[lineate][/lineate]She held it in her hand[lineate][/lineate]Pulled out the pin with her teeth[lineate][/lineate]And hurled it where I stood[lineate][/lineate]And suddenly it exploded[lineate][/lineate]All around me.[lineate][/lineate]Everything was torn to shreds:[lineate][/lineate]Ego, pride, shame, pretence[lineate][/lineate]All lay in tatters, blown to bits[lineate][/lineate]And I lay there zapped[lineate][/lineate]Stunned but alive[lineate][/lineate]Blinded and deaf[lineate][/lineate]To anything but Love[lineate][/lineate]She saw me[lineate][/lineate]Saw my condition[lineate][/lineate]And rested her hand[lineate][/lineate]That was ready to pull[lineate][/lineate]Another pin[lineate][/lineate]From another Love Grenade[lineate][/lineate]Total triumph from her side[lineate][/lineate]Complete surrender from mine.[lineate][/lineate]
Month: June 2013
TRAVEL LIGHT IF YOU MUST BY AIR
Suddenly, the age old adage has come alive for the airlines: ‘Travel light, if you must’; not the lean-and-hungry look but the lean-and-mean look. Heavy weights may be alright in politics; they may be of immense value in industry and bureaucracy. But, they are a big No No for the airlines. Reminds you of the Blue Jeans revolution of the sixties and seventies. Until then, the clothes were tailor-made for you. But, with the advent of Blue Jeans it was one-size-fits-all and you had to re-shape yourself to fit into those jeans. They came up with ‘ideal figure’ (Twiggy) and you had no choice but to be ideal.
Similarly, GoAir, for example, has given NoGoAir sign to its male stewards since they are generally heavier than their female counterparts. If it was the other way round, by this time Jantar Mantar would have been full of women activists telling the whole world through their middle fingers that the government must take charge of GoAir for showing sexual discrimination. But, men are supposed to take it lying down. Preity Zinta, the promoter of GoAir, for example, first made inroads into the till then men’s world of cricket and is now chucking out men from a traditionally female world.
However, the way the airlines are at it, sky is the limit for traveling light. Anything and everything is chargeable. Very soon we may have little children serving us in the flight in their cute infantile babble, “Uncle, hele iz yore maltini; and aunty, you will like some chicken na?” After all, they weigh the least and the airlines may be able to save a few more crores of rupees by employing them.
Another bright idea that will occur to the airlines is to come up with a dress code for travel. No suits, shoes and ties…in any case you have to remove your jacket, belt and shoes at the Security. So, why wear them at all? The airlines will tout this as a ‘customer friendly’ idea as it results in ‘hassle-free security check’. The airlines tend to gain a few crores per year and it appears that every rupee counts.
I suspect that the airlines will soon come up with another ‘customer friendly’ idea – after all, the customer is the king (Ha ha) as proclaimed by them – which is, to have you visit the gym between check-in and security check. The programme will make you lose a few kilos and the airlines can then squeeze in a few more passengers between the last row and the toilets.
Frequent flyers programme will have additional points for those less than fifty kgs and carrying less than ten kgs of check-in baggage and/or nil cabin baggage.
The very first announcement after you board will be, “Ladies and gentlemen, in order to cut down on unnecessary weighty items in the aircraft, we have done away with in-flight magazines, newspapers and instructions cards for wearing the life jackets. You have ten minutes to download these on your mobile phones by accessing www.GoAir.Wecareforguests site. You may not be able to use your mobiles during the flight as these interfere with the navigation systems.”
What about those who used to carry various kinds of foot-wear: Jogging shoes, sandals, brown shoes to go with brown clothing, black with black, and just one extra pair just in case required. Well, research is on to come up with new modular footwear that can change over from chappals to party-wear by pressing a few light-weight buttons.
Another idea that the airlines are working on is to give all passengers, male or female, close hair-cuts (appropriately called crew-cuts) prior to take-off. This too will be a customer friendly (airlines are committed to be customer-friendly all the way) idea since the airlines will offer to share half the cost of haircut with you at merely Rupees Five Hundred a hair-cut (Frequent Light-weight Flyers will be given such crew-cuts free).
And finally back to the male stewards of flights who have been told it is NoGoAir for them; they might actually have the last laugh when the air-hostesses are told – in the same fashion as instructions from Badminton Association of India last year to female players – to wear as little clothing as possible. At last the male passengers will then say, “Finally, you have come up with a real customer-friendly idea.”
TAG – I FOUND YOU AGAIN
Trying a ‘Fast Poem’ on cellphone, similar to ‘Fast Food’.
Here goes:
[lineate][/lineate]Purple hair,[lineate][/lineate]Green nails,[lineate][/lineate]Orange eyes,[lineate][/lineate]Indigo brows,[lineate][/lineate]Red hot cerebral cells?[lineate][/lineate]Lemon coloured blood?[lineate][/lineate]Ultra modern world.[lineate][/lineate]
[lineate][/lineate]And yet,[lineate][/lineate]The look in your eyes[lineate][/lineate]Gave you away,[lineate][/lineate]As it did in the life before[lineate][/lineate][lineate][/lineate][lineate][/lineate][lineate][/lineate]And before[lineate][/lineate]And ages before.[lineate][/lineate]
[lineate][/lineate]Juliet? Meera? Sohni?[lineate][/lineate]The colour of love,[lineate][/lineate]Engulfing my world[lineate][/lineate]With richness beyond words[lineate][/lineate]Beyond hues[lineate][/lineate]Beyond feelings[lineate][/lineate]Beyond thoughts[lineate][/lineate]
[lineate][/lineate]In every life[lineate][/lineate]I came[lineate][/lineate]I saw[lineate][/lineate]I was conquered.[lineate][/lineate]I loved[lineate][/lineate]I loved[lineate][/lineate]I love..[lineate][/lineate]Try, if you please[lineate][/lineate]A different camouflage in the next life.[lineate][/lineate]
SHAKEEL BADAYUNI – THE KING AMONGST LYRICISTS AND POETS – PART III
You have gone through ‘Shakeel Badayuni – The King Amongst Lyricists And Poets – Part I‘ very soon after his death anniversary on 20th April 2013. This was followed by ‘Shakeel Badayuni – The King Amongst Lyricists And Poets – Part II‘ on 23rd of June 13. Basically, these are parts of a 15 days tribute I paid to the greatest lyricist of all times leading up to 20th April so as to bring home the point that a good 43 years after his death in 1970, his lyrics are still alive with the same freshness, interest and depth.
Lets start our journey through the Final Part, the Part III.
We had completed Day – 7 of the 15 days tribute in Part II.
Day – 8
Lets begin tonight with the 1955 movie Udan Khatola starring Dilip Kumar and Nimmi. An uran khatola is a fictional flying vehicle in the traditional folktales of North India and Pakistan. The term literally means ‘flying bedstead’ or ‘flying cot’ but in folklore the term is used more expansively to cover any flying vehicle.
It was also synonym with Flight of Fancy and hence the song penned by Shakeel was so appropriate: O door ke musafir, hum ko bhi saath le le, hum reh gaye akele. There are no surprises: Naushad composed the music and Mohammad Rafi sang the song.
Enjoy: O door ke musafir hamko bhi saath le le…
chale aaj tum jahaa.N se, huii zi.ndagii paraayii
tumhe.n mil gayaa Thikaanaa, hame.n maut bhii na aayii
o duur ke musaafir ham ko bhii saath le le re
ham ko bhii saath le le
ham rah gaye akele
tuune vo de diyaa Gam, bemaut mar gaye ham
dil uTh gayaa jahaa.N se, le chal hame.n yahaa.N se
le chal hame.n yahaa.N se
kis kaam kii ye duniyaa jo zi.ndagii se khele re
ham ko bhii saath le le, ham rah gaye akele
suunii hai.n dil kii raahe.n, khaamosh hai.n nigaahe.n
naakaam hasarato.n kaa uThane ko hai janaazaa
uThane ko hai janaazaa
chaaro.n taraf lage hai.n barabaadiyo.n ke mele re
ham ko bhii saath le le, ham rah gaye akele
o duur ke musaafir ham ko bhii saath le le re
ham ko bhii saath le le
ham rah gaye akele
https://youtube.com/watch?v=pD7HziV7204%3F
Udan Khatola has this number where Shakeel expressed the dark side of Mohabbat.
The number is: Mohabbat ki raahon pe chalna sambhal ke,
Yahan jo bhi aaya gaya haath mal ke…
muhabbat kii raaho.n me.n
chalanaa sambhal ke
yahaa.N jo bhii aayaa
gayaa haath mal ke
na paaii kisii ne muhabbat kii ma.nzil
qadam Dagamagaae, zaraa duur chal ke
hame.n Dhuu.NDhatii hai, bahaaro.n kii duniyaa
kahaa.N aa gae ham, chaman se nikal ke
kahii.n Duub jaae na, hasarat bharaa dil
na yuu.N tiir fe.nko, nishaanaa badal ke
https://youtube.com/watch?v=2bUviGAnI9s%3F
Lets now turn to the 1967 movie Ram Aur Shyam. This too had music by Naushad and lyrics by Shakeel Badayuni. The movie starred Dilip Kumar, Pran, Waheeda Rehman, Mumtaz, Nirupa Roy.
The theme owes its origins to Alexandre Dumas’s story The Corsican Brothers: twins separated at birth who grow up with very different temperaments and then exchange places, leading to the villain being taught a lesson. Like The Corsican Brothers, which has been adapted into several feature films, Ram Aur Shyam has inspired remakes in Hindi movies too, with Seeta Aur Geeta (featuring female twins, played by Hema Malini) in 1972; Chaalbaaz (starring Sridevi) in 1989; and Kishen Kanhaiya (starring Anil Kapoor) in 1990.
This one was a super hit song from the movie:
Enjoy: Aaj ki raat mere dil ki salaami le le…
THIS TOO IS A PIANO NUMBER
ye raat jaise dulhan ban gaI hai chiraago.n se
karu.ngaa ujaalaa mai.n dil ke daaGo.n se
aaj kii raat mere, dil kii salaamii le le
dil kii salaamii le le
kal terii bazm se diivaanaa chalaa jaaegaa
shammaa rahe jaaegii paravaanaa chalaa jaaegaa
terii mahafil tere jalave ho.n mubaarak tujhako
terii ulfat se nahii.n aaj bhii inakaar mujhe
teraa may-khaanaa salaamat rahe ai jaan-e-vafaa
muskuraakar tuu zaraa dekh le ik baar mujhe
phir tere pyaar kaa mastaanaa chalaa jaaegaa
maine chaahaa ki bataa duu.N mai.n haqiiqat apanii
tuune lekin na meraa raaz-e-muhabbat samajhaa
merii ulajhan mere haalaat yahaa.N tak pahu.nche
terii aa.Nkho.n ne mere pyaar ko nafarat samajhaa
ab terii raah se begaanaa chalaa jaaegaa
tuu meraa saath na de raah-e-muhabbat me.n sanam
chalate-chalate mai.n kisii raah pe mu.D jaauu.ngaa
kahakashaa.n chaa.nd sitaare tere chuume.nge qadam
tere raste kii mai.n ek dhuul huu.N u.D jaauu.ngaa
saath mere meraa afasaanaa chalaa jaaegaa
https://youtube.com/watch?v=PrjHjEFwz5g%3F
Shakeel Badayuni was to Dilip Kumar what Hasrat Jaipuri and Shailendra were to Raj Kapoor. This lovely number from the 1968 movie Sanghursh shows Dilip Kumar at his dancing best. And why not, when he sings:
Mere pairon mein ghunghru pehna de to phir meri chaal dekh le…
https://youtube.com/watch?v=HCYCIVXCz10%3F
Before we take on our usual ghazal ending, lets take this absolutely enchanting song from Ganga Jamuna starring Dilip Kumar and Vyjayantimala. Lata Mangeshkar sang it on Naushad’s music.
Enjoy: Dagabaaz tori batiya na maanu re…
Naa maanuu.N naa maanuu.N naa maanuu.N re
dagaabaaj torii batiyaa.N naa maanuu.N re
piyaa man me.n tore kaa hai mai.n naa jaanuu.N re
dagaabaaj torii batiyaa.N …
saa.Njh kahe tose ( chundarii ma.nga_ibe ) -2
chundarii ma.nga_ibe tose chundarii ma.nga_ibe
bhor bha_e to bisar ga_ii batiyaa.N -2
naa maanuu.N re
dagaabaaj torii batiyaa.N …
hamarii garaj pe ( mukh se naa bole ) -2
mukh se naa bole sai.nyaa mukh se naa bole
apanii garaj pe milaay le akhiyaa.N
naa maanuu.N re
dagaabaaj torii batiyaa.N …
https://youtube.com/watch?v=KtlMv1j5Evw%3F
And finally the promised ghazal:
Duur hai manzil raahe.n mushkil aalam hai tanahaa_ii kaa
aaj mujhe ehasaas huaa hai apani shikastaapaa_ii kaa
[shikastaah_paaii=infirmity of the feet]
dekh ke mujh ko duniyaaa vaale kahane lage hai.n diivaanaa
aaj vahaa.N hai ishq jahaa.N kuchh Khauf nahii.n rusavaa_ii kaa
chho.D de.n rasm-e-Khud_nigarii ko to.D de.n apanaa iimaa.N
Khatm kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa
Note: Peenaz Masani sinsg this as:
chho.D de rasm-e-Khud_nigarii ko chho.D de apanaa haath yahaa.N
Khaak kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa
mai.n ne ziyaa husn ko baKhshii us kaa to ko_ii zikr nahii.n
lekin ghar ghar me.n charchaa hai aaj terii raanaa_ii kaa
[ziyaaye.n=splendour, brilliance; raanaaii=radiance]
ahal-e-havas ab ghabaraate hai.n Duub ke behar-e-Gam me.n “Shakeel”
pahale na thaa bechaaro.n ko a.ndaazaa geharaa_ii kaa
[havas=desire; behar=sea, gulf, bay]
Enjoy Begum Akhtar sing this famous ghazal:
https://youtube.com/watch?v=PHwT0PF2c2E%3F
Day – 9
There are instances in one’s life when one wants to sing Shakeel’s verses written for Ananrkali in the 1960 movie Mughal-e-Azam: Hamen kaash tumase mohabbat na hoti! The fact is that Dil is not under the control of the Dimaag and mohabbat ho hi jaati hai. Once again, Naushad is the music director and the singer is Lata Mangeshkar.
Enjoy: hame.n kaash tum se muhabbat na hotii
kahaanii hamaarii haqiikat na hotii
na dil tum ko dete na majabuur hote
na duniyaa na duniyaa ke dastuur hote
qayaamat se pahale qayaamat na hotii
hamii.n ba.Dh gaye ishq me.n had se aage
zamaane ne Thokar lagaayii to jaage
agar mar bhii jaate to hairat na hotii
tumhii.n phuu.Nk dete nasheman hamaaraa
muhabbat pe ahasaan hotaa tumhaaraa
zamaane se koi shikaayat na hotii
https://youtube.com/watch?v=8-Hu4tr8Mv8%3F
This is from the 1954 movie Amar on similar theme as the Mughal-e-Azam song. Shakeel, Naushad, Lata made this too.
.Enjoy: (na shikawaa hai koii na koii gilaa hai)-3
salaamat rahe tuu ye merii duaa hai
na shikawaa hai koii
(bahut hii kaThin hai.n mohabbat kii raahe.n)-2
zaraa bach ke chalanaa zamaanaa buraa hai
na shikawaa hai koii
(ajab terii mahafil me.n dekhaa tamaashaa
kahii.n raushanii hai kahii.n hai a.Ndheraa)-2
kahii.n hai a.Ndheraa
(muqaddar chiraaGo.n ke badale hue hai.n)-2
koii bujha rahaa hai koii jal rahaa hai
na shikawaa hai koii
(mubaarak tujhe ho tere dil kii duniyaa
merii zi.ndagii kaa koii Gam na karanaa)-2
koii Gam na karanaa
(ye sab gardishe.n hai.n nasiibo.n kii pyaare)-2
na merii Kataa hai na terii Kataa hai
na shikawaa hai koii
https://youtube.com/watch?v=U40XA559-UY%3F
This is a beautiful Talat Mehmood number sung by him on his own acting in the 1953 movie Dil-e-Nadaan. Shakeel’s lyrics were adorned by Ghulam Mohammed’s music.
Enjoy: Jo khushi se chot khaaye vo jigar kahan se laayun?
terI khAtir sitam dil pe gavaaraa kar liyaa mai.nne
kahaa kisane muhabbat se kinaaraa kar liyaa mai.nne
jo khushI se choT khaaye,
vo jigar kahaa.N se laauu.n – 2
kisii aur ko jo dekhe,
vo najar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
mujhe terI aarazuu hai,
mere dil me.n tuu hii tuu hai – 2
base gair jisame.n aa kar,
mai.n vo ghar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
terI berukhii pe sadake,
terI har adaa pe kurbaa.n – 2
kare aur ko jo sajade,
mai.n vo sar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
vo jigar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
https://youtube.com/watch?v=CDG0C9HiZJg%3F
Shakeel Badayuni, Ravi and Mohammad Rafi have put together this sad number for the 1964 movie Door Ki Awaaz.
Enjoy: Kya younhi rooth ke jaane ko mohabbat ki thi
Zindagi meri mitaane ko mohabbat ki this?
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
https://youtube.com/watch?v=Q6p-ylR6v_k%3F
Day – 10
I started telling you about ‘the beauty of the Lyrics of Shakeel Badayuni’ ten days back and by this time you must know as to why I have been so fond of his songs, nazms, ghazals etc. Lets begin Day 10 with a ghazal that is so full of meaning:
Various singers have sung this beautiful ghazal such as Begum Akhtar and Ustad Raza Ali Khan. I have, however, chosen Farida Khanum singing it live. Remember her? Her famous ghazal: Aaj jaane ki zid naa karo, younhi pehlu mein baithe raho? Of course you remember; how can anyone forget?
Enjoy:
Mere Ham-Nafas, Mere Ham-Navaa, Mujhe Dost Banake Dagaa Na De
Main Hun Dard-E-Ishq Se Jaanvalab, Mujhe Zindagi Ki Duaa Na De
[Jaanvalab=death, Dead]
Mere Daag-E-Dil Se Hai Raushani, Usi Raushani Se Hai Zindagi
Mujhe Dar Hai Aye Mere Chaaraagar, Ye Charaag Tu Hi Bujhaa Na De
[Chaaraagar=physician]
Mujhe Chhod De Mere Haal Par, Teraa Kyaa Bharosaa Hai Chaaraagar
Ye Teri Nawaazish-E-Mukhtasar, Meraa Dard Aur Badaa Na De
[Mukhtasar=brief]
Meraa Azm Itanaa Baland Hai Ke Paraaye Sholon Kaa Dar Nahin
Mujhe Khauf Aatish-E-Gul Se Hai, Ye Kahin Chaman Ko Jalaa Na De
[Sholon=balls Of Fire; Aatish=fire]
Wo Uthe Hain Leke Hom-O-Subu, Arey O ‘Shakeel’ Kahaan Hai Tu
Teraa Jaam Lene Ko Bazm Mein Koi Aur Haath Badaa Na De
[Hom=burnt Offering; Subu=wine Cup]
https://youtube.com/watch?v=JGpOe3Rn_Kc%3F
How I have dedicated the start of Day 10 to a deceiving friend! The first song is also so dedicated to the same person. It is from the 1952 movie Aan starring Dilip Kumar and Nimmi. Music is by Naushad and the song is a duet between Mohammad Rafi and Lata Mangeshkar.
Enjoy: Tujhe kho diya hamane paane ke baad…
https://youtube.com/watch?v=lGq7Fh21FvE%3F
Shakeel, Naushad, Rafi again on the same theme but for the 1951 movie Deedar starring Dilip Kumar Nimmi, Nargis and Ashok Kumar. This was amongst the rare movies in which the career of Mohammad Rafi coincided with that of his idol GM Durani. The movie had some lovely numbers such as:
1. Bachpan Ke Din Bhoola Na Dena – Male Mohammad Rafi
2. Hue Hum Jinke Liye Barbad – I Mohammad Rafi
3. Hue Hum Jinke Liye Barbad – II Mohammad Rafi
4. Naseeb Dar Pe Tera Aazmane Aya Hon Mohammad Rafi
5. Meri Kahani Bhoolne Wale Mohammad Rafi
6. Dekh Liya Maine Kismat Ka Tamasha Mohammad Rafi & Lata Mangeshkar
7. Tu Kon Hai Mera Kehde Balam Lata Mangeshkar
8. Le Ja Meri Duayeein Le Ja Lata Mangeshkar
9. Duniya Ne Teri Duniyawale Lata Mangeshkar
10. Bachpan Ke Din Bhoolana Dena – Female Shamshad Begum & Lata Mangeshkar
11. Chaman Mein Rakhe Verana Shamshad Begum
12.Nazar Na Phero Humse Shamshad Begum & GM Durani
What a veritable treat! On an everyday basis I am literally finding dozens of songs by Shakeel Badayuni penned so beautifully that one marvels at his ability to write. Lets just take one: Huye ham jinake liye barbaad. Even before you see and hear, just read and digest the lyrics:
(asire panjae ahade shabab karke mujhe
kaha gaya meraa bachpan, kharab kaa key mujhe
ha ha ha ha aa…..)
huye ham jhinke liye barbad, woh hamko chahe kare naa yad
jivan bhar, jivan bhar unkee yad me, (ham gaye jayenge -2)
ek jamana tha woh pal bhar (hamse rahe naa dur -2)
ek jamana hai key huye hai (milane se majbur -2)
rahe woh dil kaa nagar aabad, basee hai jis me kisee kee yad
ham dil ko -2 unkee yad se, bahelaye jayenge gaye jayenge
me hu aisa dipak jis me (naa batee naa tel -2)
bachpan bita, banee muhobbat (char dino kaa khel -2)
woh gham se lakh rahe aajhad, sune naa dard bharee fariyad
afsana -2 unke pyar kaa ham gaye jayenge, gaye jayenge
huye ham jhin key liye barbad………
SHAKEEL BADAYUNI I SALUTE YOU!
https://youtube.com/watch?v=N7dWUwyffxE%3F
One can spend a whole night singing not just Shakeel Badayuni songs but just Deedar songs. Here is another on the same theme:
Meri kahani bhoolne vale tera jahan aabad rahe…
Enjoy:
merii kahaanii bhuulane vaale teraa jahaa.N aabaad rahe, merii kahaanii
terii khushii par mai.n miT jaauu.n duniyaa terii aabaad rahe
merii kahaanii
mere giit sune duniyaa ne magar
meraa dard koI na jaan sakaa
ek teraa sahaaraa thaa dil ko
par tuu bhii na mujhe pahachaan sakaa
bachapan ke vo giit puraane aaj tujhe na yaad rahe
merii kahaanii
mai.n apanaa fasaanaa kah na sakaa
mere dil kii tamannaa dil me.n rahii
lo aaj kinaare par aake
aramaano.n kii kashtii Duub ga_ii
qismat ko ma.nzuur yahii thaa lab par mere fariyaad rahe
merii kahaanii
https://youtube.com/watch?v=gkbU2zUmxmk%3F
Before we call it a day, I am going to give you yet another number from Deedar. It is a duet between Mohammad Rafi and Lata Mangeshkar.
Enjoy: Dekh liya maine kismet ka tamaasha dekh liya
ra : dekh liyaa maine
qisamat kaa tamaashaa dekh liyaa
ik aaG bujhii
ik aaG lagii
aa.Nkho.n ne merii kyaa dekh liyaa
la : dekh liyaa maine
saajan teraa vaadaa dekh liyaa
rasate pe huu.N mai.n
ma.nzil pe hai tuu
ye pyaar kaa naataa dekh liyaa
dekh liyaa maine
ra : aayaa mai.n kisii kii mahafil me.n
mahafil me.n
tuufaan liye laakho.n dil me.n
milakar bhii rahaa mai.n mushkil me.n
milane kaa natiijaa dekh liyaa
ik aaG bujhii
ik aaG lagii
aa.Nkho.n ne merii kyaa dekh liyaa
dekh liyaa maine
la : chhupate hii tere o chaa.Nd mere
o chaa.Nd mere
suuraj bhii na nikalaa aa.Ngan me.n
phir Gam kii a.Ndherii raat hu_ii
do din kaa ujaalaa dekh liyaa
rasate pe huu.N mai.n
ma.nzil pe hai tuu
ye pyaar kaa naataa dekh liyaa
dekh liyaa maine
dekh liyaa maine
saajan teraa vaadaa dekh liyaa
ra : dekh liyaa maine
qisamat kaa tamaashaa dekh liyaa
https://youtube.com/watch?v=1W8ZEbF_q3c%3F
I am going to do something rare tonight:
After all these lovely songs, even though I started with a ghazal, I am going to end with another ghazal of Shakeel Badayuni.
Enjoy: Begum Akhtar sing:
Khush huu.N ki meraa husn-e-talab kaam to aayaa
Khaalii hii sahii merii taraf jaam to aayaa
[talab=pursuit; jaam=wineglass]
kaafii hai mere dil ki tasallii ko yahii baat
aap aa na sake aap kaa paiGaam to aayaa
apano.n ne nazar pherii to dil ne to diyaa saath
duniyaa me.n koii dost mere kaam to aayaa
wo subah kaa ehasaas ho yaa.N merii kashish ho
Duubaa hua Khurshiid sar-e-baam to aayaa
[kashish=strife; Khurshiid=sun; baam=morning]
log un se ye kahate hai.n ki kitane hai.n “Shakeel” aap
is husn ke sadaqe me.n meraa naam to aayaa
https://youtube.com/watch?v=WKD1yBTuWjs%3F
Day – 11
This is one of the most famous ghazals of Shakeel Badayuni; indeed the first that I heard during my boyhood days. To say that it has been penned beautifully is only saying the obvious. I leave it to you to refresh your memory of this ghazal:
Nazar nawaaz nazaaron mein jee nahin lagtaa aa
wo kyaa gaye ke bahaaron mein jee nahin lagtaa aa
na poochh mujh se tere gham mein kyaa guzarti hai ae
na poochh mujh se tere gham main kyaa gujarti hai ae
yahi kahoongaa hazaaron mein jee nahin lagtaa aa
nazar nawaaz nazaaron mein jee nahin lagtaa aa
kuchh iss qadar hai gham-e-zindagi se dil-e-manoos
kuchh iss qadar hai gham-e-zindagi se dil-e-manoos
fizaan gayi to bahaaron mein jee nahin lagtaa aa
nazar nawaz nazaaron mein jee nahin lagtaa aa
fasaana e shab-e-gham khatm hone waala hai ae
fasaana e shab-e-gham khatm hone walaa hai ae
Shakeel ab chaand sitaaron mein jee nahin lagtaa aa
wo kyaa kahen ke bahaaron mein jee nahin lagtaa aa
This ghazal also owes a lot to the singing of Shanti Hiranand Mansukhani who was born in Lucknow in a business family in 1940. From the childhood, she was drawn towards singing. So her mother admitted her to a music college in Lucknow. However, her father had to shift to Lahore for business purposes. Being the youngest in the family, Shanti Hiranand went with her parents to Lahore in early 40s. Here, she came into contact with a blind woman who was a music teacher. She learnt the nuances of classical singing from her for about 5 years. In 1947, she gave her first singing performance on All India Radio, Lahore. After partition, the family returned to Lucknow where she began learning music from Ustad Aijaz Hussain Khan. She continued to participate in singing and musical dramas on AIR, Lucknow. It was one of AIR Lucknow’s senior staff who introduced her to Begum Akhtar. In 1957, she became the disciple of Begum Akhatar who trained her in thumri, dadra and ghazal singing. After the death of Begum Akhtar in October 1974, Shanti Hiranand propagated her style of singing by giving public concerts both in India and abroad. She was instrumental in bringing out a book ‘The Story of My Ammi Begum Akhtar’. She also acted in Conard Rooks’s ‘Siddhartha’ (1972) donning the role of Shashi Kapoor’s mother.
Enjoy the ghazal of a great poet by a great singer:
https://youtube.com/watch?v=WYQRvcaU8FA%3F
And what about the idol of Shanti Heranand Mansukhani: the great Begum Akhtar herself? She was simply called Mallika-e-Ghazal (the Queen of Ghazals). I have already put up her singing of Shakeel’s most famous ghazal ‘Ai mohabbat tere anjaam pe rona aaya’. Here is another Nazar ghazal by her (penned by Shakeel) for the 1948 movie Anokhi Ada on the music of Naushad. The movie starred Naseem Bano, Murad, Cuckoo and Surendra.
Enjoy: Nazar mil gayi jaane kis ki nazar se…
nazar mil ga_ii jaane kis kii nazar se – 2
Dha.Dakane lagaa dil mohabbat ke Dar se-2
nazar mil ga_ii jaane kis kii nazar se
uThii huu.N ki yuu.N aaj pahaluu me.n jaise
pahaluu me.n jaise – 2
uThii huu.N ki yuu.N aaj pahaluu me.n jaise
ko_ii chiiz Takaraa ga_ii hai jigar se – 2
jaane kis kii nazar se
nazar mil ga_ii jaane kis kii nazar se
Dha.Dakane lagaa dil mohabbat ke Dar se
nazar mil ga_ii jaane kis kii nazar se
ko_ii jaane vaale kii himmat to dekhe
himmat to dekhe – 2
ko_ii jaane vaale kii himmat to dekhe
mujhii ko churaa le gayaa mere ghar se – 2
jaane kis kii nazar se
nazar mil ga_ii jaane kis kii nazar se
Dha.Dakane lagaa dil mohabbat ke Dar se
nazar mil ga_ii jaane kis kii nazar se
https://youtube.com/watch?v=nR56_u1EV6w%3F
Last of Nazar songs/ghazals tonight. This is a duet between Shanti Heranand Mansukhani’s idol Begum Akhtar and Mohammad Rafi’s idol GM Durrani. It is from the 1951 movie Deedar starring Dilp Kumar, Ashok Kumar, Nimmi and Nargis. Last night too I gave two or three songs from the same movie.
Each one of us has a desire, sometimes, to live in another era. How I wish I could live in the era of Shakeel Badayuni. Many a times when someone chooses to compare him with other lyricists and poets, I feel like telling him/her about the pristine beauty of Shakeel’s lyrics. This tribute of mine that has been going on for the last eleven days is as a result of this feeling.
Enjoy: Nazar Phero Na Hamse
Ham Hain Tum Par
Marne Walon Mein
Nazar Phero Na Hamse
Ham Hain Tum Par
Marne Walon Mein
Hamara Naam Bhi Likh Lo
Mohabbat Karne Walon Mein
Shamshad : Jahan Nazaren Mili
Bole Ke Ham Hain Marne Walon Mein
Banawat Hi Banawat Hai
Mohabbat Karne Walon Mein
Gm: O
Tumhari Shokiyon Ko Dil Mera
Nakam Kar Dega
Aa..N
Suna Kar Pyar Ke Nagmein
Tumhein Badnam Kar Dega
Haan
Aji Ye Dil Nahi Chhip-Chhip Ke
Aahen Bharne Walon Mein
Hamara Naam Bhi Likh Lo
Mohabbat Karne Walon Mein
Shamshad: Wahi Dil Hai Jo Is Duniya Mein
Apna Nam Kar Jaye
Mohabbat Kya Karega Wo
Jo Badnami Se Dar Jaye
Haan
Nahi Ham Aapki In Dhamkiyon Se
Darne Walon Mein
Banawat Hi Banaawat Hai
Mohabbat Karne Walon Mein
https://youtube.com/watch?v=F59isyJfYA4%3F
During the good old days, expressing love wasn’t as easy as it is these days; young boys and girls now announce it on facebook and twitter and put up photos etc.
Here is the old andaaz; though very forward looking during those days! It is from 1963 movie Mere Mehboob. Rafi sings it on Naushad’s music.
Enjoy: Tumase izhaar-e-haal kar baithe
Bekhudi mein kamaal kar baithe…
aaj furakat kA khvaab TuuT gayaa
mil gaye tum hijaab TuuT gayaa
tum se izahaar-e-haal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kho gaye husn kI bahaaro.n me.n
kah diyaa raaz-e-dil ishaaro.n me.n
kaam ham bemisaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kitane majabuur ho gaye dil se
soche samajhe bagair qaatil se
zindagii kA savaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
ye adaae.n ye shokhiyaa.n taubaa
bas khudaa hii khudaa hai us dil kA
jo tumhaaraa khayaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
https://youtube.com/watch?v=-fmYt9Qa_BA%3F
Day – 12
How I wish Shakeel would have lived longer and I would reach the 100th day still putting up his songs, nazms and ghazals!
Lets start with the usual ghazal and pay attention to the second couplet:
terii mahafil se uThakar ishq ke maaro.n pe kyaa guzarii
muKhaalif ik jahaa.N thaa jaane bechaaro.n pe kyaa guzarii
sahar ko ruKhsat-e-biimaar-e-furqat dekhane vaalo
kisii ne ye bhii dekhaa raat bhar taaro.n pe kyaa guzarii
sunaa hai zindagii viiraaniyo.n ne luuT lii milakar
na jaane zindagii ke naaz_baradaaro.n pe kyaa guzarii
ha.Nsii aa_ii to hai bekaif sii lekin Khudaa jaane
mujhe masaruur paakar mere Gam_Khvaaro.n pe kyaa guzarii
asiir-e-Gam to jaa.N dekar rihaa_ii paa gayaa lekin
kisii ko kyaa Khabar zindaa.N kii divaaro.n pe kyaa guzarii
Rare picture shows Rafi, Lata, Shakeel and Naushad.
I have already given you a Zindagi number from the 1948 movie Mela starring Dilip Kumar and Nargis. The song is the ultimate lesson of life that life will go on even when we won’t be there…. How about a Mukesh number from the same movie? Surely, this would rank amongst the best of Mukesh’s songs even though Mukesh normally sang the lyrics of Shailendra or Hasrat Jaipuri. Music is by Naushad.
Enjoy: Gaaye jaa geet Milan ke, tu apni lagan ke,
Sajan ghar jaana hai…
gaae jaa giit milan ke, tuu apane lagan ke
sajan ghar jaanaa hai
kaahe chhalake naino.n kii gagarii kaahe barase jal
tum bin suunii saajan kii nagarii paradesiyaa ghar chal
pyaase hai.n diip nayan ke, tere darshan ke
sajan ghar…
luT na jaae jiivan kaa Dheraa mujhako hai ye Gam
ham akele, ye jag luTeraa bichha.De.n na milake ham
biga.De nasiib na banake ye din jiivan ke
sajan ghar…
Dole nayanaa priitam ke dvaare milane kii ye dhun
baalam teraa tujhako pukaare yaad aanevaale sun
saathii mile.nge bachapan ke khile.nge phuul man ke
sajan ghar…
https://www.youtube.com/watch?v=oYknpzlVlxo
In the various genres of poetry, the one that Shakeel had perfected the best was the Irony. He did it so marvelously that it left you gaping. Take this one from Mughal-e-Azam. The Emperor has granted Anarkali her last wish to spend one night with Prince Salim before she is thrown into the dungeon; she having traded her own life to save his life. Read every word of this qwaali carefully, digest every sentence when you hear it and then compare it with the scene that I have described….and the irony will make you get goose pimples. Only, Shakeel could write as if he himself was present at the scene!
Enjoy: Lata singing on Naushad’s music: Jab raat hai aisi matvaali phir subah ka aalam kyaa hoga…
Jab raat hai aisi matvaali
Phir subah kaa aalam kaya hoga?
ye dil kii lagii kam kyaa hogii
ye ishq bhalaa kam kyaa hogaa
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
naGamo se barasatii hai mastii
chhalake hai.n khushI ke paimaane – 2
aaj aisI bahaare.n aaii hai.n
kal jinake bane.nge afasaane – 2
ab ise jyaadaa aur hasii.n ye pyaar kA mausam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
ye aaj kA ra.ng aur ye mahafil
dil bhI hai yahaa.N diladaar bhI hai – 2
aa.Nkho.n me.n kayaamat ke jalave
siine me.n sulagataa pyaar bhI hai – 2
is ra.ng me.n koI jii le agar marane kA use Gam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
haalat hai ajab dIvaano.n kii
ab khair nahii.n paravaano.n kii – 2
anjaam-e-mohabbat kyaa kahiye
laya ba.Dhane lagI aramaano.n kii – 2
aise me.n jo paayal TuuT gayii phir ai mere hamadam kyaa hogaa – 2
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
https://www.youtube.com/watch?v=7vLKhdjXBkg
Finally to end tonight, let me give you a ghazal sung by Melody Queen Lata Mangeshkar:
Enjoy: Aankh se aankh milata hai koi,
Dil ko kheenche liye jaata hai koi
aa.Nkh se aa.Nkh milaataa hai koii
dil ko khii.nche liye jaataa hai koii
hai ye hairat ki bharii mahafil me.n
mujhako tanhaa nazar aataa hai koii
chaahiye Kud pe yaqiin-e-qaamil
hausalaa kisakaa ba.Dhaataa hai koii
sab karishmaat-e-tasavvur hai shaqiil
van.raa aataa hai na jaataa hai koi
Day – 13
What about magical simplicity? You mean “Jaadu”? Well, that is the name of the 1951 movie for which Shakeel wrote his lyrics. This one is a particularly enchanting number. Lata sings it for Nalini Jayawant singing for Suresh, on Naushad‘s music.
Enjoy: Lo pyaar ki ho gayi jeet,
Balam ham tere ho gaye…
lo pyaar kii ho gayii jiit
balam ham tere ho gaye
ham tujh se lagaa kar priit
nayii duniyaa.N me.n kho gaye
naino.n ne tere saajan
man ko lubhaa ke chho.Daa
dil pe kiyaa vo jaaduu
apanaa banaa ke chho.Daa
mere dil me.n khushii kaa ra.ng
ho.nTho.n pe khushii ke giit
lo pyaar kii ho gayii jiit …
aramaan bhare do dil hai.n
duniyaa.N pe hai javaanii
terii qasam o saajan
rut hai ba.Dii suhaanii
o~
rahe.n mil ke sadaa ham tum
yuu.Nhii jaaye umariyaa biit
lo pyaar kii ho gayii jiit …
How about starting tonight with a duet, for a change? It is sung by Mohammad Rafi and Asha Bhosle. The film is the 1963 movie Gehra Dagh. Ravi composed the music on Shakeel’s lyrics….
Enjoy: Tumhen paa ke hamne jahan paa liya hai,
Zameen to zameen aasman pa liya hai….
aa : tumhe.n paa ke hamane jahaa.N paa liyaa hai -2
zamii.n to zamii.n aasamaa.N paa liyaa hai
ra : tumhe.n paa ke …
aa : miTaa na sakegii jise ab Kizaa.N bhii
jalaa na sake.ngii ab bijaliyaa.N bhii
mohabbat kaa vo aashiyaa.N paa liyaa hai
tumhe.n paa ke …
ra : zamaane ke Gam pyaar me.n Dhal ga_e hai.n -2
ummiido.n ke laakho.n di_e jal ga_e hai.n -2
ke jabase tumhe.n meharabaa.N paa liyaa hai
tumhe.n paa ke …
aa : jahaa.N se mohabbat kii raahe.n milii hai.n
ra : vahii.n se merii gardishe.n tham ga_ii hai.n
do : na bichha.De.nge ham kaaravaa.N paa liyaa hai
tumhe.n paa ke …
Day – 14
Only a week left for the Death Anniversary of the great poet and lyricist who wrote from the heart…. The 1966 movie Do Badan, a Raj Khosla directed movie was another one that had the combination of Shakeel Badayuni and Ravi for its songs. The movie not only had some excellent songs but some of the saddest songs; which, as mentioned by the poet Shelley, are amongst our sweetest.
- Jab Chali Thandi Hawa Asha Bhosle
- Bhari Duniya Mein Akhir Dil Mohammad Rafi
- Raha Gardishun Main Har Dum Mohammad Rafi
- Naseeb Mein Jisko Jo Mohammad Rafi
- Lo Aa Gayi Unki Yaad Lata Mangeshkar
- Mat Jayio Naukariya Chor Ke Asha Bhosle
- Raha Gardishun Mein (Reprise) Mohammad Rafi
- Lo Aa Gayi unki Yaad (Reprise) Lata Mangeshkar
To understand the beauty of these songs, one has to know the story: Vikas (Manoj Kumar) comes from a poor family, and is attending college so that he can complete his studies, get a job, and look after himself and his dad. He meets with wealthy Asha (Asha Parekh) at this college, and after a few misunderstandings, both fall in love. Vikas’ dad passes away during the exams. Because Vikas leaves to attend the funeral, he is unable to complete his studies. Asha feels sorry for him and arranges to get him employed with her dad, without telling Vikas about it. Asha’s dad wants her to get married to Ashwini (Pran), and he soon announces their engagement. Ashwini finds out that Asha is in love with Vikas, and arranges an accident for Vikas. Vikas survives the accident, but loses his eyesight. After this incident, Vikas does not want to burden Asha, and strikes up a new friendship with Dr. Anjali (Simi Grewal). Meanwhile, Ashwini informs Asha that Vikas has died in the accident. Asha loses interest in life after listening to the news of Vikas’s death. Ashwini then meets Vikas and requests him to convince Asha that he does not love her any more. Vikas agrees and convinces Asha that he is having an affair with Dr. Anjali. Asha marries Ashwini but refuses to live with him in the same room.Vikas starts singing to earn money. Dr. Anjali asks him to get an eye operation, but Vikas refuses. One day Dr. Anjali visits Asha and requests her to persuade Vikas for the operation. While Asha is asking Vikas to undergo the operation, Ashwini takes her away and locks her in a room. She feels suicidal. One day Asha’s uncle goes to meet her and feels saddened by her condition. He takes her to her father’s home. Within three days, Asha becomes sick and doctors are unable to do anything for her. Meanwhile, Vikas’s eye operation is successful. Ashwini apologizes to Asha. He goes to Vikas and tells him about Asha’s condition. Vikas and Ashwini go to Asha. She dies after taking one look at Vikas. He is not able to bear that and also dies. Both of them reunite after their death.
With this background, you will be able to understand the emotions behind this song for which Shakeel was nominated for the Best Lyricist award that year:
Enjoy Mohammad Rafi singing: Naseeb mein jisake jo likha tha…
nasiib me.n jisake jo likhaa thaa
vo terii mahafil me.n kaam aayaa
kisii ke hisse me.n pyaas aaii
kisii ke hisse me.n jaam aayaa
mai.n ik fasaanaa huu.N bekasii kaa
ye haal hai merii zi.ndagii kaa
na husn hii mujhako raas aayaa
na ishq hii mere kaam aayaa
nasiib me.n …
badal ga_ii.n terii ma.nzile.n bhii
bichha.D gayaa mai.n bhii kaaravaa.n se
terii muhabbat ke raaste me.n
na jaane ye kyaa makaam aayaa
nasiib me.n …
tujhe bhulaane ki koshishe.n bhii
tamaam naakaam ho ga_ii hai.n
kisii ne zikr-e-vafaa kiyaa jab
zubaa.N pe teraa hii naam aayaa
nasiib me.n …
This too was a Shakeel – Ravi combine movie; only it came three years earlier than Do Badan. The movie was ‘Pyar Kiya To Darna Kya’ starring Shammi Kapoor and Saroja Devi…. This is another sad sad song on almost the same thought as the one of Do Badan. Ravi’s music is fantastic and suits the personality of Shammi Kapoor.
Enjoy: Zindagi kya hai, gam ka dariya hai
Na jeena yahan bas mein, na marna yahan bas mein
Ajab duniya hai…
zindagii kyaa hai Gam kaa dariyaa hai
na jiinaa yahaa.N bas me.n na maranaa yahaa.N bas me.n
ajab duniyaa hai
zindagii kyaa hai …
haay re vo insaan ke jisako Gam kii nazar lag jaa_e
chupake-chupake aahe.n bhare aur mu.Nh se na kuchh kah paa_e
dil apanaa ha.Nsataa hai khud par ( aur kabhii rotaa hai ) -2
zindagii kyaa hai …
jhuuThii hai.n duniyaa kii bahaare.n ra.ng hai.n saare kachche
vaqt pa.De to thaam le.n daaman phuul se kaa.NTe achchhe
is gulashan me.n qadam-qadam par ek ( nayaa dhokhaa hai ) -2
zindagii kyaa hai …
jab insaan akelaa thaa to dukh bhii na the jiivan me.n
paayaa jab hamaraahii usane Duub gayaa ulajhan me.n
ye duniyaa hai begaano.n kii kaun ( yahaa.N apanaa hai ) -2
zindagii kyaa hai …
https://www.youtube.com/watch?v=dzA2H_xErPE
Yet another piano number! This one is sung by Jagjit Kaur for the 1953 movie Dil-e-Nadaan starring Shyama and Talat Mehmood. Ghulam Mohammad is the music composer. The other night I had put up another beautiful number from the same movie: Jo khushi se chot khaaye.
Tonight, enjoy: Khamosh zindagi ko ik afsaana mil gaya…
( Kaamosh zi.ndagii ko o
Kaamosh zi.ndagii ko ik afasaanaa mil gayaa
ajii afasaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa ) -2
o
dil me.n Kumaariyaa.N sii
mastii jagaate giit ho -2
diiwaanagii me.n kaun ye diiwaanaa mil gayaa
ajii diiwaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
o
sabakaa hai dil ke hosh me.n
aane ke din gaye -2
aaye bahaar shiishe se paimaanaa mil gayaa
ajii paimaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
o
laayaa hai ko_ii mere liye
dil kii dha.Dakane -2
nazaro.n ke chaar hote hii nazaraanaa mil gayaa
ajii nazaraanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
Kaamosh zi.ndagii ko o
Kaamosh zi.ndagii ko ik afasaanaa mil gayaa
ajii afasaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
What would you say about this most enchanting bhajan; whether the credit goes to Shakeel as lyricist or Sachin Dev Burman as music director? I think both are deserving of our deep appreciation. The bhajan has been sung by Mohammad Rafi, Sudha Malhotra and SD Batish. Its music and lyrics leave you spellbound. The movie is the 1964 movie Kaise Kahoon. The other night I had put up: Tum hamen pyaar karo ya na karo, ham tumhen pyaar kiye jaayenge.
Enjoy: Manmohan mein ho tumhin…..
shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …
SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~
As usual lets end tonight with a ghazal. Please forgive me for the poor quality of the audio.
Here is Talat Mahmood singing Shakeel’s ghazal: Un se ummiid-e-ruunumaa_ii hai
kyaa nigaaho.n kii maut aa_ii hai
dil ne Gam se shikast khaa_ii hai
umr-e-raftaa terii duhaa_ii hai
dil kii barbaadiyo.n pe naazaa.N huu.N
fatah paakar shikast khaa_ii hai
mere maa_abad nahii.n hai dair-o-haram
ehatiyaatan jabii.n jhukaa_ii hai
vo havaa de rahe hai.n daaman kii
haaye kis vaqt niind aa_ii hai
khul gayaa un kii aarazuu me.n ye raaz
ziist apanii nahii.n paraa_ii hai
duur ho Gunche merii nazar se
tuu ne merii ha.Nsii churaa_ii hai
gul fasurdaa chaman udaas ‘Shakeel’
yuu.N bhii aksar bahaar aa_ii hai
https://www.youtube.com/watch?v=QopXvVHibYs
Final Day
It has been exactly two weeks back that I started this tribute to Shakeel Badayuni whom I call the Best Lyricist and Ghazal writer that the Hindi film industry has ever seen; before it rejoiced in being bastardized as “Bollywood”.
On this day, 43 years back, at the age of 53, Shakeel from the town of Badayun in Uttar Pradesh succumbed to diabetes. As I said, in the beginning of my tribute, he left but he left with generations to come some of the finest songs and ghazals that we ever heard such as Ai mohabbat tere anjaam pe rona aaya, Gam-e aashiqui se keh do raah-e aam taq na pahunche, bana bana ke tamanna mitaayi jaati hai, nazar nawaaz nazaron mein dil nahin lagata, mere mehboob tujhe meri mohabbat ki kasam, chaudhvinh ka chand ho, beqraar karake hamen youn naa jayiye, husn vale tera jawaab nahin, ye zindagi ke mele duniya mein kam na honge, suhani raat dhal chuki, koi sagar dil ko behlata nahin…..and many many more.
Tonight, I may repeat some though I shall try not to.
I have already put up the song: Husn vale tera jawaab nahin for the 1962 movie Gharana for which Shakeel Badayuni got the Best Lyricist Award for the second time. Also, I have brought out the fact that even though Shakeel Badayuni was an Urdu poet, he wrote some of the best Hindi bhajans; the best out of them being Man tadpat Hari darshan ko aaj.
On the occasion of Ramnavami, whilst wishing my friends, I brought out that we are blessed indeed that Lord Ram was born in our midst. He set before the world the finest example of service before self. I accompanied my greetings with an Anand Bakshi bhajan: Ram ji ki nikali sawaari, Raam ji ki leela hai nayari.
Lets celebrate Ramnavami with this beautiful Ram bhajan from Shakeel Badayuni: Please enjoy: Jay Raghunandan, Jay Siyaram sung by Mohammad Rafi and Asha Bhosle on Ravi’s music.
jay raghunandan jay siyaaraam
he dukhabha.njan tumhe.n praNaam
bhraat-bhraat ko he parameshvar sneh tumhii.n sikhalaate
nar-naarii ko he parameshvar sneh tumhii.n sikhalaate
o naiyaa ke khevanahaare japuu.N mai.n tumharo naam
jay raghunandan …
tum hii dayaa ke saagar prabhu jii tum hii paalanahaare
chain tumhii.n se paa_e bekal manavaa saa.Njh-sakaare
jo bhii tumhaarii aas lagaa_e bane usii ke kaam
jay raghunandan …
The 1963 movie Grahasti was released at the height of Shakeel Badayuni’s popularity as a lyricist. The movie starred Ashok Kumar, Manoj Kumar, Rajshree, Nirupa Roy, Mehmood, Shubha Khote, Indrani Mukherjee and others. I want to draw your attention to the simplicity of this Hindi (not Urdu) song (bhajan) written by Shakeel sung by Asha Bhosle on Ravi‘s music: jiivan jyot jale
jiivan jyot jale
kou na jaane kab nikase din
aur kab raat Dhale
jiivan jyot jale …
bhor bhaye to man muskaaye
sa.Njh bhaye to niir bahaaye
ek pal maan kare sa.nsaarii
ek pal haath male
jiivan jyot jale …
https://www.youtube.com/watch?v=UemDW8KonE8
The 1954 movie Amar had the complete quartet together of Shakeel as Lyricist, Naushad as Music Director, Mohammad Rafi as singer and Dilip Kumar as actor opposite Madhubala who was head over heels in love with Dilip Kumar and wanted to marry him.
Lets go to the temple together with Dilip Kumar and Madhubala and hear and see the beauty of Shakeel’s lyrics for this song:
##during casting##
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
ra: kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
##casting ends here##
part 2
##Dilip and Madhubaalaa go to temple##
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
hai.n paa.Nv tere phir bhii tuu aane se hai majabuur
aane se hai majabuur
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
insaaf kaa mandir hai ye bhagavaan kaa ghar hai
dukh de ke jo dukhiyo.n se na insaaf karegaa
bhagavaan bhii usako na kabhii maaf karegaa
ye soch le -2
ye soch le har baat kii daataa ko Kabar hai
daataa ko Kabar hai
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
Part 3:
##at the end##
ra: maayuus na ho haar ke taqadiir kii baazii
pyaaraa hai vo Gam jisame.n ho bhagavaan bhii raazii
dukh dard mile
dukh dard mile jisame.n wohii pyaar amar he
wohii pyaar amar he
ye soch le har baat kii daataa ko Kabar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
I have already put up two songs from the 1960 Guru Dutt movie Chaudhvinh Ka Chand: the title song and Mili khaak mein mohabbat. This one is picturised on Waheeda Rehman who was Guru Dutt’s find. She acted as a vamp in her first movie C.I.D. and then as a heroine in Guru Dutt’s 1957 classic Pyasa. Three years later, in 1960, she acted in Guru Dutt’s movie Chaudhvinh Ka Chand and look how she had matured as an actor.Marvel at the beauty of the lyrics by Shakeel. Lata Mangeshkar sang it on Ravi’s music.
Enjoy: Badale badale mere sarakaar nazar aate hai.n -2
chaudahavii.n kaa chaa.Nd ho, yaa aafataab ho
jo bhii ho tum khudaa ki qasam, laajavaab ho
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
https://www.youtube.com/watch?v=Pjf9ORFDwQA
The 1965 movie Bedaagh had Nanda, Manoj Kumar, Shashikala and Mehmood in the lead roles together with Shubha Khote and Laita Pawar…. This song has Shakeel’s lyrics and talks about the inevitability of every path in hero Manoj Kumar’s life leading back to his lost love. Mohammad Rafi has sung this on Roshan‘s music.
Enjoy: Zindagi ke mor par jo koi raasta mila
Teri gali se jaa mila…
zindagii ke mo.D par jo ko_ii raastaa milaa
terii galii se jaa milaa -2
aaj khaate hai.n Thokare.n shahar me.n zindagii ke ham -2
tujhase chale the duur-duur Gam kii sharaab pii ke ham -2
terii taraf bahak ga_e -2
aisaa hame.n nashaa milaa
teraa Kyaal chho.D ke ba.Dh ga_ii.n aur ulajhane.n
tere hii naam kii sadaa detii hai dil kii dha.Dakane.n -2
ab ye hii sochate hai.n ham ruuTh ke tujhase kyaa milaa -2
tujhase ko_ii garaz nahii.n phir bhii hai terii aarazuu
dil ne tujhe bhulaa diyaa phir bhii hai dil me.n tuu hii tuu -2
tujhase bichha.D ga_e to ab -2
teraa hame.n pataa milaa -2
terii galii se jaa …
https://www.youtube.com/watch?v=qXaw5Dw69QY
We have already talked about the 1954 movie Baiju Bawra, who went to the court of Emperor Akbar to win in a contest against the great musician Tansen in order to avenge his father’s death. Baiju Bawra got Meena Kumari her first (out of four) Best Actress awards and Music Director Naushad his first and only Best Music Director award.
Shakeel penned some of his loveliest numbers for the movie and I have already put up one of them: Tu Ganga ki mauj. Here are the others:
1. | “Tu Ganga Ki Mauj” (Raga Bhairavi) | Mohammad Rafi, Lata Mangeshkar | |
2. | “Aaj Gawat Man Mero Jhoomke” (Raga Deshi) | Ustad Amir Khan, D. V. Paluskar | |
3. | “O Duniya Ke Rakhwale” (Raga Darbari) | Mohammad Rafi | |
4. | “Door Koi Gaye” (Raga Desh) | Lata Mangeshkar, Shamshad Begum & chorus | |
5. | “Mohe Bhool Gaye Sanwariya” (Raga Bhairav with traces of Raga Kalingda) | Lata Mangeshkar | |
6. | “Jhoole Mein Pawan Ki Aai Bahar” (Raga Pilu) | Mohammad Rafi, Lata Mangeshkar | |
7. | “Man Tarpat Hari Darsan Ko Aaj” (Raga Malkauns) | Mohammad Rafi | |
8. | “Bachpan Ki Muhabbat” (Based on Maand) | Lata Mangeshkar | |
9. | “Insaan Bano” (Raga Todi) | Mohammad Rafi | |
10. | “Tori Jai Jai Kartar” (Raga Puriya Dhanashree) | Ustad Amir Khan | |
11. | “Langar Kankariya Ji Na Maro” (Raga Todi) | Ustad Amir Khan, D. V. Paluskar | |
12. | “Ghanana Ghanana Ghana Garjo Re” (Raga Megh) | Ustad Amir Khan | |
13. | “Sargam” (Raga Darbari) | Ustad Amir Khan |
Please enjoy: Door koi gaaye….
sh: duur koii gaae dhun ye sunaae
tere bin chhaliyaa re baaje na muraliyaa re
ra: ho jii ho
ko: duur ko_ii gaa_e dhun ye sunaae
tere bin chhaliyaa re baaje na muraliyaa re
sh: man ke a.Ndar ho pyaar kii agni
ko: ho man ke a.Ndar pyaar kii agnii
sh: nainaa khoye-khoye ki are raamaa naina khoye-khoye
ko: are ramaa nainaa khoye khoye
sh: ho abhii se hai ye haal ho
abhii se hai ye haal to aage
naa jaane kyaa hoe
ko: ke are raamaa na jaane kyaa hoe
nii.nd nahii.n aae birahaa sataae
tere bin chhaliyaa re
baaje na muraliyaa re
ra: ho ji ho
ko: duur ko_ii gaa_e …
la: ho more a.Nganaa laaj kaa paharaa
ko: laaj kaa paharaa raamaa laaj kaa paharaa
la: paa.Nv pa.Dii za.njiir
ki are raamaa paa.Nv pa.Dii za.njiir ho
yaad kisii kii jab-jab aae
laage jiiyaa pe tiir
yaad kisii kii jab-jab aae
laage dil pe tiir
ko: ke are raamaa lage dil pe tiir
la: aa.Nkh bhar aae jal barasaae
tere bin chhaliyaa re baaje na muraliyaa re
ra: ho ji ho
ko: duur ko_ii gaaye …
Until Sahir Ludhianvi’s 1968 tear-jerker song for the movie Neelakamal (Babul ki duyaanyen leti jaa) came on the scene, the standard doli number for Indian weddings was from the 1950 movie Babul starring Dilip Kumar and Madhubala. Shakeel penned the lyrics, Naushad composed the music and Mohammad Rafi, Talat Mehmood and Shamshad Begum sang it together with chorus.
Enjoy: Chhod babul ka ghar…
Part I
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : yaad mayake kii tan se bhulaaye chalii
ko : haa.N bhulaaye chalii
sha : priit saajan kii man me.n basaaye chalii
ko : haa.N basaaye chalii
sha : yaad kar ke ye ghar, ro_ii.n aa.Nkhe.n magar
muskuraanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : ( chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa ) -2
% Part II
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : sa.ng sakhiyo.n ke bachapan bitaatii thii mai.n
ko : haa.N bitaatii thii mai.n
sha : byaah gu.Diyo.n kaa ha.Ns-ha.Ns rachaatii thii mai.n
ko : haa.N rachaatii thii mai.n
sha : sab se mu.Nh mo.D kar, kyaa bataa_uu.N kidhar
dil lagaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
% Part III
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
ho
aaj jaanaa pa.Daa
pahan ulafat kaa gahanaa dulhan mai.n banii
Dolaa aayaa piyaa kaa sakhii mai.n chalii
ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : aa
ra : aa_o saajan kha.De hai.n duwaar
lene ko aaye kahaar
Dolii me.n ho jaa sawaar
% Male Voice?
Kushii ke saath duniyaa me.n hazaaro.n Gam bhii hote hai.n
jahaa.N bajatii hai.n shanaa_ii wahaa.N maatam bhii hote hai.n
sha : ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
I can go on and on and it has been only two weeks and I have only given about 100 top songs and ghazals of the greatest Lyricist in Hindi movies: Shakeel Badayuni. I have given you many songs from the movie Bees Saal Baad, eg: Beqraar karke, kahin deep jale kahin dil, sapane suhaane ladakpan ke and ai muhabbat meri duniya mein tera kaam na tha.Why am I partial towards these songs? These have Hemant Kumar’s music and some of them his singing.
Let me end my tribute to Shakeel Badayuni with this one.
Enjoy: Zara nazaron se keh do ji….
zaraa nazaro.n se kah do jii nishaanaa chuuk na jaae
zaraa nazaro.n se kah do jii
mazaa jab hai tumhaarii har adaa qaatil hii kahalaae
zaraa nazaro.n se…
qaatil tumhe pukaaruu.N ke jaan-e-vafaa kahuu.N
hairat me.n pa.D gayaa huu.N ke mai.n tum ko kyaa kahuu.N
zamaanaa hai tumhaaraa
zamaanaa hai tumhaaraa chaahe jisakii zi.ndagii le lo
agar meraa kahaa maano to aise khel na khelo
tumhaarii is sharaarat se na jaane kis kii maut aae
zaraa nazaro.n se…
haay, kitanii maasuum lag rahii ho tum
tumako zaalim kahe vo jhuuThaa hai
ye bholaapan tumhaaraa
(ye bholaapan tumhaaraa ye sharaarat aur ye shokhii
zaruurat kyaa tumhe.n talavaar kii tiiro.n kii kha.njar kii ) – (2)
nazar bhar ke jise tum dekh lo vo khud hii mar jaae
zaraa nazaro.n se…
ham pe kyo.n is qadar biga.Datii ho
chhe.Dane vaale tumako aur bhii hai.n
bahaaro.n par karo gussaa ulajhatii hai.n jo aa.Nkho.n se
havaao.n par karo gussaa jo Takaraatii hai.n zulfo.n se
kahii.n aisaa na ho koii tumhaaraa dil bhii le jaae
zaraa nazaro.n se…
https://www.youtube.com/watch?v=eqts8urMO-g
Ladies and gentlemen,
It has been veritable pleasure putting up 100 Best Ghazals and Songs of the greatest Lyricist and Poet in the Hindi movies in three parts. His poetry and songs were all about love – particularly irony in love, feelings, emotions and a host of other things. As he himself said:
[lineate][/lineate]Main Shakeel Dil Ka Hoon Tarjuman[lineate][/lineate]Keh Mohabbaton Ka Hoon Raazdaan[lineate][/lineate]Mujhe Fakhr Hai Meri Shayari[lineate][/lineate]Meri Zindagi Se Juda najin[lineate][/lineate]
THE MAGIC OF THE LYRICS OF RAJA MEHDI ALI KHAN
My Page on Facebook called Lyrical has always given you the best of songs from the best of Lyricists; it is because the Lyrics are the origin of the song, the thought and emotion behind it. In all the songs that I have on my cell-phone, whenever I want to hear them during my walks, the first few numbers are always from Raja Mehdi Ali Khan. Can anyone guess why?
It is rather simple: in any album or playlist, the songs sort out alphabetically; and since Raja Mehdi Ali Khan is credited with the word ‘Aap‘ in songs, these are usually the first few songs that I hear. By far the first always is: Aapki nazaron ne samajha pyaar ke kaabil mujhe from the 1962 movie Anpadh starring Dharmendra and Mala Sinha.
Having been born in 1928 in Jehlum in undivided India, when the partition of India took place, Raja Mehdi Ali Khan and wife Tahira refused to go to Pakistan despite communal riots. His patriotism came to fore in 1948 itself when he wrote the famous number: Watan ki raah mein watan ke naujwaan shahid hon for the movie Shaheed starring Dilip Kumar.
Raja Mehdi Ali Khan paired with the Music Director Madan Mohan to produce some of Lata Mangeshkar‘s best numbers. She has acknowledged so.
Lets turn to the 1962 movie Anpadh. Here are five songs sung by Lata Mangeshkar with lyrics penned by Raja Mehdi Ali Khan and music composed by Madan Mohan. Four out of these are amongst the best songs of Lata:
1. Aapakii nazaro.n ne samajhaa.
2. Hai isii me.n pyaar kii aabaru.
3. Jiyaa le gayo jii moraa saa.nvariyaa.
4. Ra.ng\-bira.ngii raakhii leke aa_ii bahana.
5. Vo dekho jalaa ghar kisii kaa.
Please enjoy: Aapki nazaron ne samajha pyaar ke kaabil mujhe…
aap kii nazaro.n ne samajhaa, pyaar ke kaabil mujhe
dil kii ai dha.Dakan Thahar jaa, mil ga_ii ma.nzil mujhe
aap kii nazaro.n ne samajhaa
jii hame.n ma.nzuur hai, aapakaa ye faisalaa – 2
kah rahii hai har nazar, ba.ndaa-paravar shukariyaa
do jahaa.N kii aaj khushiyaa.N ho ga_ii.n haasil mujhe
aap kii nazaro.n ne samajhaa …
aap kii ma.nzil huu.N mai.n merii ma.nzil aap hai.n – 2
kyuu.N mai.n tuufaan se Daruu.N mere saahil aap hai.n
koii tuufaano.n se kah de, mil gayaa saahil mujhe
aap kii nazaro.n ne samajhaa …
pa.D ga_ii dil par merii, aap kii parchhaa_iyaa.N – 2
har taraf bajane lagii.n saika.Do.n shahanaa_iyaa.N
ha.Nsake apanii zi.ndagii me.n, kar liyaa shaamil mujhe
aap kii nazaro.n ne samajhaa …
Here is one more song from the 1962 movie Anpadh. We have many initiatives for the education of the girl-child; Anpadh was amongst the first ones. Here is the story: Chaudhary Shambhunath (Balraj Sahni) considers the accumulation of wealth to be more important than education. He condones his sister’s (Mala Sinha) inattention at school and consequently she grows up anpadh (illiterate). When she finds herself married to a bibliophile her problems really begin. Unable to read the poetry her husband loves and being a rotten cook too, she becomes despised by her husband and her in-laws. Circumstances conspire to leave her homeless, widowed and pregnant. Narrowly escaping from the attentions of a panderer she falls amongst friends and, with the birth of her daughter, she starts on the long road to redemption. An entertaining plea for education in general and for the education of girls in particular.
Please enjoy: Hai isi mein pyaar ki aabru wo zafa karen main wafa karun…
hai isii me.n pyaar kii aabaruu
vo zafaa kare.n mai.n vafaa karuu.N
jo vafaa bhii kaam na aa sake
to vohii kahe.n ke mai.n kyaa karuu.N
hai isii …
(mujhe Gam bhii unakaa aziiz hai
ke unhii.n kii dii huii chiiz hai ) – (2)
ke unhii.n kii dii huii chiiz hai
yahii Gam hai ab merii zi.ndagii
ise kaise dil se judaa karuu.N
hai isii …
(jo na ban sake mai.n vo baat huu.N
jo na khatm ho mai.n vo raat huu.N ) – (2)
jo na khatm ho mai.n vo raat huu.N
ye likhaa hai mere nasiib me.n
yuu.Nhii shammaa banake jalaa karuu.N
hai isii …
(na kisii ke dil kii huu.N aarazuu
na kisii kii nazar kii huu.N justajuu ) – (2)
na kisii kii nazar kii huu.N justajuu
mai.n vo phuul huu.N jo udaas ho
na bahaar aae to kyaa karuu.N
hai isii …
Raja Mehdi Ali Khan could have been the greatest lyricist of all times; except that he preferred to be Raja (King) of his own world. The fact is that in order to win popularity, he never brought down the quality of his lyrics even though he experimented with many music directors such as the popular ones like Laxmikant Pyarelal. Songs, to me, mean emotions, thoughts, moods, hopes, aches, frustrations and triumphs….and all these are brought out by the lyricist. Others such as Music Directors, Actors and Singers only add to these or subtract from these; but, if there is no lyricist, there is no song!
I have given you two really nice numbers from the 1962 movie Anpadh. Here are the next two beautiful numbers before we take on others.
The first one is: Jiya le gayo ji mera saanvariya….
jiyaa le gayo jii moraa saa.nvariyaa
laagii man me.n lagan huii baavariyaa
pa ni ni ni re re re ma ma ma dha pa ma pa re
ni re re re ma ma ma dha dha dha saa ni dha ni pa
o papiihe, o papiihe
tuune papiihe nahii.n dekhe more sai.nyaa
dekhe to le-legaa unakii bala_iyaa.n
jaa re dIvaane, maar naa taane,
piyaa kii sun jaake baa.nsuriyaa
saamane aae to mai.n aa.Nkho.n me.n chhupaa luu.N
thaamake bai.nyaa unhe.n dilame.n biThaa luu.N
shaam savere, saath ho mere
gorii ke sa.ng jaise gaagariyaa
aaj kisii ne mujhe apanaa banaayaa
saath rahuu.ngii jaise piyaa kii mai.n chaayaa
ThaNDii havaao.n tum bhii to gaao
priit kii dekho baaje jhaa.Njhariyaa
This one takes you to the depths of depression: that’s a good lyricist for you – one moment he takes you the crest of the waves and next he makes you experience the trough.
Whilst listening to this number, give a thought to how well Lata Mangeshar used to sing in her youth. Madan Mohan’s music enhances her lugubrious mood. It is really a super song: well crafted in every facet.
Please enjoy: Woh dekho jala ghar kisi ka…
vo dekho jalaa ghar kisii kaa ye TuuTe hai.n kisake sitaare
vo qismat ha.Nsii aur aise ha.Nsii ke rone lage Gam ke maare
vo dekho jalaa …
gayaa jaise jho.nkaa havaa kaa hamaarii Kushii kaa zamaanaa
di_e hamako qismat ne aa.Nsuu jab aayaa hame.n muskaraanaa
binaa hamasafar hai suunii Dagar kidhar jaa_e.N ham besahaare
vo dekho jalaa …
hai.n raahe.n kaThin duur ma.nzil ye chhaayaa hai kaisaa a.Ndheraa
ki ab chaa.Nd-suuraj bhii milakar nahii.n kar sakegaa saveraa
ghaTaa chhaa_egii bahaar aa_egii naa aa_e.Nge vo din hamaare
vo dekho jalaa …
idhar ro rahii hai.n aa.Nkhe.n udhar aasamaa.N ro rahaa hai
mujhe kar ke barabaad zaalim pashemaan ab ho rahaa hai
ye barakhaa kabhii to ruk jaa_egii ruke.nge naa aa.Nsuu hamaare
vo dekho jalaa …
Ladies and gentlemen, I am convinced that with the introduction to Raja Mahdi Ali Khan that I have given and with the first four songs from his 1962 movie Anpadh, you are convinced that his poetry and lyrics rank amongst the best of Urdu songs (erroneously called Old Hindi songs).
Let me now go back to his first movie Do Bhai of 1947 starring Ulhas, Rajan and Kamini Kaushal. Geeta Dutt has sung this song on Sachin Dev Burman‘s music.
Geeta Dutt was a most accomplished singer who didn’t get the kind of recognition she should have; her genres included naughty bar numbers, bhajans, serious and melancholic songs and of course some effervescent numbers as well.
This one is on the melancholic side. Full marks to her and full marks to Raja for having conceived it.
Enjoy one of the most famous songs of the early days of Hindi cinema: Mera sundar sapana beet gaya…
Mera sunder sapana beet gaya,
Main prem mein sab kuchh haar gayi,
Bedard zamaana jeet gaya.
meraa sundar sapana biit gayaa
mai.n prem me.n sab kuchh haar gayii
bedad.r zamaanaa jiit gayaa
meraa sundar sapanaa biit gayaa
kyo.n kaalii badariyaa chaayii hai
kyo.n kalii kalii mus_kaayii hai
merii prem kahaanii khatm hu_ii
meraa jiivan kaa sa.ngiit gayaa
meraa sundar sapanaa biit gayaa
o cho.D ke jaane vaale aa
dil to.D ke jaane vaale aa
aa.Nkhe.n asuvan me.n Duub gayii.n
ha.Nsane kaa zamaanaa biit gayaa
meraa sundar sapanaa biit gayaa
har raat merii divaalii thii
mai.n piyaa kii hone vaalii thii
is jiivan ko ab aag lage, aag lage
is jiivan ko ab aag lage
mujhe cho.Dake jiivan miit gayaa
meraa sundar sapanaa biit gayaa
Let me know if it is the same with you but for me Songs are like a chain of memories….one invariably leads to others. And, when it comes to Raja Mehdi Ali Khan, there is no stopping the flood.
We just talked about Do Bhai and Geeta Dutt and the next thing I know is Yaad karoge song from her. It should really be the signature number of Geeta Dutt; she sang it so well.
Enjoy: Yaad karoge, yaad karoge, ik din hamako yaad karoge…
yaad karoge …
yaad karoge, yaad karoge, ik din ham ko yaad karoge
ta.Dapoge, fariyaad karoge, ik din ham ko yaad karoge
aaye.ngii jab saawan kii raate.n
jaag uThe.ngii bhuulii baate.n
dard se dil aabaad karoge,
ik din ham ko yaad karoge
jise basaayaa thaa kabhii man me.n
Dhuu.NDhoge, Dhuu.NDhoge use baaG me.n ban me.n,
Dhuu.NDhoge …
dil kaa sukuu.N barabaad karoge,
ik din ham ko yaad karoge
dil me.n basaa ke chhoD diyaa hai
apanaa hii ghar barabaad kiyaa hai
kaise use aabaad karoge,
ik din ham ko yaad karoge
kho kar ham ko paa na sakoge
ho.nge jahaa.N ham aa na sakoge
aa na sakoge, paa na sakoge,
ta.Dapoge, ta.Dapoge fariyaad karoge
yaad karoge, yaad karoge …
For the 1950 movie Madhosh, starring Meena Kumari and Manhar Desai, he gave his best number ever. Imagine him writing this at the age of 22! Also, since I gave you those two deep numbers of Do Bhai numbers, you have to imagine Raja writing these at the age of 19!
This one has been sung by Talat Mahmood on the music of Madan Mohan and happens to be one of the best of Talat Mahmood too.
Please enjoy: Meri yaad mein tum na aansu bahana
Na ji ko jalaana mujhe bhool jaana…
merii yaad me.n tum na aa.Nsuu bahaanaa
na jii ko jalaanaa, mujhe bhuul jaanaa
samajhanaa ke thaa ek sapanaa suhaanaa
vo guzaraa zamaanaa, mujhe bhuul jaanaa
merii yaad me.n…
judaa merii ma.Nzil, judaa terii raahe.n -2
mile.ngii na ab terii-merii nigaahe.n
mujhe terii duniyaa se hai duur jaanaa
merii yaad me.n…
ye ro-ro ke kahtaa hai TuuTaa huaa dil -2
nahii.n huu.N mai.n terii mohabbat ke kaabil
meraa naam tak apane lab pe na laanaa
na jii ko jalaanaa, mujhe bhuul jaanaa
merii yaad me.n…
I am sure all of you have heard of the Producer, Director and Screen-writer Raj Khosla or Rajveer Singh Khosla, who like the poet and lyricist Sahir, hailed from Ludhiana in Punjab. His films often had focus on women. Initially, he started being an assistant to Guru Dutt but later emerged as an independent Producer and Director of such movies as Ek Musafir Ek Haseena, C.I.D., Woha Kaun Thi and Mera Saya and later Main Tulsi Tere Aangan Ki.
Raja Mehdi Ali Khan was his preferred lyricist. In the 1962 Raj Khosla movie Ek Musafir Ek Haseena, Raja Mehdi Ali Khan wrote two songs (the others were by SH Behari and Shewan Rizwi). The first song has the word ‘Aap’ which Raja introduced in songs and others followed. Music is by OP Nayyar. This duet is between Mohammad Rafi and Asha Bhosle since none of OP Nayyar’s songs were ever sung by Lata Mangeshkar. He didn’t allow her.
Enjoy: Aap younhi agar hamse milate rahe dekhiye ek din pyaar ho jaayega….
ra: aap yuu.N hii agar hamase milate rahe
dekhi_e ek din pyaar ho jaaegaa
aa: aisii baate.n na kar ai hasii.n jaaduugar
meraa dil terii nazaro.n me.n kho jaaegaa
ra: piichhe-piichhe mere aap aatii.n hai.n kyo.n -2
merii raaho.n me.n aa.Nkhe.n bichhaatii hai.n kyo.n
aap aatii hai.n kyo.n …
aa: kyaa kahuu.N aapase ye bhii ek raaz hai
ek din isakaa izahaar ho jaaegaa
ra: kaisii jaaduugarii kii are jaaduugar -2
tere chahare se haTatii nahii.n ye nazar
hai ye nazar …
aa: aisii nazaro.n se dekhaa agar aapane
sharm se ra.Ng gulanaar ho jaaegaa
ra: mai.n mohabbat kii raaho.n se a.njaan huu.N -2
kyaa karuu.N kyaa kyaa karuu.N pareshaan huu.N
mai.n pareshaan huu.N …
aa: aapakii ye pareshaaniyaa.N dekhakar
meraa dil bhii pareshaan ho jaaegaa
We are talking about the 1962 movie Ek Musafir Ek Haseena directed by Raj Khosla. The film was produced by Sashadhar Mukherjee; who, made his son Joy Mukherjee the hero in the movie, opposite Sadhana. This lovely duet written by Raja Mehdi Ali Khan can be played over and over again. It is between Mohammad Rafi and Asha Bhosle singing for Joy Mukherjee and Sadhana on the music of OP Nayyar.
Please enjoy: Main pyaar ka rahi hoon…
ra: mai.n pyaar kaa raahii huu.N
terii zulf ke saae me.n
kuchh der Thahar jaauu.N
aa: tum ek musaafir ho
kab chho.Dake chal doge
ye sochake ghabaraauu.N
ra: mai.n pyaar kaa raahii huu.N
ra: tere bin jii lage na akele
aa: ho sake to mujhe saath le le
ra: naazanii.n tuu nahii.n jaa sakegii
chho.Dakar zindagii ke jhamele
naazanii.n
aa: jab bhii chhaae ghaTaa
yaad karanaa zaraa
saath ra.ngo.n kii umr kahaanii
ra: mai.n pyaar kaa raahii huu.N
ra: pyaar kii bijaliyaa.N muskuraae.n
aa: dekhiye aap par gir na jaae.n
ra: dil kahe dekhataa hii rahuu.N mai.n
saamane baiThakar ye adaae.n
dil kahe
aa: na mai.n huu.N naazanii.n
na mai.n huu.N mahajabii.n
aap hii kii nazar hai diivaanii
ra: mai.n pyaar kaa raahii huu.N
The 1967 movie ‘Dulhan Ek Raat Ki’ starred Dharmendra, Nutan and Rehman; the same trio that did ‘Dil Ne Phir Yaad Kiya’ one year earlier. But, for the latter, Sonik Omi composed the music and GL Rawal wrote the lyrics. For Dulahan Ek Raat Ki, Raja Mehdi Ali Khan wrote the lyrics and music was by Madan Mohan.
The movie has one of the best numbers with the trio of Raja Mehdi Ali Khan, Madan Mohan and Lata Mangeshkar.
Please enjoy: Sapano mein agar mere tum aao to so jaayun…
sapano.n me.n agar mere
tum aa_o to so jaauu.N -2
sapano.n me.n agar mere
baaho.n ki agar maalaa
pehanaa_o to so jaauu.N -2
sapano.n me.n agar mere
sapano.n me.n kabhii saajan
baiTho mere paas aake
jab siine pe sar rakh duu.n
mai.n pyaar me.n sharamaate
ek giit muhabbat kaa
tum gaa_o to so jaauu.N -2
sapano.n me.n agar mere
biitii huii wo yaade.n
ha.Nsatii huii aatii hai.n
leharo.n kii tarah dil me.n
aatii kabhii jaatii hai.n
yaado.n kii tarah tum bhii
aa jaa_o to so jaauu.N -2
sapano.n me.n agar mere
tum aa_o to so jaauu.N -2
sapano.n me.n agar mere
The second song from the 1967 movie ‘Dulhan Ek Raat Ki’ is one of the best of Mohammad Rafi. Madan Mohan’s music is superb.
Enjoy: Ik haseen shaam ko dil mera kho gaya…
ik hasiin shaam ko dil meraa kho gayaa
pahale apanaa huaa karataa thaa
ab kisiikaa ho gayaa
muddato.n se aarazuu thii
mere dil me koii aaye
suunii suunii zindagii me.n
ek shammaa jhilamilaaye
vo jo aaye to roshan zamaanaa ho gayaa
ik hasiin …
mere dil ke kaaravaa.n ko
le chalaa hai aaj koii
shabanamii sii jisakii aa.Nkhe.n
tho.Dii jaagii tho.Dii soyii
unako dekhaa to mausam suhaanaa ho gayaa
ik hasiin …
The 1964 movie Aap Ki Parchhayiyan starred Dharmendra opposite beautiful eyed Shashikala. Raja Mehdi Ali Khan wrote his best song ever for this movie that was sung with matching passion by the God of Songs: Mohammad Rafi. When it came to gentle songs, there was nobody to beat the music of Madan Mohan.
Please enjoy one of the best of Rafi’s song:
main nigaahen tere chehre se hatayun kaise..
mai.n nigaahe.n tere chehare se haTaa_uu.N kaise
lut ga_e hosh to phir hosh me.n aa_uu.N kaise
chhaa rahii thii terii mahakii hu_ii zulfo.n kii ghaTaa
terii aa.Nkho.n ne pilaa dii to mai.n piitaa hii gayaa
taubaa taubaa taubaa taubaa taubaa taubaa
vo nashaa hai ki bataa_uu.N kaise
merii aa.nkho.n me.n gile-shikave hai.n aur pyaar bhii hai
aarazu_e.n bhii hai.n aur hasarat-e-diidaar bhii
itane tuufaan mai.n aa.Nkho.n me.n chhupaa_uu.N kaise
shoK nazare.n ye sharaarat se na baaz aa_e.ngii
kabhii ruuThe.ngii kabhii mil ke palaT jaa_e.ngii
tujh se nibh jaa_egii mai.n in se nibhaa_uu.N kaise
As I mentioned to you earlier, Raja Mehdi Ali Khan paired with Madan Mohan (just like Rajinder Krishan and Madan Mohan) to make some of the best songs sung by Lata Mangeshkar during her young days when her voice was really heavenly. This one is particularly superb.
Please enjoy: Agar mujhase mohabbat hai mujhe sab apne gam de do..
Please notice the liberal use of Urdu in songs of that era.
agar mujh se muhabbat hai mujhe sab apane Gam de do
in aa.Nkho.n kaa har ik aa.Nsuu mujhe merii qasam de do
agar mujh se …
tumhaare Gam ko apanaa Gam banaa luu.N to qaraar aae
tumhaaraa dard siine me.n chhupaa luu.N to qaraar aae
vo har shay jo tumhe.n dukh de mujhe mere sanam de do
agar mujh se …
shariik-e-zi.ndagii ko kyuu.N shariik-e-Gam nahii.n karate
dukho.n ko baa.NT kar kyuu.N in dukho.n ko kam nahii.n karate
ta.Dap is dil kii tho.Dii sii mujhemere sanam de do
agar mujh se …
We are paying tribute to a great lyricist who paired with many music directors to produce some very melodious and poignant songs in Hindi movies. His combination with Music Director Madan Puri resulted in some …of the most memorable songs.
Here is one. The movie is the 1965 movie Neela Akash (Blue Sky) starring Dharmendra, Mala Sinha, Shashikala, Mehmood and Madan Puri. The music for the song is composed by Madan Mohan. It is one of the best songs enacted by Dharmendra and the lyrics are just wonderful. Mohammad Rafi sang it.
Enjoy: Aakhiri geet mohabbat ka suna loon to chalun,
Main chala jayunga, do ashq baha loon to chalun.
aakhirii giit muhabbat kaa sunaa luu.n to chaluu.n
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
aaj mai.n Gair huu.n kuuchh din hu_e mai.n Gair na thaa
merii chaahat merii ulfat se tujhe bair na thaa
mai.n huu.n ab Gair yakii.n dil ko dilaa luu.n to chaluu.n
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
aaj wo din hai ke tuune mujhe Thukaraayaa hai
apanaa anjaam in aa.Nkhon ko nazar aayaa hai
dahashat-e-dil mai.n zaraa hosh me.n aa luu.N to chaluu.N
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
terii duniyaa se mai.n ek roz chalaa jaau.ngaa
aur gaye waqt ki maani.nd nahii.n aauu.ngaa
phiir na aane kii qasam aaj mai.n khaa luu.n to chaluu.n
mai.n chalaa jaauu.ngaa
mai.n chalaa jaauu.ngaa do ashq bahaa luu.n to chaluu.n
There is one more song of Neela Akash, the 1965 movie starring Dharmendra and Mala Sinha but, somehow, I am not much enamoured with it. It is, “Tere paas aake mera waqt nikal jaata hai”. The reason why I don’t like it is because whatever the situation in the movie, the song tends to use a woman as a ‘time-pass’. However, there is this duet in the movie that starts with the word ‘Aap’ that Raja Mehdi Ali Khan intoduced in Hindi songs.
The duet is between Mohammad Rafi and Asha Bhosle on Madan Mohan’s music.
Please enjoy: Aapko pyaar chhupaane ki buri aadat hai…
aap ko pyaar chhupaane kii burii aadat hai
aap ko pyaar jataane kii burii aadat hai
aap ne siikhaa hai kyaa dil ke lagaane ke sivaa
aap ko aataa hai kyaa naaz dikhaane ke sivaa
aur hame.n naaz uThaane kii burii aadat hai …
kis liye aap ne sharamaa ke jhukaa lii aa.Nkhe.n
is liye aap se ghabaraa ke bachaa lii aa.Nkhe.n
aap ko tiir chalaane kii burii aadat hai …
ho chukii hai der bas ab jaaiyegaa jaaiyegaa
bandaa paravar zaraa tho.Daa saa kariib aa_iyegaa
aap ko paas na aane kii burii aadat hai …
I have given you songs from Raj Khosla’s 1962 movie Ek Musafir Ek Haseena. Two years later he made a most successful suspense thriller Woh Kaun Thi starring Sadhana, Manoj Kumar and Prem Chopra. Once again Madan Mohan composed the music. The movie had five songs, all of them became super hit. Here is the list:
1. Chhod kar tere pyaar kaa daaman.
2. Jo hamane daastaan apani sunaayi aap kyun roye.
3. Lag jaa gale ki phir ye haseen raat ho na ho.
4. Nainaa barasen rimajhim rimajhim.
5. Shokh nazar ki bijaliyaan dil pe mere giraaye jaa.
The song ‘Lag jaa gale se phir’ is amongst the top ten songs of Lata Mangeshkar and has been acknowledged so by herself. It has the perfect combination of enigmatic lyrics, music that tugs at you, and singing that is so captivating.
Please enjoy: Lag jaa gale se phir ye haseen raat ho na ho…
lag jaa gale ki phir ye hasii.n raat ho na ho
shaayad phir is janam me.n mulaaqaat ho na ho
lag jaa gale se …
hamako milii hai.n aaj, ye gha.Diyaa.N nasiib se
jii bhar ke dekh liijiye hamako qariib se
phir aapake nasiib me.n ye baat ho na ho
phir is janam me.n mulaaqaat ho na ho
lag jaa gale ki phir ye hasii.n raat ho na ho
paas aaiye ki ham nahii.n aae.nge baar-baar
baahe.n gale me.n Daal ke ham ro le.n zaar-zaar
aa.Nkho.n se phir ye pyaar ki barasaat ho na ho
shaayad phir is janam me.n mulaaqaat ho na ho
lag jaa gale ki phir ye hassii.n raat ho na ho
shaayad phir is janam me.n mulaaqaat ho na ho
lag jaa gale ki phir ye hassii.n raat ho na ho
Lets take one more song from the 1964 movie Woh Kaun Thi starring Sadhana, Manoj Kumar and Prem Chopra before turning in for the night. This too has the same combination of Raja Mehdi Ali Khan, Madan Mohan and Lata Mangeshkar. It is very poignant number and like the number before this, tugs at your heart with great force.
Please enjoy: Jo hamane dastaan apani sunaayi aap kyun roye…
jo hamane daastaa.n apanii sunaaii, aap kyo.n roe
tabaahii to hamaare dil pe aaii, aap kyo.n roe
hamaaraa dard-e-Gam hai ye, ise kyo.n aap sahate hai.n
ye kyo.n aa.Nsuu hamaare, aapakii aa.Nkho.n se bahate hai.n
Gamo.n kii aag hamane khud lagaaii, aap kyo.n roe
bahut roe magar ab aapakii khaatir na roe.nge
na apanaa chain khokar aapakaa ham chain khoe.nge
kayaamat aapake ashko.n ne Dhaaii, aap kyo.n roe
na ye aa.Nsuu ruke to dekhiye, ham bhii ro de.nge
ham apane aa.Nsuo.n me.n chaa.Nd taaro.n ko Dubo de.nge
fanaa ho jaaegii saarii khudaaii, aap kyo.n roe
Here is another soulful number from the same movie; this too a perfect blend of lyrics, music and singing.
Please enjoy: Naina barse rimjhim rimjhim…
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, rimajhim rimajhim
piyaa tore aavan kii aas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
(vo din merii nigaaho.n me.n
vo yaade.n merii aaho.n me.n) -2
ye dil ab tak bhaTakataa hai
terii ulfat kii raaho.n me.n
suunii-suunii raahe.n, sahamii-sahamii baahe.n
aa.Nkho.n me.n hai baraso.n kii pyaas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
(nazar tujh bin machalatii hai
mohabbat haat malatii hai) -2
chalaa aa mere paravaane
vafaa kii shamaa jalatii hai
o mere hamaraahii, phiratii huu.N ghabaraaii
jahaa.N bhi hai, aa jaa mere paas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
adhuuraa huu.N mai.n afasaanaa
jo yaad aauu.N chale aanaa
meraa jo haal hai tujh bin
vo aakar dekhate jaanaa
bhiigii-bhiigii palake.n, chham-chham aa.Nsuu chhalake.n
khoii-khoii aa.Nkhe.n hai.n udaas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
(ye laakho.n Gam ye tanahaaii
mohabbat kii ye rusavaaii) -2
kaTii aisii ka_ii raate.n
na tum aae na maut aaii
ye bi.ndiyaa kaa taaraa, jaise ho a.ngaaraa
maha.ndii mere haatho.n kii udaas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, rimajhim rimajhim
piyaa tore aavan kii aas
nainaa barase.n, rimajhim rimajhim
nainaa barase.n, barase.n, barase.n
https://www.youtube.com/watch?v=RURaAWQ1hF0
It wasn’t Lata Mangeshkar all the way in the 1964 movie Woh Kaun Thi; Asha Bhosle too sang a beautiful number and she sang it with matching verve.
Please enjoy: Shokh nazar ki bijliyan dil pe mere giraaye jaa…
shoK nazar kii bijaliyaa.N dil pe mere giraa_e jaa
meraa na kuchh Kyaal kar tuu yuu.N hii muskaraa_e jaa
shoK nazar kii …
jaag uThii hai aarazuu jaise chiraaG jal pa.De
ab to vafaa kii raah pe ham tere saath chal pa.De
chaahe ha.Nsaa_e jaa hame.n chaahe hame.n rulaa_e jaa
shoK nazar kii …
chain kahii.n kisii gha.Dii aa_e ne tere bin mujhe
kaash mai.n is jahaan se chhiin luu.N ek din tujhe
shoK nazar kii …
Raj Khosla made Ek Musafir Ek Haseena and Woh Kaun Thi with Sadhana in 1962 and 1964 respectively. So captivated was he by her (his movies had a decidedly female focus) that he made, in 1966, another movie with her: ‘Mera Saya’, with the male lead being Sunil Dutt.
Raj Khosla continued with Lyricist Raja Mehdi Al Khan and Music Director Madan Mohan for the songs. Mera Saya, therefore, had some really beautiful songs by this pair:
1. “Tu Jahaan Jahaan Chalegaa Mera Saaya Saath Hoga” Lata Mangeshkar
2. “Jhumka Gira Re, Bareli Ke Bazaar Mein” Asha Bhosle
3. “Nainon Mein Badra Chhaye” Lata Mangeshkar
4. “Aap Ke Pehloo Mein Aakar Roh Diye” Mohammad Rafi
5. “Nainonwali Ne Haye Mera Dil Loota” Lata Mangeshkar
Lets start with the title song.
Please enjoy: Tu jahan jahan chalega mera saya saath hoga…
tuu jahaa.N jahaa.N chalegaa, meraa saayaa, saath hogaa
meraa saayaa, meraa saayaa
kabhii mujhako yaad karake, jo bahe.nge tere aa.Nsuu
to vahii.n pe rok le.nge, unhe.n aake mere aa.Nsuu
tuu jidhar kaa rukh karegaa, meraa saayaa, saath hogaa …
tuu agar udaas hogaa, to udaas huu.Ngii mai.n bhii
nazar aauu.N yaa naa aauu.N, tere paas huu.Ngii mai.n bhii
tuu kahii.n bhii jaa rahegaa, meraa saayaa, saath hogaa …
mai.n agar bichha.D bhii jaauu.N, kabhii meraa Gam na karanaa
meraa pyaar yaad karake, kabhii aa.Nkh nam na karanaa
tuu jo mu.Dake dekh legaa, meraa saayaa, saath hogaa …
meraa Gam rahaa hai shaamil, tere dukh me.n, tere Gam me.n
mere pyaar ne diyaa hai, teraa saath har janam me.n
tuu koI janam bhii legaa, meraa saayaa saath hogaa …
By now you would have already perceived that half of the Top Ten Songs of Lata Mangeshkar have been penned by Raja Mehdi Ali Khan. He had penned his ‘Aap ki nazaron ne smajha’ for the 1962 movie Anpadh at the age of 24. Mera Saya too had a song amongst her top ten.
These are outstanding lyrics. In the movie, it is picturised without any clouds (badara) and lightening (bijli) so as to bring home the point that the mood is not outside but within her!
Please enjoy: Naino mein badara chhaye
Bijli si chamke haay,
Aise mein balam mohe garava lagaaye…
naino.n me.n badaraa chhaae, bijalii sii chamake haae
aise me.n balam mohe, garavaa lagaa le
naino.n me.n…
madiraa me.n Duubii a.Nkhiyaa.N
cha.nchal hai.n dono.n sakhiyaa.N
Dhalatii rahe.ngii tohe
palako.n kii pyaarii pakhiyaa.N
sharamaa ke de.ngii tohe
madiraa ke pyaale
naino.n me.n…
prem diivaanii huu.N me.n
sapano.n kii raanii huu.N mai.n
pichhale janam se terii
prem kahaanii huu.N mai.n
aa is janam me.n bhii tuu
apanaa banaa le
naino.n me.n…
Just like in 1964 Woh Kaun Thi, in the 1966 Mera Saya too, Asha Bhosle too sang a super-hit number. In the latter, it was and it still is very popular.
Please enjoy: Jhumaka gira re Bareilley ke bazaar mein…
jhumakaa giraa re
haay
jhumakaa giraa re barelii ke bazaar me.n
jhumakaa giraa jhumakaa giraa jhumakaa giraa
haay haay haay jhumakaa giraa re …
sai.nyaa.N aaye nain jhukaaye ghar me.n chorii chorii -2
bole jhumakaa mai.n pahanaa duu.N, aajaa baa.Nkii chhorii
mai.n bolii naa naa naa baabaa, naa kar joraa-jorii
laakh manaayaa, sai.nyaa.N ne kalaiyaa naahii.n chho.Dii
haay kalaiyaa naahii.n chho.Dii
##Male voice:## phir kyaa huaa?
phir? phir jhumakaa giraa re ham dono.n kii takaraar me.n
jhumakaa giraa re …
ghar kii chhat pe mai.n kha.Dii, galii me.n dilabar jaanii -2
ha.Nsake bole niiche aa, ab niiche aa diiwaanii
yaa a.NguuThii de apanii yaa chhallaa de nishaanii
ghar kii chhat pe kha.Dii-kha.Dii mai.n huii sharam se paanii
haay huii sharam se paanii
##Male voice:## phir kyaa huaa?
daiyaa! phir jhumakaa giraa re ham dono.n ke is pyaar me.n
jhumakaa giraa re …
bagiyaa me.n balamaa ne merii laT ulajhii sulajhaaii -2
thaamake aa.Nchal bole, gorii tuu mere man bhaaii
aa.Nkh jhukaake kuchh naa bolii
kuchh naa bolii haay, haay, haay
aa.Nkh jhukaake kuchh naa bolii, dhiire se musakaaii
sai.nyaa.N ne jab chhe.Daa mujhako, ho ga_ii haathaapaayii
haay ho ga_ii haathaapaayii
##Male voice:## are, phir kyaa huaa?
phir jhumakaa giraa re, mai.n kyaa boluu.N bekaar me.n
jhumakaa giraa re …
This is a superb Mohammad Rafi number from the same movie Mera Saya with lyrics by Raja Mehdi Ali Khan and music by Madan Mohan. Rafi sang for Sunil Dutt.
Please enjoy: Aapke pehlu mein aakar ro diye…
aapake pahaluu me.n aakar ro diye – 2
daastaan-e-Gam sunaakar ro diye
aapake pahaluu me.n aakar ro diye
zindagii ne kar diyaa jab bhii udaas
aa gaye ghabaraa ke ham ma.nzil ke paas
sar jhukaayaa, sar jhukaakar ro diye
aapake pahaluu me.n aakar ro diye
shaam jab aa.Nsuu bahaatii aa ga_ii – 2
har taraf Gam kii udaasii chhaa ga_ii
diip yaado.n ke jalaakar ro diye
aapake pahaluu me.n aakar ro diye
Gam judaaii kaa sahaa jaataa nahii.n
aapake bin ab rahaa jaataa nahii.n
pyaar me.n kyaa-kyaa ga.Nvaakar ro diye
daastaan-e-Gam sunaakar ro diye
aapake pahaluu me.n aakar ro diye
Raja Mehdi Ali Khan was really like the proverbial Lily of a Day in May; not known for penning volumes. However, whatever he wrote was always straight from his heart and, went straight to the hearts of his fans. I am one of them.
SHAKEEL BADAYUNI – THE KING AMONGST LYRICISTS AND POETS – PART II
Part II of A Fifteen Days Tribute Leading Up To His Death Anniversary, 20 Apr 13
As I mentioned in the post ‘Shakeel Badayuni – The King Amongst Lyricists And Poets – Part I’, this tribute was done on both: a music group called ‘Dil Ki Nazar Se’ and on my page ‘Lyrical’ on Facebook. This tribute is not about his history or past, for example, being from the town Badayun in Uttar Pradesh, having been born on 3rd Aug 1916 and having completed his journey on earth on 20th April 1970. This post is about his poems, ghazals and songs that are erroneously referred to as Old Hindi Songs (probably because these were sung in Old Hindi Movies) but are actually Old Urdu Songs (Read ‘Urdu – A Language of the Heart’)
I thank everyone who have read the Part I. I was pleasantly surprised to see overwhelming response, which only goes to prove that I share my adoration of Shakeel Badayuni with many others.
Day – 3
As usual lets start with a ghazal or nazm. This is one of those that when you reach the last couplet, you are fully soaked…
Enjoy: Once again it is King of Ghazals Talat Mehmood singing a ghazal by the Emperor of Ghazals and Songs: Merii zindagii hai zaalim, tere Gam se aashkaaraa….
merii zi.ndagii hai zaalim tere Gam se aashakaaraa
teraa Gam hai dar haqiiqat mujhe zi.ndagii se pyaaraa
tuu agar buraa na maane to jahaan-e-ra.ng-o-buu me.n
mai.n sukuun-e-dil kii Kaatir ko_ii Dhuu.NDh luu.N sahaaraa
mai.n bataa_uu.N farq naaseh jo hai mujhame.n aur tujhame.n
merii zi.ndagii talaatum terii zi.ndagii kinaaraa
ko_ii ai ‘shakiil’ puuchhe ye junuu.N nahii.n to kyaa hai
ki usiike ho gaye ham jo na ho sakaa hamaaraa
Tonight I am in a mood for the melancholic songs of Dil Diya Dard Liya. On the screen, such songs of intoxication were sung best by Dev Anand; if you recall his songs in Sharabi (Kabhi na kabhi, kahin na kahin, koi na koi to aayega; Saawan ke mahine mein; and Mujhe le chalo phir aaj us gali mein), Manzil (Yaad aa gayin vo nasheeli nigaahen) and Guide (Din dhal jaaye, raat naa jaaye) and Hum Dono (Kabhi khud pe kabhi halaat pe rona aaya) etc. However, Dilip Kumar was no less (remember: mujhe duniya waalo sharaabi na samajho) and especially since Shakeel wrote songs for him, how would he do it? See for yourself in his songs for the 1966 movie Dil Diya Dard Liya (What a barter!). The movie was based on Emile Bronte’s Wuthering Heights, that was amongst the first of the novels that I read. I am going to give you several songs from the movie, all sung by Mohammad Rafi and all with Naushad‘s music.
The first one is Guzren hain aaj ishq mein hum us maqaam se, Nafrat si ho gayi hai mohabbat ke naam se..
Enjoy: guzare hai.n aaj ishq me.n ham us maqaam se…
guzare hai.n aaj ishq me.n ham us maqaam se
nafarat sii ho ga_ii hai muhabbat ke naam se
hamako na ye gumaan thaa, o sa.ngadil sanam
raah-e-vafaa se tere bahak jaae.nge qadam
chhalakegaa zahar bhii terii aa.Nkho.n ke jaam se
o bevafaa teraa bhii yuu.N hii TuuT jaae dil
tuu bhii ta.Dap-ta.Dap ke pukaare haay dil
teraa bhii saamanaa ho kabhii, Gam kii shaam se
ham vo nahii.n jo pyaar me.n rokar guzaar de.n
parachhaaI.n bhii ho terii to Thokar se maar de.n
vaaqif hai.n ham bhii Kuub har ek i.ntaqaam se
When you have unrequited love, liquor and wine don’t help. They only help to enhance your sadness. Shakeel has given a similar thought to this song whose lyrics reverberate in your mind long after you finish listening to the song. I am giving you the lyrics here so that you can enjoy even when the song is being loaded.
Enjoy: Koi saagar dil ko behlaata nahin…
koii saagar dil ko bahalaataa nahii.n – 2
bekhudii me.n bhii qaraar aataa nahii.n, koI saagar …
mai.n koI patthar nahii.n inasaan huu.N – 2
kaise kah duu.N Gam se ghabaraataa nahii.n
koI saagar …
kal to sab the kaaravaa.N ke saath saath – 2
aaj koI raah dikhalaataa nahii.n
koI saagar …
zi.ndagii ke aa_ine ko to.D do – 2
isame.n ab kuchh bhii nazar aataa nahii.n
koI saagar …
Lets also hear the title song about this barter between giving someone your heart and getting heartache in return. To understand this barter, one has to know the story. In short it is: A kind-hearted, widowed landlord, Thakur, lives a wealthy lifestyle with his son, Ramesh; daughter, Roopa; and an adopted child, Shankar. Ramesh hates Shankar and often abuses him.Years pass by. Thakur dies, and all three children have grown up. Ramesh (Pran) frequents a beautiful courtesan, drinks alcohol, and continues to abuse and mercilessly beat Shankar (Dilip Kumar), who bears this in silence, as he and Roopa (Waheeda Rehman) are in love with each other. When Ramesh finds out that Roopa wants to wed Shankar, he has him severely beaten and thrown off a cliff. Ramesh then arranges Roopa’s marriage to another wealthy man, Satish (Rehman), while he continues to romance Tarabai (Rani) and even signs over his entire estate and home to her.
A few years later, Shankar returns as the wealthy Raja of Belapur. He is fully prepared to compromise with Ramesh and propose to Roopa. He finds out that nothing has changed, however. Ramesh, though rendered penniless by Tara, still hates Shankar. Satish is engaged to Roopa and a marriage date has been fixed. Shankar’s love is now replaced by vengeance and hate, and all he can think of is destroying the lives of Ramesh, Roopa, Satish and his sister, Mala (Shyama), and he devises several plans to destroy his opponents’ lives. He abuses and insults Roopa, attempting to avenge himself upon her for her apparent unfaithfulness by romancing Mala, but love conquers all in the end.
Anyway, we are not at the end of the story but at the title song.
Enjoy: Dlruba maine tere pyaar mein kya kya na kiya, Dil diya dard liya….
dilarubaa maine tere pyaar me.n kyaa-kyaa naa kiyaa
dil diyaa dard liyaa -2
kabhii phuulo.n me.n guzaarii kabhii kaa.NTo.n pe jiyaa
dil diyaa dard liyaa -2
zindagii aaj bhii hai bekhudii aaj bhii hai
pyaar kahate hai.n jise vo Kushii aaj bhii hai
maine din-raat mohabbat kaa terii jaam piyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
kyaa kahuu.N tere li_e maine aa.Nsuu bhii pi_e
kabhii Kaamosh rahaa kabhii shikave bhii ki_e
kar liyaa chaaq garebaa.n kabhii daaman ko siyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
pyaar kii aan hai tuu dil kaa aramaan hai tuu
kaun duniyaa se Dare jab nigehabaan hai tuu
apanii kashtii ko sahaare pe tere chho.D diyaa
dil diyaa dard liyaa -2
dilarubaa maine tere …
Hemant Kumar produced the movie.
Hemant Kumar composed the music.
Hemant Kumar sang some of the songs.
It was based on Sherlock Holmes’ The Hound of Baskerville and as a boy these used to be my favourite stories.
kahii.n diip jale kahii.n dil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
meraa giit tere dil kii pukaar hai
jahaa.N mai.n huu.N vahii.n teraa pyaar hai
meraa dil hai terii mahafil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
naa mai.n sapanaa huu.N naa ko_ii raaz huu.N
ek dard bharii aavaaz huu.N
piyaa der na kar, aa mil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
dushman hai.n hazaaro.n yahaa.N jaan ke
zaraa milanaa nazar pahachaan ke
ka_ii ruup me.n hai.n qaatil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
https://www.youtube.com/watch?v=NHNb5uypKvA
Even though Shakeel Badayuni got the Best Lyricst award for Kahin deep jale kahin dil, the song or ghazal close to my heart is this and Lata Mangeshkar has sung this rather well.
Enjoy: Ai mohabbat meri duniya mein tera kaam na tha…
ai mohabbat merii duniyaa me.n teraa kaam na thaa
tuu naa aa_ii thii to Gam kaa bhii kahii.n naam na thaa
ai mohabbat merii duniyaa …
jaane kyuu.N aaj hai shikavaa mujhe duniyaa bhar se
isase pahale to kisii par ko_ii ilzaam na thaa
ai mohabbat merii duniyaa …
merii qismat ki mujhe ashq hii piine ko mile
mere hisse me.n mohabbat kaa ko_ii jaam na thaa
ai mohabbat merii duniyaa …
dene vaale mujhe kyo.n tuune mohabbat de dii
kyaa mujhe ishq se pahale ko_ii aaraam na thaa
ai mohabbat merii duniyaa …
https://www.youtube.com/watch?v=jPf9T1O8aEI
To end tonight, I leave you with a promise for more Shakeel songs and ghazals tomorrow. To depict this theme is this lovable song from the 1968 movie Aadmi starring Waheeda Rehman and Dilip Kumar and Manoj Kumar. Music is by Naushad.
Enjoy: Lata Mangeshkar singing Kal ke sapne aaj bhi aana,
Pritam ko bhi saath mein laana…
It was sung by the Queen of Melody, Lata Mangeshkar, on K Mahavir’s music.
kal ke sapane aaj bhii aanaa
priitam ko bhii saath me.n laanaa
kal ke sapane …
aaj bhii din hai madhur suhaanaa baaj rahii hai man kii baa.Nsuriyaa
naino.n ke taT pe prem ke path pe lauT ke ab to aajaa saa.Nvariyaa
mai.n bhii sunaa_uu.N dil kaa taraanaa -2
kal ke sapane …
jhuumate baadal gaate jharane aaj kisii ko Dhuu.NDh rahe hai.n
mai.n to ye jaanuu.N saare nazaare sajanaa tumako Dhuu.NDh rahe hai.n
aaj mujhe bhii daras dikhaanaa -2
kal ke sapane …
merii nagariyaa aa more rasiyaa Dagar-Dagar mai.n a.Nkhiyaa.N bichhaa_uu.N
dil me.n biThaa ke nain milaa ke janam-janam kii pyaas bujhaa_uu.N
tohe sikhaa_uu.N priit nibhaanaa -2
kal ke sapane …
Day – 4
Lets start with our usual ghazal: Aankh se aankh milata hai koi…
aa.Nkh se aa.Nkh milaataa hai koii
dil ko khii.nche liye jaataa hai koii
hai ye hairat ki bharii mahafil me.n
mujhako tanhaa nazar aataa hai koii
chaahiye Kud pe yaqiin-e-qaamil
hausalaa kisakaa ba.Dhaataa hai koii
sab karishmaat-e-tasavvur hai shaqiil
van.raa aataa hai na jaataa hai koii
Shakeel Badayuni had a long association with the Music Director Naushad, Mohammad Rafi – the singer, and Dilip Kumar the actor. The 1950 movie Babul had all of them together.Those were the days when movies usually had six to eight songs. But, Babul had as many as thirteen and all of them great hits! You can gauge the success of the movie from the fact that the movie became the second highest grosser of the year with 1.25 Crore Rupees of earnings!
Here are the songs:
Bachapan yaad aaye (dha.Dake meraa dil, mujhako)
Chhod babul kaa ghar mohe pii ke nagar.
Duniyaa badal gayi.
Husn vaalon ko na dil do ye miTaa dete hain.
Huve majabuur ham … kisii ke dil me.n rahanaa thaa.
Jaadu bhare naino.n me.n Dole jiyaa, terii qasam.
Lagan more man kii balam nahii.n jaane.
Meraa jiivan saathii bichha.D gayaa.
Milate hii aa.nkhe.n dil huaa diivaanaa kisiikaa.
Na sochaa thaa ye dil lagaane ke pahale.
Nadiyaa me.n uThaa hai shor … shaam suhaanii aa_ii.
Nadi kinaare.
pa.nchhii ban me.n piyaa\-piyaa gaane lagaa.
As you can see from the list, all of them have been penned beautifully. Lets take one tonight as I want to turn in early.
The song that I have selected is the duet sung between Talat Mahmood and Shamshad Begum.
Enjoy: Milate hi aankhen dil hua deewaana kis ka,
Afsaana mera ban gaya afsaana kisi ka…
This too is a piano number!
ta: milate hii aa.Nkhe.n dil huaa diivaanaa kisiikaa
sh: milate hii aa.Nkhe.n dil huaa diivaanaa kisiikaa
ta: afasaanaa meraa ban gayaa, afasaanaa kisiikaa
sh: afasaanaa meraa ban gayaa, afasaanaa kisiikaa
ta: puuchho naa mohabbat kaa asara, haay na puuchho
haay naa puuchho
sh: puuchho naa mohabbat kaa asara, haay na puuchho
haay naa puuchho
ta: dam bhara me.n koI ho gayaa, paravaanaa kisiikaa
sh: dam bhara me.n koI ho gayaa, paravaanaa kisiikaa
dono: afasaanaa meraa ban gayaa, afasaanaa kisiikaa
milate hii aa.Nkhe.n dil huaa diivaanaa kisiikaa
ta: ha.nsate hii naa aa jaaye.n kahii.n, aa.Nkho.n me.n aa.Nsuu
aa.Nkho.n me.n aa.Nsuu
sh: ha.nste hii naa aa jaaye.n kahii.n, aa.Nkho.n me.n aa.Nsuu
aa.Nkho.n me.n aa.Nsuu
ta: bharate hii chhalaka jaaye naa, paimaanaa kisiikaa
sh: bharate hii chhalaka jaaye naa, paimaanaa kisiikaa
dono: afasaanaa meraa ban gayaa, afasaanaa kisiikA
https://www.youtube.com/watch?v=GXFURlgbMF0
Alright, just one more number since two is hardly anything to keep you all going. Here is a Lata Mangeshkar number from Babul in 1950. Marvel at the beauty of her voice even then, 63 years back!Enjoy: Lagan mere man ki balam nahin jaane…
It is picturised on Nargis who acted opposite Dilip Kumar.
lagan more man kii balam nahii.n jaane -2
balam nahii.n jaane sajan nahii.n jaane
lagan more man kii balam nahii.n jaane
laaj kii maarii mai.n to mu.Nh se naa boluu.N
mu.Nh se naa boluu.N
bhed kisii se kabhii dil ke na kholuu.N
dil ke na kholuu.N
Thes jiyaa pe laage -2
chhup-chhup ro luu.N -2
ta.Dap birahan kii balam nahii.n jaane
balam nahii.n jaane sajan nahii.n jaane
lagan more man kii balam nahii.n jaane
Duub na jaaye.n kahii.n aashaa ke taare
aashaa ke taare
nain churaa ke haay saiyaa.N hamaare
saiyaa.N hamaare
nehaa lagaane gaye -2
sautan dwaare -2
kadar mere dhan kii balam nahii.n jaane
balam nahii.n jaane sajan nahii.n jaane
lagan more man kii balam nahii.n jaane
Day – 5
Let me do something different today; let me not start with his ghazal but with a song. Yesterday, we talked about the 1952 movie Babul and how the film had thirteen songs and all of them hit. We shall come to that later. Lets talk about another super hit movie of my times: Aan starring Dilip Kumar, Nimmi, Nadira and Premnath. It was directed by Mehboob Khan, who later became famous for setting up Mehboob Studios in Bandra; as also for his 1957 movie Mother India.
Aan was the highest grosser of that year and all its ten songs became popular. Music Director was Naushad. Here is the list of songs:
1.”Maan Mera Ehsan” — Mohammed Rafi
2.”Dil Mein Chhupake Pyar Ka” — Mohammed Rafi
3.”Tujhe Kho Diya Hamne” — Lata Mangeshkar
4.”Aaj Mere Man Mein” — Lata Mangeshkar, Chorus
5.”Mohabbat Choome Jinke Haath” — Mohammed Rafi
6.”Gao Tarane Man Ke” — Mohammed Rafi, Lata Mangeshkar, Shamshad Begum
7.”Takra Gaya Tumse” — Mohammed Rafi
8.”Khelo Raang Hamare Sang” — Shamshad Begum, Lata Mangeshkar
9.”Aag Lagi Tan Man Mein” — Shamshad Begum
10.”Mein Raani Hoon Raja Ki” — Shamshad Begum
One doesn’t know where to start!
Anyway, let me start with one of my favourite Shakeel Badayuni number.
Enjoy: Dil mein chhupa ke pyaar ka toofan le chale…
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ham aaj apanii maut kaa saamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ha ha haa a aa
miTataa hai kaun dekhiye ulafat kii raah me.n
he
ulafat kii raah me.n
miTataa hai kaun dekhiye ulafat kii raah me.n
wo le chale hai.n aan to ham jaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ha ha haa a aa
manzil pe hogaa faisalaa qisamat ke khel kaa
aa
qisamat ke khel kaa
manzil pe hogaa faisalaa qisamat ke khel kaa
kar de jo dil kaa Kuun wo mehamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
https://www.youtube.com/watch?v=Dua-vIwaNQ4
Lets take one more song from the 1952 movie Aan. During those days, it was common for a woman to think of her lover as Krishna whilst thinking of herself as Radha. Needless to say Shakeel excelled in such songs. This one is a very enchanting number.
Enjoy: Aaj mere man mein sakhi baansuri bajaae koi
Pyaar bhare geet sakhi baar-baar gaaye koi
la: aa haa haa…
aaj mere man me.n sakhii baa.Nsurii bajaae koii
aaj mere man me.n…
aaj mere man me.n sakhii baa.Nsurii bajaae koii
pyaar bhare giit sakhii baar-baar gaa_e koii
baa.Nsurii bajaae…
baa.Nsurii bajaae, sakhii gaa_e sakhii re, koii chhailavaa ho
ko: koii alabelavaa ho, koii chhailavaa ho
la: ra.Ng merii javaanii kaa ki_e jhuumataa ghar aayaa hai saavan
ko: ra.Ng merii javaanii kaa ki_e jhuumataa ghar aayaa hai saavan
la: aa haa haa…
ho sakhii, ho re sakhii, aayaa hai saavan
ko: mere naino.n me.n hai saajan
la: in uu.Ndii ghaTaao.n me.n, havaao.n me.n sakhii, naache meraa man
ho sakhii, naache meraa man
ko: ho aa.Ngan me.n saavan man-bhaavan ho jii
la: ho, in uu.Ndii ghaTaao.n me.n, havaao.n me.n sakhii, naache meraa man
ko: lallaa laalaa laa laalaa
la: dil ke hi.nDole pe mohe jhuule na jhulaae koii
ko: pyaar bhare giit sakhii, baar-baar gaa_e koii
la: baa.Nsurii bajaae sakhii gaae sakhii re
koii chhailavaa ho
ko: koii alabelavaa ho, koii chhailavaa ho
la: kahataa hai ishaaro.n me.n koii
aa mohe ambu_aa ke tale mil
ko: bhalaa vo kaun hai ghaayal
kahataa hai ishaaro.n me.n koii
aa mohe ambu_aa ke tale mil
la: mai.n naam na luu.N
aaj lage laaj sakhii dha.Dake meraa dil ho sakhii dha.Dake meraa dil
ko: ho aa.Ngan me.n saavan man-bhaavan ho jii
la: ho, mai.n naam na luu.N
aaj lage laaj sakhii dha.Dake meraa dil ho sakhii dha.Dake meraa dil
ko: lallaa laalaa laa laalaa
la: taar pe jiivan ke madhur raaginii sunaae koii
ko: pyaar bhare giit sakhii baar-baar gaa_e koii
la: baa.Nsurii bajaae sakhii gaae sakhii re
la: koii chhailavaa ho
ko: koii alabelavaa ho, koii chhailavaa ho
Will they ever make songs like this again? This is from the 1950 movie Babul with Dilip Kumar and Nargis making it a great movie to watch. It is a Shakeel – Naushad song but look at the number of singers who put this together: Mohammad Rafi, Talat Mahmood, Shamshad Begum and Chorus.
Enjoy: Chhod babul ka ghar, mohe pi ke nagar aaj jaana pada…
Part I
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : yaad mayake kii tan se bhulaaye chalii
ko : haa.N bhulaaye chalii
sha : priit saajan kii man me.n basaaye chalii
ko : haa.N basaaye chalii
sha : yaad kar ke ye ghar, ro_ii.n aa.Nkhe.n magar
muskuraanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : ( chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa ) -2
Part II
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : sa.ng sakhiyo.n ke bachapan bitaatii thii mai.n
ko : haa.N bitaatii thii mai.n
sha : byaah gu.Diyo.n kaa ha.Ns-ha.Ns rachaatii thii mai.n
ko : haa.N rachaatii thii mai.n
sha : sab se mu.Nh mo.D kar, kyaa bataa_uu.N kidhar
dil lagaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
Part III
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
ho
aaj jaanaa pa.Daa
pahan ulafat kaa gahanaa dulhan mai.n banii
Dolaa aayaa piyaa kaa sakhii mai.n chalii
ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : aa
ra : aa_o saajan kha.De hai.n duwaar
lene ko aaye kahaar
Dolii me.n ho jaa sawaar
Male Voice?
Kushii ke saath duniyaa me.n hazaaro.n Gam bhii hote hai.n
jahaa.N bajatii hai.n shanaa_ii wahaa.N maatam bhii hote hai.n
sha : ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
Since I had earlier claimed that Shakeel was the best for describing husn (a la Chaudhvinh Ka Chand), here is yet another song to depict this. This is from the 1961 movie Gharana. Ravi composed the music just as he did in CKC. However, once gain Rafi sang it, this time for Rajendra Kumar singing in praise of Asha Parekh.Enjoy: Husn waale tera jawaab nahin
Koi tujhasa nahin hazaron mein…
husn vaale teraa javaab nahii.n
koI tujh-saa nahii.n hazaaro.n me.n
tuu hai aisii kalii jo gulashan me.n
saath apane bahaar laayii ho
tuu hai aisii kiraN jo raat Dhale
chaa.Ndanii me.n nahaa ke aayii ho
ye teraa nuur ye tere jalave
jis tarah chaa.Nd ho sitaaro.n me.n
husn vaale …
terI aa.Nkho.n me.n aisii mastii hai
jaise chhalake hue ho.n paimaane
tere ho.nTho.n pe vo khaamoshii hai
jaise bikhare hue ho.n afasaane
terii zulfo.n kii aisii ra.ngat hai
jaise kaalii ghaTaa bahaaro.n me.n
husn vaale …
terii suurat jo dekh le shaayar
apane shero.n me.n taazagii bhar le
ek musavvir jo tujh ko paa jaae
apane Kvaabo.n me.n zi.ndagii bhar le
naGamaagar Dhuu.NDh le agar tujh ko
dard bhar le vo dil ke taaro.n me.n
husn vaale teraa javaab nahii.n …
https://www.youtube.com/watch?v=1Pn81ApIsfs
Tonight, lets end with a ghazal of his:
ruuh ko ta.Dapaa rahii hai un kii yaad
dard ban kar chhaa rahii hai un kii yaad
[ruuh=soul]
ishq se ghabaraa rahii hai un kii yaad
rukate rukate aa rahii hai un kii yaad
vo ha.Nse vo zer-e-lab kuchh kah uThe
Khvaab se dikhalaa rahii hai un kii yaad
[zer-e-lab=in a whisper/undertone]
mai.n to Khuddaarii kaa qaa_il huu.N magar
kyaa karuu.N phir aa rahii hai un kii yaad
[Khuddaarii=self-respect; qaa_il=in favour of/have faith in]
ab Khayaal-e-tark-e-rabt zabt hii se hai
Khud ba Khud sharmaa rahii hai un kii yaad
[Khayaal-e-tark=Thought of giving up; rabt=affinity]
[zabt=tolerance; Khud-ba-Khud=by itself (apane aap)]
Day – 6
Shakeel started taking part in mushairas at the age of twenty. It was only 8 years later that he moved to Bombay from Aligarh to write songs for movies. His friendship with music directors Naushad and Ravi is well known. Naushad gave him his break after asking him to describe his skill in just one line. This is what Shakeel wrote:
Hum dard Ka Afsana Duniya Ko Suna Denge,
Har Dil Main Mohabbat Ki Ek aag Laga Denge.
Shakeel, therefore, is all about dard and mohabbat. Here is one of his famous ghazals:
[lineate][/lineate]Kaise kah duu.N ki mulaaqaat nahii.n hotii hai[lineate][/lineate][lineate][/lineate]roz milate hai.n magar baat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]aap lillaah na dekhaa kare.n aaiinaa kabhii[lineate][/lineate][lineate][/lineate]dil kaa aa jaanaa ba.Dii baat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]chhup ke rotaa huu.N terii yaad me.n duniyaa bhar se[lineate][/lineate][lineate][/lineate]kab merii aa.Nkh se barasaat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]haal-e-dil puuchhane vaale terii duniyaa me.n kabhii[lineate][/lineate][lineate][/lineate]din to hotaa hai magar raat nahii.n hotii hai[lineate][/lineate]
[lineate][/lineate]Jab bhii milate hai.n to kahate hai.n kaise ho “Shakeel”[lineate][/lineate]is se aage to koii baat nahii.n hotii hai[lineate][/lineate]
The name of this 1964 movie is Kaise Kahoon, a question that Shakeel Badayuni never would have asked; since he knew precisely how to express himself through words.
Unrequited love…but Shakeel made the heroine say:
tum hame.n pyaar karo yaa na karo
ham tumhe.n pyaar ki_e jaa_e.Nge
chaahe qismat me.n Kushii ho ke na ho
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
ham nahii.n vo jo Gam-e-ishq se ghabaraa jaa_e.N
ho ke maayuus zubaa.N par ko_ii shikavaa laa_e.N
chaahe kitanaa hii ba.Dhe dard-e-jigar
apane ho.nTho.n ko si_e jaa_e.Nge
tum hame.n pyaar …
tum salaamat ho to ham chain bhii paa hii le.nge
kisii suurat se lagii dil kii bujhaa hii le.nge
pyaar kaa jaam mile yaa na mile
ham to aa.Nsuu bhii pi_e jaa_e.Nge
tum hame.n pyaar …
to.D dii aas to phir itanaa hii ehasaan karo
dil me.n rahanaa jo na chaaho to nazar hii me.n raho
Thes lagatii jo hai dil par to lage
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
Day – 7
Many of my friends know that I am emotional about the title song of the 1963 movie Mere Mehboob. For reasons that I can’t share, I can never share this song; it is too sacred because of the emotions expressed in the song. However, I can take you through some of the other songs that Shakeel Badayuni crafted. Other than the title songs, there were seven songs in the movie that starred Rajendra Kumar and Sadhana in the lead roles:
“Mere Mehboob Tujhe” Mohammad Rafi
“Tere Pyar Mein Dildar” Lata Mangeshkar
“E – Husn Jara Jaag” Mohammad Rafi
“Mere Mehboob Mein Kya Nahin” Lata Mangeshkar and Asha Bhosle
“Tumse Izhar – E -Haal Kar Baithe” Mohammad Rafi
“Janeman Ek Nazar Dekh Le” Lata Mangeshkar and Asha Bhosle
“Yaad Mein Teri” Lata Mangeshkar and Mohammad Rafi
“Allah Bachaye Naujawano Se” Lata Mangeshkar
“Mere Mehboob Tujhe (Female)” – Lata Mangeshkar
What a treat! Lets start with Yaad Mein Teri jag jag ke ham raat bhar karvaten badalate hain….Mere Mehboob has music by Naushad and this song is a duet between Rafi and Lata.
Enjoy: yaad me.n terI jaag-jaag ke ham
raat bhar karavaTe.n badalate hai.n
yaad me.n terI jaag-jaag ke ham
raat bhar karavaTe.n badalate hai.n
har gha.Dii dil me.n terI ulfat ke
dhiime dhiime chiraaG jalate hai.n
jabase tUne nigaah pherii hai
din hai suunaa to raat a.ndherii hai
chaa.Nd bhI ab najar nahii.n AtA
ab sitaare bhI kam nikalate hai.n
yaad me.n terI jaag-jaag ke ham …
luT gayii vo bahaar kI mahafil
chhuT gayii hamase pyaar kI ma.nzil
zi.ndagii kI udaas rAho.n me.n
terI yaado.n ke sAth chalate hai.n
yaad me.n terI jaag-jaag ke ham …
tujhako paakar hame.n bahaar milii
tujhase chhuTakar magar ye baat khulii
baaGabaan hii chaman ke phuulo.n ko
apane pairo.n se khud masalate hai.n
yaad me.n terI jaag-jaag ke ham …
kyA kahe.n tujhase kyuu.n huii duurii
ham samajhate hai.n apanii majabuurii
tujhako maaluum kyA ke tere liye
dil ke gam aa.Nsuo.n me.n Dhalate hai.n
yaad me.n terI jaag-jaag ke ham …
Shall we run a parallel between Mere Mehboob of 1963 and Mughal-e-Azam of 1960 since the profile picture of this group shows a song each from the two movies on wither side of the picture of the greatest Lyricist of all times: Shakeel Badayuni?
(aalaap)
s: terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
gha.Dii bhar ko tere nazadiik aakar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge – 2
l: terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
tere kadamo.n pe sar apanaa jhukaa kar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge – 2
s: bahaare.n aaj paiGaam-e-mohabbat le ke aaii hai.n
ba.DI muddat me.n ummiido.n kii kaliyaa.n muskuraaI hai.n
ba.DI muddat me.n ajii haa.n
ba.DI muddat me.n ummiido.n kii kaliyaa.n muskuraaI hai.n
Gam-e-dil se jaraa daaman bachaakar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge
l: agar dil Gam se khaalii ho to jiine kA mazaa kyA hai
nA ho khuun-e-jigar to ashq piine kA mazaa kyA hai
nA ho khuun-e-jigar haa.n haa.n
nA ho khuun-e-jigar to ashq piine kA mazaa kyA hai
mohabbat me.n jaraa aa.Nsuu bahaakar ham bhI dekhe.nge – 2
ajii haa.n ham bhI dekhe.nge
s: mohabbat karane vaalo kA hai bas itanaa hii afasaanaa
ta.Dapanaa chupake chupake aahe.n bharanaa ghuT ke mar jaanaa
ta.Dapanaa chupake chupake haa.n haa.n
ta.Dapanaa chupake chupake aahe.n bharanaa ghuT ke mar jaanaa
kisii din ye tamaashaa muskuraa kar ham bhI dekhe.nge – 2
terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
ajii haa.n ham bhI dekhe.nge
l: mohabbat hamane maanaa zindagii barabaad karatii hai
ye kyA kam hai ke mar jaane se duniyA yaad karatii hai
ye kyA kam hai ajii haa.n haa.N
ye kyA kam hai ke mar jaane se duniyA yaad karatii hai
kisii ke ishq me.n duniyA luTaakar ham bhI dekhe.nge – 2
terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
l: tere kadamo.n pe sar apanaa jhukaakar aa aa …
s: gha.Dii bhar ko tere nazadiik aakar aa aa …
dono.n: terI mahafil me.n kismat aazamaa kar ham bhI dekhe.nge
s: ajii haa.n ham bhI dekhe.nge
l: ajii haa.n ham bhI dekhe.nge
https://www.youtube.com/watch?v=TC7LyI1GVYw
ai husn zaraa jaag tujhe ishk jagaaye
badale merii takadIr jo tU hosh me.n aaye (2)
ye pyaara ke nagame ye muhabbat ke taraane
tujhako ba.De aramaan se laayaa huu.N sunaane
ummId mere dil kii kahii.n TUT na jaaye
ye husn …
saaz-e-dile khaamosh me.n ek soj jagaa de
tU bhii merii Avaaz me.n Avaaz milaa de
aayaa huu.N tere dar pe ba.Dii aas lagaaye
ye husn …
ai shammaa tU aajaa zaraa chilamanase nikalake
hasarat hai ki rahaa jaa_uu.n terii aag me.n jalake
paravaanaa vo kyaa tujhape jo miTakar naa dikhaa de
ye husn …
https://www.youtube.com/watch?v=pnFYfKahhdY
Mughal-e-Azam belonged to Lata Mangeshkar just as Mere Mehboob belonged to Mohammad Rafi. I have earlier put up Mohabbat ki jhooti kahani pe roye when Anarkali was thrown into the dungeon by the Emperor Akbar. Bekas pe karam kijiye was the second song in the cell and is the plaintive cry of Anarkali for mercy and justice. The lyrics are great.
aapake hote hue duniyaa merii barabaad haibekas pe karam kiijiye, sarkaar-e-madiinaa
bekas pe karam kiijiye
gardish me.n hai taqadiir bha.Nvar me.n hai safiina -2
bekas pe karam kiijiye, sarkaar-e-madiinaa
bekas pe karam kiijiyehai vaqt-e-madad aaii biga.Dii ko banaane
goshiidaa nahii.n aapase kuchh dil ke fasaane
zaKmo.n se bharaa hai kisii majabuur kaa siinaa
bekas pe karam kiijiye …chhaaii hai musiibat kii ghaTaa gesuo.n vaale, gesuo.n vaale
lillaah merii Duubatii kashtii ko bachaale
tuufaan ke aasaar hai.n, dushvaar hai jiinaa
bekas pe karam kiijiye …
gardish me.n hai taqadiir bha.Nvar me.n hai safiina
bekas pe karam kiijiye, sarkaar-e-madiinaa
bekas pe karam kiijiye
https://www.youtube.com/watch?v=DaeiwBG_DbE
Lets end tonight with a ghazal of Shakeel Badayuni:[lineate][/lineate]Terii mahafil se uThakar ishq ke maaro.n pe kyaa guzarii[lineate][/lineate][lineate][/lineate]muKhaalif ik jahaa.N thaa jaane bechaaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]sahar ko ruKhsat-e-biimaar-e-furqat dekhane vaalo kisii ne ye bhii dekhaa[lineate][/lineate][lineate][/lineate]raat bhar taaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]sunaa hai zindagii viiraaniyo.n ne luuT lii milakar[lineate][/lineate][lineate][/lineate]na jaane zindagii ke naaz_baradaaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]ha.Nsii aa_ii to hai bekaif sii lekin Khudaa jaane[lineate][/lineate][lineate][/lineate]mujhe masaruur paakar mere Gam_Khvaaro.n pe kyaa guzarii[lineate][/lineate]
[lineate][/lineate]asiir-e-Gam to jaa.N dekar rihaa_ii paa gayaa lekin[lineate][/lineate][lineate][/lineate]kisii ko kyaa Khabar zindaa.N kii divaaro.n pe kyaa guzarii[lineate][/lineate]
Ladies and gentlemen, I hope you enjoyed Part II of Shakeel Badayuni’s ghazals and songs. I shall get back to you with Part III soon.
Shabba khair.
BEST OF HINDI SONGS SHOT IN MY HOME STATION SHIMLA
Shimla Scene Songs
Why these songs?
This April, I was on holiday to my home place Kandaghat, just 30 kms short of Shimla. I have been born and brought up in these surroundings and hence, I am at peace with the verdure, breeze, hills and surroundings. Song is on my lips at all times here.
It is penned by Sahir Ludhianvi and music is by Laxmikant Pyarelal. When one of India’s first pop singers Ajit came to Shimla for the Summer Festival, he sang it there, knowing its Shimla connection. Please enjoy: Mere dil mein aaj kya hai Tu kahe to main bata doon…
[lineate][/lineate]Mere dil me.n aaj kyaa hai[lineate][/lineate]tuu kahe to mai.n bataa duu.N[lineate][/lineate]terii zulf phir savaaruu.N[lineate][/lineate]terii maa.Ng phir sajaa duu.N[lineate][/lineate]mere dil me.n …[lineate][/lineate]
[lineate][/lineate]Mujhe devataa banaakar, terii chaahato.n ne puujaa – (2)[lineate][/lineate]meraa pyaar kah rahaa hai,[lineate][/lineate]mai.n tujhe khudaa banaa duu.N[lineate][/lineate]terii zulf phir …[lineate][/lineate]
[lineate][/lineate]KoI Dhuu.NDhne bhii aae, to hame.n naa Dhuu.N.Dh paae – (2)[lineate][/lineate]tuu mujhe kahii.n chhupaa de,[lineate][/lineate]mai.n tujhe kahii.n chhupaa duu.N[lineate][/lineate]terii zulf phir …[lineate][/lineate]
[lineate][/lineate]Mere baazuo.n me aakar, teraa dard chain paae – (2)[lineate][/lineate]tere gesuo.n me chhupakar,[lineate][/lineate]mai.n jahaa.N ke Gam bhulaa duu.N[lineate][/lineate]terii zulf phir …[lineate][/lineate]
https://youtube.com/watch?v=ksapDF0DtG4%3F
But wasn’t Shimla (then spelled Simla) always attractive? For example, Tere Ghar Ke Samne was a 1963 movie, a good ten years before Yash Chopra’s Daag. It was produced by Dev Anand and directed by his brother Vijay Anand. It starred Nutan opposite him. In the movie, two families have deep rooted enmity until Dev Anand decides to architect a house in front of Nutan’s whose father is at daggers drawn with Dev Anand’s. In the movie Dev Anand goes following his heart-throb Nutan on a scooter and reaches Shimla. He has no idea in which house she is staying at and hence he goes through the streets of Shimla singing this song penned by Hasrat Jaipuri with music by SD Burman. Does he find her through the medium of this song? You bet he does.
Please Enjoy: Tu kahan ye bata is nasheeli raat mein …
[lineate][/lineate]Tuu kahaa.N, ye bataa,[lineate][/lineate]is nashiilii raat me.n[lineate][/lineate]maane naa meraa dil diivaanaa[lineate][/lineate]haay re … [lineate][/lineate]maane naa meraa dil diivaanaa[lineate][/lineate]
[lineate][/lineate]He … ba.Daa naTakhaT hai samaa – 2[lineate][/lineate]har nazaaraa hai javaa.N[lineate][/lineate]chhaa gayaa chaaro.n taraf, merii aaho.n kaa dhuaa.N[lineate][/lineate]dil meraa, merii jaa.N, naa jaanaa … tuu kahaa.N … [lineate][/lineate]
[lineate][/lineate]O o … aaii jab Tha.nDii havaa – 2[lineate][/lineate]maine puuchhaa jo pataa[lineate][/lineate]vo bhii kataraake gaI, aur bechain kiyaa[lineate][/lineate]pyaar se, tuu mujhe, de sadaa … [lineate][/lineate]tuu kahaa.N …[lineate][/lineate]
[lineate][/lineate]He … chaa.nd taaro.n ne sunaa – 2[lineate][/lineate]in bahaaro.n ne sunaa[lineate][/lineate]dard kaa raag meraa, rahaguzaaro.n ne sunaa[lineate][/lineate]tuu bhii sun, jaaneman, aa bhii jaa … [lineate][/lineate]tuu kahaa.N …[lineate][/lineate]
[lineate][/lineate]O o … pyaar kaa dekho asar – 2[lineate][/lineate]aae tum thaame jigar[lineate][/lineate]mil gaI aaj mujhe, merii manachaahii Dagar[lineate][/lineate]kyuu.N chhupaa, ek jhalak, phir dikhaa … [lineate][/lineate]tuu kahaa.N …[lineate][/lineate]
https://www.youtube.com/watch?v=wUgMMgANjV0
Shimla small gauge train, simply called Toy Train has been a major tourist attraction.
Here is excerpt from Wikipedia: “Shimla (then spelt Simla) was settled by the British shortly after the first Anglo-Gurkha war, and is located at 7,116 feet (2,169 m) in the foothills of the Himalayas. By the 1830s, Shimla had already developed as a major base for the British. It became the summer capital of British India in 1864, and was also the headquarters of the British army in India.
Prior to construction of the railway, communication with the outside world was via village cart. The railway was constructed on a two foot gauge (610mm) by the Delhi-Ambala-Kalka Railway Company commencing in 1898. The estimated cost of Rs 86,78,500, however, the cost doubled during execution of the project. The 96.54 km (59.99 mi) line was opened for traffic November 9, 1903. Because of the high capital and maintenance cost, coupled with peculiar working conditions, the Kalka–Shimla Railway was allowed to charge fares that were higher than the prevailing tariffs on other lines. However, even this was not good enough to sustain the company and then, the Government had to purchase it on January 1, 1906 for Rs 1,71,07,748.
In 1905 the line was re-gauged to 2’6″ gauge under guidelines from the Indian War Department seeking to ensure uniformity in all imperial narrow gauge systems. In mid-August 2007, the government of Himachal Pradesh declared the railway a heritage property in preparation for its review in September. For about a week starting on September 11, 2007, an expert team from UNESCO was on a visit to the railway to review and inspect the railway for possible selection as a World Heritage Site. On July 8, 2008, the Kalka–Shimla Railway was included in the UNESCO World Heritage List as part of the World Heritage Site Mountain Railways of India. The Mountain Railways of India (including Darjeeling Himalayan Railway and Nilgiri Mountain Railway) and Chhatrapati Shivaji Terminus in Mumbai have already been declared as world heritage properties.”
In the year 1973, when I joined the Indian Navy, my journey to the Naval Academy at Cochin (now spelt Kochi) began on this railway. In 1974 the movie Dost was released starring Dharmendra and the movie started with the famous song: Gaadi bula rahi hai, seeti baja rahi hai on the train from Shimla to Taradevi. Anand Bakshi penned the lyrics of the song and Laxmikant Pyarelal composed the music.
It was sung by Kishore Kumar.
Enjoy: Shimla Toy Train with the song: Gaadi bula rahi hai, seeti baja rahi hai…
https://youtube.com/watch?v=i46jlVrrwdQ%3F
Aa Gale Lag Ja was a movie released at a time when I joined the Naval Academy at Cochin. A large part of the movie was shot in Shimla. The movie starred Shashi Kapoor and Sharmila Tagore. The song that I am giving you was sung by Kishore Kumar for Shashi Kapoor. And since Shashi Kapoor and Sharmila went out in the snow and extreme cold, he fell unconscious and she had to save his life by “giving him her body warmth”. A son was, therefore, born to them as a result of this extraordinary way of saving life. Later, in the movie, their son singing this song brings the estranged couple together.
Sahir Ludhianvi penned the lyrics and RD Burman composed the music.
As an aside I must add that many young boys fell into the snow and tried to die but no one gave them equivalent medical treatment as was given by Sharmila Tagore to Shashi Kapoor.
Please enjoy: Tera mujhase hai pehle ka vaada koi, Younhi nahin dil lubhata koi…
https://youtube.com/watch?v=vO35DVm_5ts%3F
If Chopras came to Shimla for making movies, how can Mehras be left behind? When Prakash Mehra made his Muqaddar Ka Sikandar (Conqueror of Destiny) in 1978, I was already a commissioned officer in the Indian Navy and we had shifted to Kandaghat, 30 kms short of Shimla. My brother and I went by bus to Shimla to see the movie that was the third highest grosser of the decade after Sholay and Bobby.
This song became super hit. Amitabh Bachchan in the movie, when small, was orphaned and abused and was taken in by the kindness shown to him by the young daughter of a wealthy man who later becomes the film’s heroine Rakhi. Later, when Amitabh himself emerges as a wealthy person, he gives away all his wealth to an orphanage recalling that he himself was an orphan. He sings this childhood song in memory of his childhood friend. It is very touching indeed, and the Shimla scene is in the flashback. Please enjoy the absolute super hit number: O saathi re tere bina bhi kya jeena..
https://youtube.com/watch?v=OssRAVZhsRk%3F
It was not just Yash Chopra, but, it seems, all Chopras of Hindi Films love Shimla. Vidhu Vinod Chopra was born in Srinagar in Kashmir but both his most popular movies 1942 – A Love Story and 3 Idiots were shot in Shimla Hills.
Lets talk about the first one: 1942 – A Love Story; it starred Manisha Koirala already from the Hills of Nepal and Anil Kapoor. All songs of the movie had the freshness of the Shimla Hills. Lets listen to one of them: Pyar hua chupake se..
It shows the hills beyond Kufri. Jawed Akhtar penned the lyrics and Rahul Dev Burman composed the music. The song was sung by Kavitha Krishnamoorthy. Please enjoy: dil ne kahaa chupake se, ye kyaa hu_aa chupake se…
I know Vidhu Vinod Chopra’s 1942 – A Love Story does not meet the requirement of oldie goldie; but, since it takes you back to that era, I hope you will allow it to pass muster. Here is Monisha Koirala from the salubrious climate of Nepal coming to the wonderful Shimla hills and singing chupake se. Jawed Akhtar penned the lyrics and RD Burman composed the music. Enjoy: Kavitha Krishnamurthy sing chupake se…
I can go on and on with songs shot in Shimla. But, here is the last one. It is the title song of the 1974 J Om Prakash’s directorial debut movie Aap Ki Kasam starring Rajesh Khanna and Mumtaz. Anand Bakshi penned the lyrics and Rahul Dev Burman who received his only Filmfare Awards nomination for this movie, composed the music.
Enjoy the scenic skiing range of Kufri with the song: Karvate badalate rahe saari raat ham, Aap ki kasam…
In the 1978 Prakash Mehra movie Muqaddar Ka Sikandar, when Amitabh Bachchan as Sikandar was small, he was working for a rich man Ramnath whose daughter (later Rakhi) falls in love with his simplicity. One day, he is teasingly asked as to why he has such tomato red cheeks. He answers, “Because I am from Shimla”.
Ladies and gentlemen, whether or not you have crimson cheeks in Shimla, it is a place that inspires songs. I have given you only a few; there are dozens.
WHEN THE MAN-MANGEMENT-BUG BITES
I have seen many great Admirals in the Indian Navy; smart, super intelligent, highly committed and professional. Strangely, most of them – if not all of them – take pride in their “man-management” and mastery over “human-psychology” in comparison to any other virtue or attribute. So, if you were ever to fault with your divisional duties (in the Navy, the ship’s company (what the civilians call as ‘crew’) is divided into various divisions such as Foxle (slang for Forecastle), Top Deck, Quarterdeck, Electrical, Engineering, and Logistic Divisions), you would have a prolonged harangue from these old timers as to how they never faulted with their divisional duties when they were young subalterns like you.
Some of the oft-repeated expressions that you were likely to hear were: “I knew every sailor like the back of my hand” and “Twenty-five years later I still remember the send-off my sailors gave; I had tears in my eyes (one liquid trying to compete with the other in the belly: Rum).”
Old-timers are happiest when they come across a sailor who was merely a Seaman First Class with them but had become a Master Chief Petty Officer now. “Master Chief Sahib”, they begin with more than a glint in their eyes, “Do you remember the Gunnery shoot when we brought down the PTA with our accurate firing? And do you remember the signal the Fleet Commander made to us: ‘IF YOU KEEP SHOOTING DOWN TARGETS LIKE THIS, SOON THERE WILL BE NO TARGETS LEFT FOR OTHER SHIPS TO PRACTICE ON’.”
Most sailors oblige the old-timers with sudden flashes of memory at this stage, whether or not they remember the incident. At this stage, the chest of the Admiral blooms larger than a large balloon and he walks through the rest of the Annual Inspection with the expressed feeling that he is proud of the stress on the Divisional System in that ship or establishment.
Master Chief Petty Officer First Class JK Singh of the establishment Agrani (a School for Leadership in the Navy), however, was a very honest sailor and highly competent. On his mother’s knee the one lesson about life he had learnt was never to lie. He was our best sailor-instructor at that time. We, who had started our career in the Navy only three years back, were in awe of him since JK was a recipient of Naosena Medal (NM) for having fought a difficult fire on the old carrier Vikrant with grit and valour.
This Admiral from the Naval Headquarters who was visiting our establishment Agrani had weaved the web of his being of the ‘man-management-type’ (“It is the man behind the gun that matters” he often declared in his booming voice). So, the Commanding Officer had lined up near his office, for interaction with the Admiral, the senior most of his sailors in addition to all of us officer-instructors present there. I noticed that JK stood looking tall, competent and exuding supreme confidence that he always did.
Hand-shaking with the officers, by the visiting Admiral, was done wasting the minimum time (in any case there would be time over PLD (Pre-Lunch Drinks) to know us better).
And then the Admiral started with the sailors. Looking at Master Chief Petty Officer First Class JK Singh brought the pride in the Admiral and his chest was about to burst; more so since JK wore the NM ribbon. The Admiral boomed confidently “Ah… Master Chief JK Singh; old chap, old ship-mate, how nice to see you again….you were with me on?…no, no, don’t tell me…let me guess….you were on Kiltan with me, right?”
JK Singh looked straight and erect and answered without flinching, “No Sir; I was not on Kiltan.”
The old-man wasn’t the one who’d give up easily (he won’t have made it to a Vice Admiral if he did), “Ah, now I know, you were the bright chap in the Foxle division on the old Rajput.”
They don’t make sailors like Master Chief Petty Officer First Class JK Singh anymore; indeed, even then he was a limited edition. Without batting an eye-lid, he replied, “No, Sir, I haven’t had the privilege to serve with you on Rajput.”
Now, it had become a do-or-die for the Admiral and the C.O. had already started winking at JK Singh to put the old man out of his misery. But, our Gunnery Officer had already instructed the sailors to look the Admiral in the eye whilst answering and not look “here and there”. In the proper Gunnery style, this drill had been carried out with them several times with the G.O. acting as the Admiral. So, our C.O.’s winking was wasted on JK Singh. JK’s expression was indicative of his will to follow the drill of the Gunnery Officer with the same resolve as had earlier got him the coveted Naosena Medal.
The Admiral had a brain wave (I haven’t yet come across an Admiral who doesn’t get one at the crucial time), “Oh my God; I must be getting forgetful with old age (this said mockingly to indicate that he was far from becoming old). Of course you were with me on Mysore and had got the Best Sailor award several times on board when I was the Commanding Officer….ha, next I will forget my own name.”
Our C.O. was visibly trembling by this time and had closed his eyes to fervently pray to God to drive some sense in the vacuous head of his (erstwhile) best sailor. But, JK Singh stood his ground and replied with becoming honesty, “I am sorry, Sir, I was never with you on Mysore.”
At this juncture, our CO was already motioning the Admiral to move on to Master Chief Second Class Pillai who was dying to agree with the Admiral on anything at all, even to say that it was he who gave the crucial pass to the Admiral when as Lieutenant he had scored his first goal in a football match against the Royal Naval Ship Kent. You won’t believe it but I gathered all this from the eager face of Pillai. I wish I had taken a photograph.
Admirals don’t give up so easily; as I have mentioned earlier, only the brightest, the smartest and the most professional make it to that rank. So, the visiting Admiral had a massive Tsunami that hit his brain and he came up with a clincher, “Ahhh, now I know; it was the other JK Singh who left service three years back. Strange, there is a very close resemblance….(and he turned to my C.O.) Don’t you feel, Satpal?”
My C.O.’s eagerness to nod his turbaned head put Pillai’s visible alacrity to shame and he seized the opportunity to declare cease-fire on further barrage of ‘man-management’, “That’s what I have been trying to tell you, Sir; this is not the same JK Singh…..(and added for effect); all smart sailors, in our great Navy look alike.”
Over the PLD, that afternoon, the Admiral recited several anecdotes about “that” JK Singh. Our C.O. added quite a few of his own and whole-heartedly agreed with the Admiral that “that” JK Singh was one of the greatest sailors “this side of the Suez”.
Satpal would have certainly made it to an Admiral’s rank had he not been court-martialed and cashiered that year for something as insignificant as embezzlement of funds. Dishonesty doesn’t always work.
GUNNERS TOO ARE HUMAN – PART III – GUN SALUTES
Gunners do everything with guns; a supreme kind of macho feeling. When they have hostile intent they fire their guns to slam the daylights out of the enemy. However, when they have to signify friendly intent, they still say it with their guns; they salute you with gun-shots. It is as if, for a Gunner, it is guns or nothing. Nowadays, people ashore too fire gun-salutes, having borrowed the tradition from the naval gunners. In the olden days, when a warship entered a foreign port, it would harmlessly fire its cannons, until it finished with all ammunition, to show it didn’t have a hostile intent. As the tradition progressed over the years, a 21 Gun salute was fired for head of state (King, Queen, President or Prime Minister). Indeed, it is still fired as a mark of respect for the head of state when a ship enters a particular harbour for the first time. Down the line, the other dignitaries of the state are entitled to lesser number of gun-salutes.
What does One-Gun Salute mean? It is a rogue’s salute fired at Colours (usually 8 A.M.) on the day a naval court-martial has been ordered to assemble.
I was posted as Signal Communication Officer of the second one of the indigenous modified Leander Class design ships of the indigenous Godavari class: Indian Naval Ship Ganga. She was commissioned on 30th Dec 1985 by the then Prime Minister Rajiv Gandhi and we had the distinction of taking he and his wife Sonia for their famous (made infamous by a persistent questioner – who wanted to be compared to a dog, since he had ascribed to himself the role of a watch-dog: Ram Jethmalani) visit to Andaman & Nicobar islands.
We also went on a flag-showing visit to Jeddah (Saudi Arabia) and Masawa (Eritrea, adjoining Ethiopia). This was our first foreign visit on Ganga and we were excited. However, our Captain was a little edgy since we had the Fleet Commander, Rear Admiral Shekhawat (he later became the Chief of the Naval Staff) and his entire Fleet Staff embarked on board. With or without the Fleet Commander, the Fleet Staff rejoices in asking questions that make the ship’s staff cringe. As if that is not enough, they rub it into you hard by making some pippins of signals at sea intended to prove to anyone with a modicum of intelligence that the recipient of their signal (s) was standing last in the queue when God was dishing out brains. Some of the signals made at sea by some of the Fleet Commanders are (just to give you some sample signals):
- You are slow like Chinese naval men.
- The line (of ships) is higgledy – piggledy.
- Where are you going? (To a ship that has misunderstood her station).
- Your stupidity has spoiled the whole show.
Anyway, you have probably got the idea. Already, whilst heading towards Jeddah, the FOO (Fleet Operations Officer), Captain ‘Jerry’ Patel had enquired with a chuckle, “How come the Fleet Commander’s chair on the Bridge is covered with a white Turkish cloth whereas our Captain’s chair is covered with red Turkish cloth?” My riposte that it was to indicate whose ass was on fire boosted the morale of my Captain, only to return to being lugubrious later.
The eve before entering the Jeddah port he went to the Helicopter Deck to address the ship’s company to refrain from custom violations etc (the mandatory talk, which serves as much purpose as speed limit of 80 kmph on Mumbai-Pune Expressway).
We entered harbour ceremoniously dressed in white tunics and trousers and white peak-caps. A guard and band was paraded on the helo deck. At the appointed time and position we fired the Gun Salute to the King of Saudi Arabia, returned gun for gun (though lesser number of guns) for the Fleet Commander.
I need to explain this Gun Salute for my civilian readers:
Unlike the olden days custom of harmlessly firing the ship’s main guns, these days, there are especially made Saluting Guns that fire shells with very small charge so as to produce bang and fire but do no visible harm. Nevertheless, a charge is a charge and those firing it have to take adequate precautions. Have a look at the picture below:
Now how do the Gunners keep timing of 10 to 15 seconds between two gun-shots so that the sound and fire would be at equal intervals and not haphazard? Here too, the Gunners have a unique system; between two gun shots, they load the shell saying out aloud: “If-I-were-not-a-Gunner-I-won’t-be-here…fire” and so on. In the last two articles on gunners I must have already convinced you that there is nothing more unique in the Navy as Gunners. Now you know that the Navy has two types of personnel: Gunners and the Others.
Anyway, the firing of the Gun Salutes was accomplished without a hitch. We paraded an Entering Harbour Ceremonial Guard and Band and took up our appointed berth. On the Bridge, whilst entering harbour, one look at my Captain’s face convinced me that he was as happy as a school-boy appearing for Algebra exam.
In the forenoon, we had a number of visitors on board. Each one of them was ceremoniously received on the Helo Deck by the Fleet Commander and my Captain. My Captain’s mood was becoming more and more sombre. This was rare since he was generally very genial who loved to guffaw loud on slightest pretext.
One reason, amongst others, that I could lay my finger on, was a small change of plan that the Fleet Commander and his staff had brought about for the evening reception on board. Since we were the first ship alongside, cocktails were going to be on our ship for all and dinner for a smaller number of important dignitaries was to be held on Ranjit’s helo deck. Why would our Captain sulk because of this? Simple; before leaving Mumbai, the Fleet Staff had prepared us for the dinner and we had gone about putting together the best of arrangements for it, which included fancy food-heaters that were not so common then as they are now. So, here was a chance to show-case our best logistic skills but, at the last minute, due to this change, we had to handover our best to Ranjit.
I was the DLC that day: the Duty Lieutenant Commander. I was also the Mess Secretary of the Wardroom. In the evening, in his dejected mood, the Captain had started pacing on the helo-deck to survey the evening’s arrangements for cocktails. I had never seen him in that mood. It appeared to me that he was on a spree of finding faults and anybody who was in his line-of-fire was getting it nice and proper.
I shared a special relationship with him; we would often crack the juiciest of the jokes when closed up on the Bridge. For example, when I had confided in him that I had four of my COs during that cruise (Captain Dabir (God rest his soul) as my erstwhile CO of Talwar, Rear Admiral Shekhawat – the Fleet Commander as my erstwhile CO of Himgiri; Captain ‘Jerry’ Patel, my next CO (after Shekhawat) of Himgiri and finally he, Captain KK Kohli of Ganga; he laughed out aloud and remarked, “You are a much ——ed man.” However, that evening, jokes and laughter were farthest from his mind. He ticked me off several times to indicate his dissatisfaction with the arrangements. “Come on” he quipped, “The party is about to start and nothing has been done so far.” I was about to remind him that there were still three hours to go for the party but one look at his face told me to think better of it.
Suddenly in the midst of ceremonial awnings, bar, chairs and sofas being set-up, he noticed the Saluting Guns (two on either side) that were still bolted to the deck. “Why are these here?” he screamed with the indignation of a diner suddenly spotting a fly in his soup. I innocently looked at the guns and confirmed the veracity of my Captain’s finding. My unsaid response was, “Trust the Gunners not to have cleared up after the shoot; don’t they do it with their mouths too?”
Anyway, to announce for the Gunnery team to clear off the Saluting Guns, more than eight hours after they had done their job, was for me the need of the hour. There is one thing that has to be said about the Gunners; whilst most times they may lie idle, at action and on broadcasts, they suddenly appear from nowhere to address themselves to the task at hand. They quickly got around to unbolting the guns and carrying these to Gunner’s Store.
Meanwhile the Captain had resumed his firing me with some choice words; the mildest of these being that I had no future in the navy if I couldn’t arrange something as simple as Cocktails without the Captain’s help. He was warming up to his prediction having come true, when he had first set eyes on me two years back, that of all the people I would fail him at a crucial juncture. He had then embarked on such nitty-gritties as that a good DLC would personally check the dress of the ceremonial sentry since he would be the first person seen by the guests. However, he stressed that only good DLCs would do that and I was certainly not in that category.
“Have you done this?….Have you ensured that?…blah…blah…blah…” there was no end to it and I didn’t know how to stop him. Suddenly, we heard a rogue’s gun being fired close to us….a loud crackling sound and flame….for heaven’s sake at 5:30 in the evening. We froze. My first reaction was that the CO had exploded in rage.
It came out that a Gunner was carrying one of the saluting guns, holding the barrel between his legs, since it was heavy; when, it suddenly fired. Apparently, in the morning firing of 21 guns-salute, one of the shells was still loaded after 21 had been successfully fired and – hold your breath – the Gunnery Team had forgotten about it. Forgotten shells and rounds have this uncanny habit of making their presence felt at the strangest of times. In this case, it had displayed the stuff it was made off exactly at the time when my Captain was trying to compete with it in sound and fury. The worst was that the shell had fired quite close to the sailor’s real gun and shells and he had a miraculous escape though his hand was injured and bleeding.
What a sobering effect this had on my Captain! The sailor soon became alright with first-aid given to him in the ship’s Sick Bay. My Captain too became totally normal immediately, especially with the quick realisation that it could have been much worse if the sailor was badly injured or if it were to take place at the time when the dignitaries were on board during the forenoon. He was, after that, his usual life-of-the-party, jovial and full of jokes and fun.
I heaved a sigh of relief remembering how he would handle the trickiest of situations at sea with calm and without losing his balance.
That night when I went to sleep, I learnt the full meaning of the (gunnery?) expression: to kill two birds with one stone. I gave a silent 21 gun salute to the Gunners in my dreams for having saved my life that evening.