Sunbyanyname

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

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

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

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

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

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

Here, I give you six more such songs.

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

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

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

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

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

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

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

Theka is:

Dhaa Ge Naa Tee Naa Ka Dhin Naa.

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

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

Please enjoy: Tum mujhe youn bhula na paoge…

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

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

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

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

जब कभी भी …

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

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

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

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

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

About Taal Kaherava I have already told you.

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

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

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

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

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

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

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

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

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

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

Please enjoy: Meri yaad mein tum na aansu bahana…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Please enjoy: Jaane kya dhoondati rehati hain…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Please await songs of Part III.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Please enjoy: Humse aaya na gaya….

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

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

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

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

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

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

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

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

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

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

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

Please enjoy: Man tadpat Hari darshan ko aaj….

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

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

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

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

Song #5
Bhooli hui yaadon
Raag Kalyan, Tal Dadra

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Please await songs of Part II.

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

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

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

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

The songs of Part II have been:

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

The songs of Part III have been:

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

Lets start with Part IV songs.

Song #19 – Husn waale tera jawab nahin

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

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

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

Have a look at the extraordinarily beautiful lyrics:

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

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

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

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

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

Song #20 – Itna hai tumse pyar mujhe

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

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

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

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

Here are the lyrics:

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

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

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

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

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

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

Song #21 – Dil ka bhanwar kare pukaar

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

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

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

Here are the lyrics:

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

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

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

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

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

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

Song #22 – Baharon phool barsao

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

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

It was, indeed, a pleasure singing it:

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

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

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

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

Song #23 – Tum mujhe yun bhula na paoge

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

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

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

Here are the extraordinary lyrics:

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

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

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

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

जब कभी भी …

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

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

Song #24 – Jeet hi lenge baazi hum tum

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

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

Goosebumps Song for Me

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

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

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

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

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

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

My Own Poetry

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

Hum Ek, Hamari Ek…

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

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

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

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

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

The Song

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

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

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

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

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

Please await songs of Part V.

I started this series on my Facebook group Yaad Kiya Dil Ne on 23 Aug 20. Since then, many other members have put up these songs. Here, I shall be giving you one of my own, per day.

Last time, I gave you Beautiful Duet #56 – Mud mud ke na dekh mud mud ke. So here, then, is the next one:

Song #57
Aankhon mein hamne aapke sapne sajaye hain

Khayyam

Mohammad Zahur Khayyam was born on 18 Feb 1927 in the village Rahon, near Nawanshahr. This is only 16 Kms away from where I was born some 17 years later. He became famous and I am writing about him.
He was the gentlest of the Music Directors we had; both in his compositions and in his nature. Raag Pahadi appears to be his favourite and there are movies like Noorie in which there are more than one song that he composed in Pahadi.

Ever wondered what he would have done to a duet? Of course, you know already since I have given you duet composed by him for the 1960 movie Shola Aur Shabnam: Jeet hi lenge baazi hum tum. Its gentle notes belie the boast in the lyrics penned by Kaifi Azmi.

Well, in order to quench your curiosity, I have taken a duet from the movie Thodisi Bewafai. It must rank among the gentlest duets ever made.

Thodisi Bewafai

This 1980 movie was written and directed by Esmayeel Shroff

and starred Rajesh Khanna and Shabana Azmi in the lead roles. Her brother rumoured to her that he was seen with another woman. Hence, she, Neema, left him, Arun, totally and went away with their son Abhinandan.

During their heydays, he was so enamoured with her that he dreamt about her even during work and this resulted in the diamond tiara that she wears in the duet breaking. This instantly made his father played by AK Hangal from being wealthy to impoverished.

Anyway, you know the importance of this duet in the movie.

This Duet

As if having Khayyam as the gentlest composer wasn’t enough, this song was penned by Gulzar who has made a name for himself for the sensitivity of his lyrics. The duet was sung by Kishore Kumar and Lata Mangeshkar:

किशोर: आँखों में हमने आप के सपने सजाये हैं – २
पलकें उठा के आप ने जादू जगाये हैं
लता: सपना भी आप ही हैं हक़ीक़त भी आप हैं – २
बस आप आप आप ही मुझमें समाये हैं
किशोर: आँखों में हमने आप के सपने सजाये हैं

किशोर: आँखों का रंग ढूँढा हैं हीरे तलाश कर
दिल में सजायेंगे ये रंग यूँ ही उम्र भर
मुश्किल से ज़िंदगी के
मुश्किल से ज़िंदगी के, रंग हाथ आये हैं
आँखों में हमने आप के सपने सजाये हैं

लता: दोहराये जायेंगे ना ये लमहात अब कभी
सपनों में भी न छूटेगा ये साथ अब कभी
मिलती हैं ज़िंदगी जब आप मुस्कुराये हैं – २

लता: ये दिल कुछ ऐसे आप के सजदे में झुक गया
किशोर: नज़रे उठायी आप ने तो वक़्त रुक गया
लता: ठहरे हुए पलो में
ठहरे हुए पलो में, ज़माने बिठाये हैं
किशोर: आँखों में हमने आप के सपने सजाये हैं
लता: आ आ बस आप आप आप ही मुझ में समाये हैं
किशोर, लता: आँखों में हमने आप के सपने सजाये हैं

My Own Poetry

Sapne Mere Apne

सपनो का राही हूँ,
सपने ही तो मेरे हैं।
जब सपनो से आगे बढ़ा,
वो दिन फिर क्या तेरे हैं?
सपने ही तो उजाले हैं,
बाकी सब अंधेरे हैं।
तुझे रातों के साये पसंद हैं,
मेरे लिए सपने ही सबेरे हैं।
चंद दिन की यहां खुशियां हैं,
जाने कहाँ फिर डेरे हैं?
ज़िन्दगी के क्या माईने हैं?
दो चार रोज़ के फेरे हैं।
जी लेने दे अपनी ज़ुल्फ़ों तले,
जब तक इनके साये घनेरे हैं।

Ladies and gentlemen, please enjoy: Aankhon mein hamne aapke sapne sajaye hain….

I hope you liked my choice of Beautiful Duet #57.

Please await Beautiful Duet #58 – Yun hi tum mujhse baat karti ho.

I started this series on my Facebook group Yaad Kiya Dil Ne on 18 Aug 20. Since then, many other members have put up these songs. Here, I shall be giving you one of my own, per day.

This is the Song #54 in the series. I hope you liked Song #55 – Pyar par bas to nahin hai.

Song #58
Shaam-e-gham ki kasam
Theme-word: Ab to aaja ke ab raat bhi so gayi

Happy Birthday Dilip Kumar, 11 Dec 2020

He is 98 years old today and no doubt the entire country awaits to celebrate his hundredth birthday.

There is no doubt in my mind that he ruled the acting scene of Hindi films for decades. Like Mohammad Rafi, Shakeel and Naushad, there is no one to hold a mirror to him. His acting style was imitated (for example by Amitabh Bachchan). However, Dilip Kumar was and is head and shoulder above others.

Many years ago, I have gone on record in my blog that the best songs in Hindi movies were made by the quartet of Shakeel, Naushad, Rafi and Dilip Kumar.

That doesn’t mean that the others haven’t sung songs for him any less. Take Talat Mahmood, for example. You are bound to instantly agree with me that this song ranks among the best ever.

Talat Mahmood for Dilip Kumar

This is not the only gem that Talat sang for Dilip Kumar. There are, for example, others such as:

• Ai dil mujhe aisi jagah le chal.
• Seene mein sulagte hain armaan.
• Ye hawa ye raat ye chandni.
• Milte hi aankhen dil hua.

This Song

It is from the 1953 Zia Sarhadi movie Footpath that had Meena Kumari opposite Dilip Kumar.

As my friend Ashwani Sharma has brought out earlier, there is debate about how come the song is credited to be written by both Ali Sardar Jafri and Majrooh Sultanpuri. Here are the outstanding lyrics, the kind that leave you stunned:

शाम-ए-ग़म की क़सम आज ग़मगीं हैं हम
आ भी जा आ भी जा आज मेरे सनम
शाम-ए-ग़म की क़सम
दिल परेशान हैं रात वीरान हैं
देख जा किस तरह आज तनहा हैं हम
शाम-ए-ग़म की क़सम

चैन कैसा जो पहलू में तू ही नहीं
मार डाले न दर्द-ए-जुदाई कहीं
रुत हंसीं हैं तो क्या चाँदनी है तो क्या
चाँदनी ज़ुल्म है और जुदाई सितम
शाम-ए-ग़म की क़सम

अब तो आजा के अब रात भी सो गई
ज़िन्दगी ग़म के सेहराव में खो गई (२)
ढूँढती हैं नज़र तू कहाँ हैं मगर
देखते देखते आया आँखों में ग़म
शाम-ए-ग़म की क़सम

My Own Poetry

Woh Tum Na Thi

तुम वह नहीं हो जिस से मैं प्यार करता था,
आँखों में आँखें डाल के इज़हार करता था.

मेरी जुबां – ऐ – नब्ज़ पे था तेरी वफ़ा का नाम,
शौक – ऐ – ज़िन्दगी को सलाम सौ – बार करता था.

क्या आलम था वह अब भी दिल को खबर है,
सेहर से ही शब – ऐ – हुस्न का इंतज़ार करता था.

नाज़ुक लबों पे गर्मी – ऐ – जज़्बात थरथराते थे,
तेरी मासूमियत – ओ – नज़ाकत से न मैं इंकार करता था.

सुबह को जब तुम शाम कह के सुनाती थी,
तेरे सजदे में झुक के मैं इकरार करता था.

उल्फत -ऐ -ज़िन्दगी में वो मक़ाम भी आये,
जब तुम थी नहीं फिर भी तेरा दीदार करता था.

काश मैं समझ सकता तेरी दगा – बाज़ी का हुनर,
तुम वह कभी थी ही नहीं जिस से मैं प्यार करता था.

The Song

Ladies and gentlemen, please enjoy: Shaam-e-gham ki kasam…

I started this series on my Facebook group Yaad Kiya Dil Ne on 23 Aug 20. Since then, many other members have put up these songs. Here, I shall be giving you one of my own, per day.

Last time, I gave you Beautiful Duet #55 – Achha ji main haari chalo. So here, then, is the next one:

Song #56
Mud mud ke na dekh mud mud ke

Remembering Nadira on Her Birth Anniversary 05 Dec

She was born on this date in the year 1932. Her full name was Florence Ezekiel Nadira. As the name suggests, she was a Jew (of a Baghdadi Jewish family).

Aan, the first technicolor Indian movie, of 1952, made her suddenly have limelight. The movie was made by Mehboob Khan and she acted as a Rajput princess who would eventually fall in love with a commoner Dilip Kumar.

The movie was the first Indian movie to be released worldwide. Naturally, the movie relied heavily on the lyrics of Shakeel and Music of Naushad.

Shree 420

However, the Beautiful Duet that I have taken for you is from the 1955 movie Shree 420, produced and directed by Raj Kapoor. Main lead of the movie were Raj Kapoor and Nargis; Raj Kapoor coming into the city of Bombay from a village but soon learning that being a con man (420) was earning him good life.

The one person who helped him become a card-sharp was the high-society woman Nadira.

This Song

Raj Kapoor’s love with Nargis reminds him over and over again that he must leave his crooked ways and return to being a straight guy. However, such is not in Nadira’s interest. More so, since it is a New Year eve and lots of money van be made in card sharping.

Shailendra penned the excellent lyrics and it was composed by Shankar Jaikishan as a Waltzing number, appropriately for that night.
The song was sung by Asha Bhosle for Nadira and Manna Dey for Raj Kapoor.

The Lyrics

मुड़ मुड़ के न देख, मुड़ मुड़ के
ज़िंदगानी के सफ़र में तू अकेला ही नहीं है
हम भी तेरे हमसफ़र हैं

आये गये मंज़िलों के निशाँ
लहरा के झूमा झुका आसमाँ
लेकिन रुकेगा न ये कारवाँ
अह ह ह आ~~
मुड़ मुड़ के न देख …

मुड़ मुड़ के न देख, मुड़ मुड़ के
ज़िंदगानी के सफ़र में तू अकेला ही नहीं है
हम भी तेरे हमसफ़र हैं, हे!
मुड़ मुड़ के न देख …

नैनों से नैना जो मिला के देखे
मौसम के साथ मुस्कुरा के देखे
दुनिया उसीकी है जो आगे देखे
मुड़ मुड़ के न देख …

दुनिया के साथ जो बदलता जाये
जो इसके ढाँचे में ही ढलता जाये
दुनिया उसीकी है जो चलता जाये
मुड़ मुड़ के न देख …

My Own Poetry

Zindagi Kya Kya Sikhati Hai?

खुशी बढ़ती है बांटने से,
दर्द बांटने से घटता है,
गमगीन हों तो वक़्त बोझ है,
मुस्कराते बस यूं ही कटता है।

लेने से दौलत नहीं बढ़ती,
देने से हम होते हैं अमीर,
वो क्या गरीब जो किसी का ग़म खरीदे,
वो क्या अमीर जो बेच डाले ज़मीर?

क्या फायदा उस सच का,
जो किसी की ले ले जान,
क्यूं नफ़रत करें उस झूठ की,
जो आदमी को बना दे इंसान?

बहुत बोझ मिलते हैं उठाने को,
उठता नहीं बोझ गुनाहों का।
लोगों से तो नज़रें बचा लोगे,
क्या करिए अपनी अंदरूनी निगाहों का?

जो दूसरों के चुराएं ख्यालात,
वो तो बहुत मकबूल हैं,
वो बेचारे अकेले फिरते हैं
जिनकी अपनी तखील और असूल हैं।

सुनने देखने पे भी दोस्तो,
न करना कभी उसका यकीन,
जो मीठी मीठी बातें करे,
पर हो सांप ए आस्तीन।

Finally, the Duet

Ladies and gentlemen, please enjoy: Mud mud ke na dekh mud mud ke…

I hope you liked my choice of Beautiful Duet #56.

Please await Beautiful Duet #57 – Aankhon mein hamne aapke.

Zindagi or Jeevan Songs Series

I started this series on my Facebook group Yaad Kiya Dil Ne on 18 Oct 20. Since then, many other members have put up these songs. Here, I shall be giving you one of my own, per day.

I hope you liked my choice for Song #54 – Chandni aayi banke pyar in Zindagi or Jeevan Songs series. Let’s start with Song #55.

Song #55
Kaise koi jeeye zehar hai zindagi
Theme-word: In the mukhada

Baadbaan – 1954 Movie

In the last two weeks, I have given you quite a few of the movies directed by Phani Majumdar. This 1954 movie Baadbaan (Shelter from Storm). The movie starred Dev Anand, Meena Kumari, Ashok Kumar, Usha Kiran, Mehmood and Leela Chitnis.

Indeevar penned the lyrics of this song and Timir Baran composed it. The song has two versions: the female version by Geeta Dutt and the male version by Hemant Kumar.

Not just that the lyrics are very beautiful (yes, Indeevar wrote these before Bappi Lahiri ruled his life for as many as 500 trash songs), but the composition makes it very suitable as RRR Song. The kind of Regret, Repentance and Ruefulness that you experience with the song makes it very soulful.

I am going to give you both versions. The lyrics are the same in both Geeta Dutt and Hemant Kumar versions:

कैसे कोई जिए ज़हर है ज़िन्दगी
उठा तूफ़ान वो…
उठा तूफ़ान आस के सब बुझ गए दिए~~~
कैसे कोई जिए

बादल है या धुआ आग लगी कहा
जलता ना हो कही मेरा ही आशिया
अंगारे थे आंसू नही वो दिल ने जो पिए
कैसे कोई जिए
ज़हर है ज़िन्दगी
उठा तूफ़ान वो….

तारे ना जाने ऊंचाई गगन की
आंखे ना समझे गहराई मन की
गहराई मन की..तारे ना जाने
प्यासे पपीहे ने आस थी बाधी
उड़ गए बादल अI गई आंधी
हमने जो छेड़ा दिल ने हसी से
होठ सी लिए
कैसे कोई जिए ज़हर है ज़िन्दगी

My Own Poetry

TOOFAN SE HOON ANJAAN

बात कहने से बात निकल आती है,
न कहूं तो बात बन जाती है।
बाहर तूफ़ान आने को है लेकिन,
अंदर धड़कन खामोश हुई जाती है।

इश्क़ की हवाएं तेज़ हुआ करती थीं,
लहरें उमड़ कर उनका ही दम भरती थीं।
दिल की रगें मेरी तो थीं लेकिन,
लगता था वह उनसे कुछ डरती थीं।

और फ़िर वह मुकाम भी आया,
ज़िन्दगी ने इस कदर हमें आजमाया।
जैसे दोनों के बीच आ गया हो,
भूले हुए ज़ख्मों का कोई साया।

क्या खबर उनको हो गया हूं दूर तूफ़ान से,
जैसे साहिल पे पत्थर पड़े हों बेजान से।
इन्सान तो इन्सान है लेकिन,
मैं तो बेरुख हुआ हूं भगवान से।

रहने दो यादों के शोलों को राख में,
पड़ा रहने दो मुझे वक़्त की ख़ाक में।
नहीं लगते हैं वह फूल कभी दोबारा,
एक बार टूट जो गए उस हरी शाख से।

The Song

Ladies and gentlemen, please enjoy both versions of: Kaise koi jeeye, zehar hai zindagi…

I hope you enjoyed my choice for Song #55 in the series.

Please await Song #56 –  Chalte chalte mere yeh geet.