AAJ KA GEET GYAN #1 – DOUBLE ENTENDRE IN HINDI SONGS

दोस्तो,

आज पहली दफ़ा अपने चहेते गीतकार शकील की वजह से दरी पैर के नीचे से निकल गई l बैठे बैठे उनका एक गीत सुन रहा था और गीत से पता लगा के शकील या तो vegetarian थे या बाद में बन गएl

कैसे पता चला?

Simple. उन्होने गाने में लिखा था:

“दिल लगा कर हम यह समझे ज़िंदगी क्या cheese hai”

अगर vegetarian ना होते तो पक्का लिखते:

“दिल लगा कर हम यह समझे ज़िंदगी क्या ham है या bacon है l”

Q.E.D.

So here it is:

Song #1
Dil laga kar hum yeh samajhe zindagi kya cheese hai

I am giving you my own rendition of this. Originally sung by Mahendra Kapoor on the lyrics of Shakeel Badayuni and composition of C Ramchandra for the 1965 NA Ansari movie Zindagi Aur Maut starring Pradeep Kumar and Faryal.

The one on top is merely in good humour; the double entendre being between Hindi चीज़ (thing) and English Cheese.

Song #2
Sajna hai mujhe sajna ke liye

The first sajna has the meaning of dressing up or beauty treatment. The second sajna is the lover or the loved one. So, in this song from the 1973 Sudhendu Roy movie Saudagar, Padma Khanna as Phoolbanu sings the song for Amitabh Bachchan as Moti. The song was written and composed by Ravindra Jain and sung by Asha Bhosle:

Song #3
Ke jaan chali jaaye jiya nahin jaaye

The double entendre is in the mukhada itself: the first jiya is dil or heart and the second jiya is to do with living.

This song is from the 1969 Mohan Kumar movie Anjaana starring Rajendra Kumar and Babita. It was penned by Anand Bakshi and composed by Laxmikant Pyarelal. The singers are Mohammad Rafi and Suman Kalyanpur:

Song #4
Choli ke peechhe kya hai

This is double entendre at its suggestive or provocative best. This is from the 1993 Subhash Ghai’s iconic movie Khalnayak (Villain). Madhuri Dixit is the one who enacted it. She provocatively asks “Choli ke peechhe kya hi, chunri ke neeche kya hai.” You are sensuously carried to your height of imagination and then she brings you down with,”Choli mein dil hai mera. Chunri mein dil hai mera.”

This is one of the record 302 movies that Anand Bakshi as lyricist and Laxmikant Pyarelal as composer did together. The singers are Alka Yagnik and Ila Arun:

Song #5
Khada hai, khada hai, dar pe tere aashiq

I would avoid putting up this type though the fact is that such risqué songs are a plenty in Hindi movies and are often seen as the ones that directly add to the box office attraction of the movie.

This is from the 1994 David Dhawan movie: Andaz. The song is provocatively enacted by Anil Kapoor singing it to Juhi Chawla. Bappi Lahiri covered himself in glory composing trash songs and this is one of them. Indeevar, who had made such gentle songs as Jeevan se bhari teri aankhen, from the year 1987 onwards, giving in to lure of money, made over 500 such trash songs with Lahiri:

Song #6
Kahin pe nigahen kahin pe nishana

This is from Waheeda Rehman’s debut movie: the 1956 movie C.I.D., produced by Guru Dutt and directed by Raj Khosla. Waheeda Rehman was Guru Dutt’s find from a college in Hyderabad. All of 17 years, Guru Dutt was so impressed with Waheeda Rehman that he signed her up for his next five movies.

Guru Dutt was preparing her for the role of a golden hearted prostitute in his next movie Pyaasa and gave her this role of a prostitute here too. When one of the bad guys’ ruffian reaches her to entrap Dev Anand, through this song she is warning Dev Anand to escape. The lyrics of the song, through their clever double entendre are warning him and also suggesting the escape route.

These double meaning lyrics were penned by Majrooh Sultanpuri, composed by OP Nayyar and sung by Shamshad Begum:

Song #7
Raaz ki baat keh doon to jaane mehfil mein phir kya ho?

This is from the 1973 movie Dharma starring Pran in his multi roles as Sevak Singh / Dharam Singh “Dharma” / Chandan Seth / Nawab Sikandar Mirza. Rekha, the heroine is also in double role as Asha Singh and Radha. Bindu, the vamp, is trying to expose Rekha in this song. But, she has sought protection from Pran as the don Chandan. Bindu, in her double entendre is trying to tell the party the truth about Rekha and Pran is trying to tell her to come to her senses. Finally these double entendre by both reach a climax and Pran cleverly reveals to Bindu that he is, indeed, the don Chandan and it won’t be in Bindu’s interest to resort to such skullduggery!

The song was penned by Verma Malik, composed by Sonik Omi and sung by Mohammad Rafi for Pran and Asha Bhosle for Bindu:

Song#8
Apni to har aah ek toofan hai

Whilst I have given a song from Guru Dutt production C.I.D., here is one from Dev Anand’s Navketan Films’ production: the 1960 movie Kala Bazar starring Waheeda Rehman with him.

This is really brilliant double entendre is by the Lyricist Shailendra. He and she are travelling by train and she is in the upper berth. His singing “Ooper wala” is actually about her but made to look like as if it is about the Ooper Wala: God.

The song was sung by Mohammad Rafi on a superb composition by his favourite composer: SD Burman.

Here is my own rendition of it:

Song #9
Kis kis ko pyar karun?

This is from the 1969 Pramod Chakravorty movie Tumse Achha Kzun Hai starring Shammi Kapoor and Babita.

The way Mohammad Rafi as playback for Shammi Kapoor sings Kis, it is more like an invitation to Kiss. The lyrics are by Rajinder Krishan and the composition is that of Shankar Jaikishan:

Song #10
Inhi logon ne le leena dupatta mera

This is from the 1972 Kamal Amrohi movie Pakeezah starring, in the lead role his wife Meena Kumari. The film took a decade and a half to make. Ghulam Mohammad, the composer, died whilst the movie was being made and some of the songs in the movie were composed by Naushad.

Even though Majrooh Sultanpuri is credited with the lyrics, the lyrics are a lift off from folk-lore. Dupatta is supposed to be the izzat of a maiden. Having lost it is, at one hand, pointing to her having stepped into prostitution, but on the other hand demurely bringing out her experience with the cloth merchant who sold it, the dyer who gave it colour, and hold your breath, the policeman who robbed it off her. Brilliant indeed.

The same song was used in 1941 movie Himmat and 1943 movie Aabroo:

Song #11
Mera naam hai Shabnam

Bindu, the vamp again. This time in the 1971 movie Kati Patang starring Rajesh Khanna and Asha Parekh and Prem Chopra. The story was roughly based on I Married a Dead Man, a 1948 novel by American crime writer Cornell Woolrich under the pseudonym William Irish.

This Shakti Samanta movie had, in the beginning, turning down a family marriage proposal with Rajesh Khanna without seeing him at all. It was because she was in love with Prem Chopra. But, soon she became aware of his villainous reality and ran off to a hill station under another name. Bindu knew her reality and as a singer-dancer in a hotel she, through the double entendre in this song, was trying to expose her:

Song #12
Titli udhi udh jo gayi

This song was sung by Sharda Iyengar for the 1966 movie Suraj. The song was enacted by Vyjayanthimala and Mumtaz.

Lyrics are by Shailendra and composition is that of Shankar Jaikishan.

Most of Shailendra songs have very deep meaning. So, for once, he was told to make a simple, children type song. Everyone felt that he delivered a plain song. It dawned upon everyone later that he was talking about the relationship between body and soul!

I have given you only representational songs for each type of double entendre. I hope you liked these.

Wait for Aaj Ka Geet Gyan #2 on a different topic.

A TRUE GARLAND OF VICTORY

Garland of Victory is an apt name,
For someone who conquered every heart.
From the beginning, she courted fame,
And played to perfection each part.
A natyam of our Bharat nation,
Gave her and us total elation.

She made everything in and around her dance,
Her body, her lips, eyes, and hair.
We saw that at every possible instance,
Each performance was unique and rare.
A natyam of our Bharat nation,
Became for her life her own station.

The biggest in the Hindi and Tamil cinema,
She acted easily with them all.
At times, she was seen as enigma,
At mere 5ft 3in, she looked royal and tall.
A natyam of our Bharat nation,
Turned her into the biggest sensation.

She has received the second highest award,
I would have easily given her the highest.
For her talent, dedication, and working hard,
Made her simply the finest and the best.
A natyam of our Bharat nation,
Made her an icon of our generation.

VIAGRA FOR FIGHTER COCKS

Ever since 1989 when Pfizer accidentally discovered that Sidenafil that was being tried for angina, could also be used to treat erectile dysfunction, it caught the imagination of men around the world. However, even after Pfizer started selling it under the brand name Viagra and it became popular, no one would have thought that Indians would find another (unthinkable) use for it. The Indian state of Andhra may be a poor state, particularly in villages. However, these villages spend crores of rupees betting on cocks. You heard it right, cocks. And the breeders of these cocks found innovative use for Viagra (The Times of India, Mumbai edition, 07 Jan 24).

Cockfights are the most exciting part of Sankranti celebrations in Andhra. However, lately, breeders discovered that cocks are not as energetic as would fetch hefty bets. So, they reasoned that if Viagra could make its recipients have their cocks standing to perform their assigned and desired duties, surely the same Viagra could make Andhra cocks fight with the same vigour as, say, Indian parliamentarians. And, they succeeded.

One of the earliest discovered side-effects of Viagra was headaches. This wasn’t such bad news. The males were excited not just to show their spouses the Leaning Tower without going to Pisa, if only for a couple of hours, but also to get over their (the women’s, that is) perennial excuse of headaches to avoid onslaught. After Viagra and its side-effect, they could confidently say that desires and headaches could stand hand in hand.

And now, with fighting cocks, Viagra can even get its recipients bravery medals; Param Vir Chakra, for example, for going down fighting till the last breath or peck.

I am wondering if Andhra is the only innovative state in the country. Why can’t we find other uses of Viagra across the country?

If, for example, we can find a way for these tablets or capsules to work on recently erected bridges and flyovers, these can be left standing longer than some of these presently do. Just like in cock-fighting, crores of rupees of public money can be saved even after the contractors elope.

Indeed, this innovation can be applied to all public erections: buildings, towers, pillars etc.

These pills can be given to all contesting candidates in our elections so that they can keep standing even after the vote count begins. Indeed, since Viagra is also used by sportsmen around the world for performance enhancement, perhaps we can try it upon our governments rather than merely hoping that somehow their performance would improve simply because they were voted to power or to rule.

Lately, we are looking for names, mottoes and phrases better suited for our culture and heritage. Perhaps we can find a Hindi name (better still, Sanskrit) for it and do a lot of (government funded) research and finally establish that centuries before Pfizer, Vatsayana had indeed discovered a potion (called Kama Booti) that was used by Indian males to show off their proud minars to the female of the species much before one Qutb-ud-Din-Aibak erected his own in the year 1199 on the outskirts of Delhi. Qutb’s erection used “the carved columns and architectural members of 27 Jain and Hindu temples, which were demolished by Qutub-ud-Din Aibak as recorded in his inscription on the main eastern entrance.” But, we can proudly proclaim that the purely Indian erections never destroy anything. Our burgeoning population is a proof of this.

Incidentally, look at some of the names of fighting cocks in Andhra: there are around 20 varieties of fighting roosters, including kaaki dega, dega, benaki, kaaki nemali, setu and pacha. Names are important; we definitely need to adapt the Sanskritization of Viagra.

And don’t forget that in order to get over Pfizer’s patent, we sold Viagra under the trade names including Kamagra (Ajanta Pharma), Silagra (Cipla), Edegra (Sun Pharmaceutical), Penegra (Zydus Cadila), Manly (Cooper Pharma) and Zenegra (Alkem Laboratories).

I recall when I was small, whilst going to school and back, we used to come across vendors selling on road sides Shilajeet type of drugs and powders to enhance male performance: “Patthar pe marega tann ki awaaz aayega (you would be able to hit it on a stone and get the same sound as that of a gong).”

We can inject some of the wonder drug into the spines of some of our public figures so that they keep erect and don’t collapse at the first sign of discussing national issues of corruption, state funding of elections and police reforms. Anna Hazare, for example, didn’t have to go into hibernation after arousing the national conscience.

The pills should be definitely administered to some of the audiences in our cinemas who themselves and make their small ones too not to stand for the national anthem.

As an aside, if only we had thought of administering the wonder drug to the Indian batsmen in the first innings of the Second Cricket Test Match between South Africa and India at Newlands in Cape Town, perhaps we could have avoided the ignominy of losing the last six wickets in 11 balls without scoring a single run. We could have had the batsmen standing proud and erect and not allowed balls to do what proud and erect can do.

And, if the world would ask us about being sure about Kama Booti, we could take cue from Peter Sellers 1968 movie The Party. As Hrundi V. Bakshi in the movie when he was asked if he thought he was right, he responded, “In India we don’t think, we are sure.”

And now we can be, well, cocksure about it.

HOW I LOVE THE SECOND OF JANUARY

The day after Christmas is the Boxing Day; one puts all the extra eatables in boxes so as to give them away. I look forward to it.

But, I look forward more eagerly to the second of January. It is the day for normalcy to be restored after the final day of previous year and the first day of the new year.

Both those days are hectic; celebrations and calls, resolutions and urgency, desire to do something memorable, new and different. It is a territory not different from Christopher Colombus’s setting sail to discover the new world, unfamiliar and challenging.

But, unlike Columbus, one doesn’t have to wait for eternity for familiarity to return on the very next day, the second of January. There is no illusion (eg, to call America as Asia, which Columbus did). The clear vision itself is fully restored for most people within the time the earth has recorded one full rotation around its axis in the new year.

Indeed, in the New Year, there is nothing more welcome than the Second of January. First of anything is always daunting; ask me, both in the class and on the race track I always belied the expectations of family and friends by being nowhere near the top spot. But, Second has always been dear, like a close friend. No one ever expects or demands of me to come Second. There is no pressure. If I make it to this spot it is a bonus. If I don’t, no one even notices. I feel like the Army recruit in camouflage drill just merging with the landscape, trees and bushes.

This is also a very cushy spot; no one wants to dislodge you from it. Take politics, for example. Everyone is after the number one position: PM or CM. The second spot lends you that anonymity that makes your position much securer than the top spot.

Returning back to Second of January. All the shine of the new has worn off. All that frenetic activity to wish you or be wished by you, all those video calls that don’t allow you to loosen up, all the greetings wherein for each one you have to sound sincere and different, have subsided. Those high and menacing waves of the New Year Tsunami have fizzled out. One can actually hear the gentle notes of the Second of January, the flutes and not the cymbals, wafting across the distant horizon into your recently turmoiled home.

If  both these dates were to be personified, ie, the First and the Second, and elections were to be held, I would vote for and second the Second. The First is always a dictator, authoritarian and with vested interests. The Second is always a benign ruler; somewhat similar to Nawab Wajid Ali Khan of Oudh enjoying music and dance and totally oblivious of the First, ie, British Forces marching to usurp his nawabdom.

Second of January is the World Introvert Day, that is, for millions of people like me who never want to be in the limelight or in any other coloured light.

In the year 1906, on this date, Willis Carrier obtained the patent for world’s first air-conditioner; he, too, knowing that nothing is as  laid back as the Second of January.

This was the day in 1954 when India established its highest civilian award, the Bharat Ratna. Ever since that, we have been wrongly giving the award to the best, the most talented, and the most politically suitable person; whereas, if you have been following this essay closely, it is the second best who is more deserving of the honour. Imagine, yours truly being conferred with this honour because of being Second everywhere and every time and the PM attending my funeral when I finally kick the bucket.

All in all, I feel that the First of January is highly hyped up. Imagine the media hype for Rohit Sharma and his team in Narendra Modi stadium in Ahmedabad and how relieved were they when Cummins and Co. put them out of their misery and they embraced the joyous relief of being runner-up. Their j.r. continues unabated in South Africa, too.

Except for missing out on the momentary spot at the top position on the podium, those who come Second are actually the true winners. They take life and its challenges in their stride and enjoy everything to the hilt.

Given a chance, I would recommend that the New Year should skip the First of January as a day of unnecessary stress and challenges, and go straight to Second of January. In any case, during the current year, no one would have missed the First of January since an extra day has been added to the end of the second month, February.

February, on the other hand, has this to say to the makers of the Gregorian Calendar: “Just leave me alone, dammit. Don’t forget that I am just the second month and in my position, no one would even notice the number of days that have been given to me to live.”

The First World War, your first love, your first experience at trying to bicycle, and Edmund Hilary, the first man to conquer the Everest…ugh. They all had the most difficult times but, the seconds are always more popular and celebrated. Take World Wars, for example. At least four times more people perished in the second as compared to the first, but, more movies have been made and more books published about the second. About your first love, the less said the better.

CONSCIENCE, SIN, GUILT, AND OPTIMISM

It is that time of the year when I look within and reflect. It is not a sudden urge. It is, generally, part of a longer – many a times as long as the whole year – tête-à-tête with my self. So far in past attempts, I have disentangled confusion, seen and given vent to clarity. Please wish me luck with this, too.

History of the World, Mankind, and Time

The world is about 4.5 billion years old. On a cosmic calendar, it is not considered very old. Humanity is even younger: just about 300,000 years old. That brings us to the question: How old is the concept of time? Guess what? It was just about 6000 years ago when we, somewhat erroneously, started measuring time through moon. The lunar calendars, the first conscious attempts at conceptualising time, can be traced back to just about 6000 years ago. The year was made of anything between 354 to 384 days. We used to refer to the past as “many moons gone by” and look at the future as “many moons away.” Even after the Christian Calendar was invented, based on the rotation of the earth around its axis, and elliptical orbit of the earth around the sun, the fascination with time measurement through the moon still continued. Please reflect that as late as just 66 years ago, a Hindi song had this line: Chand phir nikla magar tum na aaye (The (full or new) moon was seen again, and yet you didn’t visit me).

Initially, the world was anarchic. What we now term as the Laws of Nature or even Laws of God must have existed but, we were blissfully unaware of these. We did everything without a reference to the past – either of the humanity or of our own. Indeed, the concept of past itself didn’t exist. We lived perpetually in the present. As seen by our present progress in the evolution and despite all our discoveries and inventions that have made the world better, at that point in the History of Mankind, we were the happiest though, as is the case with happiness even now, we didn’t know about it.

Yes, when we discovered Sin, we tried to apply it to the beginning of Mankind itself. However, a reasonable person would know that let alone the Concept of Sin, not even the Concept of Time and hence Past existed. Hence, the story of Adam and Eve having been expelled from Heaven due to their eating the forbidden fruit (of knowledge of good and evil), must be the product of the Man’s imagination when he understood Time and related it to his Past. There couldn’t have been any sin committed by them because Sin, related to actions in the Past, just didn’t exist when Humanity started on earth.

Laws of Nature, God, and Society

The universe that we know about and the universes that we still don’t know about were also born out of total anarchy (after the Big Bang). Gradually, many – if not most – celestial objects fell into known patterns based on these laws. Indeed, many of these patterns made us discover the laws.

Even as the Laws of the Universe, Nature, and God were discovered by us, we also made laws of the society and civilization that we are part of. As we gradually shifted from being wanderers (nomads) to living in communities and societies, we made laws to protect the bigger interests of the society.

Just as in our understanding of the Cosmic Laws, we weren’t always right in many of the laws that we made for the society and civilizations. We changed these – in some cases even drastically – when we understood better. So, please do remember that many laws are not permanent; we follow these until a newer one is discovered or made better suited for us, the world, and the universe.

That brings us to our Concept of Right and Wrong. Our history would tell us that this thought we would want our children to know about early has been quite fuzzy, to say the least. The Right and Wrong kept changing so much so that now, in our own present, we can somewhat correctly conclude that what is Right is Right for a a major part of the society at the present time. It wasn’t Right before and it may not be Right in the future. The same is the case with Wrong.

At another time in the history of mankind we can make a Right or Wrong stand on its head. It is just relative and true for a particular period of Time.

Knowledge, Mind, and Reasoning

As the World and Life on it evolved, the most powerful Life on Earth at the present period of Time is Mankind. It has taken tens of thousands of years for it to evolve to the present level.

First, let me merely repeat what I wrote in ‘The Most Important Relations and Relationships’:

“I find Human Evolution as a very fascinating subject. Humans or homo sapiens, as we see them around now, at some point of history of primates, separated themselves from the apes (hominids). Genetic studies bring out that the history of primates is older than 85 million years ago. There have been many theories (in the absence of recorded history we have either theories or gospel (word of mouth)) regarding the Evolution of Man, the foremost or the most accepted being the Darwinian theory. All these theories explore only the anatomical aspects; for example, the origin of man standing and walking on two feet and legs (bipedalism). Nothing has yet brought out the evolution of emotions and relationships, except in gospel. And that is the aspect that fascinates me most. For example, who was the first man or woman to fall in love? Or was it at the great ape stage or even earlier? When, how and why did the first man get angry and who triggered those emotions in him?”

However, it is reasonable to assume that the same DNA and its mutations that made varieties of Life possible on Earth, also made it possible for the Mankind to have Knowledge, Mind and Reasoning.

Indeed, all Civilizational Knowledge is written in our DNA very carefully from generation to generation. Thus, the present Mind of Man has evolved over generations to its present form.

As you look at Life on Earth millions of years ago you realise that the mutations of DNA that survived the best are those that were best suited for a particular environment during a particular period of Time. As with anatomical mutations, in the recent History of Mankind, one realises that the Human Mind has become more and more powerful simply by Powers  of Reasoning. One can confidently argue that now, as compared to anytime in the History of Mankind, Reasoning has helped the Mankind more than the lack of it; both to survive and make a better and securer life.

In this evolution of the Reasoning Mind, it is easy to conclude that unless outdated concepts such as Community Religion (“Do this and don’t do that”) based on blind faith are in sync with the Reasoning Mind, these would become extinct some time in future. How much time would it take depends upon the tenacity of blind faith. Lets not forget that the Reasoning of Copernican Heliocentrism about the Earth revolving around the Sun, until it took centuries to prevail and be regarded as common knowledge today, was held to be inferior (blasphemous) to the Community Religion’s blind faith that Earth was the Abode of Gods and hence, everything in the Universe revolved around it.

Conscience, Sin, And Guilt

The Reasonable Mind and The Concept of Right and Wrong evolved almost simultaneously in the History of Mankind. Just as we did with Religion, we also did with Morality. Certain things became Right and Moral to do whilst others became Wrong and Immoral.

Our Reasonable Mind also made us realise that some force or power must be controlling our Mind. Else, how would we be able to control this Reasoning? In our Evolution, Conscience evolved: “a cognitive process that elicits emotion and rational associations based on an individual’s moral philosophy or value system.” We willfully made our Reasonable Mind slave to this cognitive process called Conscience; controlled the mind, so as to say.

Sin is merely a Religion’s way of telling us that all our transgressions against the Law of Nature or Law of God (Divine Law) are immoral. Whenever we did these, it made us full of Guilt.

The process of Evolution as observed by Man made Man realise that just like only those mutations of DNA survived that were adaptable to the environment and multiplied in larger numbers than the weaker mutations, Religious ideas would survive if these had the largest followers. Adding to the numbers of the like minded, therefore, ensured the survival of the idea of that particular religion; evangelical indeed.

However, in the Evolution of Mankind, there would still be large numbers of people who would drift away from the original idea just as those who became followers of a particular religion drifted away from beliefs held by them before the advent of that religion.

Religion, therefore, invented the idea of Fear. Idea of Fear already existed in the Physical World: we feared wild animals, floods, fires, and other disasters. Religion merely adapted the Concept of Fear to Guilt and Consequences of not following the Divine Laws.

Heaven, Hell, and Fear

Religion discovered that one of the easiest ways to keep its flock through Fear of Consequences is by creating the Concept of Heaven and Hell. Heaven is for those who follow the Divine Laws and the fires of Hell are for those who willfully deviate from these laws.

It was a flawed concept, but, it controlled large chunks of the Humanity for at least 2000 years.

Why do I call it flawed concept? Simply because we know that there is nothing like Free Will. As Swami Vivekananda said we have to go beyond the confines of the universe to exercise Free Will. So, to conclude that Hell is for those who willfully deviate from the Divine Laws is not in sync with the limitations of the Man. We still do many acts without deliberately thinking about them or their consequences. “Forgive them, O God, for they know not what they are doing” as reportedly uttered by Jesus on the Cross didn’t have a smaller meaning about the limitation of His Roman persecutors but a larger meaning of the Limitation of Mankind.

Various thinkers (they are the ones who change the world), therefore, concluded that Sin and Guilt are not exclusive acts of omission and commission by a particular man. But, since we are all related, people around us have all contributed to that Sin. The Indian Government is in the process of changing laws for Mob Crimes (as I told you, laws are always changing). Similarly, for Sin, shouldn’t we be sending many, many people to Hell rather than the one visible man whom our senses perceived to have committed that sin? How do we know what was written on his DNA when he was born? How do we know about collective Conscience of generations rather than just our own exclusive Conscience? In the ultimate analysis, we know not what we are doing; it is beyond us.

Optimism

Yes, the essentially flawed concepts of Sin and Guilt kept going for hundreds of years. Our Societal Laws, themselves, have been based on these Divine Laws (In God We Trust, so as to say). God, and Guardians of Laws on Earth would punish us for our acts of commission and omission. More than the physical punishment, our Conscience and Guilt would punish us; the degree of this (self-inflicted) punishment would vary from close to zero (for the non-thinking Man) to close to hundred (for the thinking Man). As Kahlil Gibran said, “A thinking man can never be happy.”

And now the flaws in the Concept of Sin and Guilt add up even more. The World and Mankind is progressing because of the Reasoning Mind of Man. However, the Reasoning Mind is the unhappiest, and many a times the only unhappy one, because of Conscience, Sin, and Guilt. This is not a good Evolution. It was required to keep us following the straight line in an anarchic world. But, it is sure to become outdated over a period of time, say, in another five hundred years. We can’t continue to control the world and society through a negative of Sin and Guilt. A time has to come in the Evolution of Man when we control the Society more through the positive of Love than through the negatives of Sin and Guilt.

Wishful thinking? No, I have, in the last few decades, seen this change. Religion itself is perceptibly shifting its focus from Sin, Guilt and Fear of Consequences to “God loves us unconditionally.” This is in reaction to the dwindling congregations in the churches around the world and, hence, the survival instinct of the church.

My early thought process was influenced by many authors and playwrights. One of them was the American author and playwright William Saroyan. In the preface to his celebrated play The Time Of Your Life, he wrote:

“In the time of your life, live so that there would be no death or ugliness for yourself of for any life that your life touches. Be the inferior of no man nor of any man be the superior. Remember that every man is a variation of yourself; no man’s guilt is not yours nor of any man’s innocence a thing apart. In the time of your life, live and let others live. But, if the time comes in the time of your life to kill, kill and have no regrets.”

Our Lord Krishna taught us this eons ago.

TRIBUTE TO MOHAMMAD RAFI – MY OWN SINGING – PART V

Once in an era one comes across an artiste who not just entertains but influences our lives as never before.  We start searching for newer and better adjectives to describe his or her art. We consider ourselves fortunate to have lived that era with him or her when he or she displayed his or her talent.

There is no other artiste who represents this phenomenon better than the god of songs: Mohammad Rafi.

I am putting up Part V of a post that I published Part IV of on his death anniversary on 31 Jul 23.

The makers of best songs in Hindi movies: Mohammad Rafi with Naushad Ali and Shakeel Badayuni

I have always maintained that there has been no singer, male or female, like Mohammad Rafi. With his singing, he conveyed to us, what can one do to lyrics and composition simply by singing with his kind of passion, modulation, range, style and aura. Indeed, he made many songs immortal by just singing them. Irrespective of the awards and honours bestowed on other singers, more often than not due to political reasons, many like me feel that Mohammad Rafi was beyond awards including Bharat Ratna. Therefore, to be able to sing the songs earlier sung by Mohammad Rafi is a blessing and honour. This doesn’t, by any stretch of imagination, mean that anyone of us can match his prowess. It only means that we can take lots of joy and pride in the fact that we lived in the era when he was alive and fondly sing his songs to relive their magic. The songs of Part I have been:

  1. Aaj purani raahon se koi mujhe awaaz na de.
  2. Man tadpat Hari darshan ko aaj.
  3. Chhalke teri aankhon se.
  4. Hai duniya usi ki zamana usi ka.
  5. Paas baitho tabiyat behal jayegi.
  6. Tujhe kya sunayun main dilruba.

The songs of Part II have been:

  1. Zara sun haseena-e-nazneen.
  2. Ek haseen shaam ko dil mera kho gaya.
  3. Ajahun na aaye balma sawan beeta jaaye.
  4. Jo guzar rahi hai mujhpe use kaise main batayun.
  5. Jaan-e-bahar husn tera bemisaal hai.
  6. Tum ek baar mohabbat ka imtihaan to lo.

The songs of Part III have been:

  1. Aane se uske aaye bahar.
  2. Govinda aala re aala.
  3. Mittar pyare nu.
  4. Nigaahen na phero chale jayenge hum.
  5. Aise to na dekho.
  6. Mujhe le chalo aaj phir us gali mein.

The songs of Part IV have been:

  1. Husn waale tera jawab nahin.
  2. Itna hai tumse pyar mujhe.
  3. Dil ka bhanwar kare pukaar.
  4. Baharon phool barsao.
  5. Tum mujhe yun bhula na paoge.
  6. Jeet hi lenge baazi hum tum.

Lets start with Part V songs.

Song #25 – Dil ki awaz bhi sun

OP Nayyar

I had promised you a lot more songs from Omkar Prasad Nayyar and here I am again. You will see that the more you see the range of his songs and quality of his compositions, the more you’ll be convinced that he ranks among the greatest composers and music directors that the Hindi films have seen. His being the Music Director of a movie, invariably assured its success. Take this 1968 movie Humsaya from where I have taken this song and you’ll know what I mean:

“Dil Ki Awaaz Bhi Sun” Mohammed Rafi
“Mujhe Mera Pyar De De, Tujhe Aazma Liya Hai” Asha Bhosle, Mohammed Rafi
“Badi Mushkil Se Kaabu Mein Dil-E-Deewana Aaya” Asha Bhosle, Mahendra Kapoor
“Kitna Haseen Hai Yeh Jahan” Asha Bhosle
“O Kanhaiya Kanhaiya” Asha Bhosle
“Woh Haseen Dard De Do” Asha Bhosle
“Aaja Mere Pyar Ke Sahare” Asha Bhosle

Lyricist – Shevan Rizvi

OP Nayyar’s favourite, SH Bihari, was one of the lyricist of the above songs. Hasrat Jaipuri too. However, this song was penned by Shevan Rizvi.
His song in the 1958 Al Hilal was on everyone’s lips. The song was composed by Bulo C Rani: Hamen to loot liya milke husn walon ne. Another song that I can recall is Jaate jaate ek nazar bhar dekh lo.

Mohammad Rafi

Mohammad Rafi was the God of Songs. He sang at levels that were unimaginable by others. In every song, including this, his singing was the fastest way to transport the emotions of the song in you.

Here, he sang for Joy Mukherjee in a movie that was produced and directed by Joy. He had two female leads Mala Sinha and Sharmila Tagore for the simple reason that he had a double role in the movie (Humsaya, that is). In one role he was an Indian Air Force Officer and in the other as his Chinese look-alike. Mala Sinha was the Chinese!

The Lyrics

दिल की आवाज़ भी सुन मेरे फ़साने पे न जा
मेरी नज़रों की तरफ़ देख ज़माने पे न जा

इक नज़र फ़ेर ले जीने की इजाज़त दे दे
रूठने वाले वो पहली सी मुहब्बत दे दे
(इश्क़ मासूम है – २), इलज़ाम लगाने पे न जा

वक़्त इनसान पे ऐसा भी कभी आता है
राह में छोड़के साया भी चला जाता है
(दिन भी निकलेगा कभी – २), रात के आने पे न जा

मैं हक़ीक़त हूँ ये इक रोज़ दिखाऊँगा तुझे
बेगुनाही पे मुहब्बत की रुलाऊँगा तुझे
दाग दिल के नहीं मिटते हैं मिटाने पे न जा

My Own Poetry

Main Bewafa Nahin Hoon

इस से पहले के बेवफाई का मुझे दो तगमा,
अपने एहसास में आने दो वह प्यारा नग़मा;
जो दिल की धड़कन के साज़ से जुबां तक पहुंचा,
कहाँ आगाज़ हुआ था और कहाँ तक पहुंचा.
इस से पहले के बेवफाई का …..

पास रह कर भी तुम दूर चले जाते थे,
मेरी मजबूर तमन्ना को और भी तरसाते थे,
दिल की आवाज़ बन के रह जाती थी सदमा.
इस से पहले के बेवफाई का …

ये दीवार मैंने नहीं तुम्ही ने तो बनायी थी,
कहाँ थी तुम जब पास सिर्फ तन्हाई थी?
मेरी खामोशी उस वक़्त थी मेरे दिल की मेहमान,
इस से पहले के बेवफाई का …

अब हम नहीं, तुम नहीं और हयात भी नहीं,
उल्फत की राहों में सुलगते जज़्बात भी नहीं,
सिसकियाँ भर के खत्म हो गए सब अरमान.
इस से पहले के बेवफाई का …

The Song

Ladies and gentlemen, please enjoy: Dil ki awaz bhi sun…

Song #26 – Kaise kategi zindagi tere bagair?

This ghazal by the Ghazal King Madan Mohan is from an album called Tere Bagair that was released in 2009. Some of the songs in this album including this one were sung by Mohammad Rafi. Then there are others that were sung by Lata Mangeshkar, Talat Mahmood and Asha Bhosle. There is one by Kishore Kumar too.

Two of the greatest: Madan Mohan with Mohammad Rafi)

Madan Mohan was born on 25 Jun 1924 at Erbil, Iraqi Kurdistan, where his father Rai Bahadur Chunilal was working as an Accountant General with the Kurdistan Peshmerga forces. Madan Mohan spent the early years of his life in the Middle East. After 1932, his family returned to their home town of Chakwal, then in Jhelum district of Punjab, British India. He joined the Army as a Second Lieutenant in the year 1943. He served there for two years until end of World War II, when he left the Army and returned to Bombay to pursue his musical interests. In 1946, he joined the All India Radio, Lucknow as Programme Assistant, where he came in contact with various artists such as Ustad Faiyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood.

He was very fond of singing, and so in 1947 he got his first chance to record two ghazals penned by Behzad Lucknawi, Aane Laga Hai Koi Nazar Jalwa Gar Mujhe and Is Raaz Ko Duniya Jaanti Hai. Soon after, in 1948 he recorded two more private ghazals penned by Deewan Sharar, Wo Aaye To Mahfil Mein Ithlaate Huye Aaye and Duniya Mujhe Kahti Hai Ke Main Tujhko Bhoolaa Doon. In 1948, he got his first opportunity to sing a film duet Pinjare Mein Bulbul Bole and Mera Chhotasa Dil Dole with Lata Mangeshkar under composer Ghulam Haider (composer) for the film Shaheed (1948 film), though these songs were never released or used in the film. Between 1948 and 1949, he assisted music composers SD Burman for Do Bhai, and Shyam Sundar in Actress and Nirdosh.

As Music Director, he scored his first big break with the film Aankhen in 1950. He was soon to emerge as a music director par excellence especially for ghazals. Indeed, music director OP Nayyar once said about Madan Mohan that two of his ghazals were better than all that OP Nayyar composed. Some of the best songs of Lata Mangeshkar (she fondly called him “Madan Bhaiyya”) were composed by him on the lyrics of Raja Mehdi Ali Khan and Rajinder Krishan.

(Poster courtesy: IMDb)

The song was penned by Rajinder Krishan. It was originally used in the 1968 Pakistani hit movie Jahan Tum Wahan Hum.

Please enjoy my rendition of: Kaise kategi zindagi tere bagair…

कैसे कटेगी ज़िन्दगी
तेरे बगैर तेरे बगैर
पाउँगा हर शै में कमी
तेरे बगैर तेरे बगैर

फूल खिले तोह यु लगे
फूल नहीं यह दाग हैं
तारे फलक पे यु लगे
जैसे बुझे चिराग हैं
आग लगाये चाँदनी
तेरे बगैर तेरे बगैर
कैसे कटेगी ज़िन्दगी

चाँद घटा में छुप गया
सारा जहाँ उदास है
कहती है दिल की धड़कने
तू कही आस-पास है
ा के तड़प रहा है जी
तेरे बगैर तेरे बगैर
पाउँगा हर शै में कमी.

Song #27 – Jaag dil-e-deewana

Here is another song in Raag Bhairavi and close to my heart. Whilst Mohammad Rafi has delved in high pitch in many of his songs, there are songs like this and Dil ka bhanwar kare pukaar that he had sung in restrained pitch. The effect was heavenly.

(Poster courtesy: en.wikipedia.org)

This is from the 1965 Phani Majumdar movie Oonche Log starring Ashok Kumar, Raaj Kumar, Feroz Khan, Vijaya and Tarun Bose. Phani Majumdar was the same director who gave us the 1962 movie Aarti starring Pradeep Kumar, Meena Kumari and Ashok Kumar with such beautiful songs as: Aapne yaad dilaya to mujhe yaad aaya, Kabhi to milegi kahin to milegi, Ab kyaa misaal doon main tumhare shabab ki, and Baar baar tohe kyaa samjhaaye. He also made Kanyadaan, and the old KL Saigal movie Street Singer.

The movie Oonche Log was the first big hit of the then newcomer Feroze Khan who as Rajnikant fell in love with KR Vijaya as Bimla, made her pregnant, and made her abort the child for fear of getting his father, Ashok Kumar as Major Chandrakant annoyed. This made her commit suicide. This song was enacted by Feroze Khan still not accepting her absence.

This song was penned by Majrooh Sultanpuri, composed by Chitragupta, and sung by Mohammad Rafi.

Please enjoy my rendition of: Jaag dil-e-deewana…

(जाग दिल-ए-दीवाना रुत जागी वस्ल-ए-यार की
बसी हुई ज़ुल्फ़ में आयी है सबा प्यार की ) – २
जाग दिल-ए-दीवाना

(दो दिल के कुछ लेके पयाम आयी है
चाहत के कुछ लेके सलाम आयी है ) – २
दर पे तेरे सुबह खड़ी हुई है दीदार की
जाग दिल-ए-दीवाना …

(एक परी कुछ शाद सी नाशाद सी
बैठी हुई शबनम में तेरी याद की ) – २
भीग रही होगी कहीं कली सी गुलज़ार की
जाग दिल-ए-दीवाना रुत जागी वस्ल-ए-यार की
बसी हुई ज़ुल्फ में आयी है सबा प्यार की
जाग दिल-ए-दीवाना

Song #28 – Chahunga main tujhe saanjh savere

This is one of the best of Laxmikant Pyarelal from the 1964 Satyen Bose movie Dosti, a movie whose songs made L-P one of the most loved music duos in India and a movie whose songs are still fondly remembered even today. Majrooh Sultanpuri penned the lyrics and L-P composed it in the raaga of my place: Pahadi.

(Poster courtesy: Wikipedia)

Lets start with the movie. Bombay based Rajshri was founded by Tarachand Barjatya in the year 1947. However, Rajshri Productions Pvt Ltd engaged in films production came about in the year 1962. Its first film Arti, in 1962 was highly acclaimed. However, the grand success of its second production Dosti in 1964 included winning the National Award for Best Feature Film and as many as six Filmfare Awards: Best Film, Best Music Director (the debut Filmfare Award for L-P), Best Story: Ban Bhatt, Best Dialogue: Govind Moonis, Best Playback Singer: Mohammad Rafi for the song I am giving you today, and finally Best Lyricist: Majrooh Sultanpuri for the same song.

Dosti was directed by Satyen Bose. It was Sanjay Khan’s debut film and had Sudhir Kumar Sawant, and Sushil Kumar Somaya in lead roles. The film focuses on the friendship between two boys, one blind and the other a cripple.

Laxmikant Pyarelal started off with 1963 movie Parasmani and they made such popular songs for their very first movie that these are fondly remembered even today:

1. “Hansta Hua Noorani Chehra” Asad Bhopali Lata Mangeshkar, Kamal Barot 3:40
2. “Mere Dil Mein Halki Si” Asad Bhopali Lata Mangeshkar 4:56
3. “Ooi Maa Ooi Maa Yeh Kya Ho Gaya” Asad Bhopali Lata Mangeshkar 3:24
4. “Salamat Raho Salamat Raho” Indeevar Mohammad Rafi 5:57
5. “Woh Jab Yaad Aaye” Asad Bhopali Mohammad Rafi, Lata Mangeshkar 4:43
6. “Chori Chori Jo Tumse Mili” Faruk Kaiser Mukesh, Lata Mangeshkar 4:01

The duo that started off so outstandingly well in their very first movie had indeed great future ahead for them. Dosti was only their sixth movie (they did a total of 635 movies between 1963 to 1998) after Parasmani (1963), Harishchandra Taramati (1963), Sati Savitri (1964), Sant Gyaneshwar (1964) and Mr X in Bombay (1964). All these movies too had excellent and memorable songs; eg, Main ek nanha sa main ek chhota sa bachcha hoon and Suraj re jalte rehna from Harishchandra Taramati; Tum gagan ke chandrama ho main dhara ki dhool hoon, Jeevan dor tumhi sang bandhi, Sakhi ri pi ka naam naam na poochho, and Itni jaldi kya hai gori saajan ke sang jaane ki from Sati Savitri; Jaago re prabhat aaya, Jyot se jyot jalaate chalo, and Ek do teen chaar bhaiya bano hoshiyar from Sant Gyaneshwar; Mere mehboob qyaamat hogi, Khoobsurat haseena jaan-e-jaan jaan-e-mann, Chali re chali re gori paniya bharan ko, and Julmi hamaare saanwariya ho Raam from Mr X In Bombay.

The 1964 movie Dosti was a landmark for Laxmikant Pyarelal as the movie’s songs enabled them to receive their first Filmfare Award for Best Music Director. Out of the six songs of the movie, Mohammad Rafi sang six and Lata Mangeshkar sang one. These two playback singers, the best in their fields, stayed with Laxmikant Pyarelal till the end and even sang for them in low budget movies.

Laxmikant Pyarelal with Mohammad Rafi and Lata Mangeshkar (Pic courtesy: Hamara Photos)

Here are the iconic songs that Majrooh Sultanpuri, Laxmikant Pyarelal, Mohammad Rafi and Lata Mangeshkar made together for Dosti:

1. “Chahoonga Main Tujhe Saanj Savere” Mohammad Rafi 04:55
2. “Meri Dosti Mera Pyar” Mohammad Rafi 04:23
3. “Rahi Manwa Dukh Ki Chinta” Mohammad Rafi 04:07
4. “Mera To Jo Bhi Kadam” Mohammad Rafi 04:03
5. “Gudiya Humse Roothi Rahogi Kab Tak Na Hasogi” Lata Mangeshkar 03:31
6. “Jaanewalo Zara” Mohammad Rafi 04:06

Lastly, before we take up the song, lets for a minute talk about the lyricist Majrooh Sultanpuri.

Majrooh was a contemporary of my favourite: Shakeel Badayuni.

Majrooh Sultanpuri was born on 01 Oct 1919 as Asrar ul Hassan Khan in a Tarin Pashtun family, in Sultanpur, Uttar Pradesh. His father was an officer in the police department, but, preferred to send his son for traditional madrasa (Urdu school) rather than provide him with English schooling.

He tried his hand at being a quack until he was noticed in a mushaira in Sultanpur.

He was a disciple of the great Urdu poet Jigar Moradabadi. When he visited Bombay in 1945 to participate in a mushaira, the director Abdul Rashid Kardar noticed him and invited him to write for the movies. Majrooh turned it down as he looked down upon movies! He was persuaded through his mentor Jigar Moradabadi and then there was no turning back.

Many traditionalists of the Urdu literature, however, felt that Majrooh sold his soul to the Hindi films and that he could have emerged a great poet in the likeness of Ghalib and Jigar.

The takhalus Majrooh means “injured” or “wounded”.

Majrooh was awarded, in 1993, the highest award – Dadasaheb Phalke award – for his lifetime contribution towards lyrics and poetry. He was the first lyricist ever to be given that award. For the film Dosti, that made Laxmikant Pyarelal famous, he was awarded the Filmfare Best Lyricist Award for the song: Chahunga main tujhe saanjh savere.

For someone who didn’t want to join Hindi movies, Majrooh emerged as a natural lyricist, very popular, very romantic and enchanting.

Laxmikant Pyarelal and Majrooh Sultanpuri paired in a number of movies to make songs: Dosti (1964), Mere Lal (1966), Dillagi (1966), Shagird (1967), Patthar Ke Sanam (1967), Duniya Nachegi (1967), Mere Hamdam Mere Dost (1968), Wapas (1969), Pyasi Sham (1969), Meri Bhabhi (1969), Dharti Kahe Pukar Ke (1969), Abhinetri (1970), Jal Bin Machli Nritya Bin Bijli (1971), Bikhre Moti (1971), Ek Nazar (1972), Anokhi Ada (1973), Imtihaan (1974), Mere Sajana (1975), Anari (1975), Aaj Ka Mahatma (1976), Dus Numbri (1976), Master Dada (1977), Kali Raat (1977), Parvarish (1977), Swan Ke Geet (1978), Naach Utha Sansar (1978), Phaansi (1978), Prayaschit (1979), Ladies Tailor (1981), Ek Aur Ek Gyarah (1981), Watan Ke Rakhwale (1987), Janam Janam (1988), Humshakal (1992), Badi Bahen (1993), West is West (2011) and Soundtrack (2011).

These movies that Majrooh and LP did together produced some really enchanting songs such as Bade miyan deewane, Dil wil pyar wyar, Kanha kanha aan padhi, Woh hain zara khafa khafa, Ruk ja aye hawa, and Duniya pagal hai ya main deewana (all from 1967 movie Shagird); Koi nahin hai phir bhi hai mujhako, Tauba ye matwali chaal, Mehboob mere, and Patthar ke sanam (all from 1967 movie Patthar Ke Sanam); Chhalkaye jaam, Chalo sajna jahan taq, Na jaa kahin ab na jaa, Allah ye ada kaisi, Hui shaam unka khyaal aa gaya, Hamen to ho gaya hai pyaar, and Tum jao kahin (all from 1968 movie Mere Hamdam Mere Dost); and Ye kaisa gham sajna and Yaaro mera saath nibhao (both from 1969 movie Pyasi Sham).

Before we take up the song, let me tell you briefly as to how it came about in the movie. Ramu (Sushil Kumar) is a cripple and good at playing harmonica. Thrown out of his home, crippled and penniless, he roams around the streets of Mumbai. Here he comes across Mohan (Sudhir Kumar), a boy who is blind and has a similar tale of woe. Mohan is a singer. Both meet on the streets of Bombay and form a good pair. One day, Ramu gets into trouble for no fault of his own and is bailed out on the condition that he would keep no contact with Mohan. That’s how this song came about.

Please enjoy Mohammad Rafi sing a composition of Laxmikant Pyarelal on the lyrics of Majrooh Sultanpuri, a song from the 1964 Satyen Bose movie Dosti: Chahunga main tujhe saanjh savere….

चाहूँगा मैं तुझे साँझ सवेरे
फिर भी कभी अब नाम को तेरे
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा

देख मुझे सब है पता
सुनता है तू मन की सदा (२)
मितवा …
मेरे यार तुझको बार बार
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा
चाहूँगा मैं तुझे साँझ सवेरे

दर्द भी तू चैन भी तू
दरस भी तू नैन भी तू
मितवा …
मेरे यार तुझको बार बार
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा

Song #29 – Saathi haath badhana

(Poster courtesy: Wikimedia)

Alright, as promised, this is another composition of OP Nayyar. He composed this on the lyrics of Sahir Ludhianvi for the 1957 movie BR Chopra Naya Daur starring Dilip Kumar and Vyjayanthimala.

The movie had some really popular songs of that era:

  1. “Aana Hai To Aa” – Mohammed Rafi
  2. “Dil Leke Daga Denge” – Mohammed Rafi
  3. “Main Bambai Ka Babu” – Mohammed Rafi
  4. “Yeh Desh Hai Veer Jawanon Ka, Albelon Ka” – Mohammed Rafi, S. Balbir
  5. “Mangke Saath Tumhara, Maine Mang Liya Sansar” – Mohammed Rafi, Asha Bhosle
  6. “Uden Jab Jab Zulfen Teri, Kunwariyon Ka Dil Machle” – Mohammed Rafi, Asha Bhosle
  7. “Sathi Hath Badhana, Sathi Hath Badhana” – Mohammed Rafi, Asha Bhosle
  8. “Reshmi Salwar, Kurta Jaali Ka” – Shamshad Begum, Asha Bhosle

I had my sister, Suman Saxena, visiting me in Kandaghat. She is a very fine, devoted, and popular singer. We sang this duet together that was originally sung by Mohammad Rafi and Asha Bhosle:

साथी हाथ बढ़ाना, साथी हाथ बढ़ाना
एक अकेला थक जायेगा मिल कर बोझ उठाना
साथी हाथ बढ़ाना …

१) हम मेहनतवालों ने जब भी मिलकर कदम बढ़ाया
सागर ने रस्ता छोड़ा परबत ने शीश झुकाया
फ़ौलादी हैं सीने अपने फ़ौलादी हैं बाहें
हम चाहें तो पैदा करदें, चट्टानों में राहें, साथी …

२) मेहनत अपनी लेख की रखना मेहनत से क्या डरना
कल गैरों की खातिर की अब अपनी खातिर करना
अपना दुख भी एक है साथी अपना सुख भी एक
अपनी मंजिल सच की मंजिल अपना रस्ता नेक, साथी …

३) एक से एक मिले तो कतरा बन जाता है दरिया
एक से एक मिले तो ज़र्रा बन जाता है सेहरा
एक से एक मिले तो राई बन सकती है परबत
एक से एक मिले तो इन्सान बस में कर ले किस्मत, साथी …

४) माटी से हम लाल निकालें मोती लाएं जल से
जो कुछ इस दुनिया में बना है बना हमारे बल से
कब तक मेहनत के पैरों में ये दौलत की ज़ंज़ीरें
हाथ बढ़ाकर छीन लो अपने सपनों की तस्वीरें, साथी …

Song #30 – Aaja re aa zara

Love In Tokyo was the name of this 1966 movie by Pramod Chakravorty. It had Joy Mukherjee and Asha Parekh in the lead roles.

There were eight excellent songs in the movie that were composed by the best duo ever in Hindi movies: Shankar Jaikishan. One was penned by Shailendra: Koi matwala aaya mere dwaare and the others by Hasrat Jaipuri: Sayonara sayonara that became very popular, and Mujhe tum mil gaye hamdam. These were all sung by Lata.  Then there was O mere shah-e-khuba sung by Lata and Rafi. The other three were solos by Rafi: Aaja re aa zara, Love in Tokyo (Le gayi dil gudiya Japan ki), and Main tere pyar ka bimar.

This is a beautiful and sensuous number by Mohammad Rafi pictured on Joy Mukherjee and Asha Parekh.

Please enjoy my rendition of: Aaja re aa zara…

ये ज़िंदगी की महफ़िल, महफ़िल में हम अकेले
दामन को कोई थामे, ज़ुल्फ़ों से कोई खेले

आ जा रे आ ज़रा, लहरा के आ ज़रा
आँखों से दिल में समा
आ जा रे आ ज़रा …

देख फ़िज़ा में रंग भरा है
मेरे जिगर का ज़ख़्म हरा है
सीने से मेरे सर को लगा दे
हाथों में तेरे दिल की दवा है
आ जा रे आ ज़रा …

तेरे भी दिल में आग लगी है
मेरे भी दिल में आग लगी है
दोनों तरफ़ है एक सी हालत
दोनों दिलों पर बिजली गिरी है
आ जा रे आ ज़रा …

अपना सुलगना किसको दिखाऊँ
साँसों के तूफ़ाँ कैसे छुपाऊँ
आँखें क्या क्या देख रहीं हैं
दिल पे जो गुज़री कैसे बताऊँ
आ जा रे आ ज़रा …

In the fourth part, once again, I have given you a wide range of songs of the greatest singer Mohammad Rafi. I hope you liked my selection.

So as not to make the post longer than 30 minutes of your listening pleasure, I give you only six songs at a time.

Please await songs of Part VI.

 

SHANKAR JAIKISHAN SONGS OF HASRAT JAIPURI – MY OWN SINGING – PART I

No other music director has ruled the music scene in Hindi movies as much as Shankar-Jaikishan. Indeed, the name of Shankar-Jaikishan is the most popular name among Hindi music directors.

After it made its debut in Raj Kapoor’s 1949 movie Barsaat, the name Shankar-Jaikishan became synonymous with popular tunes. From the year 1957, when Shankar-Jaikishan won its first Filmfare Award for the movie Chori Chori (that is, eight years after its debut), and until 1973 when it won its last Filmfare Award for the movie Imaan, it was nominated as many times as eighteen for the award and won half the times. The best way to appreciate the excellence of its music is to have a look at some of the movies for which Shankar-Jaikishan missed getting the award though nominated: 1962 movie Jis Desh Mein Ganga Behati Hai, 1964 movie Dil Ek Mandir, 1965 movie Sangam, 1966 movie Arzoo, and 1972 movie Andaz.

Shankar Jaikishan are called by various epithets. However, after their death (Jaikishan died in 1971 and Shankar in 1987), the most befitting epithet for them has been ‘Music Director of the Millennium’.

I became fond of the duo from my teens. The duo’s songs were on everyone’s lips including the one that was voted as the most popular song of Hindi movies: Baharo phool barsao mera mehboob aaya hai.

The duo was imaginative, innovative, and capable of going beyond the traditional.  As an example, even though Naushad Ali was credited with introducing raag based songs in Hindi movies, S-J ended up using raagas to make the most popular tunes in Hindi movies. Jaikishan used Bhairavi to compose many of his songs and Shankar became adept at composing based on Shivaranjani. The traditionalists on classical music would have been amazed at how the duo used the raagas. An apt example is the Brahmachari song Dil ke jharokhe mein tujhko bithakar based on Shivaranjani.

Shailendra (extreme right) with Hasrat Jaipuri and Shankar-Jaikishan (Pic courtesy: Cinema Sangeet)

The lyricists who penned most of their songs were Shailendra and Shankar Jaikishan. Unlike S-J who waited for eight years to get its first Filmfare Award, Shailendra won the very first Filmfare Award for Best Lyricist for the 1958 Bimal Roy movie Yahudi’s song: Yeh mera diwanapan hai. He won the next one too for the 1959 movie Anari song: Sab kuchh seekha hamne. Later, he won once again for the 1968 movie Brahmachari song: Main gaoon tum so jao.

Shailendra penned lyrics that took you deep. Indeed, many fans are still trying to find true meaning of some of the lyrics that he wrote; eg, Main nadiya phir bhi main pyaasi.

Hasrat Jaipuri, on the other hand, excelled in romantic songs. He is, justifiably, called Shehanshah of Rumaniyat (Emperor of Romance). So, if Raj Kapoor had to sing his heart out to Vyjayanthimala in the Ooty lake in the movie Sangam with O mehbooba, O mehbooba tere dil ke paas hi hai meri manzil-e-maqsud, it has to be Hasrat Jaipuri. If, Shammi Kapoor has to woo Sadhana with Is rang badalti duniya mein insaan ki niyat theek nahin, it has to be Hasrat. And, if it has to be Dharmendra making his love known to Vyjayanthimala with Main kahin kavi na ban jaayun, it has to be janaab Hasrat ji.

When I started singing to my wife, Lyn, I found that Hasrat Jaipuri’s songs are best suited to sing to her.

So, here I am with the first part of six songs that I sang for her. I have discovered that in a blog, six is the ideal number that fans would want to listen to.

Song #1
Jo guzar rahi hai mujh par

After learning a bit of singing (I am still learning), this was the first of HJ-SJ-Rafi songs that I sang.

The occasion was the Wedding Anniversary of Lyn and I two years ago: 12 Dec 21. Though sung in a different context in the movie, I found the lyrics eminently suitable for my mixed feelings about her being in severe Alzheimer’s condition in the midst of COVID when we were by ourselves for more than an year.

(Poster courtesy: en.wikipedia.org)

This is from the 1968 Vinod Kumar movie Mere Huzoor starring Raaj Kumar as Nawab Salim, Mala Sinha as Sultanat and Jeetendra as Akhtar Hussain Akhtar.

Salim had been in love with Sultanat. However, Akhtar had earlier saved the life of Salim and the latter had invited him to his palatial bungalow in Lucknow. Akhtar, in the train journey to Lucknow, sees and falls in love with Sultanat, a co-passenger.

This song was sung by Salim when Akhtar and Sultanat break the news about their impending wedding.

I found the lyrics, penned by Hasrat Jaipuri, as most apt for my wife, Lyn, being in advanced state of Alzheimer’s whilst celebrating our wedding anniversary last year.

Here are the lyrics:

जो गुज़र रही है मुझ पर उसे कैसे मैं बताऊँ -२
वो ख़ुशी मिली है मुझको मैं ख़ुशी से मर न जाऊँ -२

मेरे दिल की धड़कनों का ये सलाम तुमको पहुँचे
मैं तुम्हारा हमनशीं हूँ ये पयाम तुमको पहुँचे
उसे बन्दगी मैं समझूँ जो तुम्हारे काम आऊँ
वो ख़ुशी मिली है …

मेरे दिल की महफ़िलों में वो मुक़ाम है तुम्हारा
के ख़ुदा के बाद लब पर बस नाम है तुम्हारा
मेरी आरज़ू यही है मैं तुम्हारे गीत गाऊँ
वो ख़ुशी मिली है …

मेरी ज़िन्दगी में हमदम कभी ग़म न तू उठाना
कभी आएँ जो अँधेरे मुझे प्यार से बुलाना
मैं चिराग़ हूँ वफ़ा का मैं अँधेरे जगमगाऊँ
वो ख़ुशी मिली है …

Please enjoy my rendition of: Jo guzr rahi hai mujhpe use kaise main batayun…

Song #2
Chhalke teri aankhon se

This is from the 1965 Ramanand Sagar movie Arzoo starring Rajendra Kumar and Sadhana. Shankar Jaikishan and Hasrat created very popular songs for the movie such as:

  1. Ae nargis-e-mastana
  2. Bedardi balma tujhako
  3. Aji rooth kar ab kahan jayiyega
  4. Ai phoolon ki rani baharon ki malika.

This was perhaps the most popular:

छलके तेरी आँखों से शराब और ज़ियादा – ३
खिलते रहें होंठों के गुलाब और ज़ियादा – २

क्या बात है जाने तेरी महफ़िल में सितमगर – ३
धड़के है दिल-ए-खाना-खराब और ज़ियादा – २

इस दिल में अभी और भी ज़ख़्मों की जगह है – ३
अबरू की कटारी को दो आब और ज़ियादा

तू इश्क़ के तूफ़ान को बाँहों में जकड़ ले – २
अल्लाह करे ज़ोर-ए-शबाब और ज़ियादा
खिलते रहे होठों के गुलाब और ज़ियादा

Please enjoy: Chhalke teri aankhon se…

Song #3
Itna hai tumse pyar mujhe

This too I sang to Lyn on our wedding anniversary, 24 Mar 22.

This song is rated as one of the most popular duets in Hindi movies. It was sung by Rajendra Kumar and Vyjayanthimala.

It is from the 1966 T Prakash Rao movie Suraj starring the Jubilee hero Rajendra Kumar and Vyjayanthimala.

It was penned by Hasrat Jaipuri and composed by Shankar Jaikishan.

Here are the lyrics:

र: इतना है तुमसे प्यार मुझे मेरे राज़दार
जितने के आस्मान पर तारे हैं बेशुमार

सु: इत्नना है तुमसे प्यार मुझे मेरे राज़दार
जितने के इस ज़मीन पर ज़र्रे हैं बेशुमार

तेरे सिवा किसी को न लाया निगाह में
लाखों हसीन आये जवानी कि राह में
सदियों से कर रहा था तुम्हारा हि इंतज़ार
इतना है तुमसे …

मैं ने भी तेरे वास्ते कितने जनम लिये
तब दिल के रास्तों पे जले प्यार के दिये
एक दिन ज़रूर पाउंगी इतना था ऐतबार
इतना है तुमसे …

बेख़ुद बना दिया मुझे तेरे सलाम ने
जन्नत अगर मिले तो न लूं तेरे सामने
ये प्यार वो नशा है के जिसका नहीं उतार
इतना है तुमसे …

Please enjoy my rendition of: Itna hai tumse pyar mujhe…

Song #4
Baharo phool barsao

This is the second song from the 1966 T Prakash Rao movie Suraj starring Rajendra Kumar and Vyjayanthimala.

This was rated in a BBC radio poll in 2013 poll as the popular song in Hindi movies. It also happens to be one of the most popular songs of Rafi Sahib.

It was, indeed, a pleasure singing it:

बहारों फूल बरसाओ
मेरा महबूब आया है – (२)
हवाओं रागिनी गाओ
मेरा महबूब आया है – (२)

ओ लाली फूल की मेंहँदी लगा इन गोरे हाथों में
उतर आ ऐ घटा काजल, लगा इन प्यारी आँखों में
सितारों माँग भर जाओ
मेरा महबूब आया है – (२)

नज़ारों हर तरफ़ अब तान दो इक नूर की चादर
बडा शर्मीला दिलबर है, चला जाये न शरमा कर
ज़रा तुम दिल को बहलाओ
मेरा महबूब आया है – (२)

सजाई है जवाँ कलियों ने अब ये सेज उल्फ़त की
इन्हें मालूम था आएगी इक दिन ऋतु मुहब्बत की
फ़िज़ाओं रंग बिखराओ
मेरा महबूब आया है – (२)
बहारों …

Song #5
Tum mujhe youn bhula na paoge

I am so impressed with this song that I started my Raaga Based Song of the Day series with this song. The song has the most powerful of Hasrat Jaipuri’s lyrics. This includes both the Mohammad Rafi version and Lata Mangeshkar version.

These were composed by Shankar Jaikishan in Raag Jhinjhoti, Tal Kaherava.

Raag Jhinjhoti is a raag named after an apsara. Jhinjhoti is a Raag in Khamaj Thaat. In the modern Thaat system that was created by Vishnu Narayan Bhatkhande (1860–1936), a Thaat is a mode in Hindustani classical music and is a basis for classifying Raagas. Bhatkhande visited a number of gharanas (ad-hoc schools that followed guru-shishya sytem (teacher-pupil system) for passing knowledge down the generations. Interestingly, these gharanas were not open to all and sundry and most often than not a shishya had to prove that he was worthy of being taken as a shishya) (You must listen to Baiju Bawra’s ‘Man tadpat Hari darsan ko aaj‘ (Raag Malkauns, Tal Tintal) to know how a shishya had to prove his single-minded deication).

Surprisingly, the word Raaga doesn’t mean music but colour or dye or shade. But if you think of colours signifying moods, Raagas in music do exactly that. For example, if the colour yellow is the colour of love and red of passion, each one of the raagas is based on mood, time of the day and even season. An easy anology is the Hindi saying: सावन के अंधे को हरा ही हरा दिखाई देता है I You will instantly know that Sawan (Monsoon) is being used as a season, colour and mood.

According to Pandit Bhatkhande, each one of the raagas is based on one thaat (mode) or the other. Although his research with gharanas made him short-list 32 thaats, he finally pruned the list to just ten thaats on which most raagas are based. These are: Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. And that’s why I mentioned that Jhinjhoti belongs to Khamaj Thaat.

Almost all songs in Hindi movies based on this raag have an element of self-pity in them, eg, Ghungru ki tarah bajta hi raha hoon main, Koi hamdam na raha, Mere mehboob tujhe, Mose chhal kiye jaaye, and my second most favourite Lata song: Jaa jaa re jaa balamwa from Basant Bahar.

(Poster courtesy: Cinema Chaat)

The 1970 movie Pagla Kahin Ka was the most challenging job taken up by Shammi Kapoor. He was a mentally deranged person but as the movie progressed, one was left wondering at the sick mentality of those ostensibly sound in body and mind.

Of course the song Tum mujhe yun bhula na paoge is one of the best of Mohammad Rafi.

I found the lyrics have yet another meaning when I sing it to my wife, Lyn, suffering from Alzheimer’s.

Please enjoy my own singing of Mohammad Rafi version of: Tum mujhe youn bhula na paoge…

तुम मुझे यूँ भुला ना पाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
जब कभी भी सुनोगे गीत मेरे
संग संग तुम भी गुनगुनाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(वो बहारें वो चांदनी रातें
हमने की थी जो प्यार की बातें ) – २
उन नज़ारों की याद आएगी
जब खयालों में मुझको लाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(मेरे हाथों में तेरा चेहरा था
जैसे कोई गुलाब होता है ) – २
और सहारा लिया था बाहों का
वो शाम किस तरह भुलाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(मुझको देखे बिना क़रार ना था
एक ऐसा भी दौर गुज़रा है ) – २
झूठ मानूँ तो पूछलो दिल से
मैं कहूंगा तो रूठ जाओगे
हाँ तुम मुझे यूं भुला ना पाओगे

जब कभी भी …

Song #6
Ajahun na aaye balma

This was composed by Shankar Jaikishan in Raag Madhuvanti, Tal Kaherava.

The song is from 1964 Hrishikesh Mukherjee movie Saanjh Aur Savera that had Guru Dutt and Meena Kumari in lead roles. The song is however pictured on Mehmood and Shubha Khote with Mohammad Rafi and Suman Kalyanpur singing for them.

Music Directors loved to compose for Mehmood and Shubha Khote and some really fine classical Raaga based songs are pictured on them. In the same year, for the 1964 movie Ziddi that is, SD Burman composed a song for them which is considered the purest example of Darbari Kanada in Hindi movies; the song was sung by Manna Dey and is: Pyaar ki aag mein tan badan jal gaya.

Madhuvanti belongs to Todi Thaat. As you must have guessed it Madhu means honey and the raag is as sweet as honey in sringar ras depicting love and romance. It is an evening raag like Yaman aur Kalyan.

About Taal Kaherava I have already told you. But since we are in early stages of our learning here it is again:

Kaherava is most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:

Clap, 2, 3, 4, wave, 2, 3, 4. Theka is 

Dhaa Ge Naa Tee Naa Ka Dhin Naa.

What about other popular songs in Raag Madhuvanti? Madan Mohan composed Rasm e ulfat ko nibhayen to nibhayen kaise in the same Raag and Taal.

Please enjoy in Raag Madhuvanti, Tal Kaherava, Mohammad Rafi and Suman Kalyanpur sing a composition of Shankar Jaikishan, penned by the great Hasrat Jaipuri and picturized on Mehmood and Shubha Khote: Ajahun na aaye balma sawan beeta jaaye..

अजहुँ ना आए बालमा, सावन बीता जाए
हाय रे सावन बीता जाए

नींद भी अंखियन द्वार न आए
तोसे मिलन की आस भी जाए
आई बहार खिले फुलवा
मोरे सपने कौन सजाए
आ … अजहुं …

चांद को बदरा गरवा लगाए
और भी मोरे मन ललचाए
यार हसीन गले लग जा
मोरी उम्र गुज़रती जाए
आ … अजहुं …

I hope you liked my choice of six songs of Hasrat Jaipuri that I sang to my wife, Lyn in the Part I of this post.

Please await songs of Part II.

RAAGA BASED SONGS – MY OWN SINGING – PART II

I hope you enjoyed my selection and my own singing of Part I of Raaga Based Songs. I gave you six of them.

Before I give you another six in this part, let me recapitulate something simple about raaga based songs:

In the year 1913, Dadasaheb Phalke produced and directed a Hindi movie: Raja Harishchandra. It was a silent movie. Eighteen years later, Ardeshir Irani made the first Hindi movie with sound: Alam Ara. Now that we had sound in the movies, we soon introduced songs. But, these movies had actors singing live on the sets. Playback singing was introduced for the first time in Nitin Bose’s 1935 movie Dhoop Chhaon by RC Boral and Pankaj Mullick.

This opened floodgates for actors just lip-syncing and enacting songs. Tunes of songs were to be made in such a way so that the viewers would love them. Compositions of songs were not new to us; these were only to be introduced in the film’s story. Initially it was much easier as most singing and dancing were for pleasing the gods. Compositions of songs are arrangements of notes; the rhythm is provided by Tal.

For many centuries before the advent of movies with sounds, we devised raagas (classical compositions) for singing hymns. Soon, the music directors discovered that these classical compositions could be used for songs in the movies too. For example, the ninth Guru of the Sikhs, Guru Teg Bahadur, devised a raaga called Jaijaiwanti. In 1957, Madan Mohan composed a song for the farcical comedy: Dekh Kabira Roya in this raag: Bairan ho gayi raina that was sung by Manna Dey.

I started learning singing only about two years ago. The purpose was to sing to my wife Lyn (short for Marilyn) suffering from Alzheimer’s. Since raaga based songs fascinated me, I tried to learn these too.

Here, I give you six more such songs.

Song #7
Tum mujhe youn bhula na paoge
Raag Jhinjhoti, Tal Kaherava

I am so fond of this song that I started my Raaga Based Song of the Day series with this song.

Raag Jhinjhoti is a raag named after an apsara. Jhinjhoti is a Raag in Khamaj Thaat. In the modern Thaat system that was created by Vishnu Narayan Bhatkhande (1860–1936), a Thaat is a mode in Hindustani classical music and is a basis for classifying Raagas. Bhatkhande visited a number of gharanas (ad-hoc schools that followed guru-shishya sytem (teacher-pupil system) for passing knowledge down the generations. Interestingly, these gharanas were not open to all and sundry and most often than not a shishya had to prove that he was worthy of being taken as a shishya) (You must listen to Baiju Bawra’s ‘Man tadpat Hari darsan ko aaj‘ (Raag Malkauns, Tal Tintal) to know how a shishya had to prove his single-minded deication).

Almost all songs in Hindi movies based on this raag have an element of self-pity in them, eg, Ghungru ki tarah bajta hi raha hoon main, Koi hamdam na raha, Mere mehboob tujhe, Mose chhal kiye jaaye, and my second most favourite Lata song: Jaa jaa re jaa balamwa from Basant Bahar.

The Jati of the raag is Shadhav – Sampoorna Vakra. Nishad is Varjya in Aaroh, Nishad is Komal in Avroh. Rest all Shuddha Swaras. Jhinjhoti is normally to be sung in the second prahar of the night, ie, between 9 PM to midnight.

Kaherava (also written as Kherwa, Kherawa and Kaherawa) is the most popular 8 beat Tal in Hindustani music, with two vibhags of four matra each, first vibhag being clap, second being wave (khali), which makes it:

Clap, 2, 3, 4, wave, 2, 3, 4.

Theka is:

Dhaa Ge Naa Tee Naa Ka Dhin Naa.

(Poster courtesy: Cinema Chaat)

The 1970 movie Pagla Kahin Ka was the most challenging role taken up by Shammi Kapoor. He was a mentally deranged person but as the movie progressed, one was left wondering at the sick mentality of those ostensibly sound in body and mind.

Of course the song Tum mujhe yun bhula na paoge is one of the best of Mohammad Rafi. This song was sung separately by Lata Mangeshkar, too. However, here, I am giving you my rendition of the Rafi version. Since my wife, Lyn, has lost her memory due to Alzheimer’s, my singing this song to her has a new meaning.

Please enjoy: Tum mujhe youn bhula na paoge…

तुम मुझे यूँ भुला ना पाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
जब कभी भी सुनोगे गीत मेरे
संग संग तुम भी गुनगुनाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(वो बहारें वो चांदनी रातें
हमने की थी जो प्यार की बातें ) – २
उन नज़ारों की याद आएगी
जब खयालों में मुझको लाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(मेरे हाथों में तेरा चेहरा था
जैसे कोई गुलाब होता है ) – २
और सहारा लिया था बाहों का
वो शाम किस तरह भुलाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(मुझको देखे बिना क़रार ना था
एक ऐसा भी दौर गुज़रा है ) – २
झूठ मानूँ तो पूछलो दिल से
मैं कहूंगा तो रूठ जाओगे
हाँ तुम मुझे यूं भुला ना पाओगे

जब कभी भी …

Song #8
Ajahun na aaye balma
Raag Madhuvanti, Taal Kaherava

The song is from 1964 Hrishikesh Mukherjee movie Saanjh Aur Savera that had Guru Dutt and Meena Kumari in lead roles. The song is however pictured on Mehmood and Shubha Khote with Mohammad Rafi and Suman Kalyanpur singing for them.

Music Directors loved to compose for Mehmood and Shubha Khote and some really fine classical Raaga based songs are pictured on them. In the same year, for the 1964 movie Ziddi that is, SD Burman composed a song for them which is considered the purest example of Darbari Kanada in Hindi movies; the song was sung by Manna Dey and is: Pyaar ki aag mein tan badan jal gaya.

Madhuvanti belongs to Todi Thaat. As you must have guessed it Madhu means honey and the raag is as sweet as honey in sringar ras depicting love and romance. It is an evening raag like Yaman aur Kalyan.

The Jati of the raag is Audhav – Sampoorna. Rishabh and Dhaivat are Varjya in Aaroh, Gandhar is Komal, Madhyam is Teevra. Rest All Shuddha Swaras.

About Taal Kaherava I have already told you.

Please enjoy my rendition in Raag Madhuvanti, Tal Kaherava, of a Mohammad Rafi and Suman Kalyanpur song, a composition of Shankar Jaikishan, penned by the great Hasrat Jaipuri and picturized on Mehmood and Shubha Khote: Ajahun na aaye balma sawan beeta jaaye…

अजहुँ ना आए बालमा, सावन बीता जाए
हाय रे सावन बीता जाए

नींद भी अंखियन द्वार न आए
तोसे मिलन की आस भी जाए
आई बहार खिले फुलवा
मोरे सपने कौन सजाए
आ … अजहुं …

चांद को बदरा गरवा लगाए
और भी मोरे मन ललचाए
यार हसीन गले लग जा
मोरी उम्र गुज़रती जाए
आ … अजहुं …

Song #9
Meri yaad mein tum na aansu bahana
Raag Jaunpuri, Tal Kaherava

Jaunpuri is one of the raagas that have been named after names of regions such as Pahadi (my place), Marwa, and Bhupali. 

Guess what? Jaunpuri (name of the place in Saurashtra as well as in Uttar Pradesh) belongs to the Asavari Thaat. Many experts feel that Jaunpuri is the same as Shuddha Rishab Asavari. What are the attributes of Asavari Thaat? It is full of tyaag (sacrifice) and renunciation and pathos. It is a late morning raaga.

Who was the first one to devise this raaga? Well, the raaga has been attributed to Amir Khusrow in the reign of Emperor Akbar. One of the benefits of Raag Jaunpuri is believed to be a cure from headache (as claimed by Pandit Jasraj).

Nizamuddin Auliya listening to Amir Khusrow (Pic curtsey: TheSufi.com)

The Jati of Raag Jaunpuri is Shadhav – Sampoorna. Gandhar is Varjya in Aaroh. Gandhar, Dhaivat and Nishad Komal. Rest all Shuddha Swaras. Now, in Raag Asavari, both Gandhar and Nishad are Varjya in Aaroh. Many, therefore, believe that Meri yaad mein tum na aansu bahana is closer to Asavari than to Jaunpuri.

(Courtesy: en.wikipedia.org)

This song is from the 1951 JBH Wadia movie Madhosh starring Manhar Desai, Meena Kumari, Usha Kiran and Rajan. It was penned by Raja Mehdi Ali Khan and composed by Madan Mohan.

Please enjoy: Meri yaad mein tum na aansu bahana…

मेरी याद में तुम न आँसू बहाना
न जी को जलाना, मुझे भूल जाना
समझना के था एक सपना सुहाना
वो गुज़रा ज़माना, मुझे भूल जाना
मेरी याद में…

जुदा मेरी मँज़िल, जुदा तेरी राहें -२
मिलेंगी न अब तेरी-मेरी निगाहें
मुझे तेरी दुनिया से है दूर जाना
मेरी याद में…

ये रो-रो के कह्ता है टूटा हुआ दिल -२
नहीं हूँ मैं तेरी मोहब्बत के काबिल
मेरा नाम तक अपने लब पे न लाना
न जी को जलाना, मुझे भूल जाना
मेरी याद में…

Song #10
Jaane kya dhoondati rehati hain
Raag Pahadi, Tal Dadra

Today’s song is from the 1961 Ramesh Saigal movie Shola Aur Shabnam starring Dharmendra and Tarla Mehta together with M Rajan, Abhi Bhattacharya and Vijayalaxmi. Its lyrics are by Kaifi Azmi that have been composed by Khayyam and sung by Mohammad Rafi.

It is amongst the hundred movies or so that I watched on the net, fascinated by its songs and for once, I was not disappointed though, in the second half, the movie does drag on a bit; which was the case with most movies of that era.

The story is about Dharmendra and Tarla being childhood friends, very close and in love. They grow up after having been separated at childhood. He is poor and his friend M Rajan gives him a much-needed job in his timber business. M Rajan is engaged to be married to Tarla. Dharmendra doesn’t recognise Tarla who has grown up. His friend M Rajan asks him to sing when they meet and he sings their childhood favourite. She joins in the second stanza.

Another song from the movie became very popular: Jaane kya dhoondati rehati hain ye aankhen mujh mein, which was Dharmendra’s way of telling Talrla that he couldn’t possibly return to their loving days since he owed it all to his friend and benefactor M Rajan.

The lyricist of the song is Kaifi Azmi. I have as many as three blog posts on him: ‘The Best Songs Of Kaifi Azmi – A Great Lyricist And Poet’, ‘Part II’ and ‘Part III’. He was the only famous lyricist whom I heard live in a mushaira (in my college Govt College Dharamshala). I have found his poetry and lyrics so powerful that I wonder how could he write these in such simple words.

Of all the lyricists that I know of, Kaifi Azmi mastered the art of giving vent to the most intense and most powerful emotions through simplest words. One author who did that is my favourite: Ernest Hemingway. Likewise, taste this from Kaifi in this song: 

मिलने की खुशी ना मिलने का गम, खत्म ये झगड़े हो जाएं
तू तू ना रहे, मैं मैं ना रहूँ
इक दूजे मैं खो जाएं
मैं भी ना छोड़ूं पल भर दामन
तू भी पल भर रूठे ना, प्यार का बंधन ..

These are the kind of simple words that take you another world altogether; the world of pure love and enchantment.

Now, about music director Khayyam, the composer of this poignant song.

Khayyam and his wife Jagjit Kaur are from the town of Rahon, near Nawanshahr in Punjab. This is close (14 Kms) from my maternal grandparents place in Urapur. Khayyam is not just the gentlest of the music directors, he has affinity towards the raaga of my place: Pahadi. This song, too, he composed in Pahadi.

Mohammad Zahur Khayyam Hashmi decided to donate his entire wealth of about Rupees Ten Crores to the trust founded by him as KPJ Trust (K for Khayyam, P for their late son Pradeep (they lost him in 2012) and J for his wife Jagjit) to support budding artists and technicians in India.

Pahadi is an Audhav – Sampoorna Raag. Nishad and Madhyam are vrjya in Aaroh. Pahadi is not just a raag but also a dhun.

As far as Tal Dadra is concerned, Tal Dadra derives its name from Dadra style of singing prevalent in Dadra. It is a six or three beat Tal:
Clap, 2, 3, Wave, 2, 3; that is two vibhags of three matras each. The theka is:
Dhaa Dhin Naa Dhaa Tin Naa.

Please enjoy: Jaane kya dhoondati rehati hain…

जाने क्या ढूँढती रहती हैं ये आँखें मुझमें
राख के ढेर में शोला है न चिंगारी है
अब न वो प्यार न उसकी यादें बाकी
आग यूँ दिल में लगी कुछ न रहा कुछ न बचा
जिसकी तस्वीर निगाहों में लिये बैठा हो
मैं वो दिलदार नहीं उसकी हूँ खामोश चिता

ज़िंदगी हँस के न गुज़रती तो बहुत अच्छा था
खैर हँस के न सही रो के गुज़र जायेगी
राख बरबाद मुहब्बत की बचा रखी हैं
बार-बार इसको जो छेड़ा तो बिखर जायेगी

आरज़ू जुर्म वफ़ा जुर्म तमन्ना है गुनाह
ये वो दुनिया है जहाँ प्यार नहीं हो सकता
कैसे बाज़ार का दस्तूर तुम्हें समझाऊँ
बिक गया जो वो खरीदार नहीं हो सकता …

Song #11
Jeet hi lenge baazi hum tum
Raag Bhairavi, Tal Dadra

Since this is the second back to back song here from the same movie Shola Aur Shabnam composed by Khaiyyam and penned by Kaifi Azmi, I am not repeating the information about the movie, its plot, and about Tal Dadra.

This song was sung as a duet between Mohammad Rafi and Lata Mangeshkar, she joining in after the first stanza.

Raag Bhairavi is the basic raag of the Bhairavi Thaat. Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars. Bhairavi raag is named after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and compassion. Its Jati is Sampurna – Sampurna, which means all seven swar (heptatonic) both in Aaroha and Avaroha. I have already told you that in a concert Bhairavi is usually the concluding raaga since it is supposed to cure mistakes of the earlier performances. Hence, if a concert has started at night (which is usually the case), Bhairavi would be played in the wee hours of the morning.

A pleasant sobering atmosphere full of love and piety is created with this raag and one feels so close to the Supreme. Its compositions include several Thumris, Bhajans, Ghazals, Songs etc. Since it is an ocean of immense possibilities the melodic combinations can include all the twelve notes with skill.

(Pic courtesy: The Indian Express)

As far as the singers Mohammad Rafi and Lata Mangeshkar are concerned, I have only this to say: People have brought out that the best duets are between A, B, and C. However, both Rafi and Lata have etched names for themselves as the best playback singers there ever were.

Ladies and gentlemen, please enjoy in Raag Bhairavi Tal Dadra, Mohammad Rafi and Lata Mangeshkar sing a composition of Khayyam on the lyrics of Kaifi Azmi in the 1961 Ramesh Saigal movie Shola Aur Shabnam starring Dharmendra and Tarla Mehta: Jeet hi lenge bazi ham tum…..

रफ़ी:
जीत ही लेंगे बाज़ी हम तुम, खेल अधूरा छूटे न
प्यार का बंधन, जन्म का बंधन, जन्म का बंधन टूटे न

मिलता है जहाँ धरती से गगन, आओ वहीं हम जाएं
तू मेरे लिये, मैं तेरे लिये – २
इस दुनिया को ठुकरायें – २
दूर बसा ले दिल की जन्नत – २
जिसको ज़माना लूटे ना, प्यार का बंधन

लता:
मिलने की खुशी ना मिलने का गम, खत्म ये झगड़े हो जाएं
तू तू ना रहे, मैं मैं ना रहूँ – २
इक दूजे मैं खो जाएं – २
मैं भी ना छोड़ूं पल भर दामन – २
तू भी पल भर रूठे ना, प्यार का बंधन …

Song #12
Chahunga main tujhe saanjh savere
Raag Pahadi, Tal Kaherava

I have given you enough about Raag Pahadi and Tal Kaherava. So, here, I give you some other information about the song and the movie.

This song sung by Mohammad Rafi is one of the best of Laxmikant Pyarelal from the 1964 Satyen Bose movie Dosti, a movie whose songs made L-P one of the most loved music duos in India and a movie whose songs are still fondly remembered even today. Majrooh Sultanpuri penned the lyrics and L-P composed it in the raaga of my place: Pahadi.

(Poster courtesy: Wikipedia)

Lets start with the movie. Bombay based Rajshri was founded by Tarachand Barjatya in the year 1947. However, Rajshri Productions Pvt Ltd engaged in films production came about in the year 1962. Its first film Arti, in 1962 was highly acclaimed. However, the grand success of its second production Dosti in 1964 included winning the National Award for Best Feature Film and as many as six Filmfare Awards: Best Film, Best Music Director (the debut Filmfare Award for L-P), Best Story: Ban Bhatt, Best Dialogue: Govind Moonis, Best Playback Singer: Mohammad Rafi for the song I am giving you today, and finally Best Lyricist: Majrooh Sultanpuri for the same song.

Dosti was directed by Satyen Bose. It was Sanjay Khan’s debut film and had Sudhir Kumar Sawant, and Sushil Kumar Somaya in lead roles. The film focuses on the friendship between two boys, one blind and the other a cripple.

Laxmikant Pyarelal started off with 1963 movie Parasmani and they made such popular songs for their very first movie that these are fondly remembered even today.

Lastly, before we take up the song, lets for a minute talk about the lyricist Majrooh Sultanpuri.

Majrooh is the fifth of our lyricists who was a contemporary of Shakeel Badayuni. Out of all these six (*including Shakeel), three have been from Uttar Pradesh, which says something about that region producing some great poets and lyricists.

Majrooh Sultanpuri was born on 01 Oct 1919 as Asrar ul Hassan Khan in a Tarin Pashtun family, in Sultanpur, Uttar Pradesh. His father was an officer in the police department, but, preferred to send his son for traditional madrasa (Urdu school) rather than provide him with English schooling.

He tried his hand at being a quack until he was noticed in a mushaira in Sultanpur.

He was a disciple of the great Urdu poet Jigar Moradabadi. When he visited Bombay in 1945 to participate in a mushaira, the director Abdul Rashid Kardar noticed him and invited him to write for the movies. Majrooh turned it down as he looked down upon movies! He was persuaded through his mentor Jigar Moradabadi and then there was no turning back.

Many traditionalists of the Urdu literature, however, felt that Majrooh sold his soul to the Hindi films and that he could have emerged a great poet in the likeness of Ghalib and Jigar.

The takhalus Majrooh means “injured” or “wounded”.

Majrooh was awarded, in 1993, the highest award – Dadasaheb Phalke award – for his lifetime contribution towards lyrics and poetry. He was the first lyricist ever to be given that award. For the film Dosti, that made Laxmikant Pyarelal famous, he was awarded the Filmfare Best Lyricist Award for the song: Chahunga main tujhe saanjh savere.

For someone who didn’t want to join Hindi movies, Majrooh emerged as a natural lyricist, very popular, very romantic and enchanting.

Before we take up the song, let me tell you briefly as to how it came about in the movie. Ramu (Sushil Kumar) is a cripple and good at playing harmonica. Thrown out of his home, crippled and penniless, he roams around the streets of Mumbai. Here he comes across Mohan (Sudhir Kumar), a boy who is blind and has a similar tale of woe. Mohan is a singer. Both meet on the streets of Bombay and form a good pair. One day, Ramu gets into trouble for no fault of his own and is bailed out on the condition that he would keep no contact with Mohan. That’s how this song came about.

Please enjoy Mohammad Rafi sing a composition of Laxmikant Pyarelal on the lyrics of Majrooh Sultanpuri, a song from the 1964 Satyen Bose movie Dosti: Chahunga main tujhe saanjh savere….

चाहूँगा मैं तुझे साँझ सवेरे
फिर भी कभी अब नाम को तेरे
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा

देख मुझे सब है पता
सुनता है तू मन की सदा (२)
मितवा …
मेरे यार तुझको बार बार
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा
चाहूँगा मैं तुझे साँझ सवेरे

दर्द भी तू चैन भी तू
दरस भी तू नैन भी तू
मितवा …
मेरे यार तुझको बार बार
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा

I have found that the readers are not able to take in more than six songs at a time in one post. Hence, with this song, I complete the songs of Part II. I hope that you liked my choices and my singing.

Please await songs of Part III.

CHAL UDH JAA RE PANCHHI

ग़मों से प्यार क्यूँ ना हो?
ग़म ही तो मेरे अपने हैं l
यही मेरी हकीकत ऐ ब्यान हैं,
खुशियाँ तो बस सपने हैं l

इनका साथ तब भी रहा,
जब कुछ ना था मेरे पास l
रंग ओ नूर की वह दुनिया,
कभी ना आयी मुझे रास l

बाकी करते रहे मुझसे जफा,
मुसीबतों ने निभायी वफादारी l
मुश्किल वक़्त में भी ना छोड़ा,
संभाली मेरे संग रहने की जिम्मेदारी l

काश रिश्ते और दोस्त भी ऐसे मिलते,
बेबसी में भी देते मेरा साथ l
मेरे ग़मों से कुछ तो सीख लेते,
कभी ना छोड़ते यूँ मेरा साथ l

पैसा ओ जायदाद न होता सब कुछ,
प्यार और वफ़ा भी होते ज़रूरी l
मेरी ख़ामोशियों को भी समझते,
जान लेते क्या है मेरी मजबूरी l

ना ग़मों से ना उनसे है शिकवा,
तन्हाई की यूँ पड़ गई है आदत l
फरेब खाना, सहना और फिर खाना,
ऐसे लगता है हो कोई अजब इबादत l

छोड़ के जाते हैं, रहो खुश,
हमारे न होने से दुनिया रहे आबाद l
ग़मों और आँसुओं से लेंगे पूछ,
वक़्त सुहाने गर आयेंगे याद l

RAAGA BASED SONGS – MY OWN SINGING – PART I

All compositions of songs follow some arrangements of notes or swar to represent the bhaav or the mood of the song. The rhythm is provided by the beat or the taal.

Songs, whose compositions align themselves closely with known raagas (known arrangements of notes or swar) are known by those raagas. For example, Jaikishan (of Shankar Jaikishan music duo) was very fond of Raag Bhairavi. He composed many songs in Bhairavi; sometimes, as many as three to four songs in a movie.

Naushad was reputed to have ushered in raaga based songs in Hindi movies. In the 1952 Vijay Bhatt movie Baiju Bawra, Naushad had all 13 soundtracks based on some raaga or the other.

Gradually, most music directors became fond of raaga based songs in Hindi  movies. In varying degrees of alignment (from loose to pure) they tried to base their songs on raagas. Some raagas, for them, became their favourites. For example, OP Nayyar had Raag Pilu or Peelu as his favourite, Shankar had Shivaranjani, Khaiyyam had Pahadi, and so on.

Raaga based Hindi movies songs have always fascinated me. This blog has hundreds of posts on raaga based songs.

I started learning singing only about two years ago. The purpose was to sing to my wife Lyn (short for Marilyn) suffering from Alzheimer’s. Since raaga based songs fascinated me, I tried to learn these too.

Here, I give you some of these that I have sung.

Song#1
Zara sun haseena e nazneen
Raag Pahadi, Tal Rupaktal

Raag Pahadi refers to songs named after only one Pahad: the Himalayas. Therefore, This raag is the raag of my place in the hills: Whispering Winds, Kandaghat. It is, therefore, no surprise that it hapens to be my favourite raag.

There is no doubt in my mind that the best of any genre’ of music has been sung by the god of songs: Mohammad Rafi.

The best in Raag Pahadi is also by him: Chaudhvin ka Chand, in Taal Kaherava.

By the way, my favourite lyricist Shakeel Badayuni received his first Filmfare Award in 1961 for this song. Shakeel’s association with Ravi resulted in some remarkably beautiful songs sung by Mohammad Rafi. The theme of describing husn (beauty) of the woman was prominent in these songs. Indeed the second song for which Shakeel received his Filmfare Award in 1962 was also a husn song: Husn wale tera jawab nahin for the movie Gharana.

In 1963 movie Kaun Apna Kaun Praya, Shakeel, Ravi and Rafi made yet another enchanting husn song that Vijay Kumar lip-synced to Waheeda Rehman.

This song and a part of the movie was shot in the picturesque hill station of Nainital.

You can feel the Pahadi dhun with Rupaktal. Pahadi is a raag as well as dhun. Let me give you a few songs in Rupaktal though not in Pahadi. Before that: Rupak is unique among the taals in that the first beat (ie, the sam) is khali (ie., represented by a wave of the hand).

wave, 2, 3, clap, 2, clap, 2

Some songs in Rupaktal: Aap ki nazaron ne samajha, Ghar aaja ghir aaye badra sanwariya, Haay re vo din kyun na aaye, Kisi raah pe kisi mod par, Piya tose naina laagi re, Tum gagan ke chandrama and Megha chhaye aadhi raat.

It is, indeed, appropriate that the very first raaga based song recorded in my own singing on YouTube happens to be in Raag Pahadi.

Please enjoy: Zara sun haseena-e-nazneen….

ज़रा सुन हसीना ऐ नाज़नीं
मेरा दिल तुझ ही पे निसार है
तेरे दम से ही मेरे दिलरुबा
मेरी ज़िंदगी में बहार है

हुई जब से मुझ पे तेरी नज़र
मैं हूँ अपने आप से बेख़बर
हुआ जब से दिल में तेरा गुज़र
मुझे चैन है न क़रार है

तेरे हुस्न से जो सँवर गई
वो फ़िज़ाएं मुझको अज़ीज़ हैं
तेरी ज़ुल्फ़ से जो लिपट गईं
मुझे उन हवाओं से प्यार है

ये हसीन फूलों की डालियाँ
तुझे दे रही है सलामियाँ
मुझे क्यों न रश्क़ हो ऐ सनम
तेरे साथ फ़स्ल-ए-बहार है

Song #2
Aye dil mujhe aisi jagah le chal
Raag Adana, Tal Kaherava

As I mentioned, this song is composed in Raag Adana, Tal Kaherava.

Raag Adana belongs to Asavari Thaat. Raag Adana resembles Raag Darbari Kanada, with the difference that Gandhar is forbidden in Aaroh in Adana. This Raag is rendered mostly in Madhya and Tar Saptaks unlike Raag Darbari Kanada, which is more deep and hence is rendered in Madhya and Mandra Saptaks (Octaves). In this Raag, Komal Gandhar and Komal Dhaivat should not be repeated (oscillated) otherwise Raag Darbari Kanada makes its appearance. Like Darbari Kanada, this Raag does not employ Meend and Gamak, as this is a flittering dynamic type melodic form. Its Jati is Shadhav-Smapurna Vakra. It is normally to be sung during the second prahar of the night, that is, between 9 PM and midnight. Adana was a major raga in the 17th century and a combination of the then current ragas Malhar and Kanada. In a ragamala painting from Mewar it is depicted as an ascetic man sitting on a tiger skin, however, Somanatha describes him as Kama the god of love. His Adana was quite different from the raga as it is performed today.

(Poster courtesy: hindilinks4u)

The song Ai dil mujhe aisi jagah le chal jahan koi na ho is from the 1950 Shaheed Lateef movie called Arzoo starring Dilip Kumar, Kamini Kaushal and Shashikala. The movie’s story was penned by Ismat Chugtai who later wrote MS Sathyu’s Garam Hawa.

The song was penned by Majrooh Sultanpuri and composed by Anil Biswas. It was sung by Talat Mehmood.

Please enjoy in Raag Adana, Tal Kaherava: Ai dil mujhe aisi jagah le chal jahan koi na ho….

ऐ दिल मुझे ऐसी जगह ले चल जहाँ कोई न हो
ऐ दिल मुझे ऐसी जगह ले चल जहाँ कोई न हो
अपना पराया मेहरबां ना मेहरबां कोई न हो
ऐ दिल मुझे ऐसी जगह ले चल जहाँ कोई न हो

जा कर कहीं खो जाऊँ मैं नींद आए और सो जाऊँ मैं
नींद आए और सो जाऊँ मैं
जा कर कहीं खो जाऊँ मैं नींद आए और सो जाऊँ मैं
नींद आए और सो जाऊँ मैं
दुनिया मुझे ढूँढे मगर मेरा निशां कोई न हो
दुनिया मुझे ढूँढे मगर मेरा निशां कोई न हो

उल्फ़त का बदला मिल गया वो ग़म लुटा वो दिल गया
वो ग़म लुटा वो दिल गया
उल्फ़त का बदला मिल गया वो ग़म लुटा वो दिल गया
वो ग़म लुटा वो दिल गया
चलना है सब से दूर दूर अब कारवां कोई न हो
चलना है सब से दूर दूर अब कारवां कोई न हो
अपना पराया मेहरबां ना मेहरबां कोई न हो
ऐ दिल मुझे ऐसी जगह ले चल

Song #3
Humse aaya na gaya
Raag Bageshri, Tal Dadra

Raag Bageshri is a Raag of the Kafi Thaat and by now all of us know that Raagas of Kafi Thaat are night raagas. The samay for this raaga is madhyaratri (midnight). Bageshri is a raaga that tells the emotions of a woman waiting for her lover. It is reputed that Mian Tansen first sang it in the court of Emperor Akbar in the 16th century.

Tal Dadra derives its name from Dadra style of singing prevalent in Dadra. It is a six or three beat Tal:
Clap, 2, 3, Wave, 2, 3; that is two vibhags of three matras each. The theka is:
Dhaa Dhin Naa Dhaa Tin Naa

This is from a farcical comedy: Dekh Kabira Roya, a 1957 Amiya Chakravarty movie.

Just like the Jahan Ara songs, this too was sung by Talat Mahmood.

It was penned by Rajinder Krishan and composed by Madan Mohan.

The song is picturised on the middle brother of the trio: Anoop Kumar; the elder being Ashok Kumar and younger being Kishore Kumar (they were together in another comedy: Chalti Ka Naam Gaadi). He is singing it to Shobha Khote. He was Mohan in the movie and she was Kalpana.

Please enjoy: Humse aaya na gaya….

हम से आया न गया तुम से बुलाया ना गया
फ़ासला प्यार में दोनों से मिटाया ना गया

वो घड़ी याद है जब तुम से मुलाक़ात हुई
एक इशारा हुआ दो हाथ बढ़े बात हुई
देखते देखते दिन ढल गया और रात हुई
वो समां आज तलक दिल से भुलाया ना गया
हम से आया न गया

क्या ख़बर थी के मिले हैं तो बिछड़ने के लिये
क़िस्मतें अपनी बनाईं हैं बिगड़ने के लिये
प्यार का बाग बसाया था उजड़ने के लिये
इस तरह उजड़ा के फिर हम से बसाया ना गया
हम से आया न गया

याद रग जाती है और वक़्त गुज़र जाता है
फूल खिलता है मगर खिल के बिखर जाता है
सब चले जाते हैं फिर दर्दे जिगर जाता है
दाग़ जो तूने दिया दिल ने मिटाया ना गया
हम से आया न गया …

Song #4
Man tadpat Hari darshan ko aaj
Raag Malkauns, Tintal

Today’s song is in Raag Malkauns or Malkaush and Tal Tintal. Malkaush is another raag dedicated to Lord Shiva like Bhairav. Indeed, it belongs to Bhairavi Thaat. The name Malkaush is derived from the combination of Mal and Kaushik, which means he who wears a garland of snakes; ie, Shiva. It is believed that the raaga was composed by Lord Shiva’s wife Parvati to calm him down. As a matter of interest all pentatonic raagas belong to Shaivait musical school and so does Malkaush.

Now that we know a little more about the Jati of a raaga, it is of pentatonic scale both in ascending and descending scales; that is Audhav-Audhav. The five notes used are: Sa, komal Ga, shuddh Ma, komal Dha, and komal Ni. The two notes that are totally omitted are: Re (Rishab) and Pa (Pancham).

Malkaush is a late night raaga and is calming, soothing and even intoxicating. One would use such a raaga in deep and serious meditation. One of the finest examples of Malkauns in Hindi songs is from the 1952 Vijay Bhatt movie Baiju Bawra that starred Meena Kumari as Gauri and Bharat Bhushan in the title role. The movie got Meena Kumari a Filmfare Award for Best Actress and Naushad Ali his only Filmfare Award for composing the song Tu Ganga ki mauj.

Naushad Ali with his favourite singer Mohammad Rafi

Naushad Ali was one of the greatest music directors in Hindi films. He is one of the three music directors (the other two being Pankaj Mullick and RC Boral) who have been given the highest award in cinema: the Dadasaheb Phalke Award. He has been credited with having introduced Raaga based songs in Hindi movies. Indeed, in the movie Baiju Bawra, each of the 13 songs have been based on some raaga or the other.

Shakeel Badayuni and Naushad

As was often the case, the greatest songs of Naushad were penned by my favourite lyricist: Shakeel Badayuni. Also, as was often the case, their songs were sung by the best singer that we ever had: Mohammad Rafi (Please also read: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’).

This is also one of the best bhajans in Hindi movies ever made and fits well with the description of Raag Malkaush that I have given: serious, meditative, soothing and calming.

Please enjoy: Man tadpat Hari darshan ko aaj….

मन तड़पत हरि दरसन को आज
मोरे तुम बिन बिगड़े सकल काज
आ, विनती करत, हूँ, रखियो लाज, मन तड़पत…

तुम्हरे द्वार का मैं हूँ जोगी
हमरी ओर नज़र कब होगी
सुन मोरे व्याकुल मन की बात, तड़पत हरी दरसन…

बिन गुरू ज्ञान कहाँ से पाऊँ
दीजो दान हरी गुन गाऊँ
सब गुनी जन पे तुम्हारा राज, तड़पत हरी…

मुरली मनोहर आस न तोड़ो
दुख भंजन मोरे साथ न छोड़ो
मोहे दरसन भिक्षा दे दो आज दे दो आज, …

Song #5
Bhooli hui yaadon
Raag Kalyan, Tal Dadra

Lets now make up for not having given you a song in Raag Kalyan, the basic raag of Kalyan Thaat. It is in Tal Dadra.

Madan Mohan with Shekhar and Mukesh; the first recorded song of Mukesh was sung by Mukesh and picturised on Shekhar (Pic courtesy: anuradhawarrier.blogspot.com)

Despite the fact that Madan Mohan‘s first recorded song, in the 1950 movie Aankhen, was sung by Mukesh: Preet lagake maine, Madan Mohan and Mukesh, in 25 years, recorded only nine songs together and were together in just five movies: Aankhen (1950), Samundar (1957), Duniya Na Mane (1959), Sanjog (1961), and Akeli Mat Jaiyo (1963). In Sanjog, Madan Mohan gave Mukesh one of the finest song that the latter is remembered by and I am giving you that today.

Raag Kalyan is the basic raaga of Kalyan Thaat. Its Jati is Sampurna-Sampurna, that is, all seven notes in Aaroha and all seven notes in Avaroha.  All the scale notes (called swaras) in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam. It is sung during the first prahar of the night, that is, between  6 to 9 PM. Raag Kalyan of Hindustani Music is also known as Raag Yaman in Carnatic Music; however, Raag Yaman Kalyan is a totally different raag. Considered to be one of the most fundamental ragas in the Hindustani Classical tradition, it is thus often one of the first ragas taught to students.

Some of the Hindi films songs composed in raag Shyam Kalyan are:

(Poster courtesy: fridaycinemas.co)

The song Bhooli hui yaadon mujhe itna na sataao is from the 1961 Pramod Chakravorty movie Sanjog that starred Pradeep Kumar and Anita Guha.

The song was penned by Rajendra Krishan and composed by Madan Mohan (Kohli). It was sung by Mukesh, one of the nine of Madan Mohan songs that he sang in 25 years.

Please enjoy in Raag Kalyan, Tal Dadra: Bhooli hui yaadon mujhe itna na sataao….

भूली हुई यादो मुझे इतना ना सताओअब चैन से रहने दो मेरे पास न आओभूली हुई यादो मुझे इतना ना सताओअब चैन से रहने दो मेरे पास न आओभूली हुई यादो
दामन में लिए बैठा हूँटूटे हुए तारे टूटे हुए तारेकब तक मै जियूँगा यूँहीख्वाबो के सहारे ख्वाबो के सहारेदीवाना हूँ अब और ना दीवाना बनाओअब चैन से रहने दो मेरे पास न आओभूली हुई यादो
लुटो ना मुझे इस तरहदोराहे पे लाके दोराहे पे लाकेआवाज़ न दो एक नयी राह दिखाकेनयी राह दिखाकेसम्भाला हूँ मै गिर गिरके मुझे फिर ना गिराओअब चैन से रहने दो मेरे पास ना आओभूली हुई यादो मुझे इतना ना सताओअब चैन से रहने दो मेरे पास न आओभूली हुई यादो

Song #6
Phir kahin koi phool khila
Raag Desh, Tal Kaherava

Desh, as the name suggests, is a Raaga that is often used for the patriotic fervour such as Vande Mataram. Many of Rabindra Nath Tagore songs (Rabindrasangeet) have been composed in Desh. It is a Raaga that should normally be played during the first quarter of the night.

Phool or flower is often compared to blossoming of Love. The last thing that the lovers want is that it should be called infatuation. This is exactly the theme of this Manna De song.  This ranks amongst his best. The song is from the 1971 movie Anubhav directed by Basu Bhattacharya and starring Sanjeev Kumar and Tanuja. Lyrics are by Kapil Kumar and music by Kanu Roy. The latter composed it in Raag Desh. You may recall OP Nayyar’s Beqasi hadd se jab guzr jaaye in the same raag.

Please enjoy: Phir kahin koi phool khila, chahat naa kaho isako…

फिर कहीं कोई फूल खिला, चाहत ना कहो उसको – २
फिर कहीं कोई दीप जला, मंज़िल ना कहो उसको
फिर कहीं …

मन का समुंदर प्यासा हुआ, क्यूँ किसी से माँगे दुआ – २
लहरों का लगा जो मेला, तूफ़ां ना कहो उसको
फिर कहीं …

देखें सब वो सपने, खुद ही सजाए जो हमने – २
दिल उनसे बहल जाए तो, राहत ना कहो उसको
फिर कहीं …

I have found that the readers are not able to take in more than six songs at a time in one post. Hence, with this song, I complete the songs of Part I. I hope that you liked my choices and my singing.

Please await songs of Part II.

NAA TODIYE, NAA PHODIYE; AAYIYE DILON KO JODIYE

आँखों से अब निकल गए हैं जंजाल,
साफ़ नजर आता है उनका ओ अपना हाल l
हम ही क्यूँ हटाएं जो आपस में दूरियां हैं?
हमसे बढ़ के तो उनकी ही मजबूरियां हैं;
बात बात पे उठते हैं हज़ारों सवाल l

रिश्ते एक तरफा तो निभाए नहीं जाते,
रस्ते दलदल में तो बनाए नहीं जाते l
ज़रुरत से ज़्यादा जब बढ़ें परेशानियाँ,
सितम ही लगें जब मेहेरबानियाँ,
तो फ़िर आँखों के पर्दे हटाए नहीं जाते l

जब इरादा हो मुहब्बत को करना हो बर्बाद,
तब निकालनी पड़ती है कोई पुरानी याद l
जिसमें दूसरा साबित हो गुनाहगार,
और हम दिखाई दें मज़लूम और वफादार l
फिर कौन सुनेगा हमारे दिल की फ़रियाद?

ज़ख्म सीने के लिए सुई चाहिए प्यार की,
इल्ज़ाम की नहीं पर रहम के इज़हार की l
अलग अलग होना है बहुत आसान,
एक ही खानदान के बन जाते हैं अनजान,
जिन्होंने मन में ठान ली हो तकरार की l

सुनहरी यादों के रंगीन और प्यारे फूल,
अक्सर नजर आते हैं नाजायज़ और फज़ूल l
पर पिरोए जब इन्हें हमदर्दी के हार में,
तब जाके नजर आयें एहसान के निखार में l
अपनी दिखे इस से पहले देखें औरों की भूल l

HINDUSTAN CHAND PAR

Chandrayaan-3’s Vikram Lander had a successful soft landing on the moon at 6:04 PM (IST) on Wednesday, 23 Aug 23. My poem is to mark this event, the best in the lives of any Indian:

आज चाँद की ज़मीन पर उतरा है चन्द्रयान,
फक्र और खुशी में डूबा है हिन्दोस्तान l
चंदा मामा दूर के अब यूँ पास हो गए,
जैसे किसी के घर आया कोई नजदीकी मेहमान l

इस से पहले हम चाँद पर तब पहुंचे थे,
जब सनम ने दे दिए थे हाथों में दिल ओ जान l
पर चांद की धरती हिन्दुस्तानी छू सकें,
यह दिल में ही था बरसों से अरमान l

भारत के लोग सदियों से भा में रहे हैं रत,
वैज्ञानिक, लेखक, कवि और विद्वान l
आज हमारी दृढ़ता और संकल्प ने,
पास कर लिया एक और इम्तिहान l

ऐसी आज़ाद सोच वाले मुल्क को,
बंदूक ओ बारूद ने करवाया गुलामी का गुमान l
बेरहमी करने वाले कई परदेसी यहां आए,
काफिर, ज़ालिम, बेईमान और शैतान l

अब इन्हें भी खबर तो मिल गई होगी,
भारत ही था और रहेगा सबसे महान l
यहां चाँद से बढ़ कर अच्छा समझते हैं,
आदमी का बन जाना एक नेक इन्सान l

पूनम की रात को चमकता चांद यह कहे:
सबसे ज़्यादा रौशन तो है हिन्दुस्तान l
मुझे तकते जो कभी थकते ना थे,
उनके नूर पे हूं आज मैं क़ुर्बान l

चाँद की धरती पर अब ऐसा मंदिर बनेगा,
जिसमें जाएंगे सब धर्म के इन्सान l
यही खासियत रही है सदियों से हमारी,
मजहब हमें नहीं बनाता कभी हैवान l

तिरंगा चाँद पर यूँ लहराता है जैसे,
सारे ब्रह्मांड को कर रहा हो ऐलान l
उन्हें पता है हमारी महानता और विरासत का,
जिसने पढ़े हों हमारे वेद और पुराण l

चाँद, अब हम आते जाते रहेंगे तुम्हें मिलने,
इसलिए खोल के रखना भारतीय चाय की दुकान,
इतने दूर के सफ़र में गर हमें भूख लगे,
ना भूलना देना समोसा, जलेबी जैसे देसी पकवान l

आओ फ़िर से सर ऊंचा कर के चलें,
हिन्दुस्तान ही है सारी दुनिया की शान l
सिर्फ़ चाँद ही क्यूँ हो हमारे कदमों तले,
जब हमारे इन्तेज़ार में है सारा जहान?

WHAT DO WE REQUIRE FROM OTHERS?

Human beings are social animals. Other than the question about the purpose of life, this is often the second most pertinent (albeit almost invariably unasked) question that occurs to us.

Abraham Maslow’s Pyramid of Needs puts Love and Belongingness midway, between Physiological needs and Safety & Security needs below it, and Self Esteem and Self Actualisation above it.

Out of all these needs, I can argue that Love and Belongingness needs are the ones that human beings are most sensitive about.

So, in order to satisfy this need, what do we require from others?

Is it money? Is it consideration? Is it empathy? Is it, and here many will err, popularity?

I think that the most important thing we need from others is their time. All the others that I mentioned above, even put together, don’t measure up to time from others.

Why is it so important?

Very simple. Unlike what is given in our religion and scriptures, we limit our lives to Time, an invention of Man.

(Pic courtesy: https://sportsclinicnq.com.au/survival-of-the-fittest/)

Since self-preservation has been wired into us as a philosophy of, if not life, at least our existence (a fallout from Survival of the Fittest part of Theory of Evolution), we convince ourselves our own time is more important than the time of and for others. This is so even when we are doing and thinking of nothing. Time spent on ourselves is fruitful; time spent on others is wasted.

On social media (Man as social animal has a fascination for it), the one who discovered emojis worked on this principle of  Time spent on ourselves is fruitful; time spent on others is wasted.

But why even emojis when we can just ignore others? Well, our need for self-preservation goads us that others spending time for us is important for our realisation of need for Love and Belongingness! So, that one-second-to-click emoji is not so much as appreciation of whatever s__t the others have put up, but also an invitation for them to spare time for us. Don’t agree? Well, haven’t you come across people (hurriedly) liking and commenting upon other people’s stuff just prior to putting up their own?

“Wasted time,” wrote Herman Wouk (The Caine Mutiny), “is as painful in the beginning as in the end. Only, in the end, it becomes more obvious.”

The day we respect the time of others as much as we respect our own is the time when we start rising above the animal part in the moniker that describes us: social animal!

I give you my time, my love,
As much as your time, I seek.
So, whilst dealing with others,
Of selfishness, I don’t reek.

When I send a video for you to watch,
I tell you what it is about.
Whether you have watched it earlier or not,
You are not left in any doubt.

Your hours of hard work and thought,
Is not made to emoji a slave.
Whilst listening to you or reading you,
My own views I don’t promptly rave.

I know my friends and relatives,
Need from me my precious time.
So, I don’t demand they see my forwards,
Sent to them for no reason or rhyme.

I recognise the needs of others,
As much as I think of mine.
That I am bored with what they say,
I don’t ever give them the slightest sign.

I want to be seen as far from being an animal,
As I can possibly get.
If in life it is bad to be mannerless,
How can it be acceptable on the net?

When someone holds the mirror for me,
I don’t plan revenge and hitting back.
Why should I confirm to him or her,
My hard-pressed-for-time is the social skill I lack!

MAA AND TIMELESSNESS

Recently, I was talking with a friend about Time being an invention of Man. Else, in the Creation of God, this universe, that is, there is no Time and hence no Beginning and no End. As our Religion teaches us, there is no Death.

No other event in my life brought back this Truth to me better than my loss of my mother.

She is still with me. I see her. I talk with her. I still seek and get her guidance whenever I feel the need.

Maa hai yahan!

She never left me. She never will.

It has been only six years. It won’t have made any difference if it were sixty years!

मेरी माँ कभी ना जाएगी मुझे छोड़ के,
क्या भगवन जाते हैं कहीं पुजारी का दिल तोड़ के?
खून है, साँसें है, रूह है, जिस्म है, उनकी देन है,
कौन तोड़ेगा जिसे रखा है माँ ने जोड़ के?

मेरे सर पर अभी भी है उनका हाथ,
महसूस होता है अभी भी हैं वैसे ही मेरे साथ l
उनकी ममता ने अभी भी मुझे घेरा है,
मेरे चारों ओर है उनके प्यार की बरसात l

कहती हैं, सुनती हैं, अभी भी देतीं हैं सलाह,
अभी भी माफ़ करती हैं मेरे सारे गुनाह l
मेरी खुशी से उनकी खुशी बढ़ जाती है,
मेरी उदासी में मिलती है उनकी गोद की पनाह l

माँ हूबहू खुदा का ही सुन्दर रूप है,
माँ ही तो चांदनी है, माँ ही तो धूप है l
कुदरत के हसीन जलवे देखने के बाद,
लगता है माँ ही अनमोल है, माँ ही अनूप है l

TRIBUTE TO MOHAMMAD RAFI – MY OWN SINGING – PART IV ON HIS DEATH ANNIVERSARY, 31 JUL 23

Today, 31 Dec 23, is the Death Anniversary of the greatest singer on earth: Mohammad Rafi. We lost him on this day in the year 1980. Forty-three years later, the popularity of his songs and respect and devotion for him among millions of his fans around the world have not abated.

I am putting up Part IV of a post that I published Part III of on 28 Feb 23.

The makers of best songs in Hindi movies: Mohammad Rafi with Naushad Ali and Shakeel Badayuni

I have always maintained that there has been no singer, male or female, like Mohammad Rafi. With his singing, he conveyed to us, what can one do to lyrics and composition simply by singing with his kind of passion, modulation, range, style and aura. Indeed, he made many songs immortal by just singing them. Irrespective of the awards and honours bestowed on other singers, more often than not due to political reasons, many like me feel that Mohammad Rafi was beyond awards including Bharat Ratna. Therefore, to be able to sing the songs earlier sung by Mohammad Rafi is a blessing and honour. This doesn’t, by any stretch of imagination, mean that anyone of us can match his prowess. It only means that we can take lots of joy and pride in the fact that we lived in the era when he was alive and fondly sing his songs to relive their magic. The songs of Part I have been:

  1. Aaj purani raahon se koi mujhe awaaz na de.
  2. Man tadpat Hari darshan ko aaj.
  3. Chhalke teri aankhon se.
  4. Hai duniya usi ki zamana usi ka.
  5. Paas baitho tabiyat behal jayegi.
  6. Tujhe kya sunayun main dilruba.

The songs of Part II have been:

  1. Zara sun haseena-e-nazneen.
  2. Ek haseen shaam ko dil mera kho gaya.
  3. Ajahun na aaye balma sawan beeta jaaye.
  4. Jo guzar rahi hai mujhpe use kaise main batayun.
  5. Jaan-e-bahar husn tera bemisaal hai.
  6. Tum ek baar mohabbat ka imtihaan to lo.

The songs of Part III have been:

  1. Aane se uske aaye bahar.
  2. Govinda aala re aala.
  3. Mittar pyare nu.
  4. Nigaahen na phero chale jayenge hum.
  5. Aise to na dekho.
  6. Mujhe le chalo aaj phir us gali mein.

Lets start with Part IV songs.

Song #19 – Husn waale tera jawab nahin

This song is dear to me. It fetched Shakeel Badayuni, my favourite lyricist, his second out of a hat-trick of Filmfare awards. The first one was also with Music Director Ravi: Chaudvinh ka chand ho.

I sang this to Lyn on our 41st wedding anniversary on 24 Mar 22.

It is from the 1961 SS Vasan movie Gharana starring Raaj Kumar, Rajendra Kumar and Asha Parekh.

Have a look at the extraordinarily beautiful lyrics:

हुस्न वाले तेरा जवाब नहीं
कोई तुझ-सा नहीं हज़ारों में

तू है ऐसी कली जो गुलशन में
साथ अपने बहार लायी हो
तू है ऐसी किरण जो रात ढले
चाँदनी में नहा के आयी हो
ये तेरा नूर ये तेरे जलवे
जिस तरह चाँद हो सितारों में
हुस्न वाले …

तेरी आँखों में ऐसी मस्ती है
जैसे छलके हुए हों पैमाने
तेरे होंठों पे वो खामोशी है
जैसे बिखरे हुए हों अफ़साने
तेरी ज़ुल्फ़ों की ऐसी रंगत है
जैसे काली घटा बहारों में
हुस्न वाले …

तेरी सूरत जो देख ले शायर
अपने शेरों में ताज़गी भर ले
एक मुसव्विर जो तुझ को पा जाए
अपने ख़्वाबों में ज़िंदगी भर ले
नग़मागर ढूँढ ले अगर तुझ को
दर्द भर ले वो दिल के तारों में
हुस्न वाले तेरा जवाब नहीं …

Please enjoy my rendition of: Husn waale tera jawab nahin….

Song #20 – Itna hai tumse pyar mujhe

This too I sang to Lyn on our wedding anniversary, 24 Mar 22.

This song is rated as one of the most popular duets in Hindi movies. It was sung by Rajendra Kumar and Vyjayanthimala.

It is from the 1966 T Prakash Rao movie Suraj starring the Jubilee hero Rajendra Kumar and Vyjayanthimala.

It was penned by Hasrat Jaipuri and composed by Shankar Jaikishan.

Here are the lyrics:

र: इतना है तुमसे प्यार मुझे मेरे राज़दार
जितने के आस्मान पर तारे हैं बेशुमार

सु: इत्नना है तुमसे प्यार मुझे मेरे राज़दार
जितने के इस ज़मीन पर ज़र्रे हैं बेशुमार

तेरे सिवा किसी को न लाया निगाह में
लाखों हसीन आये जवानी कि राह में
सदियों से कर रहा था तुम्हारा हि इंतज़ार
इतना है तुमसे …

मैं ने भी तेरे वास्ते कितने जनम लिये
तब दिल के रास्तों पे जले प्यार के दिये
एक दिन ज़रूर पाउंगी इतना था ऐतबार
इतना है तुमसे …

बेख़ुद बना दिया मुझे तेरे सलाम ने
जन्नत अगर मिले तो न लूं तेरे सामने
ये प्यार वो नशा है के जिसका नहीं उतार
इतना है तुमसे …

Please enjoy my rendition of: Itna hai tumse pyar mujhe…

Song #21 – Dil ka bhanwar kare pukaar

Talking about Hasrat Jaipuri; he was voted as Shahenshah e rumaniyat (Emperor of Romance). Here in this heart-warming song, his lyrics were composed by SD Burman.

The entire song has been picturised within the Qutab Minar in Delhi. Dev Anand is seen wooing Nutan by this song from one of their four movies together: Tere Ghar Ke Saamne, a Shimla based movie.

Rafi sahib has sung it with the kind of effervescence that Dev Anand brought to his acting and songs.

Here are the lyrics:

दिल का भंवर करे पुकार
प्यार का राग सुनो, प्यार का राग सुनो रे

फूल तुम गुलाब का
क्या जवाब आपका
जो अदा वो बहार है
आज दिल की बेकली, आ गई ज़बान पर
बात ये है तुमसे प्यार है
दिल तुम्हीं को दिया रे
प्यार का राग सुनो रे …
दिल का भंवर …

चाहे तुम मिटाना, पर न तुम गिराना
आँसू की तरह निगाह से
प्यार कि उँचाई
इश्क़ कि गहराई
पूछ लो हमारी आह से
आसमाँ छू लिया रे
प्यार का राग सुनो रे
दिल का भंवर …

इस हसीन उतार पे हम न बैठे हार के
साया बन के साथ हम चले
आज मेरे संग तू गूँजे दिल की आरज़ू
तुझसे मेरी आँख जब मिले
जाने क्या कर दिया रे
प्यार का राग सुनो …

आप का ये आँचल, प्यार का ये बादल
फिर हमें ज़मीं पे ले चला
अब तो हाथ थाम लो, इक नज़र का जाम दो
इस नये सफ़र का वस्ता
तुम मेरे साक़िया रे
प्यार का राग सुनो रे, ऊ ऊ ऊ …

Please enjoy my rendition of: Dil ka bhanwar kare pukar…

Song #22 – Baharon phool barsao

This is the second song from the 1966 T Prakash Rao movie Suraj starring Rajendra Kumar and Vyjayanthimala.

This was rated in a BBC radio poll in 2013 poll as the popular song in Hindi movies. It also happens to be one of the most popular songs of Rafi Sahib.

It was, indeed, a pleasure singing it:

बहारों फूल बरसाओ
मेरा महबूब आया है – (२)
हवाओं रागिनी गाओ
मेरा महबूब आया है – (२)

ओ लाली फूल की मेंहँदी लगा इन गोरे हाथों में
उतर आ ऐ घटा काजल, लगा इन प्यारी आँखों में
सितारों माँग भर जाओ
मेरा महबूब आया है – (२)

नज़ारों हर तरफ़ अब तान दो इक नूर की चादर
बडा शर्मीला दिलबर है, चला जाये न शरमा कर
ज़रा तुम दिल को बहलाओ
मेरा महबूब आया है – (२)

सजाई है जवाँ कलियों ने अब ये सेज उल्फ़त की
इन्हें मालूम था आएगी इक दिन ऋतु मुहब्बत की
फ़िज़ाओं रंग बिखराओ
मेरा महबूब आया है – (२)
बहारों …

Song #23 – Tum mujhe yun bhula na paoge

This song is as if penned for Mohammad Rafi’s singing in real life. “How can you, ever, forget my singing?” he seems to be asking us.

These happen to be the most powerful lyrics penned Hasrat Jaipuri. It is from the 1970 Shakti Samanta movie Pagla Kahin Ka starring Shammi Kapoor, Helen, and Asha Parekh. In a media interview Shammi Kapoor brought out that this was the most challenging role that he enacted.

For me the song is dear since the lyrics are well suited for my wife, Lyn, suffering from Alzheimer’s. Through this song I am telling her that she may forget everything but my singing to her.

Here are the extraordinary lyrics:

तुम मुझे यूँ भुला ना पाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
जब कभी भी सुनोगे गीत मेरे
संग संग तुम भी गुनगुनाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(वो बहारें वो चांदनी रातें
हमने की थी जो प्यार की बातें ) – २
उन नज़ारों की याद आएगी
जब खयालों में मुझको लाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(मेरे हाथों में तेरा चेहरा था
जैसे कोई गुलाब होता है ) – २
और सहारा लिया था बाहों का
वो शाम किस तरह भुलाओगे
हाँ तुम मुझे यूँ भुला ना पाओगे
हो तुम मुझे यूँ …

(मुझको देखे बिना क़रार ना था
एक ऐसा भी दौर गुज़रा है ) – २
झूठ मानूँ तो पूछलो दिल से
मैं कहूंगा तो रूठ जाओगे
हाँ तुम मुझे यूं भुला ना पाओगे

जब कभी भी …

The song was composed by Shankar Jaikishan in Raag Jhinjhoti, Tal Kaherava. Raag Jhinjhoti has always been dear to me because of the best song ever penned in HIndi movies by Shakeel Badayuni: Mere mehboob tujhe meri muhabbat ki kasam.

Please enjoy my rendition of: Tum mujhe yun bhula na paoge…

Song #24 – Jeet hi lenge baazi hum tum

My primary objective of learning to sing is to be able to sing to my wife, Lyn, suffering from Alzheimer’s. The secondary objective is to be able to sing raaga based songs.

This one was penned by Kaifi Azmi and composed by Khayyam in Raag Bhairavi, Tal Dadra.

Goosebumps Song for Me

I don’t know about all of you but it is a song that always brings out goosebumpss in me. Most childhood songs that are sung or heard later in life have that effect on all of us. However, this one is special since she (Lata for Tarla Mehta) joins in after the first stanza sung by Mohammad Rafi for Dharmendra brings up memories of their childhood.

This is what Love is all about; a quiet resolve despite all the odds. I can take adequate pride in saying that Lyn and I represent that kind of Love. Take today for example; the entire day was spent in INHS Asvini, 50 Kms away, trying to find solution to her drooping neck during her Alzheimer’s Disease condition. And yet, at the end of the day, when we return, I choose to put up this song whose lyrics inspire us:

रफ़ी: जीत ही लेंगे बाज़ी हम तुम, खेल अधूरा छूटे न
प्यार का बंधन, जन्म का बंधन, जन्म का बंधन टूटे न

मिलता है जहाँ धरती से गगन, आओ वहीं हम जाएं
तू मेरे लिये, मैं तेरे लिये – २
इस दुनिया को ठुकरायें – २
दूर बसा ले दिल की जन्नत – २
जिसको ज़माना लूटे ना, प्यार का बंधन

लता: मिलने की खुशी ना मिलने का गम, खत्म ये झगड़े हो जाएं
तू तू ना रहे, मैं मैं ना रहूँ – २
इक दूजे मैं खो जाएं – २
मैं भी ना छोड़ूं पल भर दामन – २
तू भी पल भर रूठे ना, प्यार का बंधन …

All that I ever wanted was Lyn, all that she ever wanted was me and so on.

My Own Poetry

Here is my own poem representing this resolve, written four and half years ago:

Hum Ek, Hamari Ek…

हम एक, हमारी एक……….. ज़िन्दगी,
कभी एक दूजे की, कभी खुदा की बंदगी I
पैंतीस साल पहले जो मांगी थी दुआ,
उसी का तो अब तक है सिलसिला,
नज़रों का एक होना तो सुनते आये थे,
पर यहाँ तो दिल, ख्वाब, सब एक हुआ I

हम एक, हमारी एक ………….पहचान,
एक दूसरे में बस्ती है अपनी जान I
गरीब थे हम, पर बने रहे अमीर,
हम ही तो थे कल के राँझा और हीर,
दोस्तों ने जिन्हे हमें धनि बनाया,
कहा: “यही तो हैं प्यार की तस्वीर” I

हम एक, हमारी एक ……….. कोशिश,
क्या खूब बनी प्यार की बन्दिश I
ज़िन्दगी में आये कई चढ़ाव उतार,
हम एक संग पहुंचे उनके पार,
ऐसे ही बनी रहे हमारी छोटी सी ज़िन्दगी,
ऐसे ही बना रहे हमारा छोटा सा परिवार I

हम एक, हमारी एक ………. दास्तान,
तू मेरा जहान, मैं तेरा जहान I
कई बरस बाद, हम हवा में समा जाएंगे,
किसी को फिर नज़र नहीं आएंगे,
पर फिर भी देखना लोग भूलेंगे नहीं,
जब प्यार का ज़िक्र हो, हम याद आएंगे I

हम एक, हमारी एक ……… फ़रियाद,
प्यार हमारा बना रहे, मरने के भी बाद I

The Song

This is the main song of the 1961 Ramesh Sehgal movie Shola Aur Shabnam starring Dharmendra, Tarla Mehta and M Rajan as a triangle. Dharmendra and Tarla were childhood lovers. Dharmendra plays Ravi in the movie! Tarla is Sandhya (By herself, absence of Ravi or Sun). They separate.

Many years later Ravi, in his poor condition finds employment with his friend Prakash (M Rajan). Prakash is to be married to Sandhya! And that’s when Ravi comes into their lives again.

Ladies and gentlemen, please enjoy: Jeet hi lenge baazi hum tum….

In the fourth part, once again, I have given you a wide range of songs of the greatest singer Mohammad Rafi. I hope you liked my selection.

So as not to make the post longer than 30 minutes of your listening pleasure, I give you only six songs at a time.

Please await songs of Part V.

 

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