Category: Music and Cinema

I have so far given you only one song per movie except for Baiju Bawra, for which I gave you three: O duniya ke rakhwaale, Man tadpat Hari darshan ko aaj, and Tu Ganga ki mauj main Jamina ka dhaara.

I am tempted to give you another song of Shabab too.

This is another favourite and very nostalgic. Mohammad Rafi has sung for Bharat Bhushan.

Please enjoy: Aaye na baalam waada kar ke…..

aaye na baalam vaadaa kar ke
aaye na baalam vaadaa kar ke
thak gaye nainaa dhiiraj dhar ke
aaye na baalam …

chhup gayaa chandaa luT gayii jyoti
taare ban gaye jhuuThe motii
pa.D gaye phiike ra.ng najar ke
aaye na baalam …

aao ki tum bin aa.Nkho.n me.n dam hai
raat hai lambii jiivan kam hai
dekh luu.N tum ko mai.n jii bhar ke
aaye na baalam …

Day #8 of 31
Song #23

Day #8 of 31
Song #24

Appreciating Good Lyrics
Song #8

As you are aware, I started these posts a week ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.

So far, we have taken up in the last seven days:

1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.

Tonight we take up our eighth lyricst, Qamar Jalalabadi‘s creation.

Qamar Jalalabadi was born as Om Prakash Bhandari in 1919 in the town of Jalalabad near Amritsar in Punjab. He started writing poetry at the age of seven. He was given the pen-name of Qamar which means moon. Since, it was routine those days for writers to name themselves after the towns they hailed from, he became known as Qamar Jalalabadi. After schooling from Amritsar, he became a journalist for Lahore based newspapers like Daily Milap, Daily Pratap, and Nirala.

In early 1940s, he came to Poona to write lyrics for songs in Hindi movies. His first film was Zamindar in 1942 and his first song, just like Shakeel’s for Dard, became famous. The song: “Duniya mein gareebon ko aaraam nahin milata” was sung by Shamshad Begum.

Subsequently, Jalalabadi relocated to Bombay, and worked there as a lyricist for nearly four decades.

All old timers know him for the song “Khush hai zamaana aaj pehli tareek hai” which was aired from Radio Ceylon for several years on the first of every month.

Matching lyrics to Shakeel?

Well, as I know there are several. But, in case of all lyricists, I have tried to give their early songs first.

This is from the 1955 movie Adl-e-Jahangir (Justice of Jahangir). This historical film was the debut directorial attempt by the famous director GP Sippy.

“The story involved a quasi historical episode from Emperor Jehangir’s reign where his sense of justice is brought into question when his wife, the Empress Noor Jehan is implicated by Rami, a washer woman, in the killing of her husband (aacidentally by an arrow when Noor Jahan goes hunting).”

The movie starred Pradeep Kumar and Meena Kumari and this song became quite famous. It was sung by both Talat Mehmood and Lata.

The composer was Husnlal-Bhagatram.

Please enjoy: Ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N….

ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
naa to mil ke gaye naa hii chho.Daa nishaa.N
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N

naa vo lay aaj rahii naa vo mahamil rahaa
paas ma.nzil pe aake luTaa kaaravaa.N ho luTaa kaaravaa.n
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N

ye sitaare nahii.n Gam ke aa.NsU hai.n ye
ro rahaa hai mere haal par aasamaa.n haal par aasamaa.n
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N

tumase milake hii mastii me.n khoye the ham
aa.Nkhe.n khulii.n to uja.Daa huaa thaa jahaa.N ab mai.n jaauu.N kahaa.N
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
hai zamii.n ke daaye nahii.n teraa nishaa.N
ai merii zi.ndagii tujhe Dhuu.NDhU.n kahaa.N
tujhe Dhuu.NDhU.n kahaa.N, tujhe Dhuu.NDhU.n kahaa.N…

Day #9 of 31
Song #25

Day #9 of 31
Song #26

Day #9 of 31
Song #27

Appreciating Good Lyrics
Song #9

As you are aware, I started these posts eight days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.

So far, we have taken up in the last eight days:

1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.

Tonight we take up our ninth lyricst, Raja Mehdi Ali Khan‘s creation.

I already have, on my blog, a post dedicated to him titled: ‘The Magic of the Lyrics of Raja Mehdi Ali Khan’. He is my second most favourite lyricist after Shakeel Badayuni.

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.

Raja appears to have done everything at a relatively young age. It is as if he knew that he is going to die young at the age of 37 only on 29 Jul 1966.

When Shakeel gave his first film song in 1947 Dard: Afsana likh rahi hoon, Shakeel was 31 years old. Raja Mehdi Ali Khan was just 18 when he gave his, in his first movie Do Bhai. And what a song it was, sung by Geeta Dutt.

Indeed, Raja Mehdi Ali Khan together with Rajinder Krishan emerged the lyricist of choice for heroines. Some of his best songs are:

1. Aap ki nazaron ne samajha pyaar ke kaabil mujhe.
2. Agar mujhase mohabbat hai mujhe sab apne gham de do.
3. Sapano mein agar mere tum aao to so jaayun.
4. Naaina barse rimjhim rimjhim.
5. Lag jaao gale ke phir ye hasin raat ho na ho.
6. Naino mein badra chhaye.

It is not as if he didn’t write for heroes. Taste some of his best there too:

1. Main nigahen tere chehre se hatayun kaise.
2. Tum bin jeevan kaise beeta poochho mere dil se.
3. Aap youn hi agar hamase milate rahe.

The movie Do Bhai starred Ulhas, Noor Jehan, Kamini Kaushal, Dipak Mukherjee, Ramayan Tiwari, Rajan Haksar and Paro in lead roles. The song was composed by SD Burman and was an instant hit together with Yaad karoge, also sung by Geeta Dutt.

Please enjoy: Mera sundar sapna beet 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

Day #10 of 31
Song #28

Day #10 of 31
Song #29

Appreciating Good Lyrics
Song #10

As you are aware, I started these posts eight days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.

Tonight we take up the tenth lyricist Indeevar‘s creation. He was born in 1924 as Shyamalal Babu Rai in Dhamna Village of Jhansi district of Uttar Pradesh. He moved to Bombay at the end of 1940s to pursue a professional career as a lyricist.

In a career spanning nearly half a century he wrote 1633 songs for over 300 films.

As a contemporary of Shakeel, I have been giving you songs of 50s and 60s, so far.

As far as Indeevar is concerned, I give you a gem from his first movie, the 1951 movie Malhaar.

Here is from The Hindu newspaper dated 29 Mar 2012 in a piece titled ‘Blast From The Past: Malhar (1951):

“Starring Shammi, Arjun, Moti Sagar, Kanhaiyalal

On watching “Malhar”, more than six decades after it was released, one cannot but admire the fundamental laws that govern good cinema, which have stood the test of time, proving that they are inviolate and sacrosanct. Despite the considerable time that has elapsed, “Malhar”, directed by Harish, shows no signs of staleness, at least in certain vital areas. The first of two films to be produced by ace singer, Mukesh (the other being “Anuraag” in 1956) under the banner of Darling Films, it had a young and largely inexperienced cast and crew, for many of whom it was their debut vehicle.

The film is a showpiece of technical brilliance, especially the editing by S. Prabhakar, which is taut and precise, and never allows the narrative to slacken or waver, even in the second half, which, on certain occasions tends to meander. Equally deft is the cinematography by M. Rajaram, considering the equipment available to him.

However, piece-de-resistance of the film is its music score, composed by Roshan, grandfather of Hrithik Roshan, who had made his debut just a year earlier, in 1950. For the current generation of viewers, who, through incessant harping might be deluded into believing that film dynasties do not extend beyond the Bachchans and the Kapoors, this will be a revelation. As will be the trivia that Mukesh was the grandfather of the talented Neil Nitin Mukesh. Or Moti Sagar, who essays an important role, is the father of singer Preeti Sagar.

Each song, led by the remarkable “Bade Armaanon Se Rakha Hai Sanam Teri Qasam, Pyaar Ki Duniya Mein Yeh Pehla Qadam” is a gem. Roshan was undoubtedly helped by the lyricists, debutant Indeevar and Kaif-Irfani- who penned sheer poetry, including “Dil Tujhe diya tha Rakhne ko, Tune Dil ko Jala ke Rakh Kiya” and “Tara Toote Duniya Dekhe”. Lata Mangeshkar and Mukesh, needless to mention, made them immortal in their voice.”

Please enjoy Lata Mangeshkar and Mukesh sing the debut song of Indeevar in the Hindi movies, a song composed by Roshan: Bade armaano se rakha hai balam teri kasam….

ba.De armaano.n se rakhaa hai balam terii kasam
o balam terii kasam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam
judaa na kar sake.nge hamako zamaane ke sitam
ho, zamaane ke sitam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam

le uThaa pyaar bhii a.nga.Daaii hai, dil bhii jahaa.N
ajii, aise me.n li_e jaate ho tum bolo kahaa.N
duur duniyaa kii nigaaho.n se kahii.n jaae.nge ham
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …

terii do aa.Nkho.n me.n dikahte hai.n mujhe dono.n jahaa.N
inhii me.n kho gayaa dil meraa kaho Dhuu.NDhuu.N kahaa.N
chaa.Nd ghaTataa ho ghaTe apanii mohabbat na ho kam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …

merii naiyaa ko kinaare kaa i.ntazaar nahii.n
teraa aa.Nchal ho to patavaar bhii darakaar nahii.n
tere hote hue kyo.n ho mujhe tuufaan kaa Gam
pyaar kii duniyaa me.n ye pahalaa kadam
ho, pahalaa kadam …

Day #11 of 31
Song #31

Day #11 of 31
Song #32

And now for the reason why so long there had been no Shakeel – Naushad movies. Indeed after the 1955 Udan Khatola, for the next four movies, for two years, Shakeel penned songs for Ghulam Muhammad movies.

The reason was that 1957 iconic Mehboob Khan movie Mother India was in the making. Mehboob Khan had already made the 1952 movie Aan with them and 1954 movie Amar.

Volumes have been written about this movie that nearly won for Mehboob Khan an Oscar for the Best Foreign Film at Academy Awards, whereat it lost to Federico Fellini’s Nights of Cabiria by a single vote.

The title Mother India was inspired by American author Katherine Mayo’s 1927 controversila book of the same name, in which she attacked Indian society, religion and culture.

Nargis, only 26 years old at that time, was chosen by Mehboob Khan to portray Radha, who, in the absence of her husband, struggles to raise her sons and survive against a cunning money-lender amidst many troubles. Despite her hardship, she sets a goddess-like moral example of an ideal Indian woman. Thus the movie was meant to counter Katherine Mayo’s diparaging image of Indian woman in her book.

How right Mehboob Khan was in his choice was proved by Nargis not just being awarded the Filmfare Best Actress award for her role but also she became the first Indian to receive the Best Actress award at the Karlovy Vary International Film Festival.

Now for the curious fact about the 12 songs of the movie by the pair of Shakeel and Naushad. As I said, both together had worked for Mehboob Khan in two movies whereas Naushad alone ahd worked with Mehboob Khan in eight movie.

Initially the songs were not well recieved! However, later critics rated the music and songs amongst the 100 greatest Bollywood (how I hate that title) soundtracks ever.

Mother India is the earliest example of a Hindi film containing Western classical music and Hollywood-style orchestra.

Here is the list of its dozen songs:

1. “Chundariya Katati Jaye” Manna Dey 3:15
2. “Nagari Nagari Dware Dware” Lata Mangeshkar 7:29
3. “Duniya Mein Hum Aaye Hain” Lata Mangeshkar, Meena Mangeshkar, Usha Mangeshkar 3:36
4. “O Gaadiwale” Shamshad Begum, Mohammed Rafi 2:59
5. “Matwala Jiya Dole Piya” Lata Mangeshkar, Mohammed Rafi 3:34
6. “Dukh Bhare Din Beete Re” Shamshad Begum, Mohammed Rafi, Manna Dey, Asha Bhosle 3:09
7. “Holi Aayi Re Kanhai” Shamshad Begum 2:51
8. “Pi Ke Ghar Aaj Pyari Dulhaniya Chali” Shamshad Begum 3:19
9. “Ghunghat Nahin Kholoongi Saiyan” Lata Mangeshkar 3:10
10. “O Mere Lal Aaja” Lata Mangeshkar 3:11
11. “O Janewalo Jao Na” Lata Mangeshkar 2:33
12. “Na Main Bhagwan Hoon” Mohammed Rafi 3:24

Lets take up the iconic Duniya mein ham aaye hain to jeena hi padhega for two reasons: The foremost is that the song is the theme of the movie, the determined image of the Indian woman to fight against adversity and emerge stronger (my own mother has done this after the premature death in an accident of my father in 1984!). The second is that Shakeel’s lyrics bring out the theme of the movie remarkably well. Hats off to him.

The song has been sung by Lata Mangeshkar, Usha Mangeshkar and Meena Mangeshkar.

Please enjoy: Duniya mein ham aaye hain to jeena hi padhega….

duniyaa me.n ham aaye hai.n to jiinaa hii pa.Degaa
jiivan hai agar zahar to piinaa hii pa.Degaa
duniyaa …

gir gir ke musIbat me.n sambhalate hI rahe.nge
jal jAe.n magar Ag pe chalate hI rage.nge
Gam jisane diye hai.n bahI Gam dUr karegA
duniyaa …

aurat hai vahI aurat jise duniyaa kI sharm hai
sa.nsAr me.n bas lAj hI nArI kA dharm hai
zindA hai jo izzat se vahI izzat se maregA
duniyaa …

mAlik hai tere sAth na Dar Gam se tU ye dil
mehanat kare insAn to kyA kAm hai mushkil
jaisA jo karegA yahA.N vaisA hI bharegA
duniyaa …

Day #11 of 31
Song #33

Appreciating Good Lyrics
Song #11

Tonight we take up the eleventh lyricist DN Madhok‘s creation.DN Madhok, as most of you would be aware, is from the trio called ‘first generarion of lyricists’ that also included Kavi Pradeep and Kidar Sharma.

He was born on 22 Oct 1902 in Gujranwala (now in Pakistan), nearly 14 years before Shakeel Badayuni. He arrived in Bombay in 1931 and in the very next year wrote lyrics for the songs of Radhey Shyam. He wrote – hold your breath – 29 songs for that film. He also helped in composing songs for the film but wasn’t given credit for it.

He was a very versatile personality. In the second year, after Radhey Shyam, he directed three movies, all with English names: Lure of Gold, Flame of Love and Three Warriors.

He continued directing movies, writing screen-plays, dialogues and lyrics; like Gulzar did many decades after him. He wrote lyrics for such movies as Nadi Kinare (1939), Musafir (1940), Pagal (1940), Ummeed (1941), Bansari (1943), Nurse (1943), Bela (1947), Bhakt Surdas (1942), and Tansen (1943).

Now here is something that would interest Shakeel Badayuni fans: Whilst Naushad Ali is credited with bringing Shakeel into the movies, DN Madhok was credited with bringing Naushad into the movies! Whilst Shakeel’s first lyrics were in Naushad’s film, the 1947 movie Dard, Nashad’s first song in the movies was on the lyrics of DN Madhok!

The name of the 1940 movie was Prem Nagar that starred Prof Ramanand and Husna Banu (they sang for themselves). Here are the songs that Naushad composed in his first movie on the lyrics of DN Madhok:

1. Main Kali Baag Ki Tu Bhora Kaala
Husna Banu Naushad D N Madhok Husna Banu
2. Man Ke Taar Hila Jaa More Man Ke Taar
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
3. Mat Bolo Bahaar Ki Batiyaan
Bimla Kumari, Prof. Ramanand Naushad D N Madhok
Bimla Kumari, Prof. Ramanand
4. Tum Bin Chain Na Aaye Sajni
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
5. Ambua Pe Baitha Panchhi Kya Boli Bole
Prof. Ramanand, Husna Banu Naushad D N Madhok Prof. Ramanand, Husna Banu

Lets listen to the second song, if not for anything, but for the fact that Shakeel’s Mother India song: Nagri nagri dwaare dwaare had lyrics similar to it.

Please enjoy: Man ka taar hila jaa more man ka taar hila jaa….

man ke taar hila ja mere man ke taar hila ja
man ke ek taare par bande pritam pritam gaa le
man ke ek taare par bande pritam pritam gaa le
man ke taar baja kar murakh man ke taar baja kar murakh
jivan ka sukh pa le jivan ka sukh pa le
dag mag dole o more sajan dag mag dole o more sajan
naiya paar laga ja naiya paar laga ja
man ke taar hila ja mere man ke taar hila ja

nagri nagri dware dware jhum raha hai pritam pyare
koun nagriya ho more sajan koun nagriya ho more sajan
man ke taar hila ja mere man ke taar hila ja
man ke taar hila ja mere man ke taar hila ja

Day #12 of 31
Song #34

Day #12 of 31
Song #35

Lets now turn to the 1958 movie Sohni Mahiwal, the second movie (after the 1946 movie by the same name) on the legendary lovers by those names. The movie starred Bharat Bhushan and Nimmi in the title roles.

This was Shakeel’s 14th movie with his mentor Naushad Ali (out of a total of 24 till then). The film had a total of 11 songs and two tunes as follows:

1 Mahiwal’s Call-Music Mohammed Rafi 0:49
2 Title Music Mahendra Kapoor 2:46
3 Panghat Pe Najariya Lad Gayi Lata Mangeshkar 3:43
4 Teri Mehfil Tera Jalva Mohammed Rafi 3:46
5 Tumhare Sang Main Bhi Chaloongi Lata Mangeshkar 3:36
6 Aanewale Ko Aana Hoga Mohammed Rafi, Lata Mangeshkar 4:18
7 Duniya Hai Isika Naam Mohammed Rafi 3:47
8 Ae Mere Malik Mere Parwardigar Lata Mangeshkar 2:31
9 Mera Bichhda Yaar Mila De Mohammed Rafi, Lata Mangeshkar 3:52
10 Id Ka Din Tere Bina Hai Pheeka Lata Mangeshkar, Mohammed Rafi 4:07
11 Aaj Galiyon Mein Teri Aaya Hai Mohammed Rafi 3:46
12 Milti Hai Bheekh Maula Lata Mangeshkar 4:02
13 Chand Chhupa Aur Tare Doobe Mahendra Kapoor 7:34

The song that became iconic in the movie wasn’t sung by Mohammad rafi or Lata Mangeshkar. It was sung by Rafi’s protege Mahendra Kapoor and is still regarded as amongst the best he sang. This is the song about the tragic end of Sohni. She used to cross the river on a pitcher to meet her lover Mahiwal. One day her jealous and cunning sister-in-law followed Sohni and found the secret hiding place where Sohni kept the pitcher. She replaced the pitcher with a kuchcha (unbaked) pitcher. Instead of floating in the water for long, gradually the pitcher dissolved in the water and Sohni drowned. This song recalls that tragic end.

Please enjoy: Chand chhupa aur taare doobe….

chaa.Nd chhupaa aur taare Duube raat Gazab kii aaii
husn chalaa hai ishq se milane zulm kii badalii chhaaii

TuuT pa.Dii hai aa.Ndhii Gam kii, aaj pavan hai paagal
kaa.Np rahii hai dharatii saarii, chiikh rahe hai.n baadal
duniyaa ke tuufaan hazaaro.n, husn kii ik tanahaaii

maut kii naagan aaj kha.Dii hai raah me.n phan phailaaye
ja.Ngal-ja.Ngal naach rahe hai.n shaitaano.n ke saae
aaj Kudaa khaamosh hai jaise bhuul gayaa ho Kudaaii

ghor a.Ndheraa mushkil raahe.n, kadam-kadam pe dhokhe
aaj mohabbat ruk na sakegii, chaahe Kudaa bhii roke
raah-e-vafaa me.n piichhe haTanaa, pyaar kii hai rusvaaii

paar nadii ke yaar kaa Deraa, aaj milan hai teraa
o.Dh le tuu leharo.n kii chunarii baa.Ndh le mauj kaa seharaa
Dole me.n ma.Njhadhaar ke hogii aaj terii vidaaii

Duub ke in uu.Nchii leharo.n me.n naiyyaa paar lagaa le
ulfat ke tuufaan me.n zindaa rahate hai.n marane vaale
jiite-jii sa.nsaar me.n kisane pyaar kii ma.nzil paayii

tere dil ke khuun se hogaa laal chenaab kaa paanii
duniyaa kii taariikh me.n likhii jaayegii yeh qurbaanii
sohanii aur mahivaal ne apanii ishq me.n jaan ga.Nvaayii

## coda : Lata, Rafi ##
hamaare pyaar ke kisse sunaaye jaayenge
yeh giit saare zamaane me.n gaaye jaayenge
ham na ho.nge fasaana hogaa (2)
aane vaale ko aanaa hogaa, jaane vaale ko jaanaa hogaa

https://www.youtube.com/watch?v=p8dEwM52Bww

Three movies back, I gave you a song from the 1957 movie Pak Daman that starred Chitra and Sudesh Kumar. The movie was directed by SM Yusuf and it had Ghulam Mohammad’s music. The success of that movie made SM Yusuf to retain the same team for his 1958 movie Maalik. It turned out to be the biggest box-office hit of that year.

Maalik starred Talat Mahmood and Suraiyya in the lead roles.

Ghulam Mohammad composed the following songs on the lyrics of Shakeel:

1. Man Dheere Dheere Gaye Re
Talat Mahmood, Suraiya
2. Ek Chhail Chhabilaa, Alabele Sayyaan Jhulanaa Jhulaa Jaa Re
Shamshad Begum, Suraiya
3. Padhoge Likhoge Banoge Nawab
Asha Bhosle
4. Baharo Ka Zamana
Suraiya
5. Kiya Tha Pyar
Asha Bhosle
6. Teer Nazron Ke Chalaye
Shamshad Begum, Bande Hasan

Lets take up Asha Bhosle’s Padhoge likhoge banoge nawab for the deep nostalgia involved with it.

Please enjoy: Padhoge likhoge banoge nawab….

padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab

jo bache kabhi likhte padhte nahi wo ijjat ki sidi pe chadhte nahi
jo bache kabhi likhte padhte nahi wo ijjat ki sidi pe chadhte nahi
yahi din hai padhne ke pad lo kitab
yahi din hai padhne ke pad lo kitab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab

burai ke raste se bach kar chalo burai ke raste se bach kar chalo
kabhi jhut bolo na chori karo kabhi jhut bolo na chori karo
agar mar bhi jao na pina sharab nahi pina sharab
agar mar bhi jao na pina sharab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab

jawa hoke bharat me nehru bano
jawa hoke bharat me nehru bano
tum itne bade hoke bapu bano tum itne bade hoke bapu bano
jawa hoke bharat me nehru bano tum itne bade hoke bapu bano
na ho duniya bhar me tumhara jawab
na ho duniya bhar me tumhara jawab
padhoge likhoge banoge nawab tum banoge nawab
jo kheloge kudoge hoge kharab suno hoge kharab

Appreciating Good Lyrics
Song #12

As you are aware, I started these posts twelve days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

Day #13 of 31
Song #37

Day #13 of 31
Song #38

The movie Mughal-e-Azam was released on 05 Aug 1960, just two days after Shakeel Badayuni’s 44th birthday. Here is from Wikipedia about the premiere of the movie:

The premiere of Mughal-e-Azam was held at the then new, 1,100-capacity Maratha Mandir cinema in Mumbai. Mirroring the nature of the film, the cinema’s foyer had been decorated to resemble a Mughal palace, and a 40-foot (12 m) cut-out of Prithviraj Kapoor was erected outside it. The Sheesh Mahal set was transported from the studio to the cinema, where ticket holders could go inside and experience its grandeur. Invitations to the premiere were sent as “royal invites” shaped like scrolls, which were written in Urdu and made to look like the Akbarnama, the official chronicle of the reign of Akbar. The premiere was held amidst great fanfare, with large crowds and an extensive media presence, in addition to hosting much of the film industry, although Dilip Kumar did not attend the event owing to his dispute with Asif. The film’s reels arrived at the premiere cinema atop a decorated elephant, accompanied by the music of bugles and shehnai”

Now that you have seen in the last song (Muhabbat ki jhooti kahani pe roye) how Anarkali was chained by Akbar and thrown into a dungeon for her ‘crime’ of falling in love with Prince Salim, lets go back to the song whence she rebelliously proclaimed in his court that she had nothing to fear in love!

This song was by far the most iconic song of the movie since it had the open rebellion that finally led to Prince Salim take up army against his own father.

The lines: Chhup na sakega ishq hamara, charon taraf hai unaka nazaara, were memorably directed by K Asif in the Jaipur’s Sheesh Mahal in whose glass ceiling, when Akbar looks up he sees the dancing Anarkali rebelliously looking down from hundreds of small mirrors.

Raag Durga was used by Naushad for the composition of this song.

Please enjoy: Pyaar kiya to darna kyaa….

insaan kisii se duniyaa me.n ik baar muhabbat karataa hai
is dard ko lekar jiitaa hai, is dard ko lekar marataa hai

pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa koii chorii nahii.n kii pyaar kiyaa…
pyaar kiyaa koii chorii nahii.n kii chhup chhup aahe.n bharanaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa

aaj kahe.nge dil kaa fasaanaa jaan bhii lele chaahe zamaanaa -2
maut vohii jo duniyaa dekhe
maut vohii jo duniyaa dekhe ghuT ghuT kar yuu.N maranaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa

unakii tamannaa dil me.n rahegii, shammaa isii mahafil me.n rahegii hbox{-2}
ishq me.n jiinaa ishq me.n maranaa
ishq me.n jiinaa ishq me.n maranaa aur hame.n ab karanaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa

chhup na sakegaa ishq hamaaraa chaaro.n taraf hai unakaa nazaaraa -2
paradaa nahii.n jab koii khudaa se
paradaa nahii.n jab koii khudaa se ba.ndo.n se paradaa karanaa kyaa
jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa to Daranaa kyaa jab pyaar kiyaa to Daranaa kyaa
pyaar kiyaa koii chorii…

https://www.youtube.com/watch?v=TdOS-0sIW-Y

Day #13 of 31
Song #39

Appreciating Good Lyrics
Song #13

As you are aware, I started these posts twelve days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.

Today we take up our 13th Lyricist Kavi Pradeep‘s creation.Kavi Pradeep was born as Ramchandra Narayanji Dwivedi a year and half before Shakeel Badayuni, on the . Before he died on 11 Dec 1998, he had penned some 1700 songs, mostly on his favourite topic: India and patriotism. He was given the title of Rashrakavi (National Poet) and awarded with the highest award: the Dadasaheb Phalke award for his lifelong contribution as a Lyricist.

His song, Aye mere watan ke logo, sung on 27th Jan 1963, immediately after the Sino-Indian War of 1962, sung by Lata Mangeshkar on a composition by C Ramchandra brought tears to the eyes of our then Prime Minister, Pandit Jawahar Lal Nehru and thousands of others who had gathered at Lal Qila Delhi.

Bandhan (1940) was his debut film in which he wrote patriotic songs. Three years later, in 1943, he surprised everyone with his daring under the British when he wrote the song: Door hato ai duniya walo, Hindostan hamara hai.

Kavi Pradeep proves my point regarding good lyrics of songs being the primary things that fans looked forward in movies. Indeed, many fans would repeatedly see movies in which his songs were, in order to hear them over and over again (those were not the days when, unlike today, songs were available for listening all the while).

Shakeel too wrote some great inpirational and patriotic songs such as: Insaan bano (Baiju Bawra), Insaaf ki dagar pe bachcho dikhaao chal ke, ye desh hai hamaara neta tumhin ho kal ke (Ganga Jamuna), and the ever so popular Nanha munha raahi hoon (Son of India).

There are many matching lyrics by Kavi Prasdeep. I give you this one from the 1958 movie Paigham starring Dilip Kumar, Vyjayanthimala, Raaj Kumar and Motilal. It was composed by C Ramchandra and sung by Manna Dey.

Please enjoy: Insaan ka insaan se ho bhaichara, yahi paigham hamaara….

insan ka ho insan se bhaichara
yahi paigam hamara
yahi paigam hamara
naye jagat me huya purana
unch nich ka kissa
sabko mile mehnat ke
mutabik apna apna hissa
sabke liye sukh ka barabar ho bantwara
yahi paigam hamara
yahi paigam hamara

harek mahal se kaho ke
jhopdiyo me diye jalaye
chhoto aur bado me ab
koi phrak na rah jaye
is dharti par ho pyar ka
ghar ghar ujiyara
yahi paigam hamara
yahi paigam hamara
insan ka ho insan se bhaichara
yahi paigam hamara
yahi paigam hamara

Day #14 of 31
Song #40

Mughal-e-Azam was Shakeel’s 26th movie, and 16th with Naushad. By this time, he was already big league but he hadn’t won a Filmfare Award!

He had worked with Naushad (16 movies), Ghulam Mohammad (8) and one each of Khursheed Anwar and Sardar Malik (1949 Singaar and Chor Bazar respectively).

However, 1960 turned out to be a most successful year for him; he received his first Filmfare award for the movie Chaudhvinh Ka Chand. However, before we reach there, there are two other movies in between: Kohinoor and Ghunghat.

Lets take Kohinoor first, produced by Dr. VN Sinha and directed by SU Sunny. This light-hearted movie of love between a prince and a princess of neighbouring kingdoms was devidsed to give a break to the tragedy-king Dilip Kumar from his lugubrious roles that had started affecting him mentally. Similar was the case with Meena Kumari.

You would think that Shakeel with his sad, tragic, despondent songs would be misfit here. No, not the last. He penned light-hearted romantic numbers with equal ease:

1 Madhuban Mein Radhika Nache Re Mohammed Rafi 6:02
2 Dil Mein Baji Pyar Ki Shehnaiyan Lata Mangeshkar 3:27
3 Tan Rang Lo Ji Aaj Man Ranglo Mohammed Rafi, Lata Mangeshkar 3:26
4 Jadugar Qatil Hazir Hai Mera Dil Asha Bhonsle 3:33
5 Zara Man Ki Kewadiya Khol Mohammed Rafi 3:17
6 Chalenge Teer Jab Dil Par Mohammed Rafi, Lata Mangeshkar 3:27
7 Yeh Kya Zindagi Hai Lata Mangeshkar 3:00
8 Dhal Chuki Sham-E-Gham Mohammed Rafi 3:17
9 Do Sitaron Ka Zameen Par Lata Mangeshkar, Mohammed Rafi 3:32
10 Koi Pyar Ki Dekhe Jadugari Mohammed Rafi, Lata Mangeshkar 3:24

And, what can you see about Naushad? Only this that he being the versatile composer that he was composed them equally well.

The first one, above, was done by him in Raag Hamir and Tal Tintal. Many people think of this rare Raag as a derivative of Raag Bilawal. It is sung at night (9 PM to midnihgt).

Please enjoy Mohammad Rafi sing: Madhuban mein Radhika naache re….

madhuban me.n raadhikaa naache re -2
giradhar kii muraliyaa baaje re -2
madhuban me.n…

pag me.n ghu.Ngharuu baa.Ndhake, aa…
pag me.n ghu.Ngharuu baa.Ndhake
ghu.NghaTaa mukh par Daal ke
nainan me.n kajaraa lagaake re
madhuban me.n…

Dolat chham-chham kaaminii, aa…
Dolat chham-chham kaaminii
chamakat jaise daaminii
cha.nchal pyaarii chhavi laage re
madhuban me.n…

mrida.ng baaje titakitadhuum titakitadhuum taa taa -2
na chaka chuum chuum thaa thay thaa thay
chaka chuum chuum chana na na chuum chuum chana na na
kran taa kran taa kran taa dhaa dhaa dhaa
madhuban me.n raadhikaa naache re

madhuban me.n raadhikaa
nI sA re sA gA re mA gA pA mA
dhA pA nI dhA sA nI re sA
re sA nI dhA pA mA
pA dhA nI sA re sA nI dhA pA mA
pA gA mA
dhA pA gA mA re sA

madhuban me.n raadhikaa naache re
sA sA sA nI dhA pA mA
pA dhA pA gA mA re sA nI re sA
sA sA gA mA dhA dhA nI dhA sA
madhuban me.n raadhikaa naache re
madhuban me.n raadhikaa

o de nA dir dir dhA nI tA dhA re dIm dIm tA nA nA
nA dir dir dhA nI tA dhA re dIm dIm tA nA nA
nA dir dir dhA nI tA dhA re dIm dIm tA nA nA
nA dir dir dhA nI tA dhA re
o de tana dir dir tana dir dir dir dir duum dir dir dir
dhaa titakita tak duum titakita tak
titakita titakita tA dhA nI
nA dir dir dhA nI tA dhA re …

Day #14 of 31
Song #41

Day #14 of 31
Song #42

Appreciating Good Lyrics
Song #14

As you are aware, I started these posts twelve days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.

So far, we have taken up in the last thirteen days:

1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with Mera sundar sapna beet gaya.
10. Indeevar with Bade armaano se rakha hai balam teri kasam.
11. DN Madhok with Man ka taar hila ja
12. Kidar Sharma with Teri duniya mein dil lagta nahin waapas bula le.
13. Kavi Pradeep with Insaan ka insaan se ho bhaichara.

Today we take up the creation of our 14th Lyricist Pt. Indra Chandra. I have taken this information verbatim from a site called www.anmolfankaar.com since the information given on this forgotten Lyricist by Aditya Pant is the best. In the beginning of the article it says that this article was written for the Guzra Hua Zamana series on Sangeet Ke Sitare, a music group on Facebook.

“It’s a sad reality that among all the contributors that embellish film songs, the lyricists are probably the least remembered (except the musicians and chorus singer, of course). Pt. Indra’s is a classic case in point. One of the most prolific Hindi film lyricists of his time, Pt. Indra had a career spanning three decades during which he wrote more than 875 songs in 128 films. Yet his name is hardly known.

Not much is known about the early life of Pandit Indra Chandra Dadhich. Hailing from Churu district in Rajasthan, Pt. Indra came to Bombay in 1933. He was first hired as a writer and lyricist for Gandharv Cinetone’s Sati Mahananda (1933). He continued to be associated exclusively with them for the first few years and worked on films like Maharani (1934) and Pardesi Saiyan (1935). When Master Vinayak co-founded his company – Huns Chitra – in 1936, he hired Pt. Indra for Chhaya (1936), where he was responsible for translating from the original Marathi. Pt. Indra continued to work for Huns Chitra for the next couple of years, while expanding his association with other film companies like Sagar Movietone and a few others.

It was in 1939 that he got the first opportunity to work with Chandulal Shah’s Ranjit Movietone in Sant Tulsidas. But it wasn’t until 1942, with Dheeraj and Iqraar (Tyaag), that Pt. Indra became a regular lyricist with Ranjit Movietone. By 1950 he had worked in 33 films produced by Ranjit Movietone, his most significant association with any film company. Some of the noteworthy films of this association include Tansen (1944), Dhanna Bhagat (1945), Moorti (1945), Prabhu Ka Ghar (1945), Rajputani (1946), Chheen Le Azadi (1947), Piya Ghar Aaja (1947), Gunsundari (1948) and Jogan (1950). Many years later when Chandulal Shah directed Zameen Ke Taare (1960) he once again called Pt. Indra for his services, although the film was made under the banner of Chandra Movies.

Apart from Ranjit Movietone for whom he produced a bulk of his output, Pt. Indra also did considerable amount of work for Vijay Bhatt’s Prakash Pictures (9 films), Homi Wadia’s Wadia Movietone (8 films), Huns Chitra (7 films) and Sagar Movietone (6 films). Since he had close relations with both, when Ranjit Movietone and Wadia Movietone decided to co-produce Return of Toofan Mail in 1942, Pt. Indra was the obvious choice for the main lyricist.

In 1948, S. S Vasan decided to remake his super hit film Chandralekha in Hindi. The responsibility of writing the lyrics as well as the dialogues fell on Pt. Indra. Thus began another fruitful association for Pt. Indra. He became an in-house lyricist for Gemini Films, writing for all their subsequent Hindi films like Nishaan (1949), Mangala (1950), Sansar (1951), Mr. Sampat (1952), Bahut Din Hue (1954) and Do Dulhe (1955).

Those were the days when artistes were closely tied to film companies, working on a monthly salary. It is, therefore, natural that the music directors Pt. Indra worked with was dependent on the film companies he was associated with. From Govindrao Tembe in his first film to Dhaniram, Jamal Sen and Shivram Krishna in his final films, Pt. Indra worked with around 50 different composers. Yet, a fairly large proportion of his work is with composers who were closely associated with Ranjit Movietone i.e. Bulo C. Rani (21 films), Gyan Dutt (17 films), Khemchand Prakash (12 films) and Hansraj Bahl (11 films). Jogan (1950) with Bulo C. Rani, Geet Govind (1947) with Gyan Dutt, and Tansen (1943) with Khemchand Prakash can be considered as Pt. Indra’s milestone films. While working with Gemini, he got the opportunity to work with prominent composers of South India like S. Rajeshwar Rao, E. Sankara Shastri, B.S Kalla and M. D Parthasarthy. Other prominent composers he worked with include S. N Tripathi (6 films), Anil Biswas (5 films) and Dada Chandekar (4 films).

After his very first film Sati Mahanada, Pt. Indra had several more opportunities to show his mettle as a dialogue writer. Some of the films for which he wrote the story/dialogues include Maharani (1934), Pardesi Saiyan (1935), Chhaya (1936), Sati Pingala (1937), Jwala (1938), Brahmachari (1938), Brandy Ki Botal (1939), Sant Tulsidas (1939), Ghar Ki Rani (1940), Chandralekha (1949), Jalsa (1948) and Bahut Din Hue (1954). Many of these films were dubbed versions/remakes of regional language films.

Pt. Indra also tried his hand at production when he co-produced Sheikh Chilli (1956) with Ramchandra Thakur. He also produced a few Rajasthani films like Babasa Ri Ladli (1961), Nanibai Ko Maayro (1962), Gangaur (1964) and Gopichand Bharthari (1965). He wrote the lyrics for these films as well, as also for other Rajasthani films like Dhani Lugai (1964) and Gogaji Pir (1969). Even in Hindi films he brought in the flavor of Rajasthan whenever an opportunity arose. Songs like ‘mharo chhail bhanwar ro kangasiyo’ (Karwaan 1944), ‘kunwar thane mujro kar kar haari’ (Rajputani 1946) and ‘mora chhail bhanwar ’ (Rajputani 1946) were either completely or partially written in Rajasthani.

A glance at his work reveals that at the beginning of his career, there was a noticeable literary influence in his choice of words both in Hindi and Urdu. For example, ‘saavan ghan barse chaatak kyun tarse’ (Maharani 1934), ‘mansarovar taj chale rajhans’ (Chhaya 1936), ‘yakta ye husn mana farsh-e-zameen pe ho’ (Pardesi Saiyan 1935), ‘mere dil-e-saudai kis waqt haya aayi’ (Pardesi Saiyan, 1935), etc. But largely, the language he used was simple and colloquial as was in vogue in the films of 1930s and 40s. He primarily stuck to the demands of the film rather than overtly and incongruously exhibiting his language skills. However, whenever he had the opportunity, either due to the subject of the film or when he got a free hand from the film makers, he did revert to pure, literary language. A case in point will be his songs from Geet Govind (1947), where he penned songs like ‘viyogini deepshikha se jare’ or ‘chamakat damakat daamini’. He also used the literary device of anupraas alankaar (alliteration) whenever he could as is evident in songs like ‘o mrignayani madhubani menaka’ (Mr. Sampat 1952), ‘kookat koyaliya kunjan mein’ (Bharthari 1944) and ‘maai ri main to madhuban mein’ (Chandalekha 1948). In the last example, which is jointly credited to Pt. Indra & Bharat Vyas, the use of alliteration was not restricted only to the mukhda. The last antara of that song had another lovely usage of alliteration when the singer sings ‘ho gaye naina nihaal nirakh liyo nandlal’.

It is difficult to compartmentalize Pt. Indra’s writing style. He was truly versatile, writing just about every kind of song. However, there are a few recurring motifs that appear in his songs. One cannot call that as something unique to him as those themes were quite prevalent in that era in general, but given his prolificacy those themes appear more often in his work as compared to some other lyricists. One such theme is that of Radha Krishna, either alone or together. This seems to be quite a favorite among most lyric writers till around the 70s. In Pt. Indra’s oeuvre this theme emerges not only in films based on this subject like Geet Govind (1947), where he penned songs like ‘shyam meri bindiya bikhar na jaye’, ‘kit ho nand kumar’, ‘meethi meethi murali shyam bajaye’, or Krishna Kanhaiya (1952) where almost every song referred to Radha and/or Shyam, but also films with varied themes. Some of these examples include ‘bijli chamak gayi shyam’, ‘kunj mein dole akeli aaj raadhika shyam bina’(Maharani 1934), ‘aao jhoola jhoolen kanha’ (Brandy Ki Botal 1939), ‘matwale mere shyam’ (Amrit 1941), ‘radha jhoola jhoole jhulaven ghanshyam’ (Raj Nartaki 1941), ‘madhuban mein radha jhoole hindole’ (Prabhu Ka Ghar 1945) ‘radha paniya bharan kaise jaye’ (Dharti 1946), ‘bol bol gokul ke gwale’ (Gwalan 1946), and many more.

Another recurring character that has been a favorite of poets from time immemorial, and which found its way into Pt. Indra’s work as well, is the moon. I must add that he mostly stuck to the conventional roles of the moon, and I don’t find any innovative invocation of the moon in his work. His moon is fairly comfortable wearing the conventional garb. It becomes a messenger in ‘chanda desh piya ke ja’ (Bharthari 1944) or ‘sheetal chandni khili khili’ (Draupadi 1944), transforms into a close confidante in ‘o sharad poonam ki chandni’ (Gunsundari 1948), is advised not to cast an evil eye in ‘ae chand nazar na lagana’ (Moorti 1945), becomes a playful mate in ‘chanda khele aankh michauli’ (Jogan 1950), is equated to the beloved in ‘chanda chamke neel gagan mein’ (Bahut Din Hue 1954), is used a metaphor for beauty as well as accused of being a thief in ‘chandavadani sundar sajni’ (Man Ka Meet 1950), or simply transforms into an object decorating the mise-en-scene in a romantic song like ‘chanda chamkti raat’ (Do Dulhe 1955). And of course, a mother equating her child to the moon as she sings a lori cannot be far behind, as in ‘pyare more chanda ae mere ladle’ (Mangala 1950).

Pt. Indra also had his share of patriotic or nationalistic songs of various hues and tones. While ‘ajab hindustan ghazab hindustan’ (Pardesi Mehman 1948) was a stinging satirical attack on the state of the nation immediately after independence, ‘hindustan mahan hamara’ (Mr. Sampat 1952) was an expression of pride, yet an utopian and idealistic view. National leaders were invoked in Brandy Ki Botal (1939) with songs like ‘gandhi baba ka aaya raaj’, a song about Gandhi’s call for prohibition, and ‘bharat mata ke rajdulare’, which referenced Jawaharlal Nehru. His words exhorted people to rise and fight for their motherland in songs like ‘veer chalo janani pukare maiya bharati’ (Maharani 1934) and ‘jaag jaag mewar’ (Rajputani 1946).”

In bringing out comparison with Shakeel, I have chosen his song from the 1943 movie Tansen in which KL Saigal played the title role and Khursheed Bano as the love of his life: the shepherdess Tani.

Why this film’s song for comparison, you may ask? I have already given you Shakeel’s song for 1960 movie Mughal-e-Azam: Mohe panghat pe Nandlal chhed gayo re. This song as composed by Naushad was inspired by Kahe Gumaan kare re Gori in Gaara raag from the film Tansen!

Here is the list of songs from Tansen that Pt. Indra Chandra penned:

1. Ghata Ghanaghor Ghor Khursheed Bano
2. Aao Gori Aao Shyama Khursheed Bano
3. Kahe Guman Kare Re Gori Kundan Lal Saigal
4. Rumajhum Rumajhum Chaal Tihaari Kundan Lal Saigal
5. Baag Laga Dun Sajani Kundan Lal Saigal
6. More Balpan Ke Sathi Chhaila Bhul Jaio Na Kundan Lal Saigal, Khursheed Bano
7. Sapt Suran Tin Graam Gaavo Sab Gunijan Kundan Lal Saigal
8. Ho Dukhiya Jiyara Rote Naina Khursheed Bano
9. Ab Raja Baye More Balam Khursheed Bano
10. Binaa Pankh Panchhi Hun Main Kundan Lal Saigal
11. Diya Jalao Kundan Lal Saigal
12. Din Soona Sooraj Bina Kundan Lal Saigal
13. Baraso Re Khursheed Bano

Lets take up this favourite of mine which was composed in Raag Megh Malhar by Khemchand Prakash and sung by KL Saigal.

Please enjoy: Baag laga doon sajani….

baaG lagaa duu.N sajanii (2)
tore nainan maaNii geharii (2)
sundar sudhar salonii
baaG lagaa duu.N sajanii (2)

tum basa.nt ho tum bahaar ho (2)
tum hii giit ho tum pukaar ho (2)
tum koyal tum kuuk hamaarii (2)
giit sunaa madhubayanii
baaG lagaa duu.N sajanii (2)

ra.ng bira.nge phuul khile.nge (2)
ban ke pa.nchhii gale mile.nge (2)
dulhan banakar kaliyaa.n ha.Nsatii (2)
dekh dekh mR^iganayanii
baaG lagaa duu.N sajanii (2)

With that we come to the end of the second week of Countdown to the Birth Centenary of Shakeel Badayuni.

Please await the Part III with the third week of the Countdown.

Nearly two years before Shakeel was born, Akhtari Bai Faizabadi was born in the same state of Uttar Pradesh, not very far from Badayun. It is as if God had intended that if He would put on earth such an eloquent poet and lyricist, the people deserve a heavenly voice to sing those ghazals. Akhtari Bai Faizabadi soon came to be known as Begum Akhtar, the khitaab of Begum signifying that she was known as Mallika-e-Ghazal (Queen of Ghazal).

Shakeel would have deserved nothing less!

Jazbaat ka ghazal taq laana Shakeel ka tha kaam,
Tarannum mein use sajaana Begum ka tha payaam,
Dard-e-dil ki daastaan ka agaaz to sab ne suna hai,
Gaur farmaayiye ishq-e-muhabbat ka anjaam.

I don’t think that you require any more guessing as to what I am leading to.

This is not on the music of Naushad but that of Murli Manohar Swarup.

Please enjoy: Aye mohabbat tere anjaam pe rona aaya…..

Ai mohabbat tere a.njaam pe ronaa aayaa
jaane kyuu.N aaj tere naam pe ronaa aayaa

yuu.N to har shaam umiido.n me.n guzar jaatii thii
aaj kuchh baat hai jo shaam pe ronaa aayaa

kabhii taqadiir kaa maatam kabhii duniyaa kaa gilaa
ma.nzil-e-ishq me.n har gaam pe ronaa aayaa

jab hu_aa zikr zamaane me.n mohabbat kaa ‘Shakeel’
mujhako apane dil-e-naakaam pe ronaa aayaa

Day #2 of 31
Song #4

What an era it was when we used to go to movies whose songs were penned by Shakeel Badayuni, composed by Naushad Ali, sung by Mohammad Rafi and lip-synced by Dilip Kumar; each one of them being the best in their particular fields.

Shakeel Badayuni was elder to Naushad by three years, Dilip Kumar by six years and Mohammad Rafi by eight years.

Those were the days when the success of the movie depended largely on its songs. Whilst Naushad Ali was considered the greatest composer of those times, considerable credit must go to Shakeel for having given the soul to those songs.

As I go along, I shall give you the names of the movies. However, even if you recall just a few of them such as Baiju Bawra, Mother India, Udan Khatola, Mughal-e-Azam, Ganga Jamuna, Leader, Ram Aur Shyam, Dulari, Ghughat, Kohinoor, Son of India, Do Badan and Dil Diya Dard Liya, you would know that you are being transported into a world from where you don’t want to return.

It was common for people to forget all aspects of the movie but remember the lyrics. They might have even forgotten his name but lyrics would still be remembered.

In my Facebook group Yaad Kiya Dil Ne, for example, one of the friends brought out that her favourite ghazal was Aye mohabbat tere anjaam pe rona aaya. However, she remembered it as Begum Akhtar’s ghazal and was surprised when I told her that the poet is Shakeel!

Yesterday, I re-introduced Begum Akhtar to you as god-sent to sing his ghazals. Mohammad Rafi, however, needs no introduction. My friend Binu Nair, the founder of Rafi Foundation, is fond of quoting Manna Dey when he said that when it came to the rankings amongst male playback singers, position #1 to #10 were occupied by Mohammad Rafi. No one could hold a candle to him. He sang, it appeared to us, effortlessly. But, when you try to sing some of his songs, it occurs to you how difficult these are.

One such song is from the 1952 movie Baiju Bawra, the only movie for which Naushad Ali received the Filmfare Best musician award.

The movie was directed by Vijay Bhatt who made such movies as Ram Rajya (1943), Vikramadita (1945), Ramayan (1954), Goonj Uthi Shehnai (1959), Haryali Aur Raasta (1962) and Himalaya Ki God Mein (1965).

All songs of Baiju Bawra were penned by Shakeel Badayuni and each one was composed by Naushad in a classical raga. Have a look:

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

We are going to take up O duniya ke rakhwaale in Raag Darbari. This raag was believed to have originated in Kanada region and brought to Emperor Akbar’s court by Mian Tansen. The movie has Baijnath Mishra (called Baiju Bawra, or Baiju the Crazy) seeking revenge on Tansen for the death of Baiju’s father by defeating him in singing!

Rafi has set such high standards in singing this song, that no one has ever attempted to sing it alive in a concert. The high pitched ending is just out of this world.

It was all made possible by the exquisite lyrics of Shakeel.

Please enjoy: O duniya ke rakhwaale….

bhagavaan, bhagavaan … bhagavaan
o duniyaa ke rakhavaale, sun dard bhare mere naale
sun dard bhare mere naale
aash niraash ke do ra.ngo.n se, duniyaa tuune sajaaI
nayyaa sa.ng tuufaan banaayaa, milan ke saath judaaI
jaa dekh liyaa harajaaI
o … luT gaI mere pyaar kii nagarii, ab to niir bahaa le
ab to niir bahaa le
o … ab to niir bahaa le, o duniyaa ke rakhavaale …

aag banii saavan kii barasaa, phuul bane a.ngaare
naagan ban ga_ii raat suhaanii, patthar ban gae taare
sab TuuT chuke hai.n sahaare, o … jiivan apanaa vaapas le le
jiivan dene vaale, o duniyaa ke rakhavaale …

chaa.nd ko Dhuu.NDhe paagal suuraj, shaam ko Dhuu.NDhe saveraa
mai.n bhii Dhuu.NDhuu.N us priitam ko, ho naa sakaa jo meraa
bhagavaan bhalaa ho teraa, o … qismat phuuTii aas na TuuTii
paa.nv me.n pa.D gae chhaale, o duniyaa ke rakhavaale …

mahal udaas aur galiyaa.n suunii, chup-chup hai.n diivaare.n
dil kyaa uja.Daa duniyaa uja.Dii, ruuTh gaI hai.n bahaare.n
ham jiivan kaise guzaare.n, o … ma.ndir girataa phir ban jaataa
dil ko kaun sambhaale, o duniyaa ke rakhavaale …

o duniyaa ke rakhavaale
rakhavaale
rakhavaale
rakhavaale … (throat bleeding pitch !!)

Song #5

What a song that was in Raag Darbari!

In my own words:

Shakeel naghmagar (lyricist) nahin, the ek awwal sunaar,
Geet aise likhe hain jaise heeron se jadhe hon haar,
Har ek lafz ki alag pehchaan aur chamak hai,
Dil chahata hai sune aur dekhen baar baar.

One such song that we would like to listen to over and over again was written by him for the 1962 movie Bees Saal Baad that was produced by my favourite singer Hemant Kumar and directed (debut) by Biren Nag.

A song from the movie Kahin deep jale kahin dil won Shakeel Badayuni his third Filmfare Award for Best Lyricist.

But, the song that we shall never get tired of listening to is Beqraar karke hamen youn naa jaayiye. Of course, one must admire the remarkably impressive singing by Hemant Kumar and also his composition and music. But, what I wrote about each word being a gem to be arranged in a necklace is very much evident in this song.

In just one song of three stanzas, Biswajeet was able to convey to Waheeda Rehman the effect of her beauty, cautioned her about going alone in a garden full of her fans such as roses and moths, and finally suggesting to her to have him as her companion for life!

Please enjoy: Beqraar karke hamen youn naa jayiye….

(beqaraar karake hame.n yuu.N na jaaiye
aapako hamaarii kasam lauT aaiye ) – 2

dekhiye vo kaalii kaalii badaliyaa.N
zulf kii ghaTaa churaa na le kahii.n
chorii chorii aake shokh bijaliyaa.N
aapakii adaa churaa na le kahii.n
yuu.N qadam akele na aage ba.Dhaaiye
aapako hamaarii…

(dekhiye gulaab kii vo Daaliyaa.N
ba.Dhake chuum le na aap ke qadam ) – 2
khoe khoe bha.Nvare bhii hai.n baaG me.n
koii aapako banaa na le sanam
bahakii bahakii nazaro.n se khud ko bachaaiye
aapako hamaarii…

zindagii ke raaste ajiib hai.n
iname.n is tarah chalaa na kiijiye
khair hai isii me.n aapakii huzuur
apanaa koii saathii Dhuu.NDh liijiye
sunake dil kii baat naa muskuraaiye
aapako hamaarii…

Song #6

Whilst Beghum Akhtar sang some of his non-filmy ghazals, the best filmy ghazals of Shakeel Badayuni were sung by both Mohammad Rafi and Lata Mangeshkar. But, the fact is that they sang some of his non-filmy ghazals too.

Here is one of my favourites by Lata Mangeshkar: Aank se aankh milata hai koi…

Aa.Nkh se aa.Nkh milaataa hai ko_ii
Someone is making his eyes rest on mine
Dil ko khii.Nche liye jaataa hai ko_ii
Someone is tugging at my heart

Vaa-e-hairat ke bharii mahafil me.n
Alas in this party full of wonder
Mujh ko tanhaa nazar aataa hai ko_ii
I find someone is alone

Sub.h ko KHunuk fanaa.oñ ki qasam
I vow by the happy weather of the morning
Roz aa aa ke jagaata hai ko_ii
Someone comes again and again to awaken me

Manzar-e-husn-e-do-aalam ke nisaar
Offering of the spectacle of the beauty of two world
Mujh ko aa-iina dikhaataa hai ko_ii
Someone is showing me the looking-glass

Chaahiye Khud pe yaqiin-e-kaamil
One should have firm belief on oneself
Hausalaa kis kaa ba.Dhaataa hai ko_ii
Who is there to provide encouragement?

Sab karishmaat-e-tasavvur hai “Shakeel”
All are miracles of imagination, Shakeel
Varanaa aataa hai na jaataa hai ko_ii
Else no one comes, no one goes

Appreciating Good Lyrics
Song #1

Now that I have started putting up posts on my Facebookl page ‘Lyrical‘ (shared here as well as in Facebook group ‘Chalta Hai’) as part of the Countdown to the Birth Centenary of Shakeel Badayuni on 03 Aug, I have also decided to give you matching lyrics by other great lyricists.

I am, as you already know, a ‘Lyrical’ man in the same sense (though lacking in equivalent excellence) as my friend Anand Desai is an Instrumental man.

I also feel – and I was just responding to a comment by Ashwani Sharma, whose dad was a great Urdu poet – that Lyricist and Poets are not horses in a race; to be bet upon and cheered to win every time. Hence, if someone is a favourite lyricist or a poet of yours, it simply means that you appreciate all good lyrics and the lyrics of this particular one best synchronise with your emotions and memories.

In the era when I was brought up, good lyrics simply ruled the scene. We may not remember the story-line of a movie after so many decades, but we do remember the lyrics. I gave Ashwani Sharma several examples, such as Rajinder Krishan’s:

“Ghar se chale the ham to khushi ki talaash mein,
Gham raah mein khade the wahin saath ho liye,
Khud dil se dil ki baat kahi aur ro liye.”

If you have seen the movie Adaalat, you would know how aptly the lyrics fit with the story-line and the emotions of Nargis.

Shailendra Kesarilal was one such lyricist. He was born on 30th Aug 1921 in Rawalpindi (now in Pakistan). He and Hasrat Jaipuri associated with Shankar Jaikishan to create some of the best known songs in the Hindi movies.

His son Dinesh Shankar Shailendra brought out to us during the Shankar Jaikishan Music Foundation’s Mumbai meet that amongst all of them, Shailendra was the only one who knew English and hence all contracts for the S-J and Hasrat were perused by him for correctness before asking them to sign!

If Raj Kapoor hadn’t noticed his poetry in a mushaira in Bombay in the year 1947, Shailendra would have probably continued working in the railways! And then first Aag (1948) and then Barsaat (1949) took place. Shailendra thereafter took us on a better journey than he would have in the Indian Railways.

There are hundreds of his lyrics to appreciate. I am particularly fond of Patita’s Mitti se khelte ho baar baar kis liye and this from the 1965 movie Chhoti Chhoti Baatein that starred Nadira and Motilal.

The movie was written, produced and directed by Motilal. As some of you would know, Motilal died before the movie was released.

You would also appreciate the setting of this great song (and I urge you to see it please) in a boat.

Whilst giving you the description of Raag Sarang in Lyrical, I had mentioned the various names by which Sarang is known, the most popular being Brindavani Sarang. This is, however, composed in Gaur Sarang by Anil Biswas and the tal is Dadra.

Singing for Nadira is Meena Kapoor. She became famous for her 1957 movie Pardesi song: Rasiya re man basiya re. She was, of course married to Anil Biswas. Many people used to comment upon the likeness of her voice to Geeta Dutt with whom she was a friend.

But, this song has to be appreciated most for its exquisite lyrics by Shailendra!

Please enjoy: Kuchh aur zamaana kehta hai…..

kuchh aur zamaanaa kahataa hai, kuchh aur hai zidd mere dil kii
mai.n baat zamaane kii maanuu.N, yaa baat sunuu.N apane dil kii
kuchh aur zamaanaa kahataa hai …

duniyaa ne hame.n berahamii se
Thukaraa jo diyaa, achchhaa hii kiyaa
naadaan ham samajhe baiThe the
nibhatii hai yahaa.N dil se dil kii
kuchh aur zamaanaa kahataa hai …

inasaaf, muhabbat, sachchaa_ii
vo raham-o-qaram ke dikhalaave
kuchh kahate zubaa.N sharamaatii hai
puuchho na jalan mere dil kii
kuchh aur zamaanaa kahataa hai …

go bastii hai insaano.n kii
insaan magar Dhuu.NDhe na milaa
patthar ke buto.n se kyaa kiije
fariyaad bhalaa TuuTe dil kii
kuchh aur zamaanaa kahataa hai …

Day #3 of 31
Appreciating Good Lyrics
Song #2

The era in which Shakeel Badayuni was active, belonged to Lyricists. Since the success of the movies’ success primarily depended upon their songs, and since songs were appreciated for their lyrics, the Lyricists were centre stage.One such lyricist of that era was Rajinder Krishan (he also wrote his name as Rajendra Krishan). I think of him as ‘Simla boy’ (my home station) since although he was born in Jalalapur Jatan (that part of Gujarat, which is now in Pakistan), his boyhood and early manhood was spent in Simla where he was a clerk in the municipal office.

I share another interesting thing with him, in that a quarter of century later after he was born, I too was born on the 6th of June!

Even before I was born, he left Simla (now Shimla) and came to Bombay (now Mumbai) to try his luck in the Hindi film industry that had shifted there from Calcutta (now Kolkata).

One of the first music directors that he was associated with as Lyricist (initially, he tried his hand as a screenwriter) was C Ramchandra.

The movie from which I have taken this song to tell you about matching lyrics with Shakeel Badayuni was the 1953 movie Anarkali (earlier he wrote lyrics for the songs of Amar Kahani (1949; with MD Husanlal Bhagatram), Albela (1951; with C Ramchandra), Araam (1951; with Anil Biswas) and Ladki (1953; with R. Sudarsanam and Dhaniram).

Ananrkali was his second movie with C Ramchandra. Initially the MD was Vasant Prakash and after his death C Ramchandra took over. Its 11 songs were penned by four lyricist: Rajinder Krishan penned four of them and the others were by Shailendra, Hasrat Jaipuri and Jaan Nisar Akhtar (Jawed Akhtar’s father).

Some of you would tell me that Rajinder Krishan’s best lyrics are to be found in Adaalat (1958) and Jahan Ara (1964). But, those we shall come to later. Lets get on with 1953 movie Anarkali.

The story is thew same as that of Mughal-e-Azam (which came later) and hence I shall not repeat that. Pradeep Kumar acted as Prince Salim, Bina Rai as the courtesan Anarkali in the court of Emperor Akbar and Noor Jahan as Nur Jehan.

I feel that Rajinder Krishan excelled in the lyrics of this song in the very early stages of his career. The third stanza is so exquisite that at least I am rendered speechless with its simple beauty.

One more thing. Seven years later, Shakeel and Naushad created the songs of Mughal-e-Azam and they became iconic. However, Anarkali songs are as fondly remembered as of Mughal-e-Azam.

Please enjoy: Mujhase mat poochh tere ishq mein kyaa rakha hai….

dil kii lagii hai kyaa, ye kabhii dil lagaake dekh
aa.Nsuu bahaake dekh kabhii muskaraake dekh
paravaanaa jal rahaa hai magar jal rahaa hai kyaa
ye raaz jaananaa hai to khud ko jalaake dekh

mujh se mat puuchh mere ishq me.n kyA rakhaa hai
ek sholaa hai jo siine me.n chhuupaa rakhaa hai

daag-e-dil daag-e-jigar daag-e-tamannaa lekar (2)
mai.n ne viiraan bahaaro.n ko sajaa rakhaa hai
mujh se mat puuchh

hai zamaanaa jise betaab miTaane ke liye (2)
mai.nne us yaad ko siine se lagaa rakhaa hai
mujh se mat puuchh

bhUlanevaale tujhe dard-e-muhabbat kii kasam (2)
mai.n ne is dard me.n duniyA ko bhulaa rakh hai
mujh se mat puuchh

https://www.youtube.com/watch?v=bdm-YmBriS0

Song #7

You would have noticed, ladies and gentlemen, that I have started giving you (one post a day titled ‘Appreciating Good Lyrics’). This is intended to contrast his poetry/lyrics with other contemporaries such as Rajinder Krishan, Shailendra, Sahir Ludhianvi, Kaifi Azmi, Hasrat Jaipuri, and Jaan Nisar Akhtar. The idea is to show you that Shakeel was active during a time when songs were appreciated because of their good lyrics as the primary requirement. Enjoy those posts too.

Writing about Shakeel Badayuni is to relive that era when great stories, dialogues, histrionics, and songs made the movies into what they were.

Lets take one of Shakeel’s early movies: the 1951 movie Deedar. It was one of the earliest movies in which Shakeel wrote the songs, Naushad composed them, Mohammad Rafi sang and Dilip Kumar enacted.

The movie stars both Nargis and Nimmi opposite Dilip Kumar (Shamu) as Mala and Champa respectively. The story was that of unfulfilled love between two childhood friends: Shamu and Champa, whose love was nipped in the bud due to class inequalities. Traumatised and blinded, he earns living singing but deep down he searches for his childhood love to have her Deedar (face to face).

The story was repeatedly mentioned by Vikram Seth in his popular novel A Suitable Boy. A remake of this story was done by Raj Khosla at the behest of Manoj Kumar and this was called Do Badan. Interestingly, even Do Badan had songs written by Shakeel Badayuni, though composed by Ravi.

Deedar’s songs were composed by Naushad and have a look at the list:

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 Phero Na Humse Shamshad Begum & G. M. Durrani

You would have noticed two things in the above list. One, that GM Durrani, who was Mohammad Rafi’s guru, also sang with him in the same movie!

Two, that whenever you post a song of Shakeel Badayuni, you have to sadly and automatically think of all the others that you ain’t putting up!

Mohammad Rafi sang this for Dilip Kumar.

Naushad, who was really very well versed with Raagas, set this in Raag Tilang that I haven’t yet taken up with you here on Lyrical.

All those, like me, who have read and routinely read Sri Guru Granth sahib, the holy book of the Sikhs, would be familiar with this Raag. In the SGGS, there are as many as 20 hymns in this Raag, that has its origin in Sufi tradition and has fair sprinkling of Islamic vocabulary: Guru Nanak (6 hymns), Guru Ram Das (3), Guru Arjan(5), Guru Tegh Bahadur (3), Kabir (1) and Namdev (2).

Raag Tilang has intrinsic sense of yearning in it (it belongs to the Khammaj thaat) and it is reflected very well in this song.

Please enjoy: Meri kahaani bhoolne waale, tera jahan aabaad rahe….

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

Song #8

The era that I was talking about not just belonged to Shakeel, Naushad, Rafi, Lata, but any attempts to discount the effect of their priceless creations is an effort to rewrite that nostalgia imprinted on our minds.

Lets take one of Lata Mangeshkar at this stage.

The 1955 movie Uran Khatola was indeed produced by the music director Naushad and hence you can be assured of the best of the songs in the movie. Dilip Kumar acted opposite Nimmi.

The story was repeated in Hindi movies a number of times and Dilip Kumar starrer Taraana with Madhubala has almost the same story.

Here is the story from Wiki:

“Kashi (Dilip Kumar) travels by an ill-fated plane, which crashes on the outskirts of an isolated city that is ruled by women, who worship Sanga, their God. Kashi is rescued by pretty Soni (Nimmi) and taken to her home, where she lives with her widowed dad, and brother, Hira (Agha). Since the roads are blocked, Kashi is unable to return home, and in order to continue to stay here, he must first obtain permission from the Raj Rani (Surya Kumari), the ultimate ruler. He meets with her and she finds him attractive and charming, and invites him to stay with her at her palace and sing for him, which he does. Kashi and Soni have given their hearts to each other, they meet secretly, with Soni disguised as a man, Shibu. Raj Rani finds out that a Kashi is ignoring her love for a mere peasant.

And….it is in this song!

Naushad composed the song in Raag Bihag. We have already taken up this Raag on Lyrical when I told you that the mood of the Raag is celebratory and is normally played at marriages.

If you recall Lyrical’s cover picture showed the song ‘Tere sur aur mere geet’ from Goonj Uthi Shehnai.

Please enjoy: Hmaare dil se na jaana, dhoka na khaana, duniya badhi beimaan….

hamaare dil se na jaanaa,dhokaa na khaanaa,duniyaa ba.Dii beimaa.n
o piyaa duniyaa badii beimaa.n
hamaare dil se na jaanaa,dhokaa na khaanaa,duniyaa ba.Dii beimaa.n
hamaare

(mai.n huu.n jii pyaar kii pahalii nishaanii)-2
(aa.Nkho.n se aaj kahuu.n dil kii kahaanii)-2
o~oo~ sun lo jii pai.nyaa pa.Duu.N ho~oo~
(dekho jii vinatii karuu.n)-2
ho~oo~,hamaare ghar laaj nibhaanaa
dil na dukhaanaa
balamaa kahanaa meraa maan
oo~ piyaa duniyaa ba.Dii beimaa.n
hamaare …

(miiThe do bol yahaa.n,mushakil hai bolanaa)-2
(duniyaa kii riit(?) kabhii,man ke na kholanaa)-2
o~oo~ jhuuTii hai priit yahaa.n,ho~oo~
(koii na miit yahaa.n)-2
ho~oo~,buraa hai aaj zamaanaa
TuuTe jiyaa naa
ulajhan me.n hai merii jaan
oo~ piyaa duniyaa ba.Dii beimaa.n
hamaare …

Song #9

If you notice, I have been giving you two songs followed by a ghazal everyday.

The cover picture shows only one ghazal singer: Begum Akhtar who sang several of his ghazals.

Another singer who added his name into the list of immortal ghazal singers was Talat Mehmood. Coincidentally, Talat being almost eight years younger to Shakeel Badayuni was also from Uttar Pradesh: Lucknow. His kind of romantic and tragic singing suited the lyrics of Shakeel.

Here is he singing Shakeel’s famous ghazal: Meri zindagi hai zaalim tere gham se aashkara…

Merii zindagii hai zaalim, tere Gam se aashkaaraa
My life is a manifestation of your sorrow, O tyrant
Teraa Gam hai dar-haqiiqat mujhe zindagii se pyaaraa
The truth is that your sorrow is dearer to me than my life

Vo agar buraa na maane to jahaa.N-e-rang-o-buu me.n
If she won’t mind then in this world of colour and fragrance
Mai.n sukuun-e-dil kii Khaatir koii Dhuu.NDh luu.N sahaaraa
May I search for support for the sake of peace of my heart?

Ye fulak fulak havaaye.N ye jhukii jhukii ghaTaaye.N
These happy winds, these low rain bearing clouds
Vo nazar bhii kyaa nazar hai jo samajh na le ishaaraa
What kind of eye is that which can’t take this hint?

Mujhe aa gayaa yaqii.n saa yahii hai merii ma.nzil
I have come to believe that this is my destination
Sar-e-rah jab kisii ne mujhe daffa’atan pukaaraa
On the road when someone called me spontaneously

Mai.n bataauu.N farq naasih, jo hai mujh me.n aur tujh me.n
I can tell you my counsellor, the difference between you and me
Merii zindagii talaatum, terii zindagii kinaaraa
My life is like a sea-storm, your life is like a shore

Mujhe guftaguu se ba.Dakar Gam-e-izn-e-guftaguu hai
More than the conversation, I have grief of permission to converse
Wahii baat puuchhte hai.n jo na kah sakuu.N dobaaraa
She asks me about that thing that I can’t repeat

Koii aye ‘Shakeel’ dekhe, ye junuu.N nahii.n to kyaa hai
Someone should see this, Shakeel, isn’t it madness
Ke usii ke ho gaye ham jo na ho sakaa hamaaraa
That I became hers but she couldn’t be mine

Day #4 of 31
Appreciating Good Lyrics
Song #3

In the last two days I have given you lyrics as under:1. Shailendra’s: Kucch aur zamaana kehta hai.
2. Rajinder Krishan’s: Mujhase mat poochh tere ishq ne kyaa rakha hai.

Lets take one of Kaifi Azmi today. His real name was Sayyid Akhtar Hussein Rizvi. He was born in a village Mizwaan in the district Azamgarh of Uttar Pradesh. His daughter Shabana is a celebrated actress in Hindi movies and son Baba a cinematographer.

Kaifi Azmi was a known poet in the mushairas of that era and as late as in 1970, when I was studying in Government College Dharamshala in Kangra District of Himachal, I heard him in a mushaira in our college.

I like Kaifi’s lyrics and poetry for one unique quality: he’d use very simple words to convey very strong and deep thoughts. Rather than trying to impress you with the different and complex words in the Urdu language, he’d rely more on the play of words.

I am fond of giving this example from Hanste Zakhm:

Dil ki naazuk ragen tootati hain,
Yaad itana bhi koi na aaye.

Or, from Kohra (the song picturised on Biswajeet’s first licentious wife, before he married Waheeda rehman):

Haal ye hai masti kaa, saans lagi thamane
Utane rahe pyaase ham jitani bhii pi hamane

Or from Guru Dutt’s movie Kaagaz Ke Phool:

Jaaenge kahaan poochhataa nahin
Chal pade magar raastaa nahin
Kyaa talaash hai kuchh pataa nahin
Bun rahe hain dil khvaab dam-ba-dam

Let me take you now to the 1961 movie Shola Aur Shabnam, which had the first major role by Dharmendra though he had acted in two movies before that: Dil Bhi Tera Ham Bhi Tere and Boy Friend.

The film, directed and written by Ramesh Saigal was about a young man (my namesake Ravi played by Dharmendra) torn between love for his long lost childhood sweetheart (Tarla Mehta), and devotion towards a friend (M Rajan) who has helped set him up in his career.

This song brings out the feelings of Ravi (Dharmendra) so well in such simple words. Pay particular attention to the last lines:

Kaise baazaar ka dastoor tumhen samjhaayun,
Bik gaya jo woh khareeddaar nahin ho sakta.

Khaiyyam, who was known to give the gentlest of the music, made equally gentle music for these powerful lyrics of Kaifi Azmi. Hats off to Dharmendra that in his first major movie he should attempt such serious and sad role.

By this time, you would have already seen my bias towards the Raag of the hills, my home station, and I am not going to deny it. This too has been set by Khaiyyam in Raag Pahadi in Tal Dadra.

Please enjoy one of Kaifi’s best: Jaane kyaa dhoondati rehati hain ye aankhen mujh mein….

jaane kyaa Dhuu.NDhatii rahatii hai.n ye aa.Nkhe.n mujhame.n
raakh ke Dher me.n sholaa hai na chi.ngaarii hai
ab na vo pyaar na usakii yaade.n baakii
aag yuu.N dil me.n lagii kuchh na rahaa kuchh na bachaa
jisakii tasviir nigaaho.n me.n liye baiThaa ho
mai.n vo diladaar nahii.n usakii huu.N khaamosh chitaa

zi.ndagii ha.Ns ke na guzaratii to bahut achchhaa thaa
khair ha.Ns ke na sahii ro ke guzar jaayegii
raakh barabaad muhabbat kii bachaa rakhii hai.n
baar-baar isako jo chhe.Daa to bikhar jaayegii

aarazuu jurma vafaa jurma tamannaa hai gunaaha
ye vo duniyaa hai jahaa.N pyaar nahii.n ho sakataa
kaise baazaar kaa dastuur tumhe.n samajhaauu.N
bik gayaa jo vo khariidaar nahii.n ho sakataa …

Day #4 of 31
Song #10

We have already taken up a song from the 1952 movie Baiju Bawra. So strong was thew focus on songs and ghazals in the movies that the makers of the movies sought to have singing hero or heroines in the movies. Bharat Bhushan himself acted in singing roles in several of his movies. Besides Baiju Bawra in which he had the title role, he acted in the title role in the 1954 movie Mirza Ghalib. In 1956 movie Basant Bahar, he as Gopal, the son of an astrologer wasn’t interested in astrology but in music. He did the title role in 1959 movie Kavi Kalidas. He was a shayar in 1960 movie Barsaat Ki Raat and finally as the great musician Tansen in 1962 movie Sangeet Samrat Tansen.

The people lapped up all the movies based on music and poetry.

Two years after the success of Baiju Bawra, Bharat Bhushan (typified as the poet/shayar/musician in Hindi movies, in the same manner as Amitabh Bachchan was typified as the angry-young-man) acted in the 1954 movie Shabaab (Youth). Nutan acted as the female lead.

The movie was made, like Baiju Bawra, to bring out the power of music. Bharat Bhushan is the musician. He falls in love with a lost princess, Nutan. Love always had enemies during those days. The king and his men oppose their love. In the end, Bharat Bhushan wins the heart of Nutan but loses his life.

When Shakeel and Naushad are together, you can laways expect magic and it did happen in the movie. Have a look at the list of the songs:

1. Daya Kar He Giridhar Gopal – Amir Khan – Raga Multani
2. Mehlon Mein Rahne Wale – Mohammed Rafi
3. Mar Gaye Ham Jeete Ji Malik – Lata Mangeshkar
4. Bhagat Ke Bas Mein Hai Bhagwan – Manna Dey
5. Jogan Ban Jaungi Saiyan Tore Karan – Lata Mangeshkar
6. Lagi More Man Ki O Sajna – Shamshad Begum
7. Yehi Armaan Lekar Aaj Apne Ghar Se – Mohammed Rafi
8. Jo Main Janti – Lata Mangeshkar
9. Man Ki Been Matwari Baje – Mohammed Rafi, Lata Mangeshkar – Raga Bahar with a trace of Raga Basant
10. Chandan Ka Palna Resham Ki Dori – Lata Mangeshkar, Hemant Kumar
11. Aaye Na Balam Wada Karke – Mohammed Rafi

Today, whilst writing about the other contemporary lyricists, I wrote about the simplicity of the lyrics of Kaifi Azmi. Shakeel excelled in this too.

Lets take up a favourite (also since it is sung by Hemant Kumar) song of mine. Both Lata and Hemant have sung it. The Raag is another very popular raaga in the Hindi movies: Raag Pilu. The taal is Dipchandi (lamplight) also known as Chanchar or Chochar. Some of the other songs that I like in Dipchandi taal are: Ishaaron ishaaron mein dil lene waale, Allah tero naam, Ab ke baras bhej bhaiyya ko baabul, and Piya tose naina laage re that was on Rupak as well as Dipchandi taal.

Please enjoy: Chandan ka palna, resham ki dori….

sa.ngiit hai shakti ii{sh}var kii har sur me.n base hai.n raam
raagii ko sunaaye raag madhur, rogii ko mile aaraam

ho~~
chandan kaa palanaa resham kii Dorii
jhuulaa jhulaa_uu.N ni.ndiyaa ko torii
chandan kaa palanaa …

so jaa tuu aise morii sajaniyaa
so jaa tuu aise morii sajaniyaa
sajiyaa pe soye jaise dulhaniyaa
chandaa kaa Tiikaa maathe lagaa_uu.N
taaro.n kii maalaa tujhako pahanaa_uu.N
taaro.n kii maalaa tujhako pahanaa_uu.N
tohe sulaa_uu.N gaa gaa ke lorii
jhuulaa jhuulaa_uu.N ni.ndiyaa ko torii
chandan kaa palanaa …

In the duet version, hemantda and lata sing the following stanza together

uu.Nche gagan se koii bulaaye
laayii.n hai.n pariyaa.n Dolaa sajaaye
sajan se milane duur chalii jaa
u.Dake tuu ni.ndiyaa phur.r chalii jaa
u.Dake tuu ni.ndiyaa phur.r chalii jaa
chandaa pukaare aajaa chakorii
jhuulaa jhuulaa_uu.N ni.ndiyaa ko torii
chandan kaa palanaa …

Song #11

Ladies and gentlemen,

Please slowly open your eyes….

The last song must have surely put you to sleep and taken you to the dreamworld across the skies. Chandan ka palna, being the best lullaby, has that effect. If Bharat Bhushan was typified as a musician/shayar/poet in the movies, Nutan was often portrayed as the one who had lost her sleep. She did that in Milan, in Dulhan Ek Raat Ki and here in Shabaab!

Lets go back a little to 1949 AR Kardar movie Dillagi.

Another thing that I want to bring out, in addition to the strong stress on lyrics in the songs, was that for a movie to be successful at the box-office, it’d better be tragic! Mughal-e-Azam’s success, to a great extent, has been traced by film analysts to strong underlying tragedy.

Dillagi was a romantic tragedy too based on Emile Bronte’s Wuthering Heights, that was later adapted into Dil Diya Dard Liya, which was another of Shakeel-Naushad movies.

The actor Shyam gave his life-time’s bast performance in Dillagi. Suraiyya acted opposite him.

As always, lets have a look at the list, to reinforce the fact about the primacy of songs in the movies of that era:

1 Tu Mera Chand Suraiya
2 Is Duniya Mein Dil Ka Lagana Kheil Nahin Mohammed Rafi
3 Murliwale Murli Baja Suraiya
4 Char Din Ki Chandni Thi Phir Andheri Raat Hai Suraiya
5 Duniya Kya Jaane Suraiya
6 Nirala Mohabbat Kaa Dastur Dekha Suraiya
7 Tera Khayal Dil Se Bhulaya Na Jayega Suraiya
8 Le Ke Dil Chupke Se Kiya Majboor Suraiya
9 Tu Mera Chand, Mein Teri Chandani Shyam, Suraiya
10 De Dhil De Dhil O Ree Sakhi Uma Devi, Shamshad Begum

Lets take up this duet of Shyam and Suraiyya singing for themselves. The song is on a theme that’s always close to my heart.

Please enjoy: Tu mera chand main teri chandini……

tuu meraa chaa.Nd mai.n terii chaa.Ndanii
mai.n teraa raag tuu merii raaginii
o, nahii.n dil ka lagaanaa koii dillagi, koii dillagi

saath hii jiinaa saath hii maranaa
ulfat kii hai riit, haa.N, ulfat kii hai riit
pyaar kii muralii haradam gaaye terii lagan ke giit
mai.n teraa raag tuu merii raaginii
tuu meraa chaa.Nd mai.n terii chaa.Ndanii
o, nahii.n dil ka lagaanaa …

bhuul na jaanaa rut ye suhaanii
ye din aur ye raat, haa.N, ye din aur ye raat
jab tak chamake chaa.Nd sitaare, dekho chhuuTe na saath
tuu meraa chaa.Nd mai.n terii chaa.Ndanii
mai.n teraa raag tuu merii raaginii
o, nahii.n dil ka lagaanaa …

Song #12

Now that I have given you two of his songs on Chand and Chandini, I should probably end with a Chand ghazal. In his characteristic style, it is a sad ghazal.

There wasn’t a poet and lyricist like him. Probably, there won’t ever be. He used words as a goldsmith uses gold to make beautiful ornaments.

This is his second best ghazal sung by Shanti Heranand. She was a disciple of Begum Akhtar who was fired with the desire to popularise the genre’ of singing of her idol.

Please enjoy: Nazar Nawaz nazaron mein ji nahin lagata….

Nazar nawaaz nazaron mein ji nahin lagata,
Woh kyaa gaye ki bahaaron mein ji nahin lagata.
My heart cannot find joy in sights that are pleasing to the eye
She left and now spring cannot amuse me
(Nazar nawaaz=Pleasing to the eye)

Shab-e-firaaq ko ai chaand aa ke chamka de,
Nazar udaas hai taaron mein ji nahin lagata.
Only moon (her) can come and brighten the night of separation
My sight is sad, stars cannot amuse me
(Shab-e-firaaq=Night of separation/longing)

Gham-e-hayaat ke maare to ham bhi hain lekin,
Gham-e-hayaat ke maaron mein ji nahin lagata.
Even I am a victim of sorrow of life, but
I do not find amusement in the midst of other victims of sorrow of life.
(Gham-e-hayaat=Sorrow of life)

Na poochh mujhase tere gham mein kyaa guzarti hai,
Yahi kahunga hazaaron mein ji nahin lagata.
Don’t ask me how I spend my time in your sorrow
I shall say only this that I don’t find amusement in the midst of thousands

Kuchh is qadar hai gham-e-zindagi se dil maayus,
Khizaan gayi to bahaaron mein ji nahin lagata.
In this manner is the heart saddened by sorrow of life
That when autumn was over, spring doesn’t amuse me

Fasaana-e-shab-e-gham khatm hone waala hai,
Shakeel chand sitaaron mein ji nahin lagata.
Story of the night of grief is about to end now
Shakeel, (now) moon and the stars don’t amuse me anymore
(Fasaana-e-shab-e-gham=Story of the night of grief)

Day #5 of 31
Appreciating Good Lyrics
Song #4

These posts started three days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

So far, we have taken up in the last three days:

1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.

Tonight we take up Sahir Ludhianvi‘s.

Sahir was born as Abdul Hayee on 8th March 1921. Sahir means ‘Wakeful’ or ‘Magician’ and this poet from Karimpura, Ludhiana actually awakened us with his poetry as a magician.

His mother Sardar Begum suffered at the hands of his father who eventually remarried. Some of Sahir’s poetry reflects that angst about the treatment of women. Sahir gained fame in his college (Khalsa College, Ludhiana) reading out his poems and giving his fiery speeches.

Sahir didn’t marry though he was romantically inclined to Amrita Pritam and later to the singer Sudha Malhotra.

Sahir’s style of poetry was different from Shakeel’s. Indeed, Shakeel was exclusively a poet of Love whereas almost all other poets of that era, including Sahir, wrote about the social conditions prevalent in the country including poverty.

For example, if Shakeel wrote for a Leader song, about Taj Mahal:

“Ek Shehanshah ne banwa ke haseen Taj Mahal,
Saari duniya ko mohabbat ki nishaani di hai,
Iske saaye mein sadaa pyaar ke charche honge
Khatam jo ho naa sakegi wo kahani di hai”

Sahir’s was to be critical of Shahjehan for the ostentation:

“Ek Shaehanshah ne banwa ke haseen Taj Mahal,
Ham gareebon ki mohabbat ka udhaaya hai mazaak,
Mere mehboob kahin aur mila kar mujhako.”

Many of his fans consider Sahir Ludhianvi as the greatest poet and lyricist of that era.

These do not include me though I was brought up in a place close to Sahir’s. As I told you a favourite is not someone like a horse who wins all races for you. A favourite is the one who comes closest to your emotions and moods. Shakeel does that for me.

Sahir received Filmfare awards for Best Lyricist twice: once for the Taj Mahal song: Jo waada kiya wo nibhaana padhega; and once for the title song of Yash Chopra’s Kabhie Kabhie, which some feel was tailored on his own biography in part.

Lets take a very expressive song from his 1958 BR Chopra movie Sadhana that starred Vyjayanthimala as a prostitute in love with a professor Sunil Dutt.

The film was about rehabilitation of prostitutes and stirred the conscience of the society towards them.

Datta Naik composed the song almost like a nazm, which it was.

Please enjoy: Aurat ne janam diya mardon ko, mardon ne use bazaar diya….

aurat ne janam diyaa mardo.n ko, mardo.n ne use baazaar diyaa
jab jii chaahaa kuchalaa masalaa, jab jii chaahaa dutkaar diyaa

tulatii hai kahii.n diinaaro.n me.n, bikatii hai kahii.n baazaaro.n me.n
na.ngii nachavaaii jaatii hai, aiyyaasho.n ke darabaaro.n me.n
ye vo beizzat chiiz hai jo, ba.nT jAtI hai izzatadaaro.n me.n

mardo.n ke liye har zulm ravaa.N, aurat ke liye ronaa bhii khataa
mardo.n ke liye laakho.n seje.n, aurat ke liye bas ek chitaa
mardo.n ke liye har aish kaa haq, aurat ke liye jiinaa bhii sazaa

jin hoTho.n ne inako pyaar kiyaa, un hoTho.n kaa vyaapaar kiyaa
jis kokh me.n inakaa jism Dhalaa, us kokh kaa kaarobaar kiyaa
jis tan se uge kopal ban kar, us tan ko zaliil-o-khAr kiyaa

mardo.n ne banaayii jo rasme.n, unako haq kaa faramaan kahaa
aurat ke zindaa jal jaane ko, kurbaanii aur balidaan kahaa
qismat ke badale roTii dii, usako bhii ehasaan kahaa

sa.nsaar kii har ek besharmii, gurbat kii god me.n palatii hai
chakalo.n me.n hii aa ke rukatii hai, faako.n me.n jo raah nikalatii hai
mardo.n kii havas hai jo aksar, aurat ke paap me.n Dhalatii hai

aurat sa.nsaar kii qismat hai, fir bhii taqadiir kii hotii hai
avataar payambar janatii hai, phir bhii shaitaan kii beTii hai
ye vo badaqismat maa.N hai jo, beTo.n kii sez pe leTii hai

Day #5 of 31
Song #13

I gave you a list of all ten songs of Shakeel’s first movie, the 1947 movie Dard with Music Director Naushad. I hope you noticed a curious fact that all ten songs were sung by women: Uma Devi (Tun Tun), Suraiyya and Shamshad Begum.

Lets take his second movie: the 1948 movie Anokhi Ada and have a look at the songs:

1 Kyun Unhe Dil Diya Surendra, Suraiya Shakeel Badayuni
2 Kahe Jiya Dole Ho Kaha Nahi Jaye Uma Devi (Tun Tun) Shakeel Badayuni
3 Ye Pyaar Ki Baaten Ye Safar Bhul Na Jaanaa Mukesh Shakeel Badayuni
4 Jale Na Kyun Parwana Surendra Anjum Pilibhiti
5 Bade Bhole Bhale Hai Dil Lene Wale Surendra Anjum Pilibhiti
6 Aaj Kaha Jaa Ke Nazar Shamshad Begum Shakeel Badayuni
7 Nazar Mil Gayi Jane Kiski Nazar Se Shamshad Begum Shakeel Badayuni
8 Bhulane Vaale Yaad Na Aa Mukesh Shakeel Badayuni
9 Bhool Gaye Kyo De Ke Sahara Mukesh, Shamshad Begum Shakeel Badayuni
10 Kabhi Dil Dil Se Mukesh Shakeel Badayuni
11 Manzil Ki Dhun Me Jhumate Gaate Chale Chalo Mukesh Shakeel Badayuni
12 Dil Ko Laga Kar Humne Kuchh Bhi Na Paaya Uma Devi Shakeel Badayuni

Please notice the following:

A. Two of the songs were penned by Anjum Pilbhiti.
B. Mohammad Rafi, who excelled in singing Shakeel-Naushad songs had still not entered the scene with them.
C. Surendra and Mukesh vied with each other to sing Shakeel-Naushad.

This song and the dialogues in between are seven and half minutes of fascinating interplay of emotions in a love traingle between Naseem Bano, Surendra and Prem Adib, and I urge you to please see it. It would tell you how, Shakeel Badayuni, in his very first movie wherein he could express both male and female emotions in the songs, excelled (his first movie Dard, as I said, had only female songs).

Naushad composed this song in Raag Darbari Kanada and taal Kaherava.

Please enjoy: Kabhi dil se dil takraata to hoga….

kabhii dil dil se Takaraataa to hogaa-2
unhe meraa Khayaal aataa to hogaa-2

naa rukate ho.nge jab aa.Nkho.n me aa.Nsuu-2
aa.Nkho.n me aa.Nsuu
to paimaanaa to paimaanaa chhalak jaataa to hogaa
unhe …

vo paa lete to ho.nge dil pe kaabu, dil pe kaabu-2
unhe ye bhii-2 kamaal aataa to hogaa
kabhii dil …

Song #14

I forgot to mention in the last song from 1948 movie Anokhi Ada that it was the first movie in which Mehboob Khan took Shakeel as the lyricist. He repeated this in his Aan (1952), Amar (1954), Mother India (1957), and Son of India (1962) which was his last movie as director.

We jump to Shakeel-Naushad’s 1950 movie Babul and once again notice in the list of songs that I shall give you that Mohammad Rafi hadn’t yet arrived on the scene!

The movie starred Dilip Kumar, Munnawar Sultana and Nargis. It was produced by Naushad and was directed by FU Sunny.

Have a look at the songs:

1 Duniya Badal Gayi Talat Mahmood, Shamshad Begum 3:30
2 Dhadke Mera Dil Shamshad Begum 3:37
3 Chhod Babul Ka Ghar Shamshad Begum 3:15
4 Kisi Ke Dil Men Rahna Tha Shamshad Begum, Lata Mangeshkar 3:37
5 Lagan More Man Ki Lata Mangeshkar, Munawar Sultana 3:12
6 Mera Jeevan Saathi Bichhad Gaya Talat Mahmood 3:40
7 Milte Hi Ankhen Dil Hua Diwana Shamshad Begum, Talat Mahmood 3:11
8 Panchhi Ban Mein Lata Mangeshkar 3:03
9 Husn Walon Ko Na Dil Do Talat Mahmood 3:31
10 Jadoo Bhare Nainon Men Shamshad Begum, Dilip Kumar 3:29
11 Na Socha Tha Yeh Shamshad Begum 3:32

You would agree with me that each one is a gem. Chhod babul ka ghar became the standard song for the bidaai in all weddings. Kisi ke dil mein rehna tha, Mera jeevan saathi bichhad gaya, and Milte hi aankhen dil hua diwana kis ka all became popular hits.

However, for the lyrical excellence, I have chosen for you this number sung by Talat Mehmood. You would enjoy the light-hearted, carefree acting by Dilip Kumar rather than the tragic and sad one that he was branded as.

Please enjoy: Husn waalon ko na dil do mitaa dete hain….

husn vaalo.n ko na dil do ye miTaa dete hai.n
zi.ndagii bhar ke liye rog lagaa dete hai.n

khuub karate hai.n ye biimaar-e-muhabbat kaa ilaaj
dard ba.Dhataa hii rahe aisii davaa dete hai.n

haay kuchh in kii muhabbat kaa bharosaa hii nahii.n
pahale dil lete hai.n phir dil ko bhulaa dete hai.n

dil lagaaye na zamaane me.n hasiino.n se ko_ii
log kahate hai.n ki ye dil ko dagaa dete hai.n

https://www.youtube.com/watch?v=AragPXmpGnU

Song #15

Naushad was the music director for fourteen of AR Kardar’s movies; the 1947 movie Dard being the first one in which he took Shakeel as the lyricist. The 1951 movie Jadoo was AR Kardar’s second last movie with Naushad. After that Naushad was MD only for Deewana (1952), the same year when Naushad also did Baiju Bawra, the only movie for which he received the Filmfare Best Music Director award.

Here is from Wikipedia:

“The film revolves around a young singer and dancer, Sundari (Nalini Jaywant), who is involved with crooks, but falls in love with a police constable, Pritam (Suresh). The plot of the film was inspired from The Loves of Carmen (1948), directed by Charles Vidor and starring Rita Hayworth.”

The movie was the second of the Shakeel-Naushad duo movies (the first one being the 1949 movie Dulari with the song Suhaani raat dhal chuki) in which Mohammad Rafi sang a song (solo) and another with Shamshad Begum and Zohra Ambalewali.

Have a look at the songs that Shakeel wrote:

1 Pyar Ke Sagar Se Nikli Mohammed Rafi
2 Ulajh Gaya Jiya Mera Nainon Ke Jaal Me Lata Mangeshkar
3 Gin Gin Taare Main Haar Gai Raat Ko Lata Mangeshkar
4 Lo Pyar Ki Ho Gayi Jeet Lata Mangeshkar
5 Insan Badalte Rehte Hain Lata Mangeshkar
6 Jab Nain Milein Nainon Se, Laaraa Lu Shamshad Begum
7 Ek Do Tin Chaar, Roop Ki Dushman Paapi Duniya Shamshad Begum
8 Ae Ji Thandi Sadak Hai Thandi Sadak Shamshad Begum
9 Lelo Lelo Phuldani Lelo Shamshad Begum, Zohrabai Ambalewali, Mohammed Rafi

Pyar ke sagar se nikli is an important song for me since it is just the second movie song that Mohammad Rafi sang solo in a movie with the duo of Shakeel Badayuni and Naushad.

Please enjoy: Pyar ke sagar se nikli moti ke badle ret…

pyaar ke saagar se nikalii motii ke badale ret
ab pachhataaye kyaa hoye jab chi.Diyaa.N chug ga_ii.n khet
o

ek jhuuTh hai
ek jhuuTh hai jisakaa duniyaa ne
rakhaa hai muhabbat naam
are rakhaa hai muhabbat naam
dhokhaa hai jise
dhokhaa hai jise kahate hai.n wafaa
bas dekh liyaa anjaam
are bas dekh liyaa anjaam

( paanii sii nazar, patthar saa jigar
bedard tujhe pahachaan gaye ) -2
ham pyaar kii nagarii me.n aa kar
dastuur yahaa.N ke jaan gaye
milatii hai Kushii
milatii hai Kushii dam bhar ke liye
rone ko hai subah-o-shaam -2
haay bas dekh liyaa
bas dekh liyaa anjaam

( na puuchh hu_aa jo haal meraa
ek terii nazar ke dhokhe se ) -2
jaise ko_ii jalataa diip bujhe
bas ek hawaa ke jho.nkhe se
dil de ke hame.n
dil de ke hame.n kuchh bhii na milaa
bekaar huye badanaam
haay bas dekh liyaa
bas dekh liyaa anjaam

https://www.youtube.com/watch?v=ZEcln91GjkY

Day #6 of 31
Appreciating Good Lyrics
Song #5

As you are aware. I started these posts four days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

So far, we have taken up in the last four days:

1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.

Tonight we take up Majrooh Sultanpuri‘s.

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

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

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

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

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

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

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

For someone who didn’t want to join Hindi movies, Majrooh emerged as a natural lyricist, very popular, very romantic without too deep poetry. I won’t like to compare him with Shakeel since Shakeel maintained the purity of Urdu lyrics and traditional Urdu poetry style.

Most of Majrooh’s songs are of Dil vil pyaar vyaar main kyaa jaanu,. Baahon mein chale aao, Bangle ke peechhe, Ye raaten ye amusam nadi ka kinaara, and Dekho mausam kyaa bahaar hai. However, some of his lyrics are still comparable to Shakeel’s such as Hui shaam unaka khayaal aa gaya, Woh jo milate the kabhi, Rahe na rahe ham, Chhupa lo youn dil mein pyaar mera, Tu kahe agar jeevan bhar main geet sunaata jaayun, Mujhe dard-e-dil ka pata na tha, Hamaare baad ab mehfil mein afsaane bayaan honge, and the great song on eyes: Teri aankhon ke siwa duniya mein rakha kyaa hai.

The last one is from the 1969 movie Chirag. Hats off to Majrooh for writing this at the age of fifty! Hats off to Madan Mohan too for having composed it in Raag Jhinjhoti, the raag named after an apsara. There are two versions of this song: Mohammad Rafi singing for Sunil Dutt and Lata Mangeshkar singing for Asha Parekh.

The lyrics are exquisite and each word hangs of the notes of the composition like raindrops from green leaves.

Please enjoy: Teri aankhon ke siwa duniya mein rakha kyaa hai….

terii aa.Nkho.n ke sivaa duniyaa me.n rakkhaa kyaa hai
ye uThe.n subah chale, ye jhuke.n shaam Dhale
meraa jiinaa meraa maranaa inhii.n palako.n ke tale
terii aa.Nkho.n ke sivaa …

(rafii)
palako.n kii galiyo.n me.n chehare bahaaro.n ke ha.Nsate hue
hai.n mere Kaabo.n ke kyaa-kyaa nagar iname.n basate hue
ye uThe.n subah chale …

iname.n mere aanevaale zamaane kii tasviir hai
chaahat ke kaajal se likhii huii merii taqadiir hai
ye uThe.n subah chale …

(lataa)
Thokar jahaa.N maine khaaI inho.nne pukaaraa mujhe
ye hamasafar hai.n to kaafii hai inakaa sahaaraa mujhe
ye uThe.n subah chale …

ye ho.n kahii.n inakaa saayaa mere dil se jaataa nahii.n
inake sivaa ab to kuchh bhii nazar mujhako aataa nahii.n
ye uThe.n subah chale …

Day #6 of 31
Song #16

We were talking about the 1952 movie Deewana, the last of the fourteen movies of AR Kardar for which Naushad was the music director.

With Shakeel, the first one, the 1947 movie Dard, had no male songs. The second one, the 1951 movie Jadoo had only one solo by Mohammad Rafi: Pyar ke sagar se nikli moti ke badle ret.

The third one too had just one solo song from Mohammad Rafi but it turned out to be a great one.

As usual, have a look at the lsit of songs:

1. Mora Nazuk Badan – Suraiya
2. Dil Mein Aa Gaya Koi – Suraiya
3. Jeene Diya Na Chain Se – Suraiya
4. Lagi Hai Manmandir – Suraiya
5. Mere Chand Mere Lal – Suraiya, Lata Mangeshkar
6. Tasveer Banata Hoon Teri – Mohammed Rafi
7. Teer Khate Jayenge – Lata Mangeshkar
8. Yeh Duniya Kaisi Hai – Hridayanath Mangeshkar
9. Humein Jo Koi Dekhle – Shamshad Begum

It is only after this that Mohammad Rafi would arrive in a big way with the 1952 movie Baiju Bawra with songs like Man tadpat Hari darshan ko aaj and O duniya ke rakhwaale, and Tu Ganga ki mauj.

After the success of the all time popular and Mohammad Rafi’s first song with Shakeel: Suhaani raat dhal chuki, here is the next popular hit of Rafi with Shakeel.

Please enjoy: Tasveer banaata hoon teri khoon-e-jigar se….

tasaviir banaataa huu.N terii Kuun-e-jigar se
Kuun-e-jigar se
dekhaa hai tujhe mai.n ne muhabbat kii nazar se
are, muhabbat kii nazar se

jitane bhii mile ra.ng vo sabhii bhar diye tujh me.n
haay, bhar diye tujh me.n
ik ra.ng-e-vafaa aur hai, laa_uu.N vo kidhar se
are laa_uu.N vo kidhar se
tasaviir banaataa huu.N terii …

saavan terii zulfo.n se ghaTaa maa.Ng ke laayaa
haay, maa.Ng ke laayaa
bijalii ne churaa_ii hai ta.Dap terii nazar se
are, ta.Dap terii nazar se
tasaviir banaataa huu.N terii …

mai.n dil me.n biThaa kar tujhe ruKsat na karuu.Ngaa
haay, ruKsat na karuu.Ngaa
mushkil hai teraa lauT ke jaanaa mere ghar se
are jaanaa mere ghar se
tasaviir banaataa huu.N terii …

https://www.youtube.com/watch?v=kvs7V66eGck

Day #6 of 31
Song #17

You must have seen my obsession with tracing the history of Mohammad Rafi singing Shakeel’s songs. It is as if Shakeel wrote his best only for him.

It is not true. The first of Shakeel’s is sung by Uma Devi (Tuntun) and Mohammad Rafi arrived only two years later with Suhaani raat dhal chuki in 1949 Dulari. Even two years later, Rafi had sung only two solos of Shakeel Badayuni.

I am giving you this background because many of us believe that the best songs in Hindi movies have been made by the quartet of Shakeel-Naushad-Rafi-Dilip and yet Rafi took quite some time in arriving on the scene.

When he did in a big way with 1952 movie Baiju Bawra, it wasn’t a Dilip Kumar movie but a Bharat Bhushan movie with Meena Kumari who bagged the Best Actress award for the movie.

I have already given you a song from the movie: O duniya ke rakhwaale composed by Naushad in raag Darbari Kanada.

Now, with the short biography of Shakeel Badayuni that I have given you, you have to imagine him writing for Baiju Bawra‘s songs wherein he is told not to write in Urdu, his strong point!

This was exactly the greatness of this greatest poet and lyricist. He delightfully surprised everyone by writing in shudh Hindi.

Indeed, the song that I have to give you now is regarded as the greatest Hindi bhajan ever written in Hindi movies. It is considered the standard for bhajans.

The song was composed by Naushad in Raag Malkauns, a derivation of Malkaush, a combination of Mala (garland) and Kaushik (serpents). Naturally, the Raaga is a Shiva Raag; believed to have been composed by Parvati to calm down an enraged Shiva.

In the movie Baiju Bawra too, one has to admire the musical acumen of Naushad to have composed in this raag since here too it has a calming effect on Baiju’s Guru Hari.

The tal is Tintal.

Without further ado, please enjoy: Man tadpat Hari darshan ko aaj….

man ta.Dapat hari darasan ko aaj
more tum bin biga.De sakal kaaj
aa, vinatii karat, huu.N, rakhiyo laaj, man ta.Dapat…

tumhare dvaar kaa mai.n huu.N jogii
hamarii or nazar kab hogii
sun more vyaakul man kii baat, ta.Dapat harii darasan…

bin guruu GYaan kahaa.N se paauu.N
diijo daan harii gun gaauu.N
sab gunii jan pe tumhaaraa raaj, ta.Dapat harii…

muralii manohar aas na to.Do
dukh bha.njan more saath na chho.Do
mohe darasan bhikshaa de do aaj de do aaj, …

Day #6 of 31
Song #18

It is almost criminal not to listen to all the songs of Baiju Bawra, once one has started. However, it is just a month long tribute as a countdown to his Birth Anniveray on 03 Aug, with less than a hundred songs that I can give you.

Still, I cannot resist giving you this number that Naushad composed in Raag Bhairavi, by that time, the favourite Raaga of another great music director (the greatest duo the world has ever seen) Shankar Jaikishan.

Please see in this song, how well Naushad could get the beat right in taal Dadra.

And Shakeel, he just made this song an iconic song in Hindi movies, the kind that you can’t get out of your system.

Please enjoy in Raag Bhairavi: Tu Ganga ki mauj main Jamuna ka dhaara….

akelii mat ja_iyo raadhe jamunaa ke tiir
o jii o
tuu ga.ngaa kii mauj mai.n jamunaa kaa dhaaraa
ho rahegaa milan, ye hamaaraa
ho hamaaraa tumhaaraa rahegaa milan
ye hamaaraa tumhaaraa

agar tuu hai saagar to majhadhaar mai.n huu.N, majhadhaar mai.n huu.N
tere dil kii kashtii kaa patavaar mai.n huu.N, patavaar mai.n huu.N
chalegii akele na tumase ye naiyaa, na tumase ye naiyaa
mile.ngii na ma.nzil tumhe bin khevaiyaa, tumhe bin khevaiyaa
chale aao jii, chale aao jii
chale aao maujo.n kaa le kar sahaaraa, ho rahegaa milan
ye hamaaraa tumhaaraa rahegaa milan, ye hamaaraa tumhaaraa

bhalaa kaise TuuTe.nge ba.ndhan ye dil ke, ba.ndhan ye dil ke
bichha.Datii nahii.n mauj se mauj milake, hai mauj mil ke
chhupoge bha.Nvar me.n to chhupane na de.nge, to chhupane na de.nge
Dubo de.nge naiyaa tumhe.n Dhuu.NDh le.nge
banaaye.nge ham, banaaye.nge ham
banaaye.nge tuufaa.N ko lekar kinaaraa, ho rahegaa milan
ye hamaaraa tumhaaraa rahegaa milan, ye hamaaraa tumhaaraa

DIL BHAR AAYA

I must be a bundle of emotions!

Today, I had to put up the Baiju Bawra songs as part of my ongoing tribute for Shakeel Badayuni. Knowing what happened to me last year when I saw the movie, I was careful to finish putting these songs before going for my evening walk.

But, then…I made the mistake (I would never do it with Mere Mehboob) of listening to Tu Ganga ki mauj. Tears came naturally again! Where has that era gone? Why can’t we have it again? You have to play the song to feel the emotions.

Here were my Facebook Group Yaad Kiya Dil Ne‘s reactions to it when I felt the same way last year: Go through them nostalgically.

WHY DO WE SOMETIMES CRY LISTENING TO OLD SONGS?

Day #7 of 31
Appreciating Good Lyrics
Song #6

As you are aware, I started these posts five days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.

So far, we have taken up in the last four days:

1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.

Tonight we take up Jaan Nisar Akhtar‘s.

Jaan Nisar Akhtar was born a little more than two years before Shakeel, on the 18th Feb 1914 in Gwalior. Unlike Shakeel, who was the first to venture into poetry (only a distant uncle was a poet), Jaan Nisar Akhtar’s father Muztar Khairabadi was poet as was his father’s elder brother, Bismil Khairabadi.

Like many other poets of that era, including Shakeel, he was part of Progressive Writers Movement.

He shifted to Bhopal from Gwalior where he took up job as Head of Department for Urdu and Persian.

In 1949 he shifted to Mumbai and met progressive writers like Rajider Singh Bedi and Mulk Raj Anand. It was only six years later, when he was 41 years old that success came his way when he wrote lyrics of the songs for the movie Yasmin.

And then for the next three and half decades he penned lyrics in the movies until his death on 16 Aug 1976. His son Jawed Akhtar is also a lyricist in the movies.

My friend Vipan Kohli wants me to come straightway to his Shankar Hussain song: Aap youn faaslon se guzarte rahe. But, Shankar Hussain was a 1977 movie and we are still at some early stages.

I, therefore, give you a song from his first movie, the 1955 Yasmin, written, produced and directed by Abdul Rashid Kardar and starring Vyjayamthimala, Suresh and Jayant.

This was composed by C Ramchandra.

The voice is that of Lata Mangeshkar.

Please enjoy: Mujhape ilzaam-e-bewafai hai….

mujhape ilzaam-e-bewafaaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-e-bewafaaii hai …

usane Thaanii hai zulm Dhaane kii
mujh me.n himmat hai Gam uThaane kii
Kush ho, ai dil! tujhe miTaane kii, miTaane kii
aaj usane qasam to khaaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-e-bewafaaii hai …

tuu huaa dil se kab judaa kah de
mujhase kyuu.N ho gayaa Kafaa kah de
tuu hii i.nsaaf se zaraa kah de, zaraa kah de
kisane shart-e-wafaa bhulaaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-ebewafaaii hai …

hai gawaaraa teraa sitam mujh ko
har jafaa hai terii karam mujh ko
jaan jaae, nahii.n hai Gam mujh ko
jab muhabbat pe baat aaii hai
ai muhabbat terii duhaaii hai
mujhape ilzaam-e-bewafaaii hai …

https://www.youtube.com/watch?v=CZ7wx4KnBL0

Day #7 of 31
Song #19

The success of 1952 movie Baiju Bawra did wonders for the career of Shakeel Badayuni. Ghulam Mohammad, although seven years older to Naushad was an assistant to Naushad in Diwana and emerged on his own in 1952 movie Ambar or Amber (Sky) that starred Raj Kapoor and Nargis. Shakeel was asked by Ghulam Mohammad to pen the songs and he did the following:

1 “Hum Tum Yeh Bahar Dekho Rang Laya Pyar” Lata Mangeshkar, Mohammed Rafi
2 “Shama Jali Parwana Aaya” Lata Mangeshkar, Mohammed Rafi
3 “Dhoom Dhadaka” Mohammed Rafi, Shamshad Begum
4 “Churakar Dil Ko Chale Jaana” Mohammed Rafi
5 “Duniya Mein Nahin Koi Yaar” Lata Mangeshkar, Mohammed Rafi
6 “Tootegi Na Pyar Ki Dor” Lata Mangeshkar
7 “Rote Hain Naina Gham Ke Maare” Mohammed Rafi, Shamshad Begum
8 “Ham Pyar Tumhin Se Karte Hai” Lata Mangeshkar
9 “Dil Deke Sanam Tumhe Pachhtaye” Lata Mangeshkar
10 “Duniya Mein Nahin Koi Yaar” Lata Mangeshkar

The movie was a suspense thriller with Nargis as Rajkumari Amber trying to avenge the murder of her estranged father. Baby Tanuja played Nargis as a child initially.

Some of the best duets in the Hindi movies are between Mohammad Rafi and Lata Mangeshkar. Lets take up a delightful one from this movie: Hum Tum Yeh Bahar, Dekho Rang Laya Pyar.

ra : ( ham-tum ye bahaar
dekho ra.ng laayaa pyaar
barasaat ke mahiine me.n
la : rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n ) -2

do : ho
ra : ho
la : ho
ra : ( terii zulfo.n kii ye ra.ngat hai
jo baadal banake chhaa_ii hai ) -2
jo baadal banake chhaa_ii hai
la : terii aa.Nkho.n kii ye mastii hai
jo saawan banake aa_ii hai
ra : meraa dam jab tak
rahe pyaar kii chamak
mere dil ke nagiine me.n
ham-tum yah bahaar …
la : rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n

la : o
ra : o
la : ( duniyaa ko hamaarii ho na Kabar
aa.Nkho.n me.n ishaare ho jaaye.N ) -2
aa.Nkho.n me.n ishaare ho jaaye.N
ra : ulafat bhii chale aisaa jaaduu
dushman bhii hamaare ho jaaye.N
la : Gam dil se ho duur
naa ho ko_ii majabuur
phir aaye mazaa jiine me.n
do : rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n

ham-tum ye bahaar
dekho ra.ng laayaa pyaar
barasaat ke mahiine me.n
rimajhim ye phuhaar
dil gaaye re malhaar
ik aag liye siine me.n
ho
ho

Day #7 of 31
Song #20

From the next movie, the 1952 movie Aan (Pride), Shakeel started an association with a great movie director and producer Mehboob Khan that lasted for several movies including Amar, Mother India, and Son of India.

Aan was India’s first techniclour movie. It had Dilip Kumar, Nimmi and Premnath in lead roles, together with Nadira in her debut role as a replacement for Nargis, the original choice. Nadira was the haughty princess Rajshree whose horse was tamed by Jai Tilak (Dilip Kumar), a commoner, who finally was able to tame the arrogant princess too!

Naushad and Shakeel gave us the following songs in the movie:

1 Maan Mera Ehsan Mohammed Rafi Shakeel Badayuni 02:48
2 Dil Mein Chhupake Pyar Ka Mohammed Rafi 02:55
3 Tujhe Kho Diya Hamne Lata Mangeshkar 03:14
4 Aaj Mere Man Mein Sakhi Lata Mangeshkar 03:55
5 Mohabbat Choome Jinke Haath Mohammed Rafi 03:36
6 Gao Tarane Man Ke Mohammed Rafi, Lata Mangeshkar & Shamshad Begum 04:41
7 Takra Gaya Tumse Mohammed Rafi 03:44
8 Khelo Raang Hamare Sang Lata Mangeshkar & Shamshad Begum 04:18
9 Aag Lagi Tan Man Mein Shamshad Begum 03:32
10 Mein Raani Hoon Raja Ki Shamshad Begum

Lets take the most popular of these, the first one. Please notice that by now Mohammad Rafi is with Sahkeel and Naushad in a huge manner.

Please enjoy: Maan mera ehsaan, are nadaan….

maan meraa ahasaan are naadaan ke maine
tujhase kiyaa hai pyaar
maine tujhase kiyaa hai pyaar

merii nazar kii dhuup na bharatii ruup to hotaa
husn teraa bekaar
maine tujhase kiyaa hai pyaar
maan meraa …

ulafat na sahii nafarat hii sahii
is ko bhii muhabbat kahate hai.n
tuu laakh chhupaae bhed magar ham
dil me.n samaae rahate hai.n
tere bhii dil me.n aag uThii hai jaag zabaa.n se
chaahe na kar iqaraar
maine tujhase kiyaa hai pyaar
merii nazar kii …

apanaa na banaa luu.N tujhako agar
ik roz to meraa naam nahii.n
patthar kaa jigar paanii kar duu.N ye
to koii mushkil kaam nahii.n
chho.D de ab ye khel tuu kar le mel mere sa.ng
maan le apanii haar
maine tujhase kiyaa hai pyaar
maan meraa …

Day #7 of 31
Song #21

Okay, back to a AR Kardar movie, the 1953 movie Dil-e-Nadaan. I have already told you that Diwana of 1952 was Naushad’s last of the 14 movies with AR Kardar. Hence, in this movie, his protege Ghulam Mohammad took over with Shakeel.

The movie starred Talat Mehmood and Shyama.

Ghulam Mohammad’s compositions in this movie included some of the finest numbers of Talat Mehmood. Here is the list of those songs:

1 Zindagi Denewale Sun, Teri Duniya Se Dil Bhar Gaya Talat Mehmood
2 Jo Khushi Se Chot Khaye, Woh Jigar Kaha Se Laaun Talat Mehmood
3 Ye Raat Suhani Raat Nahin Ae Chand Sitaron So Jao Talat Mehmood
4 Muhabbat Ki Dhun Bekararo Se Poochho Talat Mahmood, Sudha Malhotra, Jagjit Kaur
5 Teri Khaatir Sitam Dil Par Talat Mahmood
6 Chanda Gaye Ragni Cham Cham Barse Jagjit Kaur
7 Khamosh Zindagi Ko Ek Afsana Mil Gaya Jagjit Kaur
8 Na Wo Humare Na Dil Humara Sudha Malhotra
9 Lijo Babul Hamara Salaam Re Asha Bhosle

I am going to give you the second song since it has some remarkably fine lyrics by Shakeel and also because it happens to be a favourite of my late father.

Please enjoy Talat Mahmood sing Shakeel’s: Jo khushi se chot khaaye wo 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

Appreciating Good Lyrics
Song #7

This has come last here, rather than at the beginning of the day since on Day #1 of my Countdown, I didn’t think of including other lyricists, as a comparison.

As you are aware, I started these posts six days ago to bring home the point that whilst we genuinely love everything that Shakeel wrote, many other contemporary poets and lyricists were also good and popular.

It is, therefore, worth recalling their lyrics too in addition to Shakeel’s. It was the era of good lyrics.

So far, we have taken up in the last six days:

1. Shailendra with his Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.

Tonight we take up our seventh lyricst, Hasrat Jaipuri‘s creation.

Hasrat and Shailendra were two of the lyricists that were noticed by Prithviraj Kapoor/raj Kapoor and took up making lyrics for the music duo of Shankar-Jaikishan. S-J earned the sobriquet of being “House Musicians” of Raj Kapoor. Most often than not, in Raj Kapoor movies the songs were penned by either Shailendra or Hasrat.

How poor the lyricists were was narrated to us by the director Sudhakar Sharma during the Shankar Jaikishan Music Foundation Meet in Mumbai on 19th June. He had written some songs for Shankar for the film Gori. One day, he wanted to get from Shankar his own songs. But, he was in Mahim and Shankar’s studio in Kala Ghoda in Bombay. So, Sudhakar said, he sold kerosene from his stove so that he could buy a return fare ticket by local train to Churchgate and then walk to Kala Ghoda. He said when he reached there, Shankar was not there and he was shoed away even though he introduced himself as the lyricist of the song that was playing in the studio. He said that on his way down he chanced to meet Shankar who gifted him four LPs and a few cassettes of his own songs!

Well, same was the case with Hasrat! Even though he started writing at the age of 12 years (he was born on 15 Apr 1922, six years after Shakeel), when he moved to Bombay at the age of 18, he worked as a bus-conductor at a monthly salary of 11 rupees a month!

Hasrat’s first song for the 1949 movie Barsaat (the debut movie of Shankar Jaikishan too and Shailendra too) made him famous: Jiya beqraar hai. Even the sad song picturised on Nimmi: Chhod gaye baalam was also his creation.

He was awarded Filmfare Best Lyricst award twice, both times for non-Raj Kapoor movies: for the song Baharon phool barasaao for Rajendra Kumar in the 1966 movie Suraj, and for Zindagi ek safar hai suhaana for Rajesh Khanna for the 1971 movie Anadaz.

Of course what I regard as the best song of Lata Mangeshkar, Rasik balmaa, has been penned by him. He maintained the excellence of his lyrics all along his long career that lasted until 1971 when after Jaikishan’s death Raj Kapoor turned to other lyrcisrs. Hasrat died on 17th Sep 1999.

As far as matching lyrics to Shakeel are concerned, Hasrat gave us several songs starting with his first movie Barsaat and going on to Sehra and Suhagan. His Tum mujhe youn bula na paaoge for Shammi Kapoor in Pagla Kahin Ka is a personal favourite.

But, perhaps the song that is iconic is from a Raj Kapoor starrer Parvarish. I used to hear it often in the parties in our colony in Mandi town of Himachal.

The 1958 movie Parvarish was directed by S Bannerjee and starred Mala Sinha opposite Raj Kapoor.

The song also happens to be the best of singer Mukesh.

Music Director Dattaram composed it in Raag Kalyan (a raag of the evening) in Jhaptaal Taal. Marvel at the lyrical excellence of the line:

Shabnam bhi roye main woh aasmaan hoon (that’s Hasrat’s imagination for you).

Please enjoy: Aansu bhari hain ye jeevan ki raahen….

aa.Nsuu bharii hai.n ye jiivan kii raahe.n
koii unase kah de hame.n bhuul jaae.n
aa.Nsuu …

vaade bhulaa de.n qasam to.D de.n vo – (2)
haalat pe apanii hame.n chho.D de.n vo
unhe.n ghar mubaarak hame.n apanii aa.Nhe.n
koii unase kah de …

barabaadiyo.n kii ajab daastaa.N huu.N – (2)
shabanam bhii roe mai.n vo paasabaa.N huu.N
aise jahaa.N se kyuu.N ham dil lagaae.n
koii unase kah de …
aa.Nsuu …

https://www.youtube.com/watch?v=hyK-ZNZ7T-E

With that we come to the end of the first week of Countdown to the Birth Centenary of Shakeel Badayuni.

Please await the Part II with the second week of the Countdown.