindi film industry as Bollywood, the word being styled from Hollywood.
Many Hindi Music Directors unabashedly plagiarised Western music. Simultaneously, some of them also mastered the Western form and wrote some really good music on their own. In 1950s, Western style large orchestras became popular in Hindi film industry and their recording became possible. Jazz, Rock ‘n Roll, and Disco genres entered Hindi films. Of course, one Western instrument that became a symbol of upper-class drawing rooms in the Hindi movies was the piano. However, I shall do a separate post on the Best Piano Numbers in the Hindi Movies.
I have no intention to write an essay on the Western influence since it keeps me from giving you the songs.
Let’s on the other hand take the Music Directors influenced significantly by Western Music.
OP Nayyar was born on 16 Jan 1926 and by 1949 had emerged as a music director for the film Kaneez. His music was considered so “trendy” that in 1950s, All India Radio, the main source of music for most of us, declined to showcase his music.
When Guru Dutt made Aar Paar in 1954 starring himself, Shyama and Shakeela, he took a bet on OP Nayyar and it paid him rich dividends. Guru Dutt took Majrooh Sultanpuri as the lyricist who had the makings of an avanguard Urdu poet rather than sticking to traditional Urdu poetry. Both OP Nayyar and Majrooh experimented and came up with this marvellous number.
OP Nayyar never took Lata Mangeshkar to sing his songs since he didn’t find her voice “sexy”. Hence, this is sung by Guru Dutt’s new find Geeta Dutt.
kyuu.N ho khoye huye sar jhukaaye
jaise jaate ho sab kuchh luTaaye
ye to baabuujii pahalaa kadam hai
nazar aate hai.n apane paraaye
haa.N ba.De dhokhe hai.n …
ye muhabbat hai o bholebhaale
kar na dil ko Gamo.n ke havaale
kaam ulafat kaa naazuk bahut hai
aake ho.nTho.n pe TuuTe.nge pyaale
haa.N ba.De dhokhe hai.n …
ho gayii hai kisii se jo anaban
thaam le duusaraa koI daaman
zi.ndagaanii ki raahe.n ajab hai.n
ho akelaa hai to laakho.n hai.n dushman
haa.N ba.De dhokhe hai.n …
https://youtube.com/watch?v=A35PbjcKoBA%3F
So successful was Guru Dutt’s having tried the music of OP Nayyar in Aar Paar on Majrooh’s lyrics that he kept the team intact for his next movie, in 1955, Mr and Mrs 55 (a distinctly western name for the movie).
OP Nayyar experimented further and became fond of giving exceedingly good numbers to comedians too. This one is picturised on Johnny Walker and became very popular. It is still as popular. Guru Dutt retained Geeta Dutt to sing it together with Mohammad Rafi; the latter’s singing being so versatile that he could sing any type of song.
Enjoy: Jaane kahan mera jigar gaya ji…
jaane kahaa.N meraa jigar gayaa jii
abhii abhii yahii.n thaa kidhar gayaa jii
kisii kii adaao.n pe mar gayaa jii
ba.Dii ba.Dii a.nkhiyo.n se Dar gayaa jii
kahii.n maare Dar ke chUhaa to nahii.n ho gayaa
kone kone dekhaa na jaane kahaa.N kho gayaa
yahaa.N use laae kaahe ko binaa kaam re
jal_dii jal_dii Dhuu.NDho ke hone lagii shaam re
sachchii sachchii kah do dikhaao nahii.n chaal re
tuune to nahii.n hai.n churaayaa meraa maal re
aise nahii.n chorii khulegii takaraar se
chalo chalo thaane bataae.n jamaadaar se
koi ulfat kii nazar zaraa pher de
lele do chaar aane jigar meraa chhe.D de
baate.n hai.n nazar kii nazar se samajhaaU.ngii
pahale pa.Do pa_iyaa.n to phir batalaaU.ngii
A word about Majrooh Sultanpuri won’t be out of place here. The second part of his name was of his town in Uttar Pradesh: Sultanpur – the city of vines though the name is erroneously confused with city of Sultan. He was born some three years after Shakeel Badayuni was born in Badayun town of Uttar Pradesh, some 450 Kms away. However, whilst Shakeel died at the age of 53, Majrooh lived upto 81 years and died in the year 2000. He thus worked with both older music directors such as Madan Mohan, Shanker Jaikishan, Ravi, SD Burman and OP Nayyar but also worked with later day music directors such as RD Burman, Anand Milind, Jatin Lalit and even AR Rehman. As a lyricist, he was really the delight of music directors composing western styled music.
Guess what? So successful was the Western influence on Hindi songs that Guru Dutt virtually retained the entire team for the 1956 movie called C.I.D.: Majrooh Sultanpuri as lyricist; OP Nayyar as Music Director and Geeta Dutt as singer. In this movie, Waheeda Rehman (in her debut role) acted as a vamp. The song sung by Shamshad Begum ‘Kahin pe nigaahen kahin pe nishana’ was allowed to go through. But, lo and behold, Geeta Dutt’s number ‘Jaata kahan hai deewaane’ was found so “sexy” by the censors that the entire scene and the song were disallowed. How far our society has come from those times: these days songs like ‘Sheila ki jawani’ and ‘Beedi sulgayi de’ are commonplace.
However, after many years now, you can at least enjoy the song, if not the scene from C.I.D.
Please enjoy: Jaata kahan hai deewane, Sab kuchh yahan hai sanam….
One other reason the song was disallowed was because of this double entendre….Waheeda being a woman of easy virtue in the movie. I repeat the entire lyrics by Majrooh for you to ask why the song was censored.
Jaataa kahaa.N hai diiwaane
sab kuchh yahaa.N hai sanam
baakii ke saare fasaane
jhuuThe hai.n terii qasam
##fifty##
kuchh tere dil me.n ##fifty##
kuchh mere dil me.n ##fifty##
zamaanaa hai buraa
pahaluu badalane lage
ghabaraa ke chalane lage
aa.Nkhe.n milii.n bhii nahii.n
yuu.N hii sambhalane lage
ai jii suniye huzuur
jaanaa hamase na duur
ai jii suniye huzuur
dekho dil hai kisii kaa jalaanaa buraa
jaataa kahaa.N hai diiwaane
sab kuchh yahaa.N hai sanam
baakii ke saare fasaane
jhuuThe hai.n terii qasam
##fifty##
kuchh tere dil me.n ##fifty##
kuchh mere dil me.n ##fifty##
zamaanaa hai buraa
saiyaad hai tuu magar
mujhako na yuu.N tan ke dekh
naadaa.N zaraa ek baar
qaidii meraa ban ke dekh
maano-maano merii baat
hai ye pahalii mulaaqaat
maano-maano merii baat
dekho pahaluu se uTh ke hai jaanaa buraa
jaataa kahaa.N hai diiwaane
sab kuchh yahaa.N hai sanam
baakii ke saare fasaane
jhuuThe hai.n terii qasam
##fifty##
kuchh tere dil me.n ##fifty##
kuchh mere dil me.n ##fifty##
zamaanaa hai buraa
We have gone through the brief background and then delved into the early songs of OP Nayyar in Guru Dutt movies. Now, lets look at the music of C Ramchandra.
C Ramchandra was named Ramchandra Narhar Chitalkar by his parents after he was born on 12 Jan 1918 in Puntumba town near Ahmednagar in Maharashtra.Influenced by Benny Goodman, Ramachandra introduced in his compositions the alto sax in combination with guitar and harmonica. He also included whistling in one of his famous songs, Aana meri jaan Sunday ke Sunday in film Shehnai. He used a combination of a bongo, an oboe, a trumpet, a clarinet and a sax for the song Shola Jo Bhadke in film Albela. He sang the title song “Shin Shinaki Boobla Boo” with Lata Mangeshkar, which included rock rhythms. He provided the musical score for the scat song “Ina mina dika” in “Aasha”.Lets first listen to Shola jo bhadake from 1951 movie Albela starring Geeta Bali and Bhagwan. Lyrics are by Rajinder Krishan. OP Nayyar didn’t find Lata Mangeshkar’s voice as “sexy enough”. But, C Ramachandra was in love with her and sang it with her. Later, when he proposed to her, she was rumoured to have been instrumental in finishing his career as Music Director.
Enjoy: Shola jo bhadake…
sholaa jo bha.Dake dil meraa dha.Dake
dard javaanii kaa sataae ba.Dh-ba.Dh ke
mahakii havaae.n bahake kadam mere
aise me.n thaam lo aa ke balam more
pattaa bhii kha.Dake to bijalii sii ka.Dake, dard …
pyaar ko mere kisane pukaaraa
dil me.n utar gayaa kisakaa ishaaraa
yaad ye kisakii laa_I paka.D ke, dard …
dekhaa jo tumako dard huaa kam
ab to na ho.nge tumase judaa ham
https://youtube.com/watch?v=FkXVfGi7QVg%3F
C Ramachandra could compose music for a typical classical 1959 V Shantaram movie Navrang (remember ‘Are jaa re hat natkhat’, ‘Shyamal shyamal baran’ and ‘Tu chhupi hai kahan’ and yet also produce Western tunes.
This is a very very popuar number called Eina Meena Deeka from the 1957 movie Asha. Once again, the lyrics are by Rajinder Krishan. It is sung by Kishore Kumar who emerged as the accomplished singer for such songs complete with his signature yodeling. Asha Bhosle accompanied him.
dil bechuu.N, hai koI lene vaalaa,
aise vaise to nahii.n dene vaalaa
sUratiyaa.N hasii.n ho, umariyaa.N javaa.N ho
koI bhii use dekhe to bas ye gumaa.N ho
yahI hai yahI hai yahii to hai vo
iinaa miinaa Diikaa…
mat socho ki sastaa hai saudaa
phal paaye lagaaegaa jo paudhaa
dil ki ye kyaarii banegii phulavaarii
ye duniyaa jalegii, jalan kI hai maarii
ha.Nsegii ha.Nsegii ha.Nsegii merii pyaarii
iinaa miinaa Diikaa…
ye sharte.n to ba.Dii hai.n zaruurii
jo koii karegaa inhe.n puurii
mai.n Kushii Kushii use ye dil de duu.ngaa
qasam khaa rahaa huu.N, ki daam bhii na luu.ngaa
magar ye kahuu.NgA, magar ye kahuu.NgA
( kyaa ? )
yahii hai yahii hai yahii to hai vo
iinaa miinaa Diikaa…
is duniyaa me.n dil na lagaanaa
dil de ke pa.Degaa pachhataanaa
ye ruup ke pujaarii ye dil lene waale
pahale pahale hote hai.n ba.De bhole bhaale
kaleje ko thaam pukaare.nge naam
tuu hii hai tuu hii hai tuu hii to hai wo
iinaa miinaa …
ae
ae come on come on
kaise
dekh
eii
mat bhuulo hai pyaar ek naag
ugalegaa zahar bharii aag
ye dil ko jalaaye ye sholo.n pe sulaaye
jo phuulo.n se uThaaye to kaa.NTo.n me.n rulaaye
kaleje ko thaam pukaaregaa naam
tuu hii hai tuu hii hai tuu hii to hai wo
iinaa miinaa …
https://youtube.com/watch?v=HxJH9kXo_3o%3F
This one is from the 1950 movie Samadhi for which too C Ramchandra composed the music. This too became as popular as Eina Meena Deeka of Asha and Shola Jo Bhadake of Albela. This too had Rajinder Krishan‘s lyrics and Lata Mangeshkar‘s “not so sexy” singing, accompanied by Ameerbai‘s.Please enjoy: Gore gore O baanke chhore…
latA: gore gore o baa.Nke chhore kabhii merii galii aayaa karo
amIr: gorii gorii o baa.Nkii chhorii chaahe roz bulaayaa karo
dono.n:
gorii gorii o baa.Nkii chhorii chaahe roz bulaayaa karo
gore gore o baa.Nke chhore, kabhii merii galii aayaa karo
gorii gorii o baa.Nkii chhorii, chaahe roz bulaayaa karo
latA: chhoTii-sii baat par ye la.Daaii?
pyaar kii duhaaii hai, pyaar kii duhaaii
akhiyo.n me.n akhiyaa.N Daal ke to dekho
chehare pe Gussaa haay dil me.n safaaii
amIr: gha.Dii gha.Dii, o ba.Dii ba.Dii,
aisii baate.n na banaayaa karo
dono.n:
gorii gorii o baa.Nkii chhorii, chaahe roz bulaayaa karo
gore gore o baa.Nke chhore, kabhii merii galii aayaa karo
gorii gorii o baa.Nkii chhorii chaahe roz bulaayaa karo
You would find another uncharacteristic Indian attribute in the song; in most other songs, women or girls are called Gori (fair-maiden) and men are considered more handsome if they are Saanvre (dark complexioned). However, in this number, following the Western trait, both refer to each other as fair-complexioned.
https://youtube.com/watch?v=LuCtgwQ0_Ks%3F
C Ramachandra paired with Lata Mangeshkar to sing the title song of 1952 movie Shin Shinaki Boobla Boo starring Rehana and Ranjan. Lyrics are by PL Santoshi and C Ramchandra tried rock rhythm in the song; probably for the first time in Hindi movies.
Enjoy: Shin shinaki boobla boo…
chi : ( shin shinaa kii
la : buubalaa buu ) -3
do : do hai.n jism ek hai ruuh
buubalaa buu -3
la : shin ye puuchhe buubalaa
ye to bataa buubalaa
ishq hai kyaa buubalaa
buubalaa ai buubalaa
chi : mai.n bataa_uu.N kyaa bhalaa
phir bhii ye huu.N jaanataa
ishq Kud ko Dhuu.NDhane kii justajuu hai justajuu
do : do hai.n jism ek hai ruuh
buubalaa buu -3
shin shinaa kii buubalaa buu -3
do hai.n jism ek hai ruuh
buubalaa buu -3
la : mai.n jo puuchhuu.N mai.n huu.N kyaa
chi : mai.n jo kah duu.N kuchh nahii.n
la : mai.n ye puuchhuu.N tuu huu.N kyaa
chi : mai.n jo kah duu.N kuchh nahii.n
do : dono.n kuchh nahii.n magar
tuu hai mai.n aur mai.n huu.N tuu
do hai.n jism ek hai ruuh
buubalaa buu -3
shin shinaa kii buubalaa buu -3
do hai.n jism ek hai ruuh
buubalaa buu -4
https://youtube.com/watch?v=pwP9V3PKWdw%3F
Before I take on another great music director influenced by Western music, lets take the earliest of C Ramachandra‘s songs influenced by Western tunes. This one is from the 1947 movie ‘Shehnai’. C Ramachandra not only composed the music but sang it with Meena Kapoor. The lyrics, once agian, are by PL Santoshi.
Enjoy: Aana meri jaan sunday ke sunday…
chi: aanaa merii jaan, merii jaan, ##Sunday## ke ##Sunday##
aanaa merii jaan, merii jaan, ##Sunday## ke ##Sunday##
chi: ##I love you##
mii: bhaag yahaa.N se duur
chi: ##I love you##
mii: bhaag yahaa.N se duur
chi: aao, haatho.n me.n haath le ##walk## kare.n ham
aao, ##sweet sweet## aapas me.n ##talk## kare.n ham
mii: aare haT!
sai.nyyaa meraa pahalavaan hai, maare daND hazaar
sai.nyyaa meraa pahalavaan hai, maare daND hazaar
bhaag jaaoge tum bandar degaa jo lalakaar
maare gin gin ke, gin gin ke, DaNDe, DaNDe
chi: aanaa merii jaan, merii jaan, ##Sunday## ke ##Sunday##
mii: ##o my saab, come, come, come##
tum ##Romeo##, ##Juliet## ham
##o dear, come here, don’t fear##
ye gaa.Nv kii ##native## la.Dakii hai
ye dil kii ##beating## kyaa jaane
ye ##chasing hunting## kyaa jaane
ye ##love## kii ##meeting## kyaa jaane
chi: ##right! right! right! all right!##
mii: aao ##dear##, ham chale ##there##
chi: ##where?##
mii: ##there##, kare muhabbat ke, muhabbat ke dhandhe, dhandhe
dono: aanaa merii jaan merii jaan ##Sunday## ke ##Sunday##…
https://youtube.com/watch?v=-9a4NEtZDqI%3F
We touched briefly on the history of the Western influence on Hindi songs. After that we took up two music directors in whose songs and music the influence was tangible: OP Nayyar and C Ramachandra.
Now, lets take up Salil Chowdhury. Salil da was born on 19 Nov 1922 in a village in 24 Paraganas district of West Bengal.Salil’s music was a blending of Eastern and the Western music traditions. He had once said: “I want to create a style which shall transcend borders – a genre which is emphatic and polished, but never predictable”.
Salil’s love for Western classical music started when he was a young boy growing up in an Assam tea garden where his father worked as a doctor. His father inherited a large number of western classical records and a gramophone from a departing Irish doctor. While Salil listened to Mozart, Beethoven, Tchaikovsky, Chopin, and others everyday, his daily life was surrounded by the sound of the forest, chirping of the birds, sound of the flute and the local folk-music. This left a lasting impression in young Salil. He became a self-taught flute player and his favourite composer was Mozart. His compositions often used folk melodies or melodies based on Indian classical ragas but the orchestration was very much western in its construction. He developed a style which was immediately identifiable.
Listen to two of the songs from the 1958 movie Madhumati starring Dilip Kumar and Vyjayantimala and you are bound to get the metronomic Western beat: One is Dil tadap tadap ke keh raha hai aa bhi jaa; and the other is Ghadi ghadi mera dil dhadake…Lets hear the first one. I must add that finally the song comes out typical Salil da’s and no one else’s. He experimented but finally had his own stamp.
Enjoy: Dil tadap tadap ke keh raha hai...
Shailendra wrote the lyrics and it is a duet between Lata Mangeshkar and Mukesh…
mu: dil ta.Dap ta.Dap ke kah rahaa hai aa bhI jaa
tU hamase aa.Nkh nA churaa, tujhe kasam hai aa bhI jaa (2)
(tU nahii.n to ye bahaar kyA bahaar hai
gul nahii.n khile to terA intazaar hai ) – 2
ke terA intazaar hai – 2
dil ta.Dap ta.Dap …
la: aa aa
dil dha.Dak dha.Dak ke de rahaa hai ye sadA
tumhaarii ho chukii.n huu.N mai.n
tumhaare sAth huu.N sadA
(tumase merI zindagii kA ye shrR^i.ngaar hai
jii rahii huu.N mai.n ke mujhako tumase pyaar hai ) – 2
ke mujhako tumase pyaar hai – 2
mu: dil ta.Dap ta.Dap ke kah rahaa hai …
(muskuraate pyaar kA asar hai har kahii.n
dil kahaa.N hai ham kidhar hai.n kuchh khabar nahii.n ) – 2
kidhar hai kuchh khabar nahii.n – 2
dil ta.Dap ta.Dap ke kah rahaa hai …
https://youtube.com/watch?v=te0ZdZ1ndyw%3F
By the way, this is one of the duets in which the second singer joins after the mukhda and the first stanza. There are several such duets. One that immediately comes to mind is the wonderful song: “Samay tu dheere dheere chal….” in which KK joins in only after 2nd stanzas are sung by Asha.
A word about the great lyricist Shailnedra won’t be out of place here. Shailendra was born on 30th Aug 1923 in Ara district of Bihar. He died very early at the age of 43 only on 14th Dec 1966. Shailendra was initially very wary of main-stream Indian cinema. However, after his wife became pregnant, and being in need of money, he approached Raj Kapoor. Raj Kapoor already had Shankar Jai Kishan as “house-musicians”. From the film Barsaat onwards, Shailendra associated with Raj Kapoor and wrote some really good lyrics; eg, Awara hoon (that became iconic), Patli kamar hai, Barsaat mein. He later associated with other music directors too such as Salil da, SD Burman and Pandit ravi Shankar for the movie Anuradha. He won the Best Lyricist Award thrice: In 1958 for the Yahudi song: Yeh mera deewanapan hai, 1959 Anaari song: Sab kuchh seekha hamne, and 1968 Brahmachari song: Main gaaun tum so jaayo.
Here is his second song from Madhumati on inimitable western beat of Salil Choudhary.
Enjoy: Ghadi ghadi mera dil dhadake…
gha.Dii gha.Dii meraa dil dha.Dake
haay dha.Dake kyo.n dha.Dake
aaj milan kii belaa me.n
sar se chunariyaa kyo.n sarake?
gha.Dii gha.Dii meraa dil dha.Dake
saare umar ke badale mai.n ne
maa.Ngii thii ye shaam re
aaj yahii.n rah jaa_uu.Ngii mai.n
unakii baahe.n thaam ke
pyaar milaa aa.Nchal bhar ke
haay dha.Dake kyo.n dha.Dake
aaj milan kii belaa me.n
sar se chunariyaa kyo.n sarake?
gha.Dii gha.Dii meraa dil dha.Dake
aaj papiihe tuu chup rahanaa
mai.n bhii huu.N chup chaap re
man kii baat samajh le.nge
saa.Nvariyaa apane aap re
dekh zaraa dhiiraj dhar ke
haay dha.Dake kyo.n dha.Dake
aaj milan kii belaa me.n
sar se chunariyaa kyo.n sarake?
gha.Dii gha.Dii meraa dil dha.Dake
https://www.youtube.com/watch?v=D04wWITpWaY
Of course, Salil da received the Best Music Director for the 1958 movie Madhumati and then, thirty years later, he received the Sangeet Natak Akademi Award. The next song is from the 1961 movie Maya starring Dev Anand and Mala Sinha. The western metronomic beat is evident in this song written by Majrooh Sultanpuri and sung by Mohammad Rafi and Lata Mangeshkar for Dev Anand and Mala Sinha respectively.
Enjoy: Tasveer teri dil mein jis dil se utaari hai…
lataa: tasaviir terii dil me.n, jis din se utaarii hai
phiruu.N tujhe sa.ng leke, naye naye ra.ng leke
sapano.n kii mahafil me.n …
rafii: tasaviir terii dil me.n, jis din se utaarii hai
phiruu.N tujhe sa.ng leke, naye naye ra.ng leke
sapano.n kii mahafil me.n …
lataa: (maathe kii bi.ndiyaa tuu hai sanam
naino.n kaa kajaraa piyaa teraa Gam ) – 2
nain ke niiche niiche, rahuu.N tere piichhe piichhe
chaluu.n kisii ma.nzil me.n …
tasaviir terii dil me.n …
rafii: (tumase nazar jab gayii hai mil
jahaa.N hai kadam tere vahii.n meraa dil ) – 2
jhuke jahaa.N palake.n terii, khule jahaa.N zulfe.n terii
rahuu.N usii ma.nzil me.n …
rafii ## & ## lataa: tasaviir terii dil me.n, jis din se utaarii hai …
By this time the typical western beat of Salil Chowdhury’s songs must be clear to you and I need not explain this any further. This song is from the 1960 movie Usne Kaha Tha starring Sunil Dutt and Nanda. Shailendra Singh penned the lyrics and the duet is between Lata Mangeshkar and Talat Mehmood.
Enjoy: Aaha rimjhim ke ye pyaare pyaare geet liye…
t: aahaa rimajhim ke ye pyaare pyaare giit lie
aaI raat suhaanii dekho priit lie
miit mere suno zaraa havaa kahe kyaa, aa …
suno to zaraa, jhii.ngar bole chiikiimiikii chiikiimiikii
rimajhim ke ye pyaare pyaare giit lie
## Then Lata repeats it##
t: (khoii sii bhiigii bhiigii raat jhuume
aa.Nkho.n me.n sapano kii baaraat jhuume ) – 2
dil kii ye duniyaa aaj baadalo.n ke saath jhuume
aahaa rimajhim ke ye …
l: (aa jaao dil me.n basaa luu.N tumhe.n
naino.n kaa kajaraa banaa luu.N tumhe.n ) – 2
jaalim zamaane kii nigaaho.n se chhupaa luu.N tumhe.n
aahaa rimajhim ke ye …
t: (haath.on me.n tere meraa haath rahe
dil se jo nikalii hai vo baat rahe ) – 2
meraa tumhaaraa saarii zindagii kaa saath rahe
aahaa rimajhim ke ye …
https://youtube.com/watch?v=Nfjw5JcalyU%3F
The western beat’s fusion with Hindi songs that Salil created so uniquely continued in Salil da’s later day movies such as Rajnigandha and Chhoti Si Baat. For both the movies the lyrics were by Yogesh. Both movies, within a span of one year, were directed by Basu Chatterjee and starred Amol Palekar and Vidya Sinha. Both the movies came like whiffs of fresh air, largely due to Amol Palekar’s acting and Salil da’s music. Guage the Western influence on this song from Rajnigandha: Kayi baar youn hi dekha hai….
Please enjoy: Kayi baar youn hi dekha hai…
ka_ii baar yuu.n hii dekhaa hai
ye jo man kii siimaa rekhaa hai
man to.Dane lagataa hai
anjaanii pyaas ke piichhe
anjaanii aas ke piichhe
man dau.Dane lagataa hai
raaho.n me.n, raaho.n me.n, jiivan kii raaho.n me.n
jo khile hai.n phuul phuul muskuraake
kaun saa phuul churaake, rakh luu.n man me.n sajaake
ka_ii baar yuu.n hii dekhaa hai …
jaanuu.N na, jaanuu.N na, ulajhan ye jaanuu.N na
sulajhaa_uu.n kaise kuchh samajh na pa_uu.N
kisako miit banaa_uu.N, kisakii priit bhulaa_uu.N
ka_ii baar yuu.n hii dekhaa hai …
https://youtube.com/watch?v=eaF3PkNM3XE%3F
I end with Salil da with this number from the 1975 movie Chhoti Si Baat in which Basu Chatterjee retained the same team. It is a duet between Yesudas and Asha Bhosle and has this distinctive western beat.
Please enjoy: Jaane man jaane man tere do nayan…
ye: jaaneman jaaneman tere do nayan
chorii chorii leke gae dekho meraa man
jaaneman jaaneman jaaneman
aa: mere do nayan, chor nahii.n sajan
tumase hii khoyaa hogaa kahii.n tumhaaraa man
jaaneman jaaneman jaaneman
ye: jaaneman …, aa: mere …
ye: to.D de dilo.n kii duurii, aisii kyaa hai majabuurii
dil dil se milane de
aa: jaa, abhii to huii hai yaarii, abhii se hii beqaraarii
din to zaraa Dhalane de
ye: chho.D …, aa: abhii to …
ye: yahii sunate, samajhate, guzar gae jaane kitane hii saavan
jaaneman …
aa: mere do …
aa: sa.ng sa.ng chale mere, maare aage piichhe fere
samajhuu.N mai.n tere iraade
ye: doshh teraa hai ye to, har din jab dekho
karatii ho jhuuThe vaade
aa: sa.ng sa.ng …, ye: doshh teraa …
aa: tuu na jaane, diivaane, dikhaauu.N tujhe kaise mai.n ye dil kii lagan
ye: jaaneman … (aa: laa laa …), aa: mere do …
ye: chhe.De.nge kabhii na tumhe, zaraa batalaado hame,
kab tak ham tarase.nge
aa: aise ghabaraao nahii.n, kabhii to kahii.n na kahii.n
baadal ye barase.nge
ye: chhe.De.nge …, aa: aise …
ye: kyaa kare.nge barasake, ke jab murajhaayegaa ye saaraa chaman
ye: jaaneman … (aa: laa laa …), aa: mere do …
https://youtube.com/watch?v=ats8Y1yzgPI%3F
After the two music directors, lets take the singer Kishore Kumar for a typical Western style of singing. He was not just Singer, but also Music Director, Actor, Director, Producer, Lyricist et al. He was born on 4th Aug 1929 as Abhas Kumar Ganguly to a Bengali family in Khandwa in Madhya Pradesh.
Kishore Kumar brought in a more lively style of singing with Western styled yodelling that became quite popular. Initially, though he sang in a Hindi movie as early as in 1948, his first real hit movie was in 1958 Chalti Ka Naam Gaadi where he acted with his two brothers Anoop Kumar and Ashok Kumar. He sang on the music of Sachin Dev Burman and some of the songs of this movie are still hit songs.
Please enjoy: Ik ladki bheegi bhaagi si….
ik la.Dakii bhiigii-bhaagii sii
sotii raato.n ko jaagii sii
milii ik ajanabii se
ko_ii aage na piichhe
tum hii kaho ye ko_ii baat hai
dil hii dil me.n jalii jaatii hai
biga.Dii biga.Dii chalii aatii hai
machalii machalii ghar se nikalii
pagalii sii kaalii raat me.n
milii ik ajanabii se
ko_ii aage na piichhe
tum hii kaho ye ko_ii baat hai
ik la.Dakii …
Dagamag Dagamag lahakii lahakii
bhuulii bhaTakii bahakii bahakii
balakhaatii huii, iThalaatii huii
saavan kii suunii raat me.n
milii ik ajanabii se
ko_ii aage na piichhe
tum hii kaho ye ko_ii baat hai
ik la.Dakii …
tan bhiigaa hai sar giilaa hai
us kaa ko_ii pech bhii Dhiilaa hai
tanatii jhukatii
chalatii rukatii
nikalii a.ndherii raat me.n
milii ik ajanabii se
ko_ii aage na piichhe
tum hii kaho ye ko_ii baat hai
ik la.Dakii …
https://youtube.com/watch?v=pV1cczPv4_o%3F
Lets now turn to the 1961 movie Jhumroo that was not only produced and directed by Kishore Kumar; but, he wrote the lyrics for the title song: Main hoon jhum jhum jhum jhum jhumroo. Of course the music in the film and for all the songs was his. Kishore Kumar was one singer and music director who could transition with ease from Indian classical songs to western rock and dance numbers. The lyrics of the song were penned by the progressive Urdu lyricist Majrooh Sultanpuri. Kishore Kumar acted in the movie with Madhubala who later became his second wife.
Please enjoy: main hoon jhum jhum jhum jhum jhumroo…
oDii DuruDuru DoruDoru DeI
uD.hDu DuD.hDu DeI Dii
mai.n huu.N jhum jhum jhum jhum jhumaruu
fakka.D ghum ghum banake ghumaruu
mai.n ye pyaar kaa giit sunaataa chalaa
o ma.nzil pe merii nazar, mai.n duniyaa se bekhabar
biitii baato.n pe dhuul u.Daataa chalaa
mai.n huu.N jhum jhum jhum jhum …
heI DiriDiri DiriDiri pakkur…
yuDaDeI bagaayo.n kaa baagaa
heii DiriDiri DiriDiri pakkur…
minimini minimini aav
yuDaDeI bagaayo.n kaa baagaa
eii DuruDuru DoruDoru DuruDuru oDu Deyii
## [that’s the main part of the song.
How can I leave it? :-)] ##
mai.n huu.N jhum jhum jhum jhum jhumaruu
fakka.D ghum ghum banake ghumaruu
saath me.n hamasafar na koI kaaravaa.n
o bholaa bhaalaa siidhaa saadaa,
lekin dil kaa huu.N shahazaadaa
hai ye merii zamii.n ye meraa aasamaa.n
## [yodelling again] ##
mai.n huu.N jhum jhum jhum jhum jhumaruu
fakka.D ghum ghum banake ghumaruu
mere dil me.n hai pyaar har kisii ke liye
o mujhako pyaaraa har inasaan, dilavaalo.n pe huu.N qurabaan
zindagii hai merii zindagii ke liye
yeDili yuDili o ho yuDili yeDili o
aDili yuDili o ho yuDili yuDili o
## [some stuff like that] ##
https://youtube.com/watch?v=o8IxjxDLmfk%3F
When Kishore Kumar wanted a break as a singer, Salil Choudhary initially didn’t take him seriously since Kishore da didn’t have formal training in singing. However, after heaering him, Salil da gave him to sing ‘Chhota sa ghar hoga’, which was to be sung by Hemant Kumar. However, SD Burman had no such doubts to make him sing the songs of the 1958 effervescent movie Chalti Ka Naam Gaadi; and what songs were they, all under Western influence:
“In Haathon Se Sab Ki Gaadi”
Ek Ladki Bheegi Bhaagi Si”
“Hum The Woh Thi”
“Babu Samjho Ishare”
“Haal Kaisa Hai Janaab Ka”
“Main Sitaron Ka Tarana”
“Hum Tumhare Hain”
“Rukh Jao Ree Jee”
Enjoy: Main sitaaron ka taraaana……Paanch rupaiya barha aana…
mai.n sitaaro.n kaa taraanaa, mai.n bahaaro.n kaa fasaanaa
leke ik a.nga.DaaI mujh pe, Daal nazar ban jaa diivaanaa
ruup kaa tum ho khazaanaa, tum ho merii jaa.N ye maanaa
lekin pahale de do meraa, paa.nch rupaiyaa baaraa aanaa
paa.Nch rupaiyaa, baaraa aanaa-aaaa …
maaregaa bhaiyaa, naa naa naa naa-aaaa …
maal zar, bhuulakar, dil jigar hamase nishaanii maa.Ngo naa
dilarubaa, kyaa kahaa, dil jigar kyaa hai javaanii maa.Ngo naa
tere liye majanuu ban sakataa huu.N
lailaa lailaa kar sakataa huu.N
chaahe namuunaa dekh lo — haay
khuun-e-dil piine ko aur laqt-e-jigar khaane ko
ye gizaa milatii hai lailaa – (2)
tere diivaane ko – (2)
o ho ho josh-e-ulfat kaa zamaanaa, laage hai kaisaa suhaanaa
leke ik a.nga.DaaI mujh pe, Daal nazar ban jaa diivaanaa
maanataa huu.N hai suhaanaa, josh-e-ulfat kaa zamaanaa
lekin pahale de do meraa, paa.Nch rupaiyaa baaraa aanaa
Gam bhulaa, saaj uThaa, raag mere ruup ke tuu gaaye jaa
ai dilarubaa, hoy dilarubaa, haa.N isii a.ndaaz se faramaaye jaa
giit sunaa sakataa huu.N daadaraa
ginakar puure baaraa maataraa
chaahe namuunaa dekh lo — haay
dhiire se jaanaa bagiyan me.n, dhiire se jaanaa bagiyan me.n
re bha.Nvaraa, dhiire se jaanaa bagiyan me.n
hoy lallaa Dhii.ng lallaa – (2)
o ho ho tuu kalaa kaa hai diivaanaa kam hai kyaa tujhako bahaanaa
leke ik a.nga.DaaI mujh pe, Daal nazar ban jaa diivaanaa
haa.N ye achchhaa hai bahaanaa mai.n kalaa kaa huu.N diivaanaa
lekin pahale de do meraa, paa.Nch rupaiyyaa baaraa aanaa
bekhabar, pyaar kar, dhan kii duniyaa kyaa hai Dhalatii chhaayaa hai
haay haay haay dilarubaa, sach kahaa saa.Nch teraa pyaar baakii maayaa hai
tere liye jogii ban sakataa huu.N
ja.ngal ja.ngal phir sakataa huu.N
chaahe namuunaa dekh lo — haay
bamamukach e bin bamamukach e bin bamamukach e bin bamamukach
(terii gaTharii me.n laagaa chor musaafir
jaag zaraa tuu jaag zaraa ) – (2)
o ho ho mai.n huu.N terii jaan-e-jaanaa aa mujhii se lav lagaanaa
leke ik a.nga.DaaI mujh pe, Daal nazar ban jaa diivaanaa
jai guruu maine ye maanaa tuu hai meri jaan-e-jaanaa
lekin pahale de do meraa – yak dui tiin chaar paa.nch
paa.Nch rupaiyaa baaraa aanaa …
https://www.youtube.com/watch?v=NoCsPnPACZY
To end the example of Kishore da with SD Burman, lets take Kishore da singing for Aradhana on Sachin Dev Burman‘s music; this time with lyrics by Anand Bakshi. During the height of Rajesh Khanna‘s popularity, Kishore da’s career, which earlier had shown a dip, got revived and he sang very popular numbers for Rajesh Khanna’s movies. By this time, large western styled orchestras were common in Hindi movies.Please enjoy the super hit: Roop tera mastana, pyar mera diwana…
(raat nashiilii mast samaa hai
aaj nashe me.n saaraa jahaa.N hai.n) – (2)
aaye sharaabii mausam bahakaaye – e – e – e …
ruup teraa mastaanaa, pyaar meraa diivaanaa
bhuul koii hamase naa ho jaaye
(aa.Nkho.n se aa.Nkhe.n milatii hai.n jaise
bechain hoke tuufaa.N me.n jaise) – (2)
mauj koii saahil se Takaraaye – e – e – e …
ruup teraa mastaanaa, pyaar meraa diivaanaa
bhuul koii hamase naa ho jaaye
(rok rahaa hai hamako zamaanaa
duur hii rahanaa paas naa aanaa) – (2)
kaise magar koii dil ko samajhaaye – e – e – e …
ruup teraa mastaanaa, pyaar meraa diivaanaa
bhuul koii hamase naa ho jaaye
https://youtube.com/watch?v=HenA-OUyo0s%3F
I hope you have liked this post so far. With this we come to the end of Part – I of my giving you a feel of Western Influence on Hindi Songs. I shall conclude with the Part II later. Part II will have the music duo of Shankar and Jai Kishen and their mastery over a Western musical instrument Piano. Please await the post.
A few decades back, we entered the Missile Age in Naval Warfare. The Gunners – or the Bang-Bang people – suddenly had to reckon with missile-firings and fire-balls approaching the ship. This demanded lightening speed responses. Fortunately, most of them were blessed with these, having honed these during their formative years. So, whilst an ordinary mortal would be thinking of what to do, a Gunner would have worked out what to do after the first what-to-do would have failed. One such Gunner was the first Gunnery Officer I had as my colleague after completing my specialisation in Communications and Electronic Warfare.
D ( I told you in ‘Gunners Too Are Human – Part I‘ that I shall not be giving any names due to my survival instincts) was convinced that Life and Missiles should be taken in one’s stride, just as they come. However, he never missed an opportunity to impress the Commanding Officer with his ‘hard work’. So, whilst enjoying a drink in the wardroom in the evenings, if he got the ‘news‘ that the CO had stepped on board with his guests, he would lose no time in getting this announced on the ship’s broadcast, “Gunner’s Yeoman required in Gunnery Officer’s cabin immediately.” This was to let the CO know that he, Gunnery Officer, was on board on a holiday doing Gunnery work. If that wasn’t enough, he would time his giving loud instructions to the Gunner’s Yeoman at the gangway just as CO would be leaving the ship.
I don’t know whether this strategy, carefully crafted by an ace Gunner, worked or not; but, I had noticed that the CO – a Navigator – was perpetually in awe of the Gunnery Officer. Weren’t we all?
A missile is an expensive arsenal to fire at sea during practice shoots. It is like the most expensive Diwali celebration. Hence, you don’t carry out missile firings at the frequency of, say, firing the 40/60 Bofors Anti-aircraft guns. Other than the expenses, one reason for not carrying out so frequent missile-firings is because missile-launchers and the connected fire-control systems are fully computerised together with a ‘seeker-head’ on the missile to search for and find (home-on) its own target. Therefore, to carry out these drills without actually firing missiles is adequate training. however, the 40/60 AA Guns, as on board the ship where D and I served, had the requirement to train the crew to successfully bring down an aircraft through aiming and firing of shells fitted with proximity fuze.
In the Gunnery School, these drills are performed endlessly by Gunnery sailors and all under-trainee officers of the Executive Branch. The crew of the 40/60 Gun comprises: #1: Captain of the Mounting; #2 Loading Number; #3 Communication Number; and #4 Spare Number. In the gunnery drills, no one takes any chances about ‘an interpretation’ of the orders as this could cause serious injury and even death. Hence, each hand of the crew perfects his drill, calling out aloud the actions that he is doing whilst following each order. A time comes, when after going over these drills hundreds of times, one would be able to perform these with closed eyes.
Normally, CRAA Firings (Close range Anti-Aircraft Firings) are done at evening twilight time. Ships are formed in a column, one behind the other, and then for a group of two to three ships, an illuminated target in the form of a star shell is fired either to the port side (left) or the starboard side (right). As soon as this star-shell comes within range and height, ships open up firing on their AA guns. The entire serial lasts only about 30 mins of say, two to three firings. However, since the aiming of the mountings can be visually seen – through tracer shells – ships receive signals from the Fleet Commander ranging from Bravo Zulu (Well Done) to Negat Bravo Zulu (Not Well Done).
During one of these CRAA Firing Serials, Gunnery Action Team was closed up and the Fleet Staff kept changing the timing of the firing due to various reasons; one of these being that the range was not clear of fishing boats. Therefore, for at least twice ‘Relax Gunnery Action Team’ order was passed on the ship’s broadcast. Finally, the serial commenced and a series of orders were given to make the AA mounting ready. Some of us held our breath whereas others prepared to close their ears to muffle the sound of firing.
The ship ahead of us fired a Star Shell to the port and the order, “Alarm Star Shell Port” was given. This order pre-supposes that the crew would fire when the Star Shell would be within range and height, without any further orders from the Bridge where the Captain, and the Officer of the Watch are closed up.
For a few agonising seconds nothing happened. Now, anybody familiar with Gunnery world would know that ‘nothing’ is not what the Gunners are trained for. The word ‘Action‘ is the hallmark of a Gunner; so much so that Action Stations on board in war or during exercises are controlled by the Gunnery department; you have a ‘Gunnery Action Team’ and certainly not a ‘Gunnery Nothing Team’.
We saw the slow descending of the Star Shell and the ship ahead of the Star Shell firing ship as well as the Star Shell firing ship had already started firing illuminating the night with tracer shells through their own AA guns. We, on the Bridge (I was the Officer of the Watch or OOW) thought perhaps the Mounting hadn’t heard the order ‘Alarm Star Shell Port’ and hence this order was repeated initially with increased decibel level and later with ferocity. Lo and behold, the mounting stuck to its earlier response of doing nothing. It was as if, they, like sages trying to reach God, had discovered that the easiest way to get to Him was by doing nothing and clearing mind and body of all thoughts and actions.
By this time, our Captain had started the advanced version of standing jog in the hope that our own firing would commence any time. It was my sad duty, as a War Reporter from the Front, to report to him that still there was ‘nothing‘.
Our Captain (God rest his soul) was known in the Navy for his mild nature and extreme gentlemanliness. However, when the Fleet Commander passed the expected ‘Negat Bravo Zulu’ to us, he was suddenly rid of his m.n. and e.g. and wanted to eat the Gunnery Officer alive. “Announce for the Gunnery Officer” he boomed. In my lighter moments (that I used to have with him several times on the Bridge), I would have told him that no announcement was necessary since at the volume with which he gave his command, even the next ship would have heard him directly. However, one look at his stern countenance convinced me that this was not the moment for frivolity. I announced, “Gunnery Officer requested Bridge” and eagerly awaited D being converted into mince-meat by the Captain. Several moments later, I found that the acquired virtue of the AA Mounting had been adopted by the Gunnery Officer too. You have guessed it: nothing happened. So, even before the Captain would tell me, being conscious of my own survival instincts, I re-announced with urgency: “Gunnery Officer requested Bridge – Captain” signifying that this announcement was made for him to report to Captain.
Full marks to the Gunnery Action Team and the Gunnery Officer for their consistency that evening: they stuck to their earlier response of ‘nothing‘ like an unshakeable witness in the court despite all the questioning by a relentless prosecutor. To my horror I found that the Captain wasn’t jumping in the air anymore; he had quickly mastered levitation (he must have broken the world record amongst learners of levitation) and had started flying. He picked up the mike of the broadcast himself and through rage and froth managed to make a coherent announcement all by himself: “Gunnery Officer Bridge (no point in a polite ‘requesting‘) immediately.”
Several uncomfortable moments passed; like on a drama stage awaiting the denouement and the possibility of Gunnery Action Team and Gunnery Officer strangely vanishing from the ship by an Indian version of the Bermuda Triangle crossed my mind. However, suddenly, there was a flurry of activity in the lobby leading to the Bridge and then we had the Gunnery Officer ascending to the Bridge leading a procession of Weapon Maintenance Officer (WMO) and a few sailors carrying large charts. Without any ado and with a sense of purpose last displayed by Moses leading the Israelites across the Red Sea, the Gunnery Officer led the procession to the Chart Table on the Bridge and started spreading various charts of Firing System of the AA Mounting.
He had a pointer in his hand and he explained to the Captain, “Sir, let me just explain to you how a 40/60 fires. As soon as the order ‘Alarm Star Shell is given by the Bridge’, the order to engage is given by the TS. before that the shell is rammed in the barrel by the loading number, this breach block closes automatically. The moment the Captain of the Mounting trains the gun and aims at the target, he presses this here trigger. This energizes Capacitor C13 and Resistor R2 in the firing circuit and balh-blah-blah….”
And he continued, “We carried out a complete technical investigation through WMO and my team and we conclude that Capacitor C13 has gone faulty. Though these kind of repairs are normally carried out by the Dockyard in harbour, we opened up the mounting and have just finished doing the repair. The mounting is now ready for action.”
You should have seen my Captain’s face. He was already under awe of the Gunnery Officer. Anon, he silently cursed himself for having doubted a most efficient Gunnery Officer who, knowing that non-firing had caused his CO untold mortification, had in the shortest possible time, not only zeroed on the defect beyond his control (since technical failures can take place any time) but had completed the rectification too. I could not believe my ears when I heard the Captain tell him, “Well Done, Guns; I knew I could rely on you”. He now turned to me, “SCO, make a signal to the Fleet Commander in response to his ‘Negat Bravo Zulu’ and explain the situation to him.”
I made the signal and shortly thereafter I finished my watch and went to the wardroom to have my dinner. Gunnery Officer was already there and I joined him. Suddenly I turned to him and asked, “Guns, Sir, what happened?”
He smiled that lovely smile of his, which only an ace Gunner can give and said, “The bloody Loading Number had gone for dinner.”
A Fifteen Days Tribute Leading Up To His Death Anniversary, 20 Apr 13
This tribute was done on both: a music group called ‘Dil Ki Nazar Se’ and on my page ‘Lyrical’ on Facebook. Why would I want to do that? Read on. In order to cut this to readable size, I shall be doing so in several parts. This tribute is not about his history or past, for example, being from the town Badayun in Uttar Pradesh, having been born on 3rd Aug 1916 and having completed his journey on earth on 20th April 1970. This post is about his poems, ghazals and songs that are erroneously referred to as Old Hindi Songs (probably because these were sung in Old Hindi Movies) but are actually Old Urdu Songs (Read ‘Urdu – A Language of the Heart’)
A rare picture of Rafi, Shakeel, Lata and Naushad
Day – 1
Shakeel Badayuni died 43 years ago….on the 20th of April was his death anniversary….but, the lyrics didn’t die…they would never. When you hear Begum Akhtar sing ‘Ai mohabbat tere anjaam pe rona aaya’, you know it is Shakeel; when you hear Mohammad Rafi sing ‘Mere mehboob tujhe meri mohabbat ki kasam’ (Arguably, the greatest song of Hindi movies), you know it is Shakeel, when you hear Dilip Kumar sing ‘Dil diya dard liya’, you don’t have a second guess to know it is Shakeel. What was so special about Shakeel that a nobody named Sunbyanyname is deewana (crazy) for his lyrics?
The answer is in his own words that came straight from his heart. Taste this:
“Main Shakeel Dil Ka Hoon Tarjuman Keh Mohabbaton Ka Hoon Raazdaan Mujhe Fakhr Hai Meri Shayari Meri Zindagi Se Juda Nahin”
That’s really outstanding poetry; in one stroke it equates his poetry with his life.
Lets start the journey into Shakeel’s world by his 1960 Guru Dutt movieChaudhvinh Ka Chand starring Waheeda Rehman opposite Guru Dutt.
This is by far the best song ever written describing the beauty of a woman. For this Shakeel got his first Filmfare Best Lyricist Award.
Please enjoy: Chaudhvinh ka chand ho ya aftaab ho Jo bhi ho tum khuda ki kasam lajwaab ho…
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
Didn’t it look like that each word was crafted and polished like a diamond? That’s what Shakeel did effortlessly. Lets hear Begum Akhtar sing ai mohabbat. I repeat the complete lyrics here so that you would see them, hear them and feel them…
Ai mohabbat tere a.njaam pe ronaa aayaa
jaane kyuu.N aaj tere naam pe ronaa aayaa
yuu.N to har shaam umiido.n me.n guzar jaatii thii
aaj kuchh baat hai jo shaam pe ronaa aayaa
kabhii taqadiir kaa maatam kabhii duniyaa kaa gilaa
ma.nzil-e-ishq me.n har gaam pe ronaa aayaa
jab hu_aa zikr zamaane me.n mohabbat kaa ‘shakiil’
mujhako apane dil-e-naakaam pe ronaa aayaa
What’s so special about 1963 movie Bin Badal Barsaat starring Biswajeet and Asha Parekh? It is the best combination – for me – of Lyricist, Music Director and Singer. You guessed it; Shakeel with Hemant Kumar.
Please enjoy: Jab jag uthe armaan to kaise neend aaye
Ho ghar mein haseen mehmaan to kaise neend aaye?
https://youtube.com/watch?v=dtXj_AbLKPM
Here is a great ghazal from Shakeel:
Bana bana ke tamanna mita-ee jati hai
Terah terah se wafa aazma-ee jati hai
Jub unko meri mohabbat ka aitbar nahi
To jhuka jhuka ke nazar kyon mila-e jati hai
Humaare dil ka pata vo hume nahi dete
Humaree cheez humee say chupa-e jati hai
Shakeel door munzil se na-umeed na ho
Ab aa he jati hai munzil ab aa he jati hai
Here is another famous one:
Ye aish-o-tarab ke matavale bekar ke baten karte hain
payal ke gamon ka ilm nahi jhankar ke baten karte hain
nahak hai havas ke bandon ko nazzara-e-fitarat ka dawa
aankhon mein nahi hai betabi didar ke baten karte hain
kahate hain unhin ko dushman-e-dil naam unhin ka naseh bhi
wo log jo reh kar sahil par majhadhar ke baten karte hain
pahunche hain jo apni manzil par un ko to nahi kuch naz-e-safar
chalne ka jinhen maqadur nahi raftar ke baten karte hain
This is a famous ghazal of Shakeel for the 1954 movie Amar starring Dilip Kumar and his heart throb Madhubala. However, the ghazal is picturised on Nimmi who acted as a village girl in the movie, whom Dilip had got pregnant in one of his wayward moods. In ironical satire, if you can ever find anything better, do let me know.
Taste this:
Tumhi ne gham ki daulat di hai bada ehsaan farmaya,
Zamaane bhar ke aage haath failaane kaahan jaate?
Na milata gham to barbaadi ke afsaane kahan jaate?
Agar duniya chaman hoti to veeraane kahan jaate?
Lata has sung this on Naushad‘s music…
https://www.youtube.com/watch?v=0BKLe-L6Dtg
Talking about Shakeel, Naushad combine, who can ever forget this great number from the 1949 movie Dulari? It is amongst the best of Mohammad Rafi too.
Shakeel was not just our best in melancholic numbers but also was versatile enough to take into his stride light hearted numbers. He wrote some of his best lyrics for the 1961 movie Ganga Jamuna starring Dilip Kumar and Vyjayantimala that became a super hit. Naushad, once gain was the music director.
Please enjoy: the super hit: Dhundo dhundo re saajana, more kaan ka baala….(this is during the era when women, in the movies, were routinely losing their jewellery, eg, jhumaka gira re bareilley ke bazaar mein)
Baiju Bawra was a 1952 movie starring Bharat Bhushan and Meena Kumari. It had some of Shakeel’s best lyrics such as Tu Ganga ki mauj mein Jamuna ka dhara ragega Milan, mohe bhool gaye saanwariya, O duniya ke rakhwaale, Door koi gaaye dhun ye sunaaye, and Bachpan ki mohabbat ko dil se na bhula dena.
But, in order to showcase the versatility of Shakeel, here is the best Bhajan ever in Hindi movies: Man tadpat Hari darshsan ko aaj. Lots of credit also goes to Naushad and Rafi to have adorned it with the best possible music and voice.
Please enjoy: Man tadpat Hari darshan ko aaj…
What else can you expect from a Lyricist who has made the best ever song in Hindi movies: Mere Mehboob, best song on husn of a woman, best melancholic and ironic ghazals, best raat number, best bhajan, and best light-hearted romantic numbers?
Of course you want to know if he could write the best children’s song too?
Well, as a matter of fact, Shakeel could do that!
This is from the 1962 movie Son of India and even though it is old there is hardly anyone who hasn’t heard of it. Once again, music is by Naushad. Singing is by Shanti Mathur.
Please enjoy: Nanha munna raahi hoon, Desh ka sipaahi hoon, Bolo mere sang, Jai Hind…
https://www.youtube.com/watch?v=rszFSH6z4Us
Look at the Award List of 1962 Guru Dutt Movie Sahib Bibi Aur Ghulam:
1962: President’s Silver Medal for Best Feature Film in Hindi
1963: Berlin Film Festival: Golden Bear (Best Motion Picture): nominated
1962: Indian submission for the Academy Award for Best Foreign Language Film
Filmfare Award for Best Movie – Guru Dutt
Filmfare Award for Best Director – Abrar Alvi
Filmfare Award for Best Cinematographer – V. K. Murthy
Filmfare Award for Best Actress – Meena Kumari
Filmfare Nomination for Best Actor – Guru Dutt
Filmfare Nomination for Best Supporting Actor – Rehman
Filmfare Nomination for Best Supporting Actress – Waheeda Rehman
Filmfare Nomination for Best Story -Bimal Mitra
Bengal Film Journalists’ Association Awards – Film of The Year.
Notice something? There is not even nomination for Best Lyricist Shakeel Badayuni and Best Music by Hemant Kumar. And yet, the movie is remembered best for its songs! See the following:
Bhanwara bada nadaan haay.
Koi door se awaaz de chale aayo.
Saakia aaj mujhe neend nahin aayegi.
Meri baat rahi mere dil mein.
Na jaayo sainyan chhuda ke bainyan.
Piya aiso jiya mein samayi gayo re.
Meri jaan o meri jaan achha nahin itana sitam.
What do you say now? It must be lopsided Filmfare Awards. No guys and gals….Shakeel continuously got the Best Lyricist Award for 1961, 1962 and 1963 but for other songs. At the same time when Sahib Bibi Aur Ghulam got its various awards, Shakeel got the Best Lyricst Award for Husn waale tera jawaab nahin from Gharana.
Anyway, please enjoy the beauty of the lyrics of Na jaayo sainyan chhuda ke bainyan…
Shakeel was most lyrical when it came to describing husn. For both his songs Chaudhvinh ka Chand ho, and Husn Waale tera jawab nahin, he got the best lyricist awards. And yet there are many other husn songs written by him that are equally good.
Please enjoy this: Husn se chand bhi sharmaya hai…
Ravi’s music, Rafi’s singing.
I gave you a song from Son of India; what about Mother India? It had some of his best numbers:
Duniya mein ham aaye hain to jeena hi padega.
Dukh bhare din beete re bhaiya.
Gaadi waale gaadi dheere hank re.
Ghunghat nahin kholungi sainyaan tere aage.
Matwaala jiya dole piya.
Na main bhagwaan hoon, na main shaitaan hoon.
Nagari nagari dwaare dwaare dhundo re saanwariya.
Pi ke ghar aaj pyaari dulhaniya chali.
By this time you must be already thinking that Sunbyanyname is not crazy for nothing when he talks about Shakeel….he was head and shoulders above the others.
Lets look at the exquisiteness of just one of the songs of Mother India:
Na mai.n bhagavaan huu.N na mai.n shaitaan huu.N
duniyaa jo chaahe samajhe mai.n to inasaan huu.N
mujh me.n bhalaaii bhii mujh me.n buraaii bhii
laakho.n hai.n mail dil me.n tho.Dii safaaii bhii
tho.Daa saa nek huu.N tho.Daa beiimaan huu.N
duniyaa jo chaahe samajhe mai.n to inasaan huu.N
na koii raaj hai na sar par taaj hai
phir bhii hamaare dam se dharatii kii laaj hai
tan kaa Gariib huu.N man kaa dhanavaan huu.N
duniyaa jo chaahe samajhe mai.n to inasaan huu.N
jiivan kaa giit hai sur me.n na taal me.n
ulajhii hai saarii duniyaa roTii ke jaal me.n
kaisaa a.Ndher hai mai.n bhii hairaan huu.N
duniyaa jo chaahe samajhe mai.n to inasaan huu.N
Please enjoy: Na main bhagwaan hoon, na main shaitan hoon….
https://youtube.com/watch?v=-MD4bGAbEug
And yet, fairly early in his career Shakeel was humble enough to pen:
Ye zindagi ke mele duniya mein kam na honge
Afsos ham na honge…
This is another movie Mela with Naushad’s music and Rafi’s singing. Some of the best lyrics ever written are in this song:
(ye zi.ndagii ke mele – 2), duniyaa me.n kam na ho.nge
afasos ham na ho.nge
ik din pa.Degaa jaanaa, kyaa vaqt, kyaa zamaanaa
koii na saath degaa, sab kuchh yahii.n rahegaa
jaae.nge ham akele, ye zi.ndagii …
duniyaa hai mauj-e-dariyaa, qatare kii zi.ndagii kyaa
paanii me.n mil ke paanii, a.njaam ye ke paanii
dam bhar ko saa.ns le le, ye zi.ndagii …
Okay, guys and gals, I have barely re-introduced the beauty of the lyrics of Shakeel Badayuni to you. Please add to this and feel elated just as the poet Kabir had written:
Kabira sangat sadhu ki,
Jyun gandhii ki baas,
Je kuchh gandhii de nahin,
Phir bhi baas subaas….
The fragrance of the songs of Shakeel Badayuni would always be there.
Here is one of his ghazals from the 1952 movie Deewana. It has some of his best lyrics describing the husn of a woman. Naushad’s music and Rafi’s singing made it immortal…
tasaviir banaataa huu.N terii Kuun-e-jigar se
Kuun-e-jigar se
dekhaa hai tujhe mai.n ne muhabbat kii nazar se
are, muhabbat kii nazar se
jitane bhii mile ra.ng vo sabhii bhar diye tujh me.n
haay, bhar diye tujh me.n
ik ra.ng-e-vafaa aur hai, laa_uu.N vo kidhar se
are laa_uu.N vo kidhar se
tasaviir banaataa huu.N terii …
saavan terii zulfo.n se ghaTaa maa.Ng ke laayaa
haay, maa.Ng ke laayaa
bijalii ne churaa_ii hai ta.Dap terii nazar se
are, ta.Dap terii nazar se
tasaviir banaataa huu.N terii …
mai.n dil me.n biThaa kar tujhe ruKsat na karuu.Ngaa
haay, ruKsat na karuu.Ngaa
mushkil hai teraa lauT ke jaanaa mere ghar se
are jaanaa mere ghar se
tasaviir banaataa huu.N terii …
In every art form, there is a creator and then there are others who adorn and add to his work by their own skill. For example, Mere Mehboob shall always be thought of Mohammad Rafi’s best or Gam-e aashiqui se keh do as Talat Magmood’s best. But, who is the creator? Who is the guy who conceives the thought? That’s the lyricist. He imagines, he dreams, he steps into the shoes of the actor and lives his life and love. I have heard many and I maintain Shakeel did that outstandingly. Read them and hear them and then see where his imagination takes you. Read the lyrics of the songs of Dil Diya Dard Liya and you can have a good initiation into the marvellous world of Shakeel. Yes, music is to be enjoyed but lyrics are the starting point. As Shakeel himself wrote: “Aur phir raah mein bikhare the hazaron nagme; main vo nagme teri aawaaz ko de aaya thai. Aa mujhe phir unhi geeton ka sahara de de. Mera khoya hua rangeen nazaara de de”. Welcome to the world of words, poems, lyrics. From now onwards you will notice the words of the song that carry the jazbaat (emotion).
Day 2
One of the most famous ghazals of Shakeel Badayuni was:
Gam-e-aashiqii se kah do raah-e-aam tak na pahu.Nche
mujhe Khauf hai ye tohamat mere naam tak na pahu.Nche
mai.n nazar se pee rahaa thaa to ye dil ne bad-duaa dii
teraa haath zindagii bhar kabhii jaam tak na pahu.Nche
naii subah par nazar hai magar aah ye bhii Dar hai
ye sahar bhii raftaa raftaa kahii.n shaam tak na pahu.Nche
vo navaa-e-muzamahil kyaa na ho jis me.n dil kii dha.Dakan
vo sadaa-e-ahale-dil kyaa jo avaam tak na pahu.Nche
u.nhe.n apane dil kii Khabare.n mere dil se mil rahii hai.n
mai.n jo unase ruuTh jaauu.N to payaam tak na pahu.Nche
ye adaa-e-beniaazii tujhe bevafaa mubaarak
magar aisii beruKhii kyaa ke salaam tak na pahu.Nche
jo naqaab-e-ruKh uThaa dii to ye qaid bhii lagaa dii
uThe har nigaah lekin koii baam tak na pahu.Nche
vahii ik Khamosh naGmaa hai “Shakeel” jaan-e-hastii
jo zubaa.N tak na aaye jo qalaam tak na pahu.Nche
Great meets Great. Who else to sing this ghazal than the King of Ghazals: Talat Mahmood?
My father was very fond of get-togethers, parties and fests. In my boyhood days, I attended quite a few of these and sing-song sessions invariably were part of these. This was a famous Shakeel Badayuni song (though I didn’t know at that time that it was Shakeel who wrote it) that was often heard at those parties.
It is from the 1954 movie Shabab starring Nutan and Bharat Bhushan. The movie had a Hemant Kumar number that too became my favourite in later years: Chandan ka palna resham ki dori. Anyway, this was sung by Mohammad Rafi on Naushad’s music.
Please Enjoy:
Aaye na baalam vaadaa kar ke
aaye na baalam vaadaa kar ke
thak gaye nainaa dhiiraj dhar ke
aaye na baalam …
chhup gayaa chandaa luT gayii jyoti
taare ban gaye jhuuThe motii
pa.D gaye phiike ra.ng najar ke
aaye na baalam …
aao ki tum bin aa.Nkho.n me.n dam hai
raat hai lambii jiivan kam hai
dekh luu.N tum ko mai.n jii bhar ke
aaye na baalam …
Please forgive me but I can’t resist putting up a Hemant da number at this stage that was penned by Shakeel Badayuni for the same movie Shabab starring Nutan and Bharat Bhushan. We have already established that Hemant da – as singer and music director – has more Chand numbers to his credit than any other. This too has Naushad‘s music.
Please enjoy: Chandan ka palna resham ki dori….and see if you can close your eyes and be transported to another world!
Yesterday, I wrote about the versatility of Shakeel Badayuni: ghazals, songs of melancholy, romantic numbers, bhajans in shudh Hindi, children’s songs and now let me add to his repertoire by giving you a song that Mohammad Rafi sang for the comedian Johnny Walker in the 1964 movie Door Ki Awaz. Music is by my namesake.
Please enjoy the light-hearted naughty number:
Ik mussafir ko duniya mein kya chaahiye,
Sirf thodi si dil mein jagah chahiye…
https://youtube.com/watch?v=W6ZW2vcdF7Y
How are you enjoying the journey into Shakeel Badayuni’s world? He was named Shakeel when he was born on 3rd of Aug 1916 and like poets and lyricists of that era, since he was born in the village Badayun of Uttar Pradesh, he became known as Shakeel Badayuni just as Majrooh got the name Majrooh Sultanpuri, Sahir as Sahir Ludhianvi and Hasrat as Hasrat Jaipuri and many others.
Talking about Shakeel Badayuni – Ravi combination, the best was for the 1960 movie Chaudhvinh Ka Chand that starred Guru Dutt and Waheeda Rehman. We have already heard and seen the Best Husn song in the world, the title song of this movie.
Curiously, the movie also had a really despondent song sung so well by Mohammad Rafi that it leaves people gaping.
Please enjoy: Mili khaak mein mohabbat jala dil ka aashiana,
Jo thi aaj taq haqeeqat wohi ban gayi fasaana…
https://youtube.com/watch?v=qy3BnqbJifM
What about Shakeel Badayuni on the subject or theme of ‘Muhabbat’? Let me bring out different strokes. In the 1955 movie Udan Khatola starring Dilip Kumar and Nimmi, he gives an advice to everyone to tread carefully on the paths of Muhabbat. Music is by Naushad.
Please enjoy: Muhabbat ki raahon mein chalna sambhal ke,
Yahan jo bhi aaya gaya haath mal ke…
https://youtube.com/watch?v=3uiOL6y-kjo
The second song on the theme of Muhabbat penned by Shakeel is from the 1960’s epic film Mughal-e-Azam (The Greatest of the Mughals). Salim (Dilip Kumar) is Akbar’s (Prithviraj Kapoor’s) son and he falls in love with the court dancer Anarkali (Madhubala). This earns the ire of Akbar who has her thrown into the dungeon for the ‘crime’ of loving a prince. This song, like all songs of Mughal-e-Azam became super hit and you are left marvelling at how beautifully Shakeel has brought out the irony, the pain, the despondency.
Please enjoy: Muhabbat ki jhooti kahani pe roye…
Lets end tonight moving away from the melancholy, despondency and sadness and move into the sunnier side of Love also depicted by Shakeel. In this genre too he has many numbers. One of the best was sung by Mahendra Kapoor in the 1965 movie Zindagi Aur Maut. It has C Ramachandra’s music and I won’t be surprised if you too start believing that Shakeel wrote as if direct from the heart.
Please enjoy: Dil lagakar ham ye samajhe zindagi kya cheez hai,
Ishq kehte hain kise aur aashiqui kya cheez hai…
I hope you liked the Part I of the peep into the lyrical world of Shakeel Badayuni. Prepare yourself for Part II that I shall put up shortly.
People keep telling me to publish my works: the funny stuff, the stories, poems et al. If ever I do, the one inexhaustible subject that I have is that of ‘Gunners’. In exclusivity, peculiarity, uniqueness and sheer entertainment there is nothing and no one to beat the bang-bang people – the Gunners; they are simply the top guns in the Navy and have always been. I am not even sixty yet and want to live happily for a few more years, at least; hence, please don’t insist on names. If you can guess, so be it. I have deliberately not put these in any order so as to make it difficult for you; as difficult as Santa who was asked by Banta, “If you can guess what is in this basket, I shall give you some of the eggs. And, if you can tell me how many, I shall give you the entire dozen.”Like Love Story….where do I begin, where do I start?
I think the first Gunner that comes to my mind was our Gunnery Instructor in the Naval Academy. He was an inexplicable miracle of God; after he was completely moulded in God’s workshop, God had a twinkle in his eyes when He decided to send him (the GI) on earth without a heart. His parents didn’t know about it, his relatives didn’t have an inkling; but, from the time we interacted with him, we knew of his physiological handicap. Looking back, I marvel at the clairvoyance of God; He would have known that even if he had given GI HS (this is as close as I get to giving away his name) a heart, HS would have had no use for it.
HS had a very limited vocabulary; he had no use for long speeches and fancy words. Even the short ones that he was endowed with were hardly used. And yet, we understood him well. For example, whilst marching in the scary (scarier than a mine-field, at least) parade ground of the old Gunnery School, when he shouted at us through clenched teeth, “Peeeeeeeeee……”, none of us ever mistook it as a directive to wet our pants; we knew, like any one familiar with the Gunnery commands that HS wanted us to ‘Press our heels’ whilst marching.
“Patenshuncats” was clearly (clarity is what a Gunner demands on either end) understood by us as “Pay attention Cadets.”
On that day, a fateful day for one of my ilk, after several rounds of ‘warming up’ drills around the parade ground, we settled on one end of the ground to learn about the correct way to put on our drill boots. HS finished with his “atiiiizz” command and had embarked on “patenshuncats”.
Gunners, unlike personnel of the other branches, like simplicity; no far-fetched cerebral ideas of the other side of the universe for them. They have their feet firmly planted on the ground. And, how do they achieve it? Simple, by their heavy boots; anything less than 20 pounds each isn’t acceptable. Putting on boots correctly for them, therefore, has as much import, as say a certain Armstrong fulfilling Kennedy’s dream of an American landing on the Moon. And whilst Neil had gently lowered the Lunar Module on a strange surface, HS insisted that everything in the world had to be done with show of force and by the number (“Ginati se”). In our moments of sanity – brief though they were during the training period – we had often wondered, with our tongues firmly inside our hollowed cheeks, if HS, at his home, would have wanted Mrs HS to do ‘everything’ ginati se.
After his instructions that lasted all of ten minutes (since ‘important’ parts had to be repeated), he had come to the part wherein he was now telling us how to tie the laces. After tying the half knot, both ends had to be put together and had to go around the upper part of the boots twice and that would leave only the stubbed portion that had to be smartly tucked in.
After HS’s demo, we were to assimilate the newly acquired knowledge by practically applying it to our own boots. Cadet RK (no names, as I said) did it all correctly, as he erroneously thought and was far ahead of the rest of the class. Once round the boot, he happily whispered to himself and now for the second round, he nearly sang it. But, to his utter horror he found that he had more than the stubs left.
Wisdom that gradually descends on all mortals who have to deal with Gunners, had not yet dawned on Cadet RK and he called out to HS, rather unwisely, as to what to do with two inches or so of the extra lace that he had landed up with.
Gunnery Instructor HS’s face exploded with unconcealed mirth at the god sent chance of helping out Cadet RK in his ‘genuine’ concern at being left with two inches of lace.
“Gookane” screamed GI HS, acknowledging that it was indeed a ‘Good Question’.
Blogger policy doesn’t permit me to give details of how HS replied to RK. The mildest of his explanations was to ‘broaden’ RK’s outlook towards life in general and Gunnery Instructors in particular by going around the parade ground five times with a rifle held high over both arms and shouting as to what to do with two inches of extra lace.
At the end of about 45 minutes of this detailed explanation, when RK had started weighing considerably less than the weight of his boots, HS ‘affectionately’ asked RK, “Enmodouse”. RK had decided, long time back, that he won’t have any-more-doubts for the rest of his naval career.
By the way, in answer to Banta’s riddle in the beginning of this post, Santa asked, “Thoda hint to de” (Give a little hint, at least). Both of them would have made excellent Gunners.
I noticed that on the Facebook and elsewhere, there is a great penchant about putting up Quotes. These range from quotes about Love, Friendship, Politics, Life; indeed about each and every subject. Whilst reading these quotes I was stuck by the realisation that somehow we have this feeling that the sages, saints and wise-people of the past had abundance of sane-advice on all kinds of subjects; but, by a curious quirk of fate, we ourselves and fellow citizens have nothing great to offer in terms of such advice. When I started analysing this, I reached the conclusion that there is nothing simpler than giving sane advice; the answer is really blowing in the wind; it is everywhere. We only have to gather these pearls around us and weave them in a garland. That’s how I started this Facebook page called ‘Make Your Own Quotes’ with an introduction: “There is nothing simpler than giving sane advice; you don’t have to follow great teachers. Make your own quotes and let others follow you.”
This venture started on the 25th of Feb 2013 and on the coming 25th of April, it would be all of two months old. I have received tremendous interest from friends in these Quotes that have not only advice, but, at times are humorous and even naughty. I give you here the best of ‘Make Your Own Quotes’ from my Facebook page for the last two months, with the promise that the best is yet to come as long as you subscribe to it by Liking the Page.
I like all quotes on Facebook; these provide quick and easy solutions to life’s seemingly complex problems. I believe life is as simple as Facebook; what you get is dependant upon your “settings”.
I started off by giving tips to people on how to make their own quotes, eg,
Great Quotes Tip #1: Compare Life, Love, Relationships etc to something mundane and infer “great” sounding advice out of it.Here is an (original example): “Friends should be like electricity wires; opposite poles, running parallel and lighting up lives by meeting”. For effect, inscribe this on a totally unrelated picture of, say, a Frog in a Pond. Wanna try your hand at it; go ahead….nothing is simpler! Try comparing Life to Beans!! Go ahead, now that you have joined this site, you will eventually follow your own quotes!!!
I followed this up with:
Great Quotes Tip #2
Take a famous Quote and make it stand on its head by a juxtaposition of words. They will really marvel at the quotes “great” and “pragmatic” message.
For example:
Where there is a way, there is a will!
Great Quotes Tip #3Simplify to the point of being ridiculous and you have a great Quote….especially if it is on a colourful picture.
Great Quotes Tip #4: Quotes about something called ‘LOVE’ will always be very popular; the best are those that don’t make any sense at all; for then they have this enigmatic quality about them, which is similar to the subject of the Quotes!
At a fairly early stage, I could make fun of my own quotes. Here is one:
Here is one of my early quotes about the reality of Poverty Alleviation Programmes:
Many times, My Quotes are regarding prevalent fads. Here is one of them:
I have made many that are simply ‘tongue in cheek’. This one was well liked. Indeed, a friend commented that in future she would think of this every time in a discussion:
I then started with Alternate Definitions of words. This one is my very first effort:
I have always been interested in Psychology and Philosophy. In this blog itself there is a section on Philosophy. Naturally, therefore, many of my quotes are on this subject. Here is one:
Some of my quotes are based on my observations and lessons that I have learnt in life. Here is one based on my observations:
I simply adored our dog Roger. I have made a number of quotes about Dog as the Master of Man. This is a simple one:
Half way through, I reminded everyone not to be rooted to the ideas of the sages and saints of the past by believing that somehow they are the only ones who could say wise things. Taste this:
Subject of God has also been favourite with me. This became my most popular Quote:
My love of dogs in general and Roger in particular is a recurring theme with me. Taste this:
I delve a lot into finding answers to Philosophical and Meta-Physical questions; questions about space, universe, God, Religion etc. I have a section called ‘Philosophy’ on my blog, wherein I give vent to these. Here is one of the quotes regarding this:
Love and Hate are subjects of Quotes for me too. Here is a genuine doubt reflected in a quote:
Whilst being on the subject of Love and Hate, here is one about Love and War and the uselessness of loving war:
All of us need some comforting thought or the other. For me, my most grateful thought has been that somehow God has not made me as miserable as He has made others. Thank God for that:
Here is a real tongue-in-cheek on the abundance of Free Advice available on the net these days, including my own!
Mahatma Gandhi believed in Simplicity. I have tried to reason out that most of Life’s lessons are simple indeed. Take a look:
Talking about Simplicity leading to Greatness, I genuinely feel that Being Poor at Heart is a great virtue indeed. The Quote below was as a result of this:
Here is my Quote on the Indian festival of Colour called Holi. This is totally tongue-in-cheek:
Love and Hate continued to fascinate me. One result was:
I considered that no subject is a taboo for me. The following is on the subject of Sex and it generated a fair deal of healthy discussion:
I also make Quotes on my observations. Here is one about great communication skills being mistaken for great knowledge:
Here is a bit of advice about giving and rendering service for others who can do nothing for you except to give you the gift of advice; but, it is the greatest gift.
Here is a humorous take on ‘forgetful husbands’. Is there another kind?
Here is another one on Free Advice:
I asked a genuine doubt if Heart has a Mind of its own. I received a number of smart answers:
And here is one about the place of Ego in Love:
Here is a real good one about the oft touted ‘Out-of-the-box’ thinking. Does it bring a smile on your face?
Here is one about taking on a popular saying and making the logic of it stand on its head. It was very well received:
Here is a dig on the ubiquitous and all powerful auditors: a necessary evil!
Ever heard of a word called Dililady? No? Well read the meaning:
Finally, let me end with one about the Mightier doing horrible things to those whom they find Meek and different; which is half the humanity or more! I cannot forget growing up as a boy belonging to a minority community in a majority state and being subjected to relentless taunts, abuses, innuendo and violence.
I am sure by now I have convinced you to subscribe to ‘Make Your Own Quotes’. What do you have to pay for the subscription? Nothing; not a paisa. It is totally free. All that you have to do is to Like the Page and it would be delivered to you on Facebook. You can make your own quotes and share these too with others.
