It was on this day, 15th August, in the year 1947, when we received Freedom at Midnight. Our first Prime Minister of independent India made his famous Tryst with Destiny speech to the Indian Constituent Assembly in the Parliament, a speech that is counted amongst the most famous speeches in the history of the world. The opening two paragraphs of this speech are:
“Long years ago we made a tryst with destiny, and now that time comes when we shall redeem our pledge, not wholly or in full measure, but very substantially. At the stroke of today’s midnight hour, when the world sleeps, India will awake to life and freedom. A moment comes, which comes but rarely in history, when we step out from the old to new, when an age ends, and when the soul of a nation, long suppressed, finds utterance.
It is fitting that at this solemn moment we take the pledge of dedication to the service of India and her people and to the still larger cause of humanity with some pride.”
Just as I did with the Republic Day five and half years ago, in 2011 (Please read: ‘How Proud Should We Be Of The Indian Republic At 62?’), I have to be the devil’s advocate and suggest that though, of course, freedom is a great thing and we fought hard to get it back (having lost it to the British two hundred years before winning it back), there are a few freedoms that we have granted ourselves and we can do without some, if not all of them. Just as I did with the Republic Day, then, these are our reality check nearly seventy years after we won independence.
1. Freedom to Urinate and Defecate in Public and to Litter. I don’t know at what point of time in history we acquired these habits that not only make our villages, towns and cities filthy but also make us spend enormous money, resources and efforts to clean up our act, whether in our holiest river Ganga or anywhere else. If the cost of diseases and epidemics has to be added, it is a freedom that has already done enormous damage to the country, let alone its image abroad. Basically, this freedom emanates from the we versus the authorities rebellious attitude that we have and that we are proud of having won us the independence (the Civil Disobedience Movement, that is, during the British time). Try stopping a man chucking out empty soft-drink tetrapaks from the train or the bus; he would immediately come up with the argument, “What do you think that the sweepers are paid for from the taxes we pay? Let them do some work once in a while rather than sit on their haunches.” I was posted in the city of Vizag on the Eastern coast. Before I could obtain accommodation with the Navy, I rented a house in a civil locality. Whereas another country in the East, Japan that is, is called ‘Land of the Rising Sun’, the civil localities in Vizag could be easily called ‘Land of the Rising Bums’. One would see many of these if one ever went for early morning walks after following the English motto: ‘Early to bed early to rise, makes a man healthy, wealthy and wise’. In Vizag, if one went for a walk too early and not able to sight the gooey stuff on the sides of the road, one would not be anywhere near healthy or wealthy. One would be wise though to have a bath immediately on return.
2. Freedom to Molest and Rape. Am I the only one who feels that this so called freedom is as serious an issue as to be at the level of freedom for some people? Nearly three and half years ago, I wrote an essay titled ‘Nirbhaya’s Rape – A National Shame, Time To Look Within’. This essay was written immediately after the most infamous rape case in the national capital that took place in Dec 2012. It shook the national conscience. And then many skeletons in our national cupboard came tumbling out. For example, there was this minister in the Goa Assembly who asserted that women who dressed provocatively deserved to be raped. Imagine a responsible representative of the people saying that! We also had the unseemly sight of elected representatives blithely watching pornography in the assembly whilst government business was being transacted (Please read: ‘Guardians Of Porn And Morality’). In the same article about Porn and Morality, I brought out about a play I directed and acted in the Navy: Mahesh Dattani’s ’30 Days In September’. The play was about the incidence of incest in the country. Whilst researching on the topic, I came across government figures given in the parliament by Ms Renuka Chaudhary, the then Minister for Women’s Affairs and Child Welfare. She brought out that about 49 percent children in our country are victims of incest and child-abuse; a large percentage of these being at the hands of known and close relatives. Women are still considered in various sections of the society as mard ke pair ki jooti (footwear for the men) (Please read: ‘Is There Reason To Celebrate Women’s Day In India?’) We can certainly do without these freedoms to molest, rape and indulge in child abuse and incest.
4. Freedom to Use Public Funds and Resources as Own. This freedom is of gigantic proportions in our country, particularly so with elected representatives and bureaucrats; the latter have recently appealed that they not be called by the derogatory term ‘babus’. It will be only sooner than later when the elected representatives also appeal that they not be called by the derogatory (!) term ‘netas‘. What an irony! In both cases, if we have to examine as to who demeaned these terms, one would get the quick answer that those who are now appealing against being called these are themselves responsible for it. The Indian constitution has a term called ‘Public Servant’; both these form the bulk of the representatives of the government who are so described. A ‘Public Servant’ is not a derogatory term but a reminder to such people that they hold their positions for the service of the people. However, these self-serving people feel that the only reason that they are there is to enjoy power and the perks of the positions that they hold. This freedom to consider public funds and resources as their own has been the subject of many a blog-post from me that you would find in this very blog.
5. Freedom to Take Law in One’s Hands. Almost everyone indulges in this in India; we are amongst the most unlawful people on earth. Drivers even in the national capital, for example, drive through red light on a traffic crossing, with impunity, if they feel no one is watching. This is a freedom that we have gifted ourselves (Please read ‘We Are Like That Only’). It has nuisance value on the roads in addition to it being dangerous. Our national figures are:
Over 1,37,000 people were killed in road accidents in 2013 alone, that is more than the number of people killed in all our wars put together.
16 children die on Indian roads daily.
5 lives end on Delhi’s roads everyday.
There is one death every four minutes due to a road accident in India.
And yet, we have a tendency to take shortcuts with any rule or law not just on the roads but everywhere.
It is of alarming proportion when those whose duty it is to maintain law and order routinely indulge in unlawful activities. Amnesty International, for example, repeatedly brings out the flagrant incidents of police excesses and custodial deaths and violations of human rights (Read, for example: Bhagalpur Blindings of 1980 when the Bihar Police blinded 31 under-trial people by pouring acid into their eyes). However, so used to are these people to enjoy their self-ascribed freedoms that they don’t seem to care. Here is something sickening in the news just three days before the 70th Independence Day:
One third of the districts of our country now openly oppose Indian law mainly because of such freedoms enjoyed by our so-called public-servants. Isn’t it high time that we restrict these so called self-ascribed freedoms and do our bit towards nation-building that the famous ‘Tryst with Destiny’ speech of our first Prime Minister exhorted us to do 69 years back?
The danger is palpable: if we don’t follow the evolutionary way, we face the revolutionary way; and revolutions are often (if not always) bloody and violent.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I attempted a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
I completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16, Part III from 17 Jul to 23 Jul and Part IV from 24 Jul to 30 Jul. Those of you who read all the four parts would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. In Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya). And finally, in Part IV, I covered songs from 1962 Guru Dutt movie Sahib Bibi Aur Ghulam (Koi door se awaaz de chale aao) to 1963 movie Bin Baadal Barsaat (Jab jaag uthe armaan).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part IV, I have covered seven more of them:
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi ham mile the.
Hence, it would be easy to see that even with all the four parts, I only reached until 30th Jul and hence had three days of Countdown still left. Also, I had 18 movies and 53 songs (that I had originally selected) to go until his last: the 1969 movie Beti.
Therefore, I decided to continue for another week making this as the Final Part or Part V of Countdown with a total of 100 Songs in all five parts. I had to, however, have ten songs on the Final Day of Countdown, ie, 31st Day or 02 Aug 16.
The 35 songs after that would be covered in Part VI though not as part of Countdown but as part of Centenary celebrations for four days.
Day #29 of 31
Song #85
Ladies and gentlemen, I couldn’t put up yesterday since we had a power breakdown that was rectified only by lunch time today. I still have 18 of his movies to go with 53 songs that I had originally selected. Hence, after the countdown until 02 Aug, from his birth anniversary, we shall probably have to continue for another two parts! I had, in between, decided to increase the number of songs everyday but that has not been possible since I couldn’t spare that kind of time.
On day #28 (actually day before yesterday), I gave you two songs from his 1963 movie Bin Baadal Barsaat starring Biswajeet and Asha Parekh. On that night, I actually saw the movie with the magic of Jab jaag uthe armaan, and Zindagi kitani khobsurat hai.
Today, lets take up the third song that I had selected for you: Ik baar zara phir keh do sharma ke mujhe deewaana.
It is a duet between Hemant Kumar and Lata Mangeshkar singing for Biwajeet and Asha Parekh. Composition is that of Hemant Kumar.
Please enjoy: Ik baar zara phir keh do sharma ke mujhe deewana….
he: ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: dil lekar raho duur huzuur na hamase
karo itanaa Guruur na hamase
la: o sajanaa, meraa haar si.ngaar tumhii.n ho
meraa dam hai tumhaare hii dam se
he: tum shamaa ho to mai.n huu.N parvaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: suno dilbar ye jo diip khushii kaa jalaa hai
meraa pyaar isii me.n Dhalaa hai
la: meraa dil bhii piyaa leke tumhaaraa sahaaraa
na_ii raah pe aaj chalaa hai
he: di_aa tumhii.n ne ummiido.n ko Thikaanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
la: uu.N-huu.N % (OYE HOY, mar jaawaaN)
he: tum chaaho to mai.n to.Dake laa duu.N sitaare
ki ho tum mujhe jaan se pyaare
la: kyaa maa.Nguu.N jab mil ga_e tum mujhe sajanaa
mai.n to aa ga_ii bas me.n tumhaare
he: meraa dil hai tumhaaraa nazaraanaa
la: aisii miiThii-miiThii baate.n karake
kahaa.N siikhaa hai dil kaa lubhaanaa
he: o jaan-e-jaa.n
ik baar zaraa phir kah do
mujhe sharmaake tum diivaanaa
As we come to the next movie of Shakeel, and I have selected as many as five songs of the movie for you, you are bound to ask me: “Is it Dilip Kumar and Vyjayanthimala’s Leader?” I can only answer with a firm: Yes indeed it is.
This was his 21st movie with the music director and his mentor Naushad Ali. The story was written by Dilip Jain. The movie was produced by Sashadhar Mukherjee and directed by Ram Mukherjee.
(Pic courtesy: learningandcreativity.com)
The movie had the following songs:
1 “Apni Azadi Ko Hum” Mohammed Rafi 4:38
2 “Dayya Re Dayya” Asha Bhosle 7:12
3 “Ek Shahenshah Ne Banwa Ke” Mohammed Rafi, Lata Mangeshkar 5:16
4 “Hameen Se Muhabbat” Mohammed Rafi 3:21
5 “Mujhe Duniya Walo” Mohammad Rafi 4:25
6 “Tere Husn Ki Kya Tarif Karun” Mohammed Rafi, Lata Mangeshkar 4:42
7 “Aaj Hai Pyar Ka Faisla” Lata Mangeshkar 3:30
8 “Aaj Kal Shauqe Deedar Hai” Mohammed Rafi, Asha Bhonsle 4:16
Let’s take one of the most popular patriotic songs of our era. This was sung by Mohammad Rafi. Various other artisetes have performed this song in the last 52 years.
Leader was one of the first few movies that exposed the politician-criminal nexus.
Please enjoy: Apni azaadi ko ham hargiz mitaa sakate nahin….
apanii aazaadii ko ham haragiz miTaa sakate nahii.n
sar kaTaa sakate hai.n lekin sar jhukaa sakate nahii.n
hamane sadiyo.n me.n ye aazaadii kii nemat paaii hai
saika.Do.n qurabaaniyaa.N dekar ye daulat paaii hai
muskaraakar khaaii hai.n siino.n pe apane goliyaa.N
kitane viiraano.n se guzare hai.n to jannat paaii hai
Kaak me.n ham apanii izzat ko milaa sakate nahii.n
kyaa chalegii zulm kii ahale vafaa ke saamane
jaa nahii.n sakataa koii sholaa havaa ke saamane
laakh fauje.n le ke aaii aman kaa dushman koii
ruk nahii.n sakataa hamaarii ekataa ke saamane
ham vo patthar hai.n jise dushman hilaa sakate nahii.n
vaqt kii aazaadii ke ham saath chalate jaae.nge
har qadam par zi.ndagii kaa ruK badalate jaae.nge
gar vatan me.n bhii milegaa koI gaddaar-e-vatan
apanii taaqat se ham usakaa sar kuchalate jaae.nge
ek dhokhaa khaa chuke hai.n aur khaa sakate nahii.n
Day #29 of 31
Song #87
The last song for Day #29:
The 1964 movie Leader got Dilip Kumar yet another Filmfare Best Actor award. You can make out why. On one hand he had this super joshila patriotic song: Apni azaadi ko ham hargiz mita sakte nahin. One the other hand, he had this naughty (deliberately so) sharaabi song!
The best part is that the most versatile Mohammad Rafi sang this too with equal ease, on Naushad’s composition.
Please enjoy: Mujhe duniyawaalo shraabi na samajho….
(mujhe duniyaa vaalo.n, sharaabii na samajho
mai.n piitaa nahii.n huu.N, pilaayii gayii hai ) – 2
jahaa.N bekhudii me.n kadam la.Dakha.Daaye
vahii raah mujhako dikhaayii gayii hai
mujhe duniyaa vaalo.n sharaabii na samajho
mai.n piitaa nahii.n huu.N pilaayii gayii hai
nashe me huu.N lekin mujhe ye khabar hai
ke is zindagii me.n sabhii pii rahe.n hai
kisii ko mile hai.n chhalakate piyaale
kisiiko nazar se pilAyii gayii hai
mujhe duniyaa vaalo.n …
zamaane ke yaaro.n, chalan hai.n niraale
yahaa.N tan hai.n ujale, magar dil hai.n kaale
ye duniyaa hai duniyaa yahan mAr Dar ke
dilo.n kii kharaabii chhupaayii gayii hai
mujhe duniyaa vaalo.n …
https://www.youtube.com/watch?v=kAgcmS4sir0
Appreciating Good Lyrics Song #29
Last three days of the countdown and I have to select, from the remaining ones, the best three. In this process, ladies and gentlemen, if I miss out any of your favourites, please forgive me.
As you are aware, I started these posts more than three weeks 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 twenty-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.
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.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
Today we take up our 29th Lyricist Khumar Barabankwi‘s creation.
I had to keep, for the last three days, some of the best. And, you will agree with me that Khumar is amongst the best with such delightful songs as: Bhula nahin dena ji bhula nahin dena, Dil ki mehfil saji hai chale aayiye, Saaj ho tum awaaz hoon main, and his famous ghazal that Hariharan sang as late as in 1994: Mujhe phir wohi yaad aane lage hain, jinhe bhholne mein zamaane lage hain!
First of all, Barabanki, the place of birth of Muhammad Haider Khan, who later took up the takahllus of Khumar (Intoxicated; from the Arabic word for wine=khum), is less than 300 kms from Badayun in Uttar Pradesh, the birthplace of Shakeel! This is roughly the distance between Delhi and Chandigarh.
Khumar was born there on 20 Sep 1919, three years after Shakeel.
Unlike Shakeel (Handsome), who had only a distant uncle who was interested in poetry, Khumar had a whole family: His father Dr. Ghulam Haider wrote salams and marsiyas under pen name ‘Bahar’. “His uncle ‘Qaraar Barabnkvi’ was a well-known poet of Barabanki who guided Khumar in young age and did Islah (Corrections) to his poetry. His brother Kazim Haider ‘Nigar’ who died in early age was also a poet”.
Jigar Moradabadi, who inspired Majrooh Sultanpuri too, inspired Khumar in mushairas.
His first movie was also an AR Kardar movie with Music Director Naushad: the 1946 movie Shahjehan with KL Saigal in the title role. By now you recall that Shakeel’s was AR kardar’s 1947 movie Dard with Naushad with the most beautiful song: Afsaana likh rahi hoon.
Khumar too penned a Tasveer song that became super hit. Whereas, Shakeel wrote the 1952 movie Deewana song sung by Mohammad Rafi (I have already given you that): Tasveer banaata hoon teri khoon-e-jigar se; Khumar wrote an equally beautiful number for the 1955 movie Baradari that was composed not by Naushad but by Nashad!
At this juncture, you are bound to ask me if I live by music and songs to know these details. Well, I live by Shakeel’s songs and I also know, by comparison, matching lyrics. My adoration is, therefore, not mere fancy.
There is one more why I should like this Tasveer song too quite a lot and for those who have been following me, here is the hint: It has something in common with Shakeel’s Chaudhvin ka chand ho, Suhaani raat dhal chuki, and Tanvir Naqvi’s Awaaz de kahan hai (that I gave you day before yesterday).
Okay, that was easy to guess; thank you for being in sync with me. These were all composed in the Raag of my home-station (in the hills): Raag Pahadi. This one, though is in Tal Kaherava.
bedard muhabbat kA, itanaa saa hai afasaanaa – 2
nazaro.n se milii nazare.n, mai.n ho gayaa dIvaanaa
ab dil ke bahalane kii, tadabIr nahii.n banatI, tasaviir nahii.n banatI
tasaviir banaata huu.N …
dam bhar ke liye merI, duniyA me.n chale aao – 2
tarasii huI aa.Nkho.n ko, phir shakl dikhaa jaao
mujhase to merI biga.Dii, takadIr nahii.n banatI, tasaviir nahii.n banatI
tasaviir banaata huu.N …
https://www.youtube.com/watch?v=0OwjFboPjSc
Day #30 of 31
Song #88
Last two days of the countdown to the Birth Centenary of Shakeel Badauni. It is literally an august month in which someone as Shakeel (handsome) as him should be born. They say ‘Handsom is that who handsome does’. In his case he wrote handsomely.
Likhane waalon ne bahut likhe dil ke kalaam, Ham to phir bhi rahe Shakeel ke ghulaam, Woh dard ke afsaane sunaate rahe, Ham sunte rahe aur karte rahe jhuk ke salaam.
The 1964 movie Leader, however, had no “dard ke afsaane” since it was a rebellious movie. However, it had a song that was of a genre’ for which Shakeel got two of his Filmfare awards; that is, to describe the beauty of the woman.
This was as popular, if not more, as the other Husn songs; though a little bit on the naughty side, in keeping with the image of Dilip Kumar in the movie.
Being a duet, it has been sung by Mohammad Rafi and Lata Mangeshkar. Naushad composed it in the evening Raaga: Kalyan, Tal Kaherava.
Please enjoy the ever popular: Tere husn ki kyaa tareef karun, kuchh kehte huye bhi darta hoon…..
lataa: mere dil me.n kasak sI hotI hai, mere dil me.n
mere dil me.n kasak sI hotI hai
tere raah se jab mai.n guzaratii huu.N
is baat se ye nA samajh lenaa
kii mai.n tujhase mohabbat karatii huu.N
rafii: (terI baat me giito.n kii saragam
terI chaal me paayal kii chham chham ) – 2
koI dekh le tujhako ek najar – 2
mar jaae.n terI aa.Nkho.n kasam
mai.n bhI huu.N ajab ik dIvaanaa
marataa huu.N nA aahe.n bharataa huu.N
kahii.n bhuul se tU nA samajh baiThe
kii mai.n tujhase mohabbat karataa huu.N
dono: aa…
lataa: (mere saamane jab tU AtA hai
jii dhak se meraa ho jaataa hai ) – 2
letii hai tamannaa a.nga.Daayii – 2
dil jaane kahaa.N kho jaataa hai
mahasuus ye hotA hai mujhako
jaise mai.n terA dam bharatii huu.N
is baat se ye nA samajh lenaa
kii mai.n tujhase mohabbat karatii huu.N
rafii: tere husn kii kyA taariif karuu.n
kuchh kahate hue bhI Darataa huu.N
kahii.n bhuul se tU nA samajh baiThe
kii mai.n tujhase mohabbat karataa huu.N
https://www.youtube.com/watch?v=_UL0b6PMJJA
Day #30 of 31
Song #89
So far, you would have noticed, that the 1964 movie Leader songs happen to be full of zest, as was the case with Shakeel’s 1960 movie Kohinoor that was devised to give a happy break to the “tragedy king” Dilip Kumar since he had gone into depression doing all the lugubrious roles.
In Leader, Dilip Kumar was a lawyer who had taken to publishing a newspaper. Vyjayanthimala was a princess that he had started loving. She joined him in exposing the criminal-politician nexus. But, he himself was accused of murdering a political leader in the run-up to the general elections.
This song is Dilip Kumar’s response to the anger of Vyjayanthimala and also became very popular. Once again, Mohammad Rafi sang it.
Please enjoy: Hamin se mohabbat, hamin se ladaayi, are maar daala duhaai duhaai….
hamii.n se muhabbat hamii.n se la.Daa_ii
are maar Daalaa duhaa_ii duhaa_ii
abhii naasamajh ho uThaao na Kha.njar – 2
kahii.n mu.D na jaaye tumhaarii kalaa_ii
sitam aaj mujh par jo tum Dhaa rahii ho ho
ba.Dii Khuubasuurat nazar aa rahii ho
ye jii chaahataa hai ke Khud jaan de duu.N -2
muhabbat me.n aaye na tum par buraa_ii
hame.n husn kii har adaa hai gavaaraa
hasiino.n kaa Gussaa bhii lagataa hai pyaaraa
udhar tum ne tiir-e-nazar dil pe maaraa – 2
idhar hamane bhii jaan par choT khaa_ii
% I may be wrong about this last line
karo Khuun tum yuu.N na mere jigar kaa
bas ik vaar kaafii hai tirchhii nazar kaa
yahii pyaar ko aazamaane ke din hai.n – 2
kiye jaao ham se yuu.N hii bevafaa_ii
Day #30 of 31
Song #90
And now for the last (the fifth one that I had promised) song of the 1964 movie Leader starring Dilip Kumar and Vyjayanthimala, the 21st movie in which Shakeel Badayuni paired with Naushad Ali.
I have always shown this song for the contrasting styles of Shakeel Badayuni and Sahir Ludhianvi. Sahir’s focus of poetry was the social inequities of that era and hence Taj Mahal was a symbol of the inequities between an emperor and the poor people. Hence he wrote:
“Ek Shahenshah ne banwa ke haseen Taj Mahal, Ham gareebon ki mohabbat ka udhaya hai mazaak”
The same Taj Mahal, to Shakeel, was a symbol of Love.
Mohammad Rafi and Lata Mangeshkar sang this song together for Dilip Kumar and Vyjayanthimala when they visit the Taj Mahal.
Naushad, the master of compositions in Raagas, based it on Raag Lalit, Tal Dadra.
Please enjoy: Ek shahenshah ne banwa ke haseen Taj Mahal, Saari duniya ko mohabbat ki neeshani di hai…
ek shahanshaah ne banavaa ke hasI.n taajamahal
saarii duniyaa ko muhabbat kii nishaanii dii hai
isake saaye me sadaa pyaar ke charche ho.nge
khatm jo ho naa sakegii vo kahaanii dii hai
ek shahanshaah ne banavaake …
taaj vo shammaa hai ulfat ke sanam khaane kii
jisake paravaano me mufalis bhii zaradaar bhii hai
sa.ng-e-maramar me samaae hue khvaabo.n kii qasam
marahale pyaar ke aasaan bhii dush{}vaar bhii hai.n
dil ko ek josh iraado.n ko javaanii dii hai
ek shahanshaah ne banavaake …
taaj ik zindaa tasavvur hai kisii shaayar kaa
isaka afasaanaa hakiikat ke sivaa kuchh bhii nahii
isake aagosh me aakar ye gumaa.n hotaa hai
zindagii jaise muhabbat ke sivaa kuchh bhii nahii
taaj ne pyaar kii maujo.n ko ra_vaanii dii hai
ek shahanshaah ne banavaake …
ye hasI.n raat ye mahakii huii puranUr fazaa
ho ijaazat to ye dil ishq kaa izahaar kare
ishq insaan ko insaan banaa detaa hai
kisakii himmat hai muhabbat se jo inakaar kare
aaj takadIr ne ye raat suhaanii dii hai
ek shahanshaah ne banavaake …
https://www.youtube.com/watch?v=TehJFYrDFJw
Appreciating Good Lyrics Song #30
Last two days of the countdown and you would be surprised that if a lyricist of the calibre of Khumar Barabankwi came up on the third last day and today I have someone of the high calibre of Asad Bhopali, who would be there on the last day?
Have faith in my planning please.
As you are aware, I started these posts more than three weeks 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 twenty-nine 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.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Woh jab yaad aaye bahut yaad aaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
Today we take up our 30th and 2nd last Lyricist Asad Bhopali’s creation.
Asad Bhopali was born as Asadullah Khan on 10th Jul 1921 (5 years after Shakeel), in Bhopal. Just four days back I gave you the contribution of Arzoo Lucknowi and that poet and lyricist was indirectly responsible for getting Asad in the movies. Well, what happened was that Arzoo migrated to Pakistan after writing just two songs of the 1949 movie Duniya and the makers of the movie: Fazli Brothers were looking for a new Lyricist. This is somewhat similar to how C Ramchandra came in to compose the songs of the 1953 movie Anarkali after its original composer Vasanth Prakash died after recording just one Geeta Dutt song: Aa jaane wafa.
After having taken the first step to become a lyricist in 1949 movie Duniya, Asad established himself with the 1951 BR Chopra movie Afsana.
He went on to write such beautiful numbers as:
1. Zindagi bhar gham judaai ka mujhe tadpaayega in 1957 movie Miss Bombay, a composition of hansraj Behl sung beautifully by Mohammad Rafi.
2. Main khushnaseeb hoon mujhako kisi ka pyaar mila in 1962 movie Tower House starring Ajit and Shakeela; a composition of Ravi sung by Mukesh.
3. Sau baar janam lenge, sau baar fanaa honge in 1963 movie Ustaadon Ke Ustaad starring Pradeep Kumar and Shakeela, a composition of Ravi sung by Rafi.
4. Ajnabee tum jaane pehchaane se lagate ho in 1965 movie Hum Sab Ustaad Hain, a composition of Laxmikant Pyarelal sung as a duet by Lata Mangeshkar and Kishore Kumar.
5. Ham tumase judaa hoke mar jaayege ro ro ke in 1965 movie Ek Sapera Ek Lutera starring Feroze Khan; a composition of Usha Khanna sung by Rafi.
You would also recall his having penned the songs of the 1989 movie Maine Pyaar Kiya with such songs as Dil deewana bin sajna ke maane na; and Kabootar jaa jaa jaa.
For its lyrical excellence and matching lyrics with Shakeel Badayuni, lets take up the very first song that comes to one’s mind when one thinks of Asad Bhopali.
This all-time super-hit song is from the 1963 movie Parasmani starring Geetanjali and Mahipal and sung for them by Lata Mangeshkar and Mohammad Rafi. Laxmikant Pyarelal composed it in Raag Kalyan, Tal Kaherava.
Please enjoy: Woh jab yaad aaye bahut yaad aaye….
vo jab yaad aae bahut yaad aae
Gam-e-zi.ndagii ke a.ndhere me.n hamane
chiraag-e-muhabbat jalaae bujhaae
aahaTe.n jaag uThii.n raaste ha.ns diye
thaamakar dil uThe ham kisii ke liye
ka_ii baar aisaa bhii dhokhaa huaa hai
chale aa rahe hai.n vo nazare.n jhukaae
dil sulagane lagaa ashq bahane lage
jaane kyaa-kyaa hame.n log kahane lage
magar rote-rote ha.nsii aa ga_ii hai
Kayaalo.n me.n aake vo jab muskuraae
vo judaa kyaa hue zi.ndagii kho ga_ii
shammaa jalatii rahii roshanii kho ga_ii
bahut koshishe.n kii.n magar dil na bahalaa
ka_ii saaz chhe.De ka_ii giit gaae
Day #31 of 31
Song #91
And finally the last day of the countdown. Tonight, I shall be posting a total of ten songs (still maintaining the chronological order) so as to make it a hundred before Shakeel’s birth centenary only a few hours away now.
His next movie in 1964 Kaise Kahoon was a unique one in that for the first time since 1947 movie Dard (his first one), for the first time in his 42 movies until then, he paired with Sachin Dev Burman.
The movie had seven songs as below:
1. Dil kaa dard niraalaa
2. Haule\-haule jiyaa Dole
3. Kaise kahuu.N tujhase jiyaa kii mai.n batiyaa.N
4. Man se chi.ntaa kii ghaTaa duur ho jaa
5. Manamohan man me.n ho tumhii.n
6. Tum hame.n pyaar karo yaa na karo
7. Kisi ki mohabbat mein.
We shall be taking up two of these.
The first one, Manmohan man mein ho tumhin, was composed by SD Burman in Raag Adana, Tal Tintal. The bhajan once again reflects the mastery of Shakeel over this genre’ of music.
Mohammad Rafi, Sudha Malhotra and SD Batish have sung this.
Please enjoy: Manmoham man mein ho tumhin….
shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …
SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~
Day #31 of 31
Song #92
The 1964 movie Kaise Kahoon was directed by Atma Ram and starred Biswajeet with Nanda.
We shall take up another song from the movie; a song that reflects the same kind of irony that was there in Amar’s Na milata gham to barbaadi ke afsaane kahan jaate. Indeed, the reason that I ahave labelled him the King of Irony is only for these kind of songs.
As with the Amar song, this too has been sung by Lata Mangeshkar, exactly ten years after the Amar song.
Please enjoy: Tum hamen pyaar karo yaa na karo, ham tumhen pyaar kiye jaayenge…..
tum hame.n pyaar karo yaa na karo
ham tumhe.n pyaar ki_e jaa_e.Nge
chaahe qismat me.n Kushii ho ke na ho
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
ham nahii.n vo jo Gam-e-ishq se ghabaraa jaa_e.N
ho ke maayuus zubaa.N par ko_ii shikavaa laa_e.N
chaahe kitanaa hii ba.Dhe dard-e-jigar
apane ho.nTho.n ko si_e jaa_e.Nge
tum hame.n pyaar …
tum salaamat ho to ham chain bhii paa hii le.nge
kisii suurat se lagii dil kii bujhaa hii le.nge
pyaar kaa jaam mile yaa na mile
ham to aa.Nsuu bhii pi_e jaa_e.Nge
tum hame.n pyaar …
to.D dii aas to phir itanaa hii ehasaan karo
dil me.n rahanaa jo na chaaho to nazar hii me.n raho
Thes lagatii jo hai dil par to lage
Gam uThaakar hii ji_e jaa_e.Nge
tum hame.n pyaar …
Day #31 of 31
Song #93
We progress to the 1964 movie Door Ki Awaz in which Shakeel Badayuni was back with Ravi, the 9th movie of the pair together (they would do three more: Phool Aur Patthar, Do Badan, and Aurat; but those I shall take up after tomorrow).
The movie had the following songs; a most successful movie as far as songs were concerned:
1.”Husn Se Chand Bhi Sharmaya Hai ” – Mohammed Rafi
2. “Ek Musafir Ko Dunia Me Kya Chahiye ” – Mohammed Rafi
3. “Hum Bhi Agar Bachche Hote, Happy Birthday To You” – Asha Bhosle, Mohammed Rafi, Manna Dey
4. “Muqaddar Aajamaanaa Chaahataa Hoon” – Mohammed Rafi
5. “Banaa Ke Meraa Muqaddar, Kyaa Yun Hi Ruth Ke” – Mohammed Rafi
6. “Dil Mera Aaj Kho Gaya Hai Kahin “- Mohammed Rafi
7. “Tut Gayi Mere Man Ki Muraliya ” – Asha Bhosle
8. “Mohe Tirchhi Najariya Na Maro” – Asha Bhosle
9. “Haathon Men Haath Honthon Pe Afasaane Pyaar Ke ” – Asha Bhosle, Mohammed Rafi
We shall be taking up as many as five of these songs; it is easy to guess which of these five!
Since two of the songs of Husn with Ravi got Shakeel two consecutive Filmfare awards: Chaudhvinh ka Chand, and Husn waale tera jawaab nahin, it was hoped that this too may fetch another. It didn’t but it is still a beautiful song on beauty of a female.
Please enjoy Mohammad Rafi sing: Husn se chand bhi sharmaaya hai…
( husn se chaa.Nd bhii sharamaayaa hai
terii suurat ne gazab Dhaayaa hai ) -2
haay in pyaar me.n Duubii hu_ii aa.Nkho.n kii qasam
aadamii kyaa hai farishto.n ke bahak jaa_e.N qadam
bin pi_e mujhape nashaa chhaayaa hai
terii suurat ne …
jab se paayaa hai tujhe hosh nahii.n hai mujhako
yaa to ye sach hai ki dekh rahaa huu.N tujhako
yaa ko_ii Kvaab nazar aayaa hai
terii suurat ne …
muskaraa_e.N jo tere lab to bahaare.n aa_ii.n
khil ga_e phuul pa.Dii terii jahaa.N parachhaa_ii.n
tuune gulashan meraa mahakaayaa hai
terii suurat ne …
Day #31 of 31
Song #94
The 1964 movie Door Ki Awaz was directed by Devendra Goel and starred Joy Mukherjee, Saira Bano, Pran, Johnny Walker and Om Prakash.
Lets take up the third song from the movie. It is a children’s song and just like Shakeel’s Dadi amma, dadi amma maan jaayo; and Nanha munna rahi hoon, it is the evergreen birthday song.
Please enjoy Mohammad Rafi, Asha Bhosle and Manna Dey sing: Ham bhi agar bachche hote….
ham bhii agar bachche hote -2
naam hamaaraa hotaa gabaluu babaluu
khaane ko milate laDDuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
ko_ii laataa gu.Diyaa, moTar, rel
to ko_ii laataa phirakii, laTTuu
ko_ii chaabii kaa TaTTuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( kitanii pyaarii hotii hai ye bholii sii umar
na naukarii kii chintaa na roTii kii phikar ) -2
nanhe-munne hote ham to dete sau hukum
piichhe-piichhe ##papa-mummy## banake naukar
##chocolate, biscuit, toffee## khaate aur piite dudduu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( kaise-kaise naKare karate gharawaalo.n se ham
pal me.n ha.Nsate pal me.n rote karate naak me.n dam ) -2
akka.D-bakka.D lukka-chhupii kabhii chhu_aa-chhuu
karate din bhar hallaa-gullaa da.ngaa aur udham
aur kabhii zid par a.D jaate jaise a.Diyal TaTTuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
( ab to ye hai haal ke jab se biitaa bachapan
maa.N se jhaga.Daa baap se Takkar biiwii se anaban ) -2
kolhuu ke ham bail bane hai.n dhobii ke gadhe
duniyaa bhar ke DaNDe sar pe khaaye.n danaadan
bachapan apanaa hotaa to na karate Dhe.Nchuu-Dhe.Nchuu
aur duniyaa kahatii ##happy birthday to you##
##happy birthday to you##
https://www.youtube.com/watch?v=EM9pkTUQgvk
Day #31 of 31
Song #95
As promised, the fifth song of the day is the third song from the 1964 movie Door Ki Awaz. Johnny Walker was given a number of super hit songs by Op Nayyar such as Ai dil hai mushkil jeena yahan. SD Burman gave him the famous Sar jo tera chakraaye in 1957 movie Pyaasa.
Here in Door Ki Awaz, Ravi gave him two super hit songs: Ham bhi bachche hote that we listened to just now and this train song that is so funny. It was very popular during our times.
This was sung by Mohammad Rafi.
Hats off to both Shakeel and Rafi for such comical songs too, whilst their forte’ was serious and sad songs; the hallmark of geniuses.
Please enjoy: Ik mussafir ko duniya mein kyaa chahiye….
ik musaafir ko duniyaa me.n kyaa chaahi_e
sirf tho.Dii sii dil me.n jagah chaahi_e
baiTh jaa_uu.N
o moTe laalaa tuune kiyaa hai kaisaa chhal
##Ticket## teraa ##single## magar tuu ##double## -2
khisak zaraa pyaare sarak zaraa pyaare -2
aisii ##body## me.n dil bhii ba.Daa chaahi_e
ik musaafir ko …
o lambii daa.Dhii vaale tuu gussaa mat kar
hame.n bhii jagah de-de zaraa Kudaa se Dar
khisak zaraa pyaare sarak zaraa pyaare -2
teraa ##photo## na teraa pataa chaahi_e
ik musaafir ko …
ham par bhii kar do zaraa inaayat kii nazar
Kushii se kaT jaa_e hamaaraa bhii safar
khisak zaraa pyaare sarak zaraa pyaare -2
yuu.N kisii kaa na dil to.Danaa chaahi_e
ik musaafir ko …
https://www.youtube.com/watch?v=W6ZW2vcdF7Y
Day #31 of 31
Song #96
We have two more songs to go from the 1964 Devendra Goel movie Door Ki Awaz starring Joy Mukherjee, Saira Bano, Pran, Om Prakash and Johnnie Walker.
Imagine the dictates of the movie script that Shakeel had to pen funny and children’s songs and he did that with ease.
This one is light-hearted and naughty romance between Joy Mukherjee and Saira Bano. It has been sung by Mohammad Rafi.
Please enjoy: Dil mera aaj kho gaya hai kahin, aap ke paanv ke neeche to nahin?
dil meraa aaj kho gayaa hai kahii.n
aapake paa.Nv ke niiche to nahii.n
yuu.N nazar pher ke mat jaa_i_e ruki_e to zaraa
aapako merii qasam Thahari_e suni_e to zaraa
hai jahaa.N aap meraa dil hai vahii.n
aapake paa.Nv ke …
kis tarah dil kii mai.n tauhiin ga.nvaaraa kar luu.N
aapakii bholii nigaaho.n pe bharosaa kar luu.N
dil churaataa nahii.n hai kaun kahii.n
aapake paa.Nv ke …
dil churaayaa ho to pahaluu me.n chhupaa_e rakhi_e
zindagii bhar mujhe diivaanaa banaa_e rakhi_e
lekin ek baar dilaa diiji_e yaqii.n
aapake paa.Nv ke …
https://www.youtube.com/watch?v=Ehel_F2AJbg
Day #31 of 31
Song #97
Four songs of 1964 movie Door Ki Awaz so far and all funny, comical and light-hearted. At this juncture you are bound to ask me wasn’t there a single song in the movie that was sad and hence in sync with the skill of Shakeel?
Well, indeed, there was one and Mohammad Rafi sang it so well that it was an instant super-hit.
Please enjoy: Kyaa younhi rooth ke jaane ko mohabbat ki thi….
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
Day #31 of 31
Song #98
Last three songs to complete the 100 songs for the hundredth birth anniversary of the greatest poety and lyricist: Shakeel from a small town of Badayun in West UP.
That would leave us some thirty songs or so that I have selected for you until his last movie, the 1969 movie Beti. We shall take up these in the four days after the centenary so as to complete five weeks of the tribute in totality. Still to come will be songs of, for example, Do Badan, Dil Diya Dard Liya, Palki, Noorjehan, Sughursh and Aadmi.
Have patience. I shall not leave you before we have completed all.
Lets take his 45th movie, a S Khalil movie titled Benazir, the second and the last movie in which SD Burman paired with him.
The movie had the following songs:
1. Gam nahin gar zindagi veeran hai Asha Bhonsle
2. Main shola main barkha Lata Mangeshkar, Mohd. Rafi
3. Mil ja re jane jana Lata Mangeshkar
4. Dil mein ek jane tamanna ne Mohd. Rafi
5. Alvida jaane wafa meri manzil aa Lata Mangeshkar
6. Baharon ki mehfil suhani rahegi Lata Mangeshkar
7. Husn ki baharen liye aaye they sanam Lata Mangeshkar
8. Mubarak hai woh dil jisko kisi se Lata Mangeshkar, Asha Bhonsle, Usha Mangeshkar
9. Ya gafoor rahim ya allah
You would have noticed that Shakeel was back in this movie with sad songs that he was best at.
Lets take up the first song. It is said that Meena Kumari wasn’t an accomplished dancer like Vyjayanthimala, Asha Parekh and others. However, what she wanted to convey through dancing, she always did, backed by superb histrionics.
She did it in this song sung by Asha Bhosle on a composition by SD Burman.
Please enjoy: Gham nahin gar zindagi veeran hai….
miinaa kumaarii
hame.n apanaa ilaaz-e-dard-e-dil karanaa bhii aataa hai
ham aise jiine waale hai.n jinhe.n maranaa bhii aataa hai
Gam nahii.n
( Gam nahii.n gar zi.ndagii viiraan hai
ishq par ye jaan bhii qurbaan hai ) -2
Gam nahii.n gar zi.ndagii viiraan hai
hamane sab kuchh kho ke sab kuchh paa liyaa -2
apane dil ko har tarah har tarah samajhaa liyaa
ab ko_ii hasarat hai naa aramaan hai -2
Gam nahii.n gar zi.ndagii viiraan hai
ishq par ye jaan bhii qurbaan hai
Gam nahii.n gar zi.ndagii viiraan hai
chand aa.Nsuu pyaar kii daulat nahii.n -2
ro ke jiine me.n ko_ii ko_ii lazzat nahii.n
ha.Ns ke mar jaanaa wafaa kii shaan hai
ishq par ye jaan bhii qurbaan hai
https://www.youtube.com/watch?v=4gQdpw78-9A
Day #31 of 31
Song #99
The second song of the 1964 movie Benazir that I have selected for you has been sung by Mohammad Rafi.
As the second last song for the countdown to his birth centenary, it is a show case song of his lyrical excellence.
Also, brief though the appearances of Shashi Kapoor and Tanuja in the movie, they both did very well indeed. Shashi always has done a good job acting on good poetry, eg, in Kanyadaan (Hasrat Jaipuri’s): Meri zindagi mein aate to ye aur baat hoti; and in Dharamputra: Bhool sakata hai bhala kaun tumhaari aankhen? (Sahir’s).
Please enjoy this happy Shakeel song: Dil mein ek jaane tamanna ne jagah paayi hai…..
aaj shiishe me.n baar-baar unhe.n dil kii suurat dikhaa_ii detii hai
apanii suurat nazar nahii.n aatii merii suurat dikhaa_ii detii hai
dil me.n ek jaan-e-tamannaa ne jagah paa_ii hai
aaj gulashan me.n nahii.n ghar me.n bahaar aa_ii hai
aa gayaa aa gayaa mere tasavvur me.n ko_ii paradaanashiin -2
aaj har chiiz nazar aatii hai mujhako hasii.n
kyaa karuu.N mai.n ba.Dii dilakash merii tanhaa_ii hai
aaj gulashan me.n nahii.n …
bahakii-bahakii nashaa-e-husn me.n kho_ii-kho_ii
jaise Kyaalo.n kii ra.ngiin rubaa_ii ko_ii
dil ke shiishe me.n parii ban ke utar aa_ii hai
aaj gulashan me.n nahii.n …
husn ke saamane izahaar-e-vafaa hai mushkil -2
kaash chhup kar hii vo sun le meraa naalaa-e-dil
jisane pyaar kii ma.nzil mujhe dikhalaa_ii hai
aaj gulashan me.n nahii.n …
https://www.youtube.com/watch?v=lh5DSQSIHjw
Day #31 of 31
Song #100
The hundredth song for the hundredth birth anniversary of Shakeel Badayuni – my all time favourite poet and lyricist. His songs, ghazals and nazams strike the right chords with me and make me wistfully recall that era when good lyrics ruled the movies. Indeed, some movies became super-hits only on the strength of their songs.
His 46th movie was a Nisar Ahmad Ansari movie called Zindagi Aur Maut, in which, for the first time, he paired with Music Director C Ramchandra of Anarkali fame.
The 1965 movie Zindagi Aur Maut was a low budget movie; a spy thriller. It starred Bela Bose, Nilofar, Pradeep Kumar, and Johnny Walker.
There is a song in the movie that is the perfect song to end this 100 songs tribute. It is a happy song too!
It was sung by Mahendra Kapoor and also by Asha Bhosle.
Please enjoy: Dil laga kar ham ye samajhe zindagi kyaa cheez hai…
dil lagaakar ham ye samajhe, zi.ndagii kyaa chiiz hai
ishq kahate.n hai.n kise aur, aashiqii kyaa chiiz hai
haay ye ruKasaar ke shole, ye baahe.n marmarii
aapase milakar ye do baate.n, samajh me.n aa ga_ii.n
dhuup kisakaa naam hai aur chaa.Ndanii kyaa chiiz hai
aapakii shoKii ne kyaa-kyaa, ruup dikhalaa_e hame.n
aapakii aa.Nkho.n ne kyaa-kyaa, jaam pilavaa_e hame.n
hosh kho baiThe to jaanaa, beKudii kyaa chiiz hai
aapakii raaho.n me.n jabase hamane rakhaa hai qadam -2
hamako ye mahasuus hotaa hai ki hai.n ma.nzil pe ham
koii kyaa jaane mohabbat kii khushii kyaa chiiz hai
Appreciating Good Lyrics Song #31
No looking down but let me see how many of you have been able to guess the last lyricist in the countdown so as to make the last day special? Please write in the comments below if you were indeed able to guess.
As you are aware, I started these posts more than three weeks 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.
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.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
28. Gulshan Bawra with Tumhen yaad hoga kabhi hum mile the.
29. Khumar Barabankwi with Tasveer banaata hoon tasveer nahin banati.
30. Asad Bhopali with Woh jab yaad aaye.
Today we take up our 31st and last Lyricist SH Bihari‘s creation, the most under-rated of all Lyricists in the Hindi film industry.
Shamshul Huda Bihari (SH Bihari) was born in 1922 in the district of Ara in Bihar and died on 25 Feb 1987 of a heart attack. He graduated from Presidency College in Calcutta.
In 1947, he moved to Bombay from Calcutta and took up writing lyrics for Hindi songs in the movies. In the late fifties and sixties, his work, particularly his partnership with composer OP Nayyar and the singer Asha Bhosle was exceptionally popular.
His debut in Hindi movies was with the 1954 movie Shart, wherein two of his songs are my all time favourites: Naa yeh chand hoga naa sitaare rahenge; and Dekho woh chand chhupake karta hai kyaa ishaare. These are particularly dear to me since they have been sung by my favourite singer Hemant Kumar.
Some of his other popular songs are (not in any order):
1. Aap youn hi agar hamase milate rahe (Mohammad Rafi, Asha Bhosle singing on the composition of OP Nayyar in 1962 movie Ek Musafir Ek Haseena)
2. Chain se hamako kabhi aap ne jeene na diya (Asha Bhosle singing on OP Nayyar’s composition in 1973 movie Praan Jaaye Par Vachan Na Jaaye)
3. Yeh hansta hua karvaan zindagi ka na poochho chala hai kidhar (Ek Jhalak, 1956)
4.bahut shukriya badi mehrbaani meri zindagi mein huzoor aap aaye (Ek Musafir Ek Haseena, 1962)
5.Taarif karoon kya uski jisne tujhe banaya (Kashmir Ki Kali, 1964)
6. Zara haule haule chalo more saajna ham bhi peechhe hain tumhaare (Sawan Ki Ghata, 1966)
7.Yyehi woh jagah hai yehi woh fiza hai jahaan par (Yeh Raat Phir Na Aayegi, 1966)
8. Kajra mohabbatwaala ankhiyon mein aisa daala kajre ne le lee meri jaan (Kismat, 1968)
9. Laakhon hain yahan dilwale.
10. Mera pyaar woh hai ke.
I can go on and on since SH Bihari actually wrote some of the most romantically fresh numbers in the movies.
Matching lyrics with Shakeel Badayuni? I can think of several even though sad and deep numbers wasn’t his forte in comparison to ever-green romantic songs.
In comparison to his Phir thes lagi dil mein phir yaad ne tadpaaya, Raaton ko chori chori bole mera kangana, Ham pe ilzaam ye kyun hai ke mohabbat ki hai, and Woh hanske mile hamase ham pyaar samajh baithe; I have selected a very early song of his.
It is from the 1954 movie Gawaiyya. It has been composed by Ram Ganguly and it happens to be my favourite SH Bihari sad song.
It has been sung by Surendra. Later, Talat Mehmood too sang it.
Please enjoy: Teri yaad ka deepak jalata hai din raat mere veerane mein…..
terii yaad kaa diipak jalataa hai din raat mere viiraane me.n
vo paagalapan jo pahale thaa ab bhii hai tere diivaane me.n
din raat meraa Gam ba.Dhataa gayaa par terii muhabbat kam na huii
jo lutf ta.Dapane me.n paayaa vo baat kahaa.N mar jaane me.n
ik aag sulagatii rahatii hai har vaqt meraa dil jalataa hai
hai shauq magar kuchh aur abhii jalane kaa tere paravaane me.n
Ladies and gentlemen, with this I complete 31 days of Countdown to the Birth Centenary of Shakeel Badayuni who was born on 03 Aug 1916 in the small town of Badayun in UP.
I completed the countdown in five parts and I have still not finished with his songs. From more than 750 songs that he penned, I selected 135 to give you and we still have 35 songs to go until his last movie: the 1969 movie Beti.
These I shall cover in Part VI.
I hope you liked my selection so far including one each of 31 of his contemporary lyricists in a feature called ‘Appreciating Good Lyrics’.
Please remain with me for the last 35 songs in Part VI.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
We have completed Part I of this Countdown from 03 Jul to 09 Jul 16, Part II from 10 Jul to 16 Jul 16 and Part III from 17 Jul to 23 Jul. Those of you who read the three parts so far would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II, I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi. Finally, in Part III, I covered songs from 1960 movie Ghunghat (Mori chham chham baaje payaliya) to 1962 movie Sahib Bibi Aur Ghulam (Na jaayo sainya chhuda ke bainya).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part III, I have covered seven more of them:
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
With this, we are ready to move into Part IV, covering the fourth week of the countdown, from day 22 to day 28. Before we do, here is my own adoration:
Dil pe chot khaana mohabbat ka ek andaaz hai,
Chot khaa ke likhana yeh Shakeel ki awaaz hai,
Waise to kayi aur nagmaagar huyen hain lekin,
Shakeel ki saalgirah haseen shayari ka agaaz hai.
Day #22 of 31
Song #64
In chronological order, with a few exceptions, we had taken up the songs of Shakeel Badayuni from 1947 to the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam that had songs written by Shakeel and composed by Hemant Kumar.
The movie starred Meena Kumari as Chhoti Bahu, Guru Dutt as Atulya Chakraborty ‘Bhootnath’, Rehman as Chhote Sarkar, Waheeda Rehman as Jaba and Nazir Hussain as Subinay Babu (Jaba’s father).
The movie was about the rot in West Bengal’s feudal society.
We have already taken up three songs from the movie: Saaqiya aaj mujhe neend nahin aayegi, Piya aiso jiya mein samayi gaiyo re, and Na jaayo sainya chhuda ke bainya. The first one was picturised on the courtesan Minoo Mumtaz with Rehman and his cronies viewing the dance, the second one on Meena Kumari and the third one on Meena Kumari and her husband Rehman.
A scene from the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam
The next one has haunting tune. It displays the agony of a young married Meena Kumari for her husband Rehman whilst she is alone in the haveli and he is out enjoying the company of courtesans. It has been sung equally hauntingly by Geeta Dutt.
(raat raat bhar i.ntazaar hai
dil dard se beqaraar hai ) – 2
saajan itanaa to naa ta.Dapaao, chale aao
chale aao – 3
koI duur …
(aas to.Dake mukh mo.Dake
kyaa paaoge saath chho.Dake ) – 2
mere man ko ab yuu.N naa itanaa tarasaao
chale aao – 3
koI duur …
Day #22 of 31
Song #64
We are continuing with the songs of the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam.
So far all the songs that we have taken up are on Sahib and Bibi, that is on Rehman and Meena Kumari.
Now, lets take up songs on Ghulam and his love: Guru Dutt and Waheeda Rehman, the contrast being all the more sharp as they had simple life as compared to the feudal lords.
This has been sung by Asha Bhosle for Waheeda Rehman singing for the naivete of Guru Dutt.
Please enjoy: Bhanvara bada nadaan haay….
bha.Nvaraa ba.Daa naadaan haay
bagiyan kaa mehamaan haay
phir bhii jaane na jaane na jaane na
kaliyan kii musakaan haay
bha.Nvaraa ba.Daa naadaan …
kabhii u.D jaaye kabhii ma.nDaraaye
bhed jiyaa ke khole na
saamane aaye nain milaaye
mukh dekhe kuchh bole na, vo mukh dekhe kuchh bole na
bha.Nvaraa ba.Daa naadaan haay …
akhiyo.n me.n rajake chale bach bachake
jaise ho koii begaanaa
rahe sa.Ng dil ke mile nahii.n milake
banake rahe vo anjaanaa, ho banake rahe vo anjaanaa
bha.Nvaraa ba.Daa naadaan haay …
koii jab roke koii jab Toke
gun gun karataa bhaage re
na kuchh puuchhe na kuchh buujhe
kaisaa anaa.Dii laage re, vo kaisaa anaa.Dii laage re
bha.Nvaraa ba.Daa …
https://www.youtube.com/watch?v=DHyRikMZXqw
Day #22 of 31
Song #66
Guru Dutt as Bhootnath and Waheeda Rehman as Jaba were shown in the movie as innocent and shy couple in contrast to Meena Kumari as Chhoti Bahu of the haveli longing for her husband Rehman as Chhote Sarkar.
This song depicts that Waheeda was unable to bring out her feelings for a shy and naive Guru Dutt and hence had to do without it.
Please enjoy: Meri baat rahi meri man mein……
merii baat rahii mere man me.n
kuchh kah na sakii ulajhan me.n
mere sapane adhuure, hue nahii.n puure
aag lagii jiivan me.n
merii baat rahii mere man me.n …
o rasiyaa, man basiyaa
rag rag me.n ho tum hii samaaye
mere nainaa kare bainaa
meraa dard na tum sun paaye
jiyaa moraa pyaasaa rahaa saavan me.n
merii baat rahii mere man me.n …
kuchh kahate, kuchh sunate
kyo.n chale gaye dil ko masal ke
merii duniyaa huii suunii
bujhaa aas kaa diipak jal ke
chhaayaa re andheraa merii akhiyan me.n
merii baat rahii mere man me.n …
tum aao ki na aao
piyaa yaad tumhaarii mere sa.ng hai
tumhe kaise ye bataa_uu.N
merii priit kaa niraalaa ek ra.ng hai
laagaa ho ye nehaa jaise bachapan me.n
merii baat rahii mere man me.n …
https://www.youtube.com/watch?v=yH90122MXws
Appreciating Good Lyrics Song #22
As you are aware, I started these posts more than two weeks 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 twenty-one 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.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
Today we take up our 22nd Lyricist Pandit Sudarshan‘s creation.
Pandit Sudarshan with his wife (Pic courtesy: beetehuedin.blogspot.com)
Not many people know about Pandit Sudarshan but when I say that his was the first song that was recorded when playback singing was introduced in Hindi films, then you would want to know more about him.
I have, several times mentioned, that the so called Hindi movies had dialogues and songs in Urdu those days even though the likes of Munshi Premchand and Pandit Sudarshan tried their hand at writing in Hindi. The reason that the Urdu writers succeeeded more eminently in Hindi films was because the Hindi writers made it too literary and didn’t connect as well with the masses as the Urdu writers did; both Hindi and Urdu being indigenous languages of India.
Pt. Sudarshan’s short novel Haar Ki Jeet was much talked about when I was in school and used to be compared with Munshi Premchand’s writings.
Pandit Sudarshan was born as Badrinath Sharma in Silakot (now in Pakistan) in 1896, the second child of a rich family of six children. After completing his graduation from Silakot, he started writing for a magazine in Lahore called ‘Hazaar Dastaan’.
By the way, he started his own newspaper in Urdu which grabbed extensive circulation.
In 1932 he shifted to Calcutta, the that time heart of Hindi film industry and within two years wrote his first movie story Ramayan that starred Prithviraj Kapoor. Sudarshan also directed the movie.
Pandit Sudarshan joined the company ‘New Theatres’ which had such artistes on its rolls as Pankaj Mullick, KC Dey and Kidar Sharma. There was no playback singing during those days and artistes used to sing their own songs.
As you probably know by now, in 1935, New Theatres introduced playback singing in their movie Dhoop Chhaon with the song: ‘Main khush hona chaahun, khush ho naa sakun’. You are also probably aware of this, since I had mentioned it in my Incredible Nostalgia songs that all the ten songs of the movie, including this, were composed by RC Boral and sung by Parul Ghosh, Suprova Sarkar, and Harimati.
Matching lyrics of this pioneer of playback singing lyricist? Well, I would recall his 1941 movie Sikandar’s song. This too starred Prithviraj Kapoor in the title role. It was composed by Rafiq Ghaznavi and Mir Saheb and sung by Khan Mastana and chorus.
So, in a way, together with this tribute to my most favourite Shakeel Badayuni on his forthcoming Birth Anniversary on 03 Aug, I also seem to be covering the history of playback singing lyric-writing in India!
Please enjoy: Zindagi hai pyaar se, pyaar se bitaaye jaa….
zi.ndagii hai pyaar se, pyaar me.n bitaaye jaa
husn ke huzuur pe apanaa dil luTaaye jaa
apanaa sar jhukaaye jaa
zi.ndagii hai ek raat, pyaar us me.n hai chiraaG
ye chiraaG jitanii der jal sake jalaaye jaa
raushanii luTaaye jaa
zi.ndagii hai ek baaG, pyaar is me.n hai bahaar
us me.n aa.Nkh kaa Kumaar Daal kar milaaye jaa
shauq se pilaaye jaa
zi.ndagii hai ek ju_aa, duur se dekhataa hai kyaa
aage ba.Dh kar apanii jaan, daav par lagaaye jaa
ha.Nsake maat khaaye jaa
zi.ndagii junuun hai junuun se nibhaaye jaa
tu apane azm ko Kudaa-e-zindagii banaaye jaa
aasmaa.N pe chhaaye jaa
husn hai shabaab hai, vaqt laajavaab hai
mai.n bhii chehachahaa uThuu.N, tuu bhii chehachahaaye jaa
bansarii bajaaye jaa
https://www.youtube.com/watch?v=jztnRh5J2as
Day #23 of 31
Song #67
In 1962, after Sahib Bibi Aur Ghulam, for which Hemant Kumar composed the music, Shakeel Badayuni penned songs for Hemant Kumar’s own production Bees Saal Baad. Hemant da also composed the songs.
The film’s story was an adaptation of the 1951 Bengali thriller Jighansa, which itself was based on Arthur Conan Doyle’s The Hound of Baskervilles. The movie, in its credits, acknowledges that.
(Poster courtesy: webmallindia.com)
Bees Saal Baad got its name from the events after twenty years of a lustful Thakur in a village raping a young girl, who kills herself. Gradually, the Thakur and his siblings are killed as if by a spirit. In the end is the denouement.
The movie’s song Kahin deep jale kahin dil got for Shakeel his third and last Filmfare award for Best Lyricist. It got for Lata too another Filmfare Award for Best Female Playback Singer.
Here is the list of songs that Shakeel penned for the movie and which Hemant Kumar composed:
1. “Bekarar Karke Hume” – Hemant Kumar
2. “Kahin Deep Jale Kahin” – Lata Mangeshkar
3. “Sapne Suhane” – Lata Mangeshkar
4. “Yeh Mohabbat Mein” – Lata Mangeshkar
5. “Zara Nazaron Se Kah Do Ji” – Hemant Kumar
6. “Ai mohabbat meri duniya mein tera kaam na tha” – Lata
Beqraar karke hamen youn na jaayiye is amongst the most popular songs of Shakeel. For me, it is triple joy since it has not only been composed by Hemant Kumar but also sung by him; my favourites all the way.
(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…
Day #23 of 31
Song #68
We were taking up the songs of Shakeel’s 1962 movie Bees Saal Baad, a movie produced by the Singer-Music Director Hemant Kumar and directed by Biren Nag in his directorial debut.
We took up the popular Hemant Kumar song on his own music Beqraar karke hamen youn na jayiye, which is as popular today, as it was 54 years ago.
Lets now take up the song for which Shakeel Badayuni received his third and last Best Lyricist Filmfare Award.
The song appears to be played in the movie mysteriously when Biswajeet goes hunting for the mmystery series killer. It finally comes out that it is sung by Waheeda Rehman, Manmohan Krishan’s daughter in the movie. She and Biswajeet had started loving each other and the song was meant to keep him going the harm’s way.
As I have already told you, Lata Mangeshkar received Filmfare Best Female Playback Singer award for the song that year.
Hemant Kumar composed it in Raag Shivaranjani and in Tal Kaherava.
Please enjoy: Kahin deep jale kahin dil…..
kahii.n diip jale kahii.n dil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
meraa giit tere dil kii pukaar hai
jahaa.N mai.n huu.N vahii.n teraa pyaar hai
meraa dil hai terii mahafil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
naa mai.n sapanaa huu.N naa ko_ii raaz huu.N
ek dard bharii aavaaz huu.N
piyaa der na kar, aa mil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
dushman hai.n hazaaro.n yahaa.N jaan ke
zaraa milanaa nazar pahachaan ke
ka_ii ruup me.n hai.n qaatil
zaraa dekh le aa kar paravaane
terii kaun sii hai ma.nzil
kahii.n diip jale kahii.n dil
https://www.youtube.com/watch?v=cEKyWum3IDc
Day #23 of 31
Song #69
This song is picturised on a young Waheeda Rehman as Radha in the movie. Waheeda is a living legend. However, when she was a young girl, for example in Guru Dutt’s movie C.I.D. (Kahin pe nigaahen kahin pe nishaana) or with Dev Anand in Kala Bazaar (Sach huye sapane tere) or in Guru Dutt’s 12 O’ Clock (Kaisa jaadu balam tune daara), she was the very epitome of innocence and ‘ladakpan’.
This song in the movie is about ‘ladakpan’ and Shakeel has done full justice to the feelings of a girl coming of age.
The song is played as a background music in 1963 Jyoti Swaroop movie Bin Baadal Barsaat, for which too Hemant Kumar composed the music.
Please enjoy: Sapane suhaane ladakpan ke….
(sapane suhaane la.Dakapan ke
mere naino.n me.n Dole bahaar ban ke ) – 2
jab chhaae ghaTaa matavaalii, mere dil pe chalaae aarii
ghabaraaye akele manavaa, mai.n leke javaanii haarii
kaise kaTe.n din ulajhan ke
koI laade zamaane vo bachapan ke
sapane suhaane …
jab duur papiihaa bole, dil khaaye meraa hichakole
mai.n laaj me.n mar-mar jaauu.N, jab phuul pe bha.nvaraa Dole
chhe.De pavaniyaa taraane jab man ke
mujhe bhaaye na ra.ng ye jiivan ke
sapane suhaane …
https://www.youtube.com/watch?v=ByDc8LfkwNk
Appreciating Good Lyrics Song #23
As you are aware, I started these posts more than two weeks 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 23rd Lyricist PL Santoshi‘s creation.PL Santoshi was born as Pyarelal Shrivastava on 07 Aug 1916, just four days after Shakeel, but in Jabalpur, Madhya Pradesh.
(Pic courtesy: apnaarchive.wordpress.com)
He was a celebrated writer-director during 1950s and 60s starting with Guru Dutt and his friend Dev Anand starrer Hum Ek Hain in 1946. He tried his hand at various movies such as 1947 Shehnai, 1948 Khidki, 1950 Sargam, 1952 Shin Shinaki Boobla Boo, 1953v Baba Ek Chor, 1955 Sabase Bada Rupaiya, 1957 Hum Panchhi Ek Daal Ke and Garma Garam and 1959 Pehli Raat. Except for the 1947 Shehnai, all failed at the box-office until he made the 1960 Bharat Bhushan and Madhubala starrer Barsaat Ki Raat.
PL Santoshi also wrote songs in films starting with the 1940 movie Pagla, that is six years before he took up directing. This was followed by songs in Akela (1941), Station Master (1942), Hum Ek Hain (1946), Sangram (1950),Saudagar (1951), Ghayal (1951), Anhoni (1952), Chalis Baba Ek Chor ( 1954), Dulhan (1958), and Holiday In Bombay (1963).
He also tried his hand at screenplay/dialogue writer. He expired on 7 September 1978, in Bombay.
His son Rajkumar Santoshi is a director of Hindi movies.
One of the songs that he wrote is a favourite of mine. It is duet between my favourite singer Hemant Kumar with Lata Mangeshkar. Kalyanji Anandji composed it for the 1958 movie Post Box No. 999.
Please enjoy: O neend na mujhako aaye…..
he: o nii.nd na mujh ko aae,
dil mera ghabaraae
chup ke chup ke, koii aa ke,
soyaa pyaar jagaae
la: o nii.nd …
he: soyaa huaa sa.Nsaar hai,
soyaa huaa sa.Nsaar
mai.n jaaguu.N yahaa.N,
tuu jaage vahaa.N,
ek dil me.n dard dabaae
do: o nii.nd …
la: ek biich me.n diivaar hai,
ek biich me.n diivaar
mai.n ta.Dapuu.N yahaa.N,
tuu ta.Dape vahaa.N,
haay chain jiyaa ko nahii.n aae
do: o nii.nd …
he: mai.n huu.N yahaa.N beqaraar
tuu hai vahaa.N beqaraar
mai.n gaauu.N yahaa.N
tuu gaaye vahaa.N
dil ko dil bahalaae
do: o nii.nd …
Day #24 of 31
Song #70
We have taken up three songs of the 1962 Hemant Kumar movie Bees Saal Baad directed by Biren Nag. We have also seen, as with Khamoshi that songs of Hemant Kumar’s own production are very good indeed, besides having that little bit of enigma that makes us listen to them over and over again.
We take up one more song from the movie before moving on.
Shakeel is known for his sad songs and so far we have taken up a romantic number in Beqraar karke hamen youn na jaayiye, a mystery song in Kahin deep jale kahin dil and a girlhood song Sapne suhaane ladakpan ke.
Here is the sad song picturised on Waheeda Rehman, sung by Lata Mangeshkar.
This song brings out the best of Shakeel: Gham and Irony.
Please enjoy: Aye mohabbat meri duniya mein tera kaam na tha….
ai mohabbat merii duniyaa me.n teraa kaam na thaa
tuu naa aa_ii thii to Gam kaa bhii kahii.n naam na thaa
ai mohabbat merii duniyaa …
jaane kyuu.N aaj hai shikavaa mujhe duniyaa bhar se
isase pahale to kisii par ko_ii ilzaam na thaa
ai mohabbat merii duniyaa …
merii qismat ki mujhe ashq hii piine ko mile
mere hisse me.n mohabbat kaa ko_ii jaam na thaa
ai mohabbat merii duniyaa …
dene vaale mujhe kyo.n tuune mohabbat de dii
kyaa mujhe ishq se pahale ko_ii aaraam na thaa
ai mohabbat merii duniyaa …
https://www.youtube.com/watch?v=jPf9T1O8aEI
Day #24 of 31
Song #71
In the year 1963 Shakeel Badayuni penned lyrics for the songs of seven movies including Mere Mehboob. I know what you are thinking of and you are right; there is no way that I can give you just three songs a day in the next seven days left with us to complete the countdown and cover all his movies up to the 1969 movie Beti, his last. Hence, this is what I am going to do:
I am going to increase the number of songs per day.
Lets take up the first movie Nartaki of 1963, his fourth one with music director Ravi and third one with director Nitin Bose after 1951 movie Deedar and 1961 movie Ganga Jamuna.
A scene from the movie Nartaki starring Nanda and Sunil Dutt
The movie starred Nanda and Sunil Dutt and Bimal Roy did the editing of the film.
The movie had the following songs:
1 “Zindagi Ke Safar Men Akele Thay Ham” Mohammed Rafi
2 “Hum Tumse Mohabbat Kar Baithe” Mahendra Kapoor
3 “Zindagi Ki Uljhanon Ko Bhool Kar” Asha Bhosle
4 “Aaj Duniya Badi Suhani Hai” Asha Bhosle
5 “Insaan Mohabbat Mein” Asha Bhosle
6 “Agar Koi Humko Sahara Na Dega” Usha Mangeshkar
7 “Tumne Ankho Se Pee Ho To” Asha Bhosle
8 “Pucho Koi Sawal Bacho Pucho Koi Sawal” Usha Khanna, Usha Mangeshkar, Kamal Barot, Mohammed Rafi
The first song sung by Mohammad Rafi was a gem. Anyone knowing me would know that songs in a boat of this nature are ‘fantasy songs’ for me. The other one is also picturised on Sunil Dutt, but with Madhubala (not a Shakeel song: Chand sa mukhada kyun shartmaaya).
Please enjoy: Zindagi ke safar mein akele the ham, mil gaye tum to dil ko sahaara mila….
zi.ndagii ke safar me.n, akele the ham
mil gae tum to dil ko sahaaraa milaa
aa gae ik nae raaste par qadam
jab tumhaarii nazar kaa ishaaraa milaa
ab zamaane kaa Dar hai na duniyaa kaa Gam
apanii taqadiir par naaz karate hai.n ham
aaj aa.Nkho.n ko jalave tumhaare mile
aaj haatho.n ko daaman tumhaaraa milaa
Day #24 of 31
Song #72
Old timers like me would be full of nostalgia when you see the next song of the 1963 movie Nartaki directed by Nitin Bose. Nanda herself brought out in an interview with a journalist, “It was Nitin Bose who extracted the best from me as an actress in Nartaki. He followed Satyajit Ray’s style of realistic film making and advised me to use the least amount of makeup”.
And this in a movie in which she was the Nartaki (courtesan dancer), who has dreamt of better life through literacy.
Anyway, here is her famous dance and song as a tawaif. It was very popular during our days and you would recall the mastery of Shakeel over the lyrics.
Please enjoy Asha Bhosle sing (try to follow the dialogue between Sunil Dutt and Nanda before the song): Zindagi ki uljhano ko bhool kar, aaj masti mein guzaaren raat bhar, subah jab hogi to dekha jaayega….
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
aaj saki bhi hai or mahfil bhi hai
aaj saki bhi hai or mahfil bhi hai
aaj nagma bghi hai saze dil bhi hai
aaj nagma bghi hai saze dil bhi hai
zindagi me bekhudi bhi shamil hai
rat aayi aisi laut kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
aaj dil ka rang bhi mastana hai
aaj dil ka rang bhi mastana hai
chhalka chhalka hosh ka paymana hai
chhalka chhalka hosh ka paymana hai
har hakikat aaj ek fasana hai
muskurakar dil ki har ek chot par
aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
jeet lo ulfat ki bazi har ke jeet lo ulfat ki bazi har ke
hai maje inkar me ikarar ke hai maje inkar me ikarar ke
jhum lo dam bhar nashe me pyar ke
har game dunia se hoke bekhabar
aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
zindagi ki uljhano ko bhul kar aaj masti me gujaro rat bhar
subah jab hogi to dekha jayega ho dekha jayega
subah jab hogi to dekha jayega ho dekha jayega
https://www.youtube.com/watch?v=Ptn6uxK6m7E
Appreciating Good Lyrics Song #24
As you are aware, I started these posts more than two weeks 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 24th Lyricist Farooq Qaiser‘s creation.Farooq Qaiser or Faruk Kaiser (not to be confused with the Pakistani lyricist of the same name) was born on my birthday, 6th June, in 1918, two years after Shakeel Badayuni.
(Pic courtesy: en.wikipedia.com)
His education was in Bombay and he developed a taste for creative writing. Faruk’s love for poetry and his friendship with neighbour Kamran Khan (father of Farah Khan and Sajid Khan) were instrumental in his developing an enthusiasm for the creative works of Hindi Cinema. While Kamran Khan produced and acted in films, Faruk was introduced into the Hindi films as an assistant director. He went on to direct several movies until he found his niche as a lyricist.
Until his death on 20 Nov 1987, he wrote approximately 400 songs for over 100 movies.
As far as matching lyrics to Shakeel Badayuni are concerned, Farooq’s lyrics for the song Saari saari raat teri yaad sataaye are not only iconic but the first song that comes to mind when you think of him (the other being his 1963 movie Shikaari song: Chaman ke phool bhi tujhako gulaab kehate hain).
Saari saari raat teri yaad sataye is from the 1958 movie Aji Bas Shukriya that starred Geeta Bali with Suresh. The song was sung by Lata Mangeshkar and was really very popular during our days.
Roshan composed the song on a Punjabi dhun.
Please enjoy the ever popular: Saari saari raat teri yaad sataye…..
(priit lagaa ke hue tum to paraaye
pyaas jiyaa ki kaun bujhaaye)-2
kaun bujhaaye koii ye samajhaaye re
nii.nd naa aaye
saarii saarii raat terii yaad sataaye
https://www.youtube.com/watch?v=tQaLUtuI8Xw
Day #25 of 31
Song #73
In the next movie, the 1963 Nisar Ahmad Ansari movie Mulzim, Shakeel once again paired with Ravi, his fifth movie with him. The movie starred Pradeep Kumar with Shakila and Helen and had the following songs:
1. “Deewana Keh Ke Aaj Mujhe Phir Pukariye” – Mohammed Rafi
2. “Sang Sang Rahenge Tumhare O Huzur (Sad)” – Mohammed Rafi
3. “Kuwa Paas Tu Phir Bhi Pyasa (Jai Bolo Badri Vishal Ki )” – Mohammed Rafi
4. “Aate Hi Jawani Ka Mausam” – Asha Bhosle
5. “Ishq Walo Pe Zamane Ki Nazar” – Mohammed Rafi
6. “Main Bajewala Bawa Na Bhut Na Koi Chalava” – Mohammed Rafi
7. “Sang Sang Rahenge Tumhare O Huzur (Happy)” – Mohammed Rafi, Asha Bhosle
The song ‘Sang sang rahenge tumhaare’ from 1963 movie Mulzim starring Pradep Kumar and Shakeela
The first song became very popular and is one of my favourites. It was composed by Ravi in Raag Gara, Tal Dadra.
Please enjoy: Deewana keh ke aaj mujhe phir pukariye….
diivaanaa kah ke aaj mujhe phir pukaari_e
haazir huu.N ko_ii tiir-e-nazar dil pe maari_e
diiwaanaa kah ke …
lag jaa_e aapako naa kisii kii nazar kahii.n -2
ghar jaa ke apane husn kaa sadakaa utaari_e
haazir huu.N ko_ii …
zulfe.n sa.Nvaarane se banegii na ko_ii baat -2
uThi_e kisii gariib kii qismat sa.Nvaari_e
haazir huu.N ko_ii …
ik baar kar hii diiji_e is dil kaa faisalaa -2
rah-rah ke yuu.N nigaah kaa Ka.nzar naa maari_e
haazir huu.N ko_ii …
https://www.youtube.com/watch?v=f3d1mQ9zkik
Day #25 of 31
Song #74
And that brings me to Shakeel’s 36th movie in Hindi films: the 1963 Harnam Singh Rawail produced and directed movie Mere Mehboob that starred Rajendra Kumar, Sadhana, Nimmi, Ashok Kumar, Pran, Johnny Walker and Ameeta.
(Pic courtesy: www.hindilyrics.net)
Please do remember that the title song of the movie is too dear to me to be put up anywhere by me. I donot think that there is any matching song in the Hindi movies though the title song of Barsaat Ki Raat, penned by Sahir Ludhianvi comes close to its lyrical excellence. Perhaps a day will come when I can actually put up the song.
Here is the list of the songs of the movie:
1. “Mere Mehboob Tujhe” Mohammad Rafi 8:12
2. “Tere Pyar Mein Dildar” Lata Mangeshkar 3:03
3. “E – Husn Jara Jaag” Mohammad Rafi 3:31
4. “Mere Mehboob Mein Kya Nahin” Lata Mangeshkar and Asha Bhosle 4:11
5. “Tumse Izhar – E -Haal Kar Baithe” Mohammad Rafi 3:28
6. “Janeman Ek Nazar Dekh Le” Lata Mangeshkar and Asha Bhosle 3:37
7. “Yaad Mein Teri” Lata Mangeshkar and Mohammad Rafi 4:27
8. “Allah Bachaye Naujawano Se” Lata Mangeshkar 4:27
9. “Mere Mehboob Tujhe (Female)” Lata Mangeshkar 4:45
And of course, Shakeel was back with Naushad in this movie; the 19th movie that they did together.
Lets begin with a song which is counted amongst the best of Yaad songs, sung by Mohammad Rafi and Lata Mangeshkar.
Please enjoy: Yaad mein teri jaag jaag ke ham…..
yaad me.n terI jaag-jaag ke ham
raat bhar karavaTe.n badalate hai.n
har gha.Dii dil me.n terI ulfat ke
dhiime dhiime chiraaG jalate hai.n
jabase tUne nigaah pherii hai
din hai suunaa to raat a.ndherii hai
chaa.Nd bhI ab najar nahii.n AtA
ab sitaare bhI kam nikalate hai.n
yaad me.n terI jaag-jaag ke ham …
luT gayii vo bahaar kI mahafil
chhuT gayii hamase pyaar kI ma.nzil
zi.ndagii kI udaas rAho.n me.n
terI yaado.n ke sAth chalate hai.n
yaad me.n terI jaag-jaag ke ham …
tujhako paakar hame.n bahaar milii
tujhase chhuTakar magar ye baat khulii
baaGabaan hii chaman ke phuulo.n ko
apane pairo.n se khud masalate hai.n
yaad me.n terI jaag-jaag ke ham …
kyA kahe.n tujhase kyuu.n huii duurii
ham samajhate hai.n apanii majabuurii
tujhako maaluum kyA ke tere liye
dil ke gam aa.Nsuo.n me.n Dhalate hai.n
yaad me.n terI jaag-jaag ke ham …
Day #25 of 31
Song #75
Mere Mehboob was one of those rare movies shot on the campus of Aligarh Muslim University. Whilst studying in this university Anwar Hussain played by Rajendra Kumar falls in love with Husna Begum, played by Sadhana. Of course he doesn’t know her as Husna at that time because, as per Muslim tradition, she is veiled. It is only when Anwar seeks a job from Nawab Buland Akhtar Changezi played by Ashok Kumar and the latter asks him to teach his sister Husna that he realises that she is the veiled woman he is in love with.
There are various twists in the story after that, of course.
Please enjoy Mohammad Rafi sing: Aye husn zara jaag tujhe ishq jagaaye…..
ai husn zaraa jaag tujhe ishk jagaaye
badale merii takadIr jo tU hosh me.n aaye (2)
ye pyaara ke nagame ye muhabbat ke taraane
tujhako ba.De aramaan se laayaa huu.N sunaane
ummId mere dil kii kahii.n TUT na jaaye
ye husn …
saaz-e-dile khaamosh me.n ek soj jagaa de
tU bhii merii Avaaz me.n Avaaz milaa de
aayaa huu.N tere dar pe ba.Dii aas lagaaye
ye husn …
ai shammaa tU aajaa zaraa chilamanase nikalake
hasarat hai ki rahaa jaa_uu.n terii aag me.n jalake
paravaanaa vo kyaa tujhape jo miTakar naa dikhaa de
ye husn …
https://www.youtube.com/watch?v=pnFYfKahhdY
Appreciating Good Lyrics Song #25
As you are aware, I started these posts more than two weeks 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 25th Lyricist Naqsh Lyalpuri‘s creation.Naqsh Layalpuri was born as Jaswant Rai Sharma on 24 Feb 1928 in Layalpur (now in Pakistan). Son of an engineer, he refused to follow in the footsteps of his dad and went to Lahore to study literature. He started participating in mushairas. After independence and partition he moved to Lucknow with family. Later he moved to Mumbai in 1951 to seek career in films and settled there as a lyricist. He wrote lyrics of the songs of many films including Chetna (1970), Dil Ki Rahen (1973), Call Girl (1974), Khandaan (1979). He also wrote more than 350 songs for 40 Punjabi films.
Naqsh Lyalpuri with Lata Mangeshkar (Pic courtesy: www.thehindu.com)
Although only 12 years younger to Shakeel, Naqsh bloomed late with songs like Rasme-e-ulfat ko nibhaayen to nibhaayen kaise and Maana teri nazar mein tera pyaar ham nahin that he wrote after the death of Shakeel.
However, here is one from 1970 movie Chetna that starred Rehana Sultana starring with Anil Dhawan. I recall, the film posters of this movie with Rehana’s naked legs replacing the A in Chetna. It was also to indicate that the movie was for adults only.
Sapan Jagmohan composed this song and Mukesh sang it.
Please enjoy: Main to har mod par tujhako doonga sada….
mai.n to har mo.D par tujhako duu.Ngaa sadaa
merii aavaaz ko dard ke saaz ko tuu sune naa sune
mai.n to har mo.D …
mujhe dekhakar kah rahe hai.n sabhii mohabbat kaa haasil hai diivaanagii -2
pyaar kii raah me.n phuul bhii the magar maine kaa.NTe chune
mai.n to har mo.D …
jahaa.N dil jhukaa thaa vahii.n sar jhukaa mujhe ko_ii sajado.n se rokegaa kyaa -2
kaash TuuTe.n naa vo aarazuu ne merii Kvaab jo hai.n bune
mai.n to har mo.D …
merii zindagii me.n yahii Gam rahaa teraa saath bhii to bahut kam rahaa -2
dil ne saathii mere terii chaahat me.n the Kvaab kyaa-kyaa bune
mai.n to har mo.D …
tere gesu_o.n kaa vo saayaa kahaa.N vo baa.Nho.n kaa terii sahaaraa kahaa.N
ab vo aa.Nchal kahaa.N merii palako.n se jo bhiige motii chune
mai.n to har mo.D …
https://www.youtube.com/watch?v=7Kh5Ssc3uyI
Day #26 of 31 Song #76
We had taken up two songs of the 1963 movie Mere Mehboob, a movie directed by Harnam Singh Rawal and starring Rajendra Kumar and Sadhana. This was the 19th movie, out of 36, in which Shakeel was with Naushad.
This song was sung by both the sisters: Lata and Asha singing for Sadhana and Ameeta respectively. It has the tune of a qawwali. However, both the actresses dance on it.
Please enjoy: Mere mehboob mein kyaa nahin, woh to laakhon mein hain ik haseen……
la: mere mahabuub me.n kyA nahii.n kyA nahii.n
mere mahabuub me.n kyA nahii.n
vo to laakho.n me.n hai ek hasii.n
vo to laakho.n me.n hai ek hasii.n, ek hasii.n
aa: mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
bholii suurat adA naazanii.n
bholii suurat adA naazanii.n, naazanii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
la: aa .a .a
meraa mahabuub ek chaa.Nd hai
husn apanA nikhaare hue
aa: o .a .a
la: aasamaan kA farishtaa hai vo
ruup insaan kA dhare hue
aa: o .a .a
la: rashk-e-jannat hai vo mahazabii.n
rashk-e-jannat hai vo mahazabii.n, mahazabii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
aa: aa .a .a
maah ho anjum ho yA kaikashaa.n
sabase pyaaraa hai meraa sanam
la: aa .a .a
aa: usake jalavo.n me.n hai vo asar
hosh u.D jaaye allaah qasam
la: aa .a .a
aa: dekhale gar use tU kahii.n
dekhale gar use tU kahii.n, tU kahii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
la: meraa mahabuub hai jaaneman
karavaa kadamaah ruuh gulabadan
aa: meraa dilavar hai aisA javaan
ho bahaaro.n me.n jaise chaman
la: usakii chaalo.n me.n aisI lachak
jaise phuulo.n ki Daalii hile
aa: usakii aavaaz me.n vo khanak
jaise shiishe se shiishaa mile
usake a.ndaaz hai dilanashii.n
dono: bholii suurat adA naazanii.n, naazanii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
aa: tere afasaano.n me.n merI jaan
hai jhalak merI afasaano.n ki
la: daastaane.n hai milatii huii.n
allaah ham dono paravaano.n
dono: paravaano.n kii
dono: ek hii shamaa ho nA kahii.n
vo to laakho.n me.n hai ek hasii.n, ek hasii.n
mere mahabuub me.n kyA nahii.n, kyA nahii.n
mere mahabuub me.n kyA nahii.n
https://www.youtube.com/watch?v=32PEkUnjbIM
Day #26 of 31 Song #77
I am taking up just one more song from Mere Mehboob before moving on to the next movie. This has been sung by Mohammad Rafi. This is from those days when it wasn’t the done thing to mention to your beloved about your love. Indeed, in many songs of that era, one would go about it very indirectly, such as “Mujhe tumase mohabbat hai magar main keh nahin sakta” or “Mohabbat jo karte hain woh, mohabbat jataate nahin; dhadakane apne dil ki kabhi kisi ko sunaate nehin”.
Here, Rajendra Kumar blames it on bekhudi (intoxication) for having expressed his feelings.
Please enjoy Mohammad Rafi sing: Unase izhaar-e-haal kar baithe…
aaj furakat kA khvaab TuuT gayaa
mil gaye tum hijaab TuuT gayaa
tum se izahaar-e-haal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kho gaye husn kI bahaaro.n me.n
kah diyaa raaz-e-dil ishaaro.n me.n
kaam ham bemisaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kitane majabuur ho gaye dil se
soche samajhe bagair qaatil se
zindagii kA savaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
ye adaae.n ye shokhiyaa.n taubaa
bas khudaa hii khudaa hai us dil kA
jo tumhaaraa khayaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
https://www.youtube.com/watch?v=-fmYt9Qa_BA
Day #26 of 31 Song #78
After Mere Mehboob, Shakeel’s 20th movie with Naushad, the next movie in which he wrote songs was the 1963 movie Kaun Apna Kaun Praya with Waheeda Rehman in the lead role. This was the 6th movie that he did with Ravi, after he started with Ghunghat in 1960.
(Poster courtesy: www.youtube.com)
This movie had only six songs as follows:
1 “Zaraa Sun Hasinaa Ai Naazanin” Mohammed Rafi
2 “Kaun Apna Kaun Paraya” Mohammed Rafi
3 “Aashiq Hu Apne Pyar Ke Johar Dikhaunga” Mohammed Rafi
4 “Zindagi Bhar Yahi Ikrar Kiye Jayenge” Mohammed Rafi, Asha Bhosle
5 “Aaya Bahar Ka Zamana” Asha Bhosle
6 “Allah Kare Mai Bhi Dulhan Ban Jau” Asha Bhosle, Shamshad Begum
Lets listen to Mohammad Rafi singing Zara sun haseena ai nazneen. This has been composed by Ravi in the same Raag Pahadi in which he composed the title song of Chaudhvin Ka Chand. The Chaudhvin Ka Chand song was in Tal Kaherava whereas Zara sun is in Rupak Tal.
Please enjoy: Zara sun haseena ai naaznin….
zaraa sun hasiinaa ai naazanii.n
meraa dil tujh hii pe nisaar hai
tere dam se hii mere dilarubaa
merii zi.ndagii me.n bahaar hai
hu_ii jab se mujh pe terii nazar
mai.n huu.N apane aap se beKabar
hu_aa jab se dil me.n teraa guzar
mujhe chain hai na qaraar hai
tere husn se jo sa.Nvar ga_ii
vo fizaa_e.n mujhako aziiz hai.n
terii zulf se jo lipaT ga_ii.n
mujhe un havaa_o.n se pyaar hai
ye hasiin phuulo.n kii Daaliyaa.N
tujhe de rahii hai salaamiyaa.N
mujhe kyo.n na rashq ho ai sanam
tere saath fasl-e-bahaar hai
Appreciating Good Lyrics Song #26
As you are aware, I started these posts more than two weeks 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 26th Lyricist Arzoo Lucknowi‘s creation.
(Pic courtesy: urduyouthforum.org)
Arzoo Lucknowi was amongst the pioneer lyricists of the Hindi film industry that originated in Calcutta in the 1930s before shifting to Bombay in 1942. He was on the films scene much before Shakeel Badayuni and his contemporaries Sahir and Majrooh arrived. He wrote for the Hindi cinema’s first superstars KL Saigal (eg, Karun kya aas niras bhayi in 1939 movie Dushman) and Kanan Devi (Street Singer 1938).
“Syed Anwar Hussain ‘Arzoo Lakhnavi’ (1873-1951) was an outstanding representative of ‘Dabistan-e-Lakhnau’ or the Lucknow School of Urdu poetry. However while retaining the tradition’s motifs and focus, he chose a straighter style over its intricate flourishes, and use only Urdu without recourse to Arabic or Persian – despite his considerable knowledge of both.”
In his film career, he was as versatile. If in Saigal’s “Street Singer”, he could pen “Jeevan been madhur na baaje jhoote padh gaye taar/Bigde kaath se kaam bane kya megh baje na malhaar”, he could also compose ghazal “Sukoon dil ko mayassar gul-o-samar mein nahi/Jo aashiyaan mein hai apne vah bagh bhar men nahi”.
He has some 25000 ghazals credited to him.
Lets look at the lyrical excellence of the 1939 movie Dushman’s song picturised on its lead cast: KL Saigal and also sung by him. It is a composition of Pankaj Mullick.
Please enjoy: Karun kyaa aas niraas bhaii…..
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
deeya bujhe phir se jal jaye
raat andheri jaye din aaye
deeya bujhe phir se jal jaye
raat andheri jaye din aaye
mitthi aas hai jyot akhiyan ki
mitthi aas hai jyot akhiyan ki
samjh gayi to gayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
karu kya aas nirash bhayi
jab na kisi ne raah sujhai
dil se ek aawaz ye aayi
jab na kisi ne raah sujhai
dil se ek aawaz ye aayi
himmat baandh sambhal badh aage
rok nahi hai koi
himmat baandh sambhal badh aage
rok nahi hai koi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
karna hoga khun ka pani
dena hogi har kurbani
himmat hai itni to samjh le
himmat hai itni to samjh le
aas bandhegi nayi
aas bandhegi nayi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
kaho na aas nirash bhayi
https://www.youtube.com/watch?v=hZNOexCr-AA
Day #27 of 31
Song #79
The next movie of Shakeel was the 1963 movie Grihasti, which was the 7th movie that he did with the Music Director Ravi, with whom he received two out of three of his Filmfare Best Lyricist Awards.
(Poster courtesy: en.wikipedia.com)
The movie was directed by Kishore Sahu, the same Kishore Sahu who was the archaelogist Marco in Dev Anand’s Guide, who neglected his wife Rosie (Waheeda Rehman) until Raju Guide (Dev Anand) ‘guided’ her to become a dancer and his beloved. Kishore Sahu directed the movie for SS Vasan of Gemini Studios, the makers of family dramas.
Here is the list of songs of the movie:
1 Jaane Teri Nazaron Ne Lata Mangeshkar, Mohammed Rafi
2 Aaj Mili Ek Ladki Mohammed Rafi
3 Jeevan Jyot Jale Asha Bhosle
4 Ja Ja Re Ja Deewane Ja Mohammed Rafi, Asha Bhosle
5 Wo Aurat Hai Jo Insano Ki Mohammed Rafi
6 Zara Dekh Sanam Lata Mangeshkar
7 Payal Khul Khul Jaaye Ram Mohammed Rafi, Asha Bhosle
8 Ding Dong Ding Lalla Geeta Dutt
9 Khile Hai Sakhi Aaj Phulwa Asha Bhosle, Lata Mangeshkar, Usha Mangeshkar
Asha Bhosle‘s rendition of the song “Jeevan Jyot Jale” won her the “Mian Tansen Award”. The song was cited as the best song of 1963 out of the 544 songs released that year from a total of 77 films.
The song is picturised on Rajshree and Nirupa Roy.
Ravi composed the song in Raag Sohani, and Tal Tintal.
Please enjoy the marvel of a song: Jeevan jyot jale….
jivan jyot jale
jivan jyot jale
kou na jane kab nikse din
kou na jane kab nikse din
aur kab raat dhale
aur kab raat dhale
jivan jyot jale
jivan jyot jale
bhor bhye to man muskaye
bhor bhye to man muskaye
sanjh bhye to neer bahaye
ek pal maan kare sansari
ek pal maan kare sansari
ek pal hath male
ek pal hath male
jivan jyot jale
jivan jyot jale
man mala me daar wo moti
man mala me daar wo moti
aa aa aa
man mala me daar wo moti
jisme jali ho prem ki jyoti
uski naiya paar hai jag me
uski naiya paar hai jag me
ja ke kaaj bhale
ja ke kaaj bhale
jivan jyot jale
jivan jyot jale
jyot jale
jyot jale
https://www.youtube.com/watch?v=UemDW8KonE8
Day #27 of 31
Song #80
First of all, if you marveled at the mastery of Shakeel over the lyrics of Jeevan Jyot Jale, a classical song, it would come as a surprise to see him pen a pop song!
This song was another song of 1963 movie Grihasti that became veru popular. It was sung by Geeta Dutt.
Please enjoy: Dong dong ding dong ding lala….
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras ghole
sang sang dole koi bhanwara
ding dong ding dong ding lala
koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras gole
sang sang dole koi bhanwara
ding dong ding dong ding lala
chori chori bagiya me aane laga vo
bholi bhali kali mai to batiyo me aa gayi
mera na raha ye dil mera
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
ding dong ding dong ding lala
ho koi dil ko sambhalo mera dil chala
gun gun bole kano me ras gole
sang sang dole koi bhnwara
ding dong ding dong ding lala
https://www.youtube.com/watch?v=nxmC4J1KPbU
Day #27 of 31
Song #81
With that we come to the next movie, the 1963 OP Ralhan movie Gehraa Daag, which was a crime thriller starring Rajendra Kumar, Mala Sinha, Madan Puri (almost a must for crime thrillers), Usha Kiron and Laita Pawar.
Since this too had Ravi’s music, it became the eighth movie since 1960 movie Ghunghat in which Shakeel paired with Ravi.
The movie had the following songs:
1. “Aaj Udta Hua Ek Panchhi Zindagi Bhar Me Aaya Phir Naye Mastiya Sath Le Chal” – Mohammed Rafi
2. “Tumhe Pake Hamne Jahan Pa Liya Hai” – Asha Bhosle, Mohammed Rafi
3. “Bhagvan Ik Kusur Kee Itanee Badee Saja” – Mohammed Rafi
4. “Kaise Kahoon Main Baat Jiya Ki Sanwariya Pyar Me Tere Ho Gayi Mai Toh Bawariya” – Asha Bhosle
5. “Main Teri Hui Re Balma” – Asha Bhosle
6. “Subah Ka Bhoola” – Asha Bhosle
Please enjoy: Tumhen paa ke ham ne jahan paa liya hai…..
aa : tumhe.n paa ke hamane jahaa.N paa liyaa hai -2
zamii.n to zamii.n aasamaa.N paa liyaa hai
ra : tumhe.n paa ke …
aa : miTaa na sakegii jise ab Kizaa.N bhii
jalaa na sake.ngii ab bijaliyaa.N bhii
mohabbat kaa vo aashiyaa.N paa liyaa hai
tumhe.n paa ke …
ra : zamaane ke Gam pyaar me.n Dhal ga_e hai.n -2
ummiido.n ke laakho.n di_e jal ga_e hai.n -2
ke jabase tumhe.n meharabaa.N paa liyaa hai
tumhe.n paa ke …
aa : jahaa.N se mohabbat kii raahe.n milii hai.n
ra : vahii.n se merii gardishe.n tham ga_ii hai.n
do : na bichha.De.nge ham kaaravaa.N paa liyaa hai
tumhe.n paa ke …
Appreciating Good Lyrics Song #27
As you are aware, I started these posts more than two weeks 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 27th Lyricist Tanvir Naqvi‘s creation.He was born on 6th February 1919 in Lahore. His real name was Syed Khursheed Ali and he was a lyricist who had carved out a niche for himself in the cine world from the early 40s right till his death in 1972.
(Pic courtesy: www.dailymotion.com)
He was much sought after as a songwriter. After partition, Tanvir Naqvi migrated to Pakistan and for over 15 years remained one of the leading lyricist of Urdu and Punjabi films. He died on November 1, 1972 in Lahore.
As far as matching lyrics to Shakeel Badayuni are concerned, there must be a large gap between you and I if you have to ask as to which of his songs I am going to put up!
In any case, even with the Raag of the song you would have guessed the song: Raag Pahadi and Tal Dadra.
As if it is still left for me to tell you, it is from the 1946 Anmol Ghadi starring Noorjahan (who is also the singer of the song with Surendra), Suraiyaa and Suresh.
Please enjoy the best of Tanvir Naqvi: Awaaz de kahan hai…..
aavaaz de kahaa.N hai duniyaa merI javaa.N hai
aabaad mere dil me.n ummiid kaa jahaa.N hai
duniyaa merI javaa.N hai …
aa raat jaa rahI hai
yuu.n jaise chaa.Ndanii kI
baaraat jaa rahI hai
chalane ko ab falak se
taaro.n kaa kaaravaa.N hai
aise me.n tU kahaa.N hai
duniyaa merI javaa.N hai …
kismat pe chhaa rahI hai
kyo.n raat kii siyaahii
vIrA.N hai merI nii.nde.n
taaro.n se le gavaahii
barabaad mai.n yahaa.N huu.N
aabaad tU kahaa.N hai
bedard aasamaa.N hai …
aavaaz de kahaa.N hai …
Day #28 of 31
Song #82
In yesterday’s songs, we had taken up a song from the 1963 OP Ralhan movie Gehra Daag starring Rajendra Kumar and Mala Sinha.
The storyline of this crime thriller:
“Shanker (Rejendra Kumar) lives a poor lifestyle along with his elder sister, Usha (Usha Kiran), and a younger sister, Asha Mumtaz), in a town called Baksar. Both he and Usha attend the same college. One day a student, Ram (Ram Mohan), attempts to molest Usha, Shanker intervenes, arguments lead to fisticuffs, and Ram ends up getting killed. Shanker is arrested, tried in Court, and sentenced to 14 years in jail. While there he gets the news that Usha has married Ramesh (Madan Puri), and has given birth to two sons, Tinku and Chimpu. Due to his good behavior, he gets discharged after 10 years, returns home and on the way there rescues an elderly woman (Lalita Pawar), who had fallen from the boat, meets her daughter, Shobha (Mala Sinha), and both fall in love. Upon arrival at home, he is given a warm welcome by everyone, and this is when Shanker finds out that Usha has told everyone that he was employed in Africa for 10 years. Ramesh picks an eligible young man for Asha to get married to but on the day of the marriage, the Prosecuting Attorney recognizes Shanker.”
He cannot obliterate the Gehra Daag (dark Stain) from his life; can he?
This song from the movie is signature Shakeel all the way.
Please enjoy: Bhagwan ik qusuur ki itani badhi sazaa……
bhagavaan ik qusuur kii itanii ba.Dii sazaa
duniyaa terii yahii hai to duniyaa se mai.n chalaa
bhagavaan ik qusuur …
duniyaa ke zaalimo.n ne chalaa_ii.n vo aa.Ndhiyaa.N
saare chiraaG bujh ga_e mai.n dekhataa rahaa
duniyaa terii yahii hai …
mai.n ye samajh rahaa thaa mere daaG dhul ga_e
hogaa kuchh aur Kuun-e-jigar ye pataa na thaa
duniyaa terii yahii hai …
mujh saa badanasiib na hogaa jahaan me.n
jo bhii milaa usii ne gunahagaar hii kahaa
duniyaa terii yahii hai …
Day #28 of 31
Song #83
That brings us to the 41st of Shakeel Badayuni’s movies (out of a total of 59) and the third one with Hemant Kumar since the 1962 Guru Dutt movie Sahib Bibi Aur Ghulam.
The 1963 movie Bin Baadal Barsaat was directed by Jyoti Swaroop and happened to be last movie in which Shakeel paired with Hemant.
Its story:
“Seventy years ago the wealthy Thakur of Neelamghat had an affair with a gypsy girl, and then married another woman. The gypsy girl’s dad placed a curse on the entire Thakur family that whenever a male marries, his wife will die in mysterious circumstances after an year. The curse has come true over the years, and none of the Thakurs have escaped it’s wrath. The latest Thakur, Prabhat (Biswajeet) has now come to settle in Neelamghat, and is attracted to the local doctor’s daughter, Sandhya Gupta (Asha Parekh). When Dr. Gupta proposes marriage, Prabhat tells them about the gypsy curse, and both father and daughter scoff at this. They quickly change their minds one night, when they find Prabhat dressed as a groom, getting ready to marry a reincarnated gypsy girl.”
Some likeness there to another movie for which Shakeel wrote lyrics and Hemant da composed the songs: Bees Saal Baad also starring Biswajeet (Hindi movies makers never got rid of a story until they had extracted the last drop of juice from it!)
The film had as good songs as Bees Saal Baad:
1. Zindagi Kitni Khubsurat Hai, Aiye Apki Zarurat Hai
2. Ik Baar Zaraa Phir Kah Do, Mujhe Sharmaake Tum Divaanaa
3. Jab Jaag Uthe Aramaan, To Kaise Nind Aaye
4. Zindagi Kitni Khubsurat Hai, Aiye Apki Zarurat Hai (by Lata)
5. Mariz-e-ishq Hu Aye Janeman
6. Khushi Bhi Mili Humko
7. Dil Me Teri Yaad Sanam
8. Bin Badal Barsaat Na Hogi
Please enjoy this classic from Hemant Kumar on his own music: Zindagi kitani khoobsurat hai....
ArazUo.n ke diye, Aj raushan kIjiye
Ae hai.n milane ko ham, zi.ndagI bhar ke liye
kyA hasI.n rAt kyA muhUrat hai, zi.ndagI kitanI …
yU.N na ab sharamAiye, yU.N na ab ghabarAiye
phUl ke ghU.NghaT se ab, chA.NdanI barasAiye
chA.NdanI rAt kyA zarUrat hai, zi.ndagI kitanI …
https://www.youtube.com/watch?v=RfuSTwwBrZg
Day #28 of 31
Song #84
Here is a second song from the 1963 movie Bin Badal Barsaat and this is everyone’s favourite. Hemant Kumar sang this on his own music.
The picturisation, the music and the lyrics are simply exquisite. Dev Anand and Hema Malini copied this picturisation in their Pal bhar ke liye koi hamen pyaar kar le from the 1970 movie Johnny Mera Naam.
Please enjoy: Jab jaag uthe armaan to kaise neend aaye….
jab jaag uThe aramaa.n to kaise nii.nd aae
ho ghar me.n hasii.n mehamaa.n to kaise nii.nd aae, nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
(ye raat ye dil kii dha.Dakan ye ba.Dhatii huii betaabii
ik jaam kii khaatir jaise bechain ho koii sharaabii ) – (2)
sholo.n me.n girii ho jaan to kaise nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
(nazadiik bahut hai ma.nzil phir bhii hai Gazab kii duurii
ai dil ye tuu hii batalaa de ye kaun sii hai majabuurii ) – (2)
jab soch me.n ho inasaa.n to kaise nii.nd aae
ho ghar me.n hasii.n mehamaa.n to kaise nii.nd aaye, nii.nd aae
jab jaag uThe aramaa.n to kaise nii.nd aae
https://www.youtube.com/watch?v=dtXj_AbLKPM
Appreciating Good Lyrics Song #28
As you are aware, I started these posts more than three weeks 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 twenty-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.
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.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20. Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
21. Pt. Narendra Sharma with Woh chand nahin hai dil hai.
22. Pandit Sudarshan with Zindagi hai pyaar se pyaar se bitaaye jaa.
23. PL Santoshi with O neend naa mujhako aaye.
24. Farooq Qaiser with Saari saari raat teri yaad sataaye.
25. Naqsh Lyalpuri with Main to har mod par tujhako doonga sadaa.
26. Arzoo Lucknowi with Karun kyaa aas niraas bhaii.
27. Tanvir Naqvi with Awaaz de kahan hai.
Today we take up our 28th Lyricist Gulshan Bawra‘s creation.
(Pic courtesy: timesofindia.indiatimes.com)
He was born Gulshan Kumar Mehta on 12 Apr 1937 in Sheikhupura, near Lahore (now in Pakistan). He was only ten when he saw his father and his cousin’s family massacred during the Partition riots. His elder sister brought him to Jaipur and thereafter he went to Delhi for further education.
He came to Bombay in 1955 to write for Hindi films.
Kalyanji (-Anandji), then on his own as Kalyanji Virji Shah, gave him his first opening in Chandrasena (1959) in the song ‘Main kya jaanu kahan laage yeh saawan matwala re’ sung by Lata Mangeshkar.
Since then, in his 42 years old career, he has written 240 songs for 42 movies and had also acted. His two songs: Upkaar song: Mere desh ki dharti; and Zanjeer song: Yaari hai imaan mera, got him two Filmfare awards.
Matching lyrics with Shakeel? I can think of at least two: Chand ko kyaa maaluum chahata hai use koi chakore from 1966 movie Lal Bangla, a song sung by Mukesh; and Aapse hamako bichhade huye ek zamaana beet gaya, sung by poor man’s Mukesh: Manhar with poor man’s Lata Mangeshkar: Suman Kalyanpur for the 1969 movie Vishwas.
However, the song that I am going to give is one of his earliest successes and dear to me as having been sung by my favourite Hemant Kumar. The name of this 1959 movie is Satta Bazaar. And of course you already know the song, a duet between Hemant da and Lata Mangeshgkar on the music and composition of Kalyanji Anandji.
Please enjoy: Tumhen yaad hoga kabhi ham mile the….
he: (tumhe.n yaad hogaa kabhii ham mile the ) -2
muhabbat kii raaho.n me.n mil ke chale the
la: bhuulaa do muhabbat me.n ham tum mile the
sapanaa hii samajho ke mil ke chale the …
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
We have completed Part I of this Countdown from 03 Jul to 09 Jul 16 and Part II from 10 Jul to 16 Jul 16. Those of you who read the two parts so far would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered in Part I Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood). And in Part II I covered Shakeel’s songs from 1954 M Sadiq movie Shabab (Aye na baalam waada karke) to 1960 SU Sunny movie Kohinoor (Dhal chuki shaam-e-gham) both by Mohammad Rafi
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part II, I have covered seven more of them:
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.
14. Pt. Indra Chandra with Baag laga doon sajani.
With this, we are ready to move into Part III, covering the third week of the countdown, from day 15 to 21. Before we do, here is my own adoration:
Shakeel ke naghmon ki kabhi yaad mujhe nahin aati,
Yaad unaki aati hai jinhen hum bhool jaate hain;
Yahan to har sehar hoti hai unaki shaayari se,
Har shaam unake geeton ko hum dohraate hain.
Day #15 of 31
Song #43
Alright, ladies and gentlemen, we are at the halfway mark today in a month long countdown to the Birth Centenary of Shakeel Badayuni.
I have already told you that the year 1960 was a very successful year for Shakeel Badayuni. We have already taken up songs from two of his movies: Mughal-e-Azam and Kohinoor with Music Director Naushad Ali with whom he had done 17 of his 26 movies till then, eight with Ghulam Mohammad and one each with Khursheed Anwar and Sardar Malik.
With the next movie, the 1960 movie Ghunghat started a relationship with a music director who was not just my namesake but who took Shakeel’s songs to a new height. Eventually, Shakeel would do as many as 12 movies with him. Indeed, in the same year, in Chaudhvinh Ka Chand, with music composed by Ravi, Shakeel Badayuni finally got his first Filmfare Award after 13 years of writing songs in the movies.
Music Director Ravi Shankar Sharma, a discovery of my favourite Hemant Kumar (Pic courtesy: alchetron.com)
Ghunghat was a movie that was produced for Gemini Studios and directed by Ramanand Sagar. The film starred Bharat Bhushan, Leela Chitnis, Pradeep Kumar, Bina Rai, Asha Parekh, Helen, Rajendranath, Rehman and Agha.
It had a total of ten songs:
1.”Laage Na More Jiya” – Lata Mangeshkar
2.”More Chham Chham Baaje Payeliya” – Lata Mangeshkar
3.”Meri Pat Rakho Girdhari” – Lata Mangeshkar
4.”Do Nain Mile” – Asha Bhosle & Mahendra Kapoor
5.”Ye Zindagi Ka Mausam” – Asha Bhosle & Mohammed Rafi
6.”Haye Re Insaan” – Mohammed Rafi
7.”Dil Na Kahin Lagana” – Asha Bhosle
8.”Gori Ghunghat Mein” – Asha Bhosle
9.”Kya Kya Dikhati Hai” – Asha Bhosle & Mahendra Kapoor
10.”Pyari Sakhi Saj Dhajke” – Asha Bhosle
Mori chham chham baaje payaliya was composed by Ravi in Raag Bhairavi, Taal Kaherava and became an instant hit.
( ba.Dii muddat me.n dil ke sahaare mile
aaj Duube hu_o.n ko kinaare mile ) -2
kabhii muskraa_e man kabhii sharamaa_e man
kabhii naino.n kii chhalake gaagariyaa
morii chham-chham …
( chaa.Nd-taaro.n ke gahane pahanaa do mujhe
ko_ii aa ke dulhaniyaa banaa do mujhe ) -2
nahii.n bas me.n jiyaa kaisaa jaaduu kiyaa
piyaa aaj hu_ii re mai.n to baavariyaa
morii chham-chham …
Day #15 of 31
Song #44
Bina Rai received the Filmfare Best Acrtress award for her performance in the 1960 movie Ghunghat.
This one though is picturised on Asha Parekh. Ghunghat was only her third movie as a lead actress, the first one being Dil Deke Dekho in 1959 when she, at the age of 16 years, was rejected by Vijay Bhatt for Goonj Uthi Shehnai in favour of Ameeta. Her second movie was Hum Hindustani.
I like this song both for its lyrical and musical excellence. Of course, the singing by Lata Mangeshkar is exquisite.
Both Asha Parekh and Dharmendra started their acting career as adults at around the same year and both were at home with serious as well as light-hearted romantic roles.
Please enjoy: Laage na mora jiya, sajana nahin aaye….
laage na moraa jiyaa, sajanaa nahii.n aaye, haay
laage na moraa jiyaa …
dekh liye piyA tere irAde, jhUTh nikale jA tere vAde
ta.Dapat-ta.Dapat yAd me.n terI, nain nIr bhar Ae, hAy
laage na moraa jiyaa …
tUne merI sudh bisarAI, bedardI tohe lAj na AI
bhUl gae kyA o harajAI, jAke des parAe, hAy
laage na moraa jiyaa …
https://www.youtube.com/watch?v=uSbGRwd3LyA
Day #15 of 31
Song #45
Ravi gave a new direction to the lyrics of Shakeel Badayuni; filled them with more intense pathos, romance and what Ravi was good at: notes that depict pain caused by love.
Here is one song from the movie, sung by Mohammad Rafi that was almost done in Naushad style, though. The best part is that the song, sung by Mohammad Rafi, displays feelings of both male and female protagonists.
Mohd Rafi with Shakeel and Ravi
I like the lyrics of this.
Please enjoy: Haay re insaan ki majbooriyan….
haay re insaan kii majabuuriyaa.N -2
paas rah kar bhii hai.n kitanii ( duuriyaa.N ) -2
haay re insaan kii …
kuchh a.Ndhere me.n nazar aataa nahii.n
ko_ii taaraa raah dikhalaataa nahii.n
jaane ummiido.n kii ma.nzil hai kahaa.N -2
haay re insaan kii …
shamaa ke a.njaam kii kisako Kabar
Katm hogii yaa jalegii raat bhar
jaane ye sholaa banegii yaa dhu_aa.N -2
haay re insaan kii …
Appreciating Good Lyrics Song #15
As you are aware, I started these posts two weeks 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 two weeks:
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.
14. Pt. Indra Chandra with Baag laga doon sajani.
Today we take up pur 15th Lyricist Anjaan‘s creation.
Anjaan was born as Lalji Pandey on 24th Oct 1929 in Varanasi (UP). The other day I mentioned about the ranking of Lyricists in number of songs and brought out that Sameer has written more than 4000 songs. Sameer is Anjaan’s son.
Anjaan famously wrote in Bhojpuri dialect and hence his songs appealed to the masses.
He started his films career with 1953 movie Prince of Golconda and then established himself with Guru Dutt’s Baharen Phir Bhi Aayengi and GP Sippy’s Bandhan.
Anjaan (standing) with the team of Baharen Phir Bhi Aayengi: OP Nayyar, Shahid Lateef (Director) and Guru Dutt (Producer) (pic courtesy: apnaarchive.wordpress.com)
Songs of Amitabh Bachchan starrer Muqaddar Ka Sikandar including Saathi re tere bina bhi kyaa jeena and Don, including Khaike paan Banaras waala made him a household name.
To give you matching lyrics with Shakeel Badayuni, I give you this Mukesh gem from the 1965 movie Purnima that starred Dharmendra with Meena Kumari.
Kalyanji Anandji composed it in Raag Darbari Kanada and Tal Jhaptal.
Please enjoy: Tumhen zindagi ke ujaale mubarak andhere hamen aaj raas aa gaye hain….
tumhe.n zindagii ke ujaale mubaarak
a.ndhere hame.n aaj raas aa ga_e hai.n
tumhe.n paa ke ham Kud se duur ho ga_e the
tumhe.n chho.Dakar apane paas aa ga_e hai.n
tumhe.n zindagii ke …
tumhaarii vafaa se shiqaayat nahii.n hai
nibhaanaa to ko_ii ravaayat nahii.n hai
jahaa.N tak qadam aaa sake aa ga_e hai.n
a.ndhere hame.n aaj …
chaman se chale hai.n ye ilzaam lekar
bahut jii li_e ham teraa naam lekar
muraado.n kii ma.nzil se duur aa ga_e hai.n
a.ndhere hame.n aaj …
https://www.youtube.com/watch?v=4Iq_pfISaEc
Day #16 of 31
Song #46
And that brings us squarely to his 1960 movie Chaudhvin Ka Chand that won him his first Filmfare Award for Best Lyricist for the title song of the movie. Mohammad Rafi won the Best Male Playback Singer Award for the same song.
After Guru Dutt made his autobiographical movie Kaagaz Ke Phool and it flopped on the box-office (years later many feel now that the movie was a classic and the only reason it flopped was because it was far ahead of its times), SD Burman, who had cautioned Guru Dutt not to make Kaagaz Ke Phool fell apart with him.
Guru Dutt, therefore, took Ravi as the Music Director and because of the new relationship that my namesake had with Shakeel, the latter too came as a bonus. Guru Dutt reaped the fruits of this in that not only it turned out to be a most popular movie, its songs became all time hits. Have a look at the list:
01. Chaudhvin Ka Chand Ho Mohammad Rafi
02. Mili Khak Main Mohabbat Mohammad Rafi
03. Yeh Luckhnow ki Sar-Zameen Mohammad Rafi
04. Mera Yaar Bana Hai Dulha Mohammad Rafi
05. Badle Badle Mere Sarkar Nazar Aatein Hain Lata Mangeshkar
06. Baalam Se Milan Hoga Geeta Dutt
07. Bedardi Mere Sayyan, Shabnam Hain Kabhi Sholay Asha Bhosle
08. Sharma Ke Agar Yun Pardanashin Shamshad Begum, Asha Bhosle
09. Dil Ki Kahani Rang Lai Hai Asha Bhosle
10. Yeh Duneeya Gol Hai Mohammad Rafi
Lets take up the title song, the best song ever made on the husn of a woman; the winner of two Filmfare Awards. It is in my favourite Raaga Pahadi and Tal Kaherava.
Please enjoy: Chaudhvin ka chand ho ya aftaab ho….
chaudahavii.n kaa chaa.Nd ho, yaa aafataab ho
jo bhii ho tum khudaa ki qasam, laajavaab ho
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
https://www.youtube.com/watch?v=5ZUR92B-UzE
Day #16 of 31
Song #47
The 1960 Guru Dutt movie Chaudhvin Ka Chand had screenplay by Abrar Alvi who wrote Pyasa too. The movie was a triangular love affair between Aslam (Guru Dutt), Nawab (Rehman) and Jameela (Waheeda Rehman). The city of Lucknow, the city of Nawabs and culture provided backdrop to this love traingle.
Lets take up this second song from the movie and once again you are spellbound by Shakeel’s lyrical excellence. It has been sung by Lata Mangeshkar.
Shakeel was a great one at songs depicting love having gone sour. Here is one of his best in this genre’.
Please enjoy: Badale badale mere sarkaar nazar aate hain….
badale badale mere sarakaar nazar aate hai.n -2
ghar kii barabaadii ke aasaar nazar aate hai.n
badale badale mere sarakaar nazar aate hai.n
badale badale
Duube rahate the mere pyaar me.n jo shaam-o-sahar -2
mere chehare se na haTatii thii kabhii jinakii nazar
merii suurat se vo bezaar nazar aate hai.n -2
ghar kii barabaadii ke …
vo jo badale to zamaane kii hawaa bhii badalii -2
dil kii Kushiyaa.N bhii ga_ii.n ghar kii fazaa bhii badalii
suune suune dar-o-diiwaar nazar aate hai.N -2
ghar kii barabaadii ke …
mere maalik ne muhabbat kaa chalan chho.D diyaa -2
kar ke barabaad mere dil kaa chaman chho.D diyaa
phuul bhii ab to mujhe Kaar nazar aate hai.n -2
ghar kii barabaadii ke …
https://www.youtube.com/watch?v=Pjf9ORFDwQA
Day #16 of 31
Song #48
Tonight we are taking up the songs of Guru Dutt’s 1960 movie Chaudhvin Ka Chand, a love triangle between two Rehmans (Waheeda and Rehman) and Guru Dutt.
I hope you enjoyed the perfect lyrics of the last two songs: the title song and Badale badale mere sarkar nazar aate hain. In the second song, she recalls the first song! Viz, mere chehre se na uthati thi nazar!
It is not for nothing that I call Shakeel as the greeatest lyrics. Here he penned the best song ever describing her beauty and when love went sour he contrasted it with her feeling of utter neglect.
Enough mastery over lyrics, you are bound to tell me. Hold on, ladies and gentlemen, there is more. He paid adequate attention to his (Guru Dutt‘s) feelings by coming up with this gem sung by Mohammad Rafi.
Please enjoy: Mili khaak mein mohabbat, jala dil ka ashiyana….
milii Kaak me.n muhabbat, jalaa dil kaa aashiyaanaa
jo thii aaj tak haqiiqat, vahii ban ga_ii fasaanaa
ye bahaar kaisii aaii, jo fizaa.n bhii saath laaii
mai.n kahaa.N rahuu.N chaman me.n, meraa luT gayaa Thikaanaa
mujhe raastaa dikhaakar, mere kaaravaa.n ko luuTaa
idhar aa gale lagaa luu.N, tujhe garadish-e-zamaanaa
https://www.youtube.com/watch?v=7zoUoixvRMg
Appreciating Good Lyrics Song #16
As you are aware, I started these posts two weeks 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 pur 16th Lyricist Anand Bakshi‘s creation.Anand Bakshi was 14 years younger to Shakeel Badayuni. Day after tomorrow on the 21st Jul is his Birth Anniversary. He was born on this day in 1930 as Bakhshi Anand Prakash Vaid in Rawalpindi (now in Pakistan).
Anand Bakshi at his home (Pic courtesy: www.thequint.com)
Immediately after the Partition and Independence of India, when he was 17 years old, his family migrated to Poona. They shifted to Meerut and finally called Delhi their home.
He came to Bombay to write and sing and soon realised that writing lyrics was his calling. His first break was in the 1958 Brij Mohan movie Bhala Aadmi starring Bhagwan Dada.
He gradually emerged as one the second most versatile lyricists that the Hindi film industry had seen (He wrote 3441 songs, after 4073 songs of Sameer) particularly in partnerships with Laxmikant Pyarelal, Kalyanji Anandji and RD Burman.
He died on 30th Mar 2002 of bacterial infection after a cardiac surgery. He was survived by his wife Kamla Mohan Bakshi, his daughter Suman Datt (married), sons Rajesh Bakshi, Rakesh Bakshi, and daughter Kavita Bali (married). His grandson Aditya Datt is a film director. His son Rakesh Anand Bakshi is author of Directors’ Diaries – The Road To Their First Film. I was privileged to meet him during the Shankar Jaikishan Music Foundation Meet at Mumbai on the 19th June 16.
Although real success came his way with Kalyanji Anandji in 1962 movie Mehndi Lagi Mere Haath Mein, I am giving you his song of three years later, for the 1965 movie Himalay Ki God Mein starring Mala Sinha and Manoj Kumar. Mukesh sang the song and it became a cult song.
Please enjoy: Chand si mehbooba ho meri kab….
chaa.Nd sii mahabuubaa ho merii kab aisaa mai.nne sochaa thaa
haa.N tum bilakul vaisii ho jaisaa mai.nne sochaa thaa
naa rasme.n hai.n naa kasame.n hai.n
naa shikave hai.n naa vaade hai.n
ik sUrat bholii bhaalii hai
do nainaa siidhe saade hai.n – 2
aisaa hii ruup khayaalo.n me.n thaa
jaisaa mai.nne sochaa thaa, haa.N …
merii khushiyaa.N hii naa baa.NTe
mere Gam bhii sahanaa chaahe
dekhe naa khvaab vo mahalo.n ke
mere dil me.n rahanaa chaahe
is duniyaa me.n kaun thaa aisaa
jaisaa mai.nne sochaa thaa, haa.N …
Day #17 of 31
Song #49
We have so far completed 13 years of Shakeel Badayuni’s career after he gave his first song for the 1947 AR Kardar movie Dard: Afsaana likh rahi hoon.
We have nine years to go for his last movie Beti in 1969.
We have just seen that in 1960, for the first time after 13 years, he paired with the music director Ravi in Ghunghat. In the same year, for the movie Chaudhvin Ka Chand, he finally received his first Filmfare Award for the song for which Rafi received his Best Playback Singer award: the title song: Chaudhvin Ka Chand.
Completing his hat-trick in 1961 with Music Director Ravi was SS Vasan’s movie Gharana. SS Vasan, or Subramaniam Srinivasan was, as you already know, the founder of the famous Gemini Studios that specialised in making family-drama movies. The movie starred Rajendra Kumar, Raaj Kumar and Asha Parekh.
A scene from the 1961 movie Gharana (Pic courtesy: www.zoom4india.com)
The film had nine songs as under:
1. “Dadi Amma” – Asha Bhosle & Kamal Barot
2. “Husn Wale Tera Jawaab Nahin” – Mohammed Rafi
3. “Jai Raghunandan” – Mohammed Rafi & Asha Bhonsle
4. “Jabse Tumhe Dekha Hai” – Mohammed Rafi & Asha Bhosle
5. “Ye Zindagi Ki Uljhane” – Asha Bhonsle
6. “Ye Duniya Usi Ki” – Asha Bhosle
7. “Ho Gai Re” – Mohammed Rafi & Asha Bhosle
8. “Na Dekho Humein Ghurke” – Mohammed Rafi & Asha Bhosle
9. “Mere Banne Ki Baat Na Puchho” – Shamshad Begum & Asha Bhosle
Shakeel Badayuni received his second consecutive year Filmfare Award for the same subject: describing the husn (beauty) of a woman. The song Husn waale tera jawab nahin had also Rafi nominated for the Filmfare Award but he won it for the Sasural song: Teri pyaari pyaari surat ko (Shankar Jaikishan and Hasrat Jaipuri).
tuu hai aisii kalii jo gulashan me.n
saath apane bahaar laayii ho
tuu hai aisii kiraN jo raat Dhale
chaa.Ndanii me.n nahaa ke aayii ho
ye teraa nuur ye tere jalave
jis tarah chaa.Nd ho sitaaro.n me.n
husn vaale …
terI aa.Nkho.n me.n aisii mastii hai
jaise chhalake hue ho.n paimaane
tere ho.nTho.n pe vo khaamoshii hai
jaise bikhare hue ho.n afasaane
terii zulfo.n kii aisii ra.ngat hai
jaise kaalii ghaTaa bahaaro.n me.n
husn vaale …
terii suurat jo dekh le shaayar
apane shero.n me.n taazagii bhar le
ek musavvir jo tujh ko paa jaae
apane Kvaabo.n me.n zi.ndagii bhar le
naGamaagar Dhuu.NDh le agar tujh ko
dard bhar le vo dil ke taaro.n me.n
husn vaale teraa javaab nahii.n …
https://www.youtube.com/watch?v=1Pn81ApIsfs
Day #17 of 31
Song #50
The 1961 movie Gharana also marked a first for Shakeel Badayuni; he wrote a children’s song that became a super hit.
The song is a song by the grand-children to appease their Dadi (grand-mother) Shanta (Lalita Pawar) who has been running the Gharana with total and tyrannical control.
Asha Bhosle and Kamal Barot sang this song and decades after seeing the movie with my parents, I can still not forget its setting. Full marks to Lalita Pawar too for her histrionics.
Please enjoy: Dadi amma dadi amma maan jaayo….
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
chhoTii-chhoTii baato.n pe na biga.Daa karo -2
Gussaa ho to ThaNDaa paanii pii liyaa karo
khaalii-piilii apanaa kalejaa na jalaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
daadii tumhe.n ham to manaa ke rahe.nge -2
khaanaa apane haatho.n se khilaa ke rahe.nge
chaahe hame.n maaro chaahe hame.n dhamakaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
kaho to tumhaarii ham champii kar de.n -2
piyo to tumhaare liye hukkaa bhar de.n
ha.Nsii na chhupaa_o zaraa aa.Nkhe.n to milaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o
hamase jo bhuul hu_ii maaf karo maa.N -2
gale lag jaa_o dil saaf karo maa.N
achchhii sii kahaanii ko_ii hamako sunaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
chho.Do jii ye Gussaa zaraa ha.Ns ke dikhaa_o
daadii-ammaa daadii-ammaa maan jaa_o -2
https://www.youtube.com/watch?v=ueJRRmVCBiI
Day #17 of 31
Song #51
How could someone who had mastery over the Urdu write so well in Hindi? But, that’s Shakeel Badayuni for you. We saw the bhajan of 1952 movie Baiju Bawra in pure Hindi: Man tadpat Hari darshan ko aaj.
This one from 1961 movie Gharana became equally iconic bhajan.
Mohammad Rafi who has sung the best bhajans in Hindi, sung this one too, however, with Asha Bhosle.
Asha Bhosle with Mohammad Rafi (Pic courtesy: proaudience.com)
Please enjoy: Jay Raghunandan, Jay Siyaram….
jay raghunandan jay siyaaraam
he dukhabha.njan tumhe.n praNaam
bhraat-bhraat ko he parameshvar sneh tumhii.n sikhalaate
nar-naarii ko he parameshvar sneh tumhii.n sikhalaate
o naiyaa ke khevanahaare japuu.N mai.n tumharo naam
jay raghunandan …
tum hii dayaa ke saagar prabhu jii tum hii paalanahaare
chain tumhii.n se paa_e bekal manavaa saa.Njh-sakaare
jo bhii tumhaarii aas lagaa_e bane usii ke kaam
jay raghunandan …
Appreciating Good Lyrics Song #17
As you are aware, I started these posts more than two weeks 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 pur 17th Lyricist Prem Dhawan‘s creation.Prem Dhawan was some seven years younger to Shakeel Badayuni; born on 13th July in Ambala (now in Haryana). After schooling, he did his college tenure from Ambala. He was actively engaged in the activities of the CPI (Communist Party of India).
Lyricist and Music Director Prem Dhawan (Pic courtesy: www.patrika.com)
In Bombay, he joined the Indian People’s Theatre Association as part of CPI activities. He learnt classical music under Pandit Ravi Shankar. At the age of 23 years, in 1946, he got his first break as a lyricist with Khwaja Ahmad Abbas’s movie Dharti Ke Lal.
His most well remembered contribution both as Lyricist and Music Director was in 1965 Manoj Kumar starrer Shaheed. He won the National Best Lyricist Award for the songs of the 1971 movie Nanak Dukhiya Sab Sansaar.
The 1951 movie Taraana starred the lovers in real and reel life: Dilip Kumar and Madhubala for the first time. And guess what? The songs of this Ram Daryani movie were neither penned by Shakeel nor composed by Naushad.
I saw the movie last year on my computer and the movie was popular, as most movies of those times, for its songs. DN Madhok (a tribute to him I have already given two days back) and Prem Dhawan divided the songs between themselves, with Prem Dhawan actually writing the best song of the movie.
All were composed by Anil Biswas. Here is the list:
1 Nain Miley, Nain Huwe Bawre Lata Mangeshkar, Talat Mehmood Prem Dhawan
2 Bol Papihe Bol Lata Mangeshkar, Sandhya Mukherjee Prem Dhawan
3 Mohse Rooth Gayo Mora Savariya Lata Mangeshkar D. N. Madhok
4 Yun Chhup Chhup Ke Mera Aana Lata Mangeshkar D. N. Madhok
5 Beimaan Tohre Nainwa Lata Mangeshkar D. N. Madhok
6 Seene Mein Sulagte Hain Armaan Lata Mangeshkar, Talat Mehmood Prem Dhawan
7 Wapas Le Le Yeh Jawani Lata Mangeshkar
8 Ek Main Hoon Ek Meri Talat Mehmood
9 Woh Din Kahan Gaye Bata Lata Mangeshkar D. N. Madhok
The movie’s story was almost the same as Udan Khatola’s in that the aircraft carrying Dilip Kumar crashes near Madhubala’s village! Of course Dilip Kumar and Nimmi of Udan Khatola could never match the spontaneous chemistry between Dilip Kumar and Madhubala.
Please enjoy not just a matching song to Shakeel’s but one of the best of Prem Dhawan as Lyricist sung by Lata Mangeshkar and Talat Mehmood: Seene mein sulgate hain armaan….
talat: sIne me.n sulagate hai.n aramaa.n
aa.Nkho.n me.n udaasI chhaaI hai
ye aaj terI duniyaa se hame.n
taqadIr kahaa.N le aaI hai
sIne me.n sulagate hai.n aramaa.n
latA: kuchh aa.Nkh me.n aa.NsU baakI hai.n
jo mere Gam ke saathI hai.n – 2
ab dil hai.n naa dil ke aramaa.n hai.n – 2
bas mai.n hU.N merI tanhaaI hai
sIne me.n sulagate hai.n aramaa.n
talat: na tujhase gilaa koI hamako
nA koI shikaayat duniyaa se
do chaar kadam jab manzil thii – 2
qismat ne Thokar khaaI hai
sIne me.n sulagate hai.n aramaa.n
lata: kuchh aisI aag lagI man me.n
jIne bhI naa de marane bhI naa de …
chup hU.N to kalejaa jalataa hai – 2
bolU.N to terii rusavaaI hai
both: sIne me.n sulagate hai.n aramaa.n
https://www.youtube.com/watch?v=GMlTeyN3zo4
Day #18 of 31
Song #52
After the 1960 movie with Naushad, Shakeel did three movies in a row with Ravi: Ghunghat, Chaudhvin Ka Chand and Gharana and picked up two Best Lyricist awards. One for the title song of 1960 movie Chaudhvin Ka Chand and the other (on the same subject of describing the beauty of the beloved) ‘Husn waale tera jawaab nahin for the 1961 movie Gharana.
In the next movie of the same year, the 1961 movie Ganga Jamuna he was back with Naushad and I rank its songs higher than the songs he wrote for Ravi. However, such are the idiosyncracies of Hindi film industry that neither Naushad nor Shakeel were even nominated for the awards. It is similar to Ghulam Mohammad having been ignored for Pakeezah songs and music.
Shakeel Badayuni with Naushad
I would think that Shakeel, having shown his mettle in Urdu and Hindi, in this movie tried Bhojpuri and succeeded to a great extent (nain la.D jai.nhe to manavaa me.n kasak hoibe karii) and that itself was worthy of giving him the Best Lyricist award rather than for both Urdu songs with Ravi.
Even Insaaf ki dagar pe, later rated as #1 patriotic song by MSN, has all-time best lyrics.
Have a look at the list of songs of this movie:
1 Dagabaaz Tori Batiyan Lata Mangeshkar
2 Dhoondo Dhoondo Re Sajna Lata Mangeshkar
3 Do Hanson Ka Joda Lata Mangeshkar
4 Jhanan Ghoongar Baje Lata Mangeshkar
5 Naina Lad Jaihen Mohammed Rafi
6 O Chhalia Re Chhalia Mohammed Rafi, Asha Bhosle
7 Tora Man Bada Papi Asha Bhonsle
8 Insaaf Ki Dagar Pe Hemant Kumar
9 Naina Lad Jaihen (Revival) Mohammed Rafi
Lets listen to Nain lad jai hain to put together by Shakeel, Naushad, Mohammad Rafi and Dilip Kumar:
nain la.D jai.nhe to manavaa me.n kasak hoibe karii
prem kaa chhuTi hai paTaakhaa to dhamak hoibe karii
nain la.D jai.nhe …
ruup ko manamaa basaibaa to buraa kaa ho_ii hai
tohuu se priit lagaibaa to buraa kaa ho_ii hai
prem kii nagarii ma kuchh hamaraa bhii haq hoibe karii
nain la.D jai.nhe …
ho_ii gavaa man maa more tichh.rii najar kaa hallaa
gorii ko dekhe binaa ni.ndiyaa na aavai hamakaa
phaa.Ns lagii hai to karejavaa ma khaTak hoibe karii
nain la.D jai.nhe …
aa.Nkh mil gayii hai sajaniyaa se to naachan lagii hai
pyaar kii miiThii gajal manavaa bhii gaavan lagii hai
jhaa.Njh bajii hai to kamariyaa ma lachak hoibe karii
nain la.D jai.nhe …
nainaa jab la.Dii hai to bhaiyyaa man me.n kasak hoibe karii
thaik thaik tik thaa
hoy hoy hoy!
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
kaisaa jaaduu Daar ke re, kaisaa Tonaa Daar ke
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
man le gayii re dhobaniyaa raamaa kaisaa jaaduu Daar ke
Day #18 of 31
Song #53
You just witnessed a perfect Bhojpuri song from the 1961 movie Ganga Jamuna that must have impressed you with the mastery that Naushad had over folk based songs. Anyway, the picturisation by the director Nitin Bose and superb dancing by Dilip Kumar in his own production added to the charm of the song.
The movie, as I said, Dilip Kumar’s own production, pitted his brother Nasir Khan as a police officer against him (Dilip Kumar), a common villager turned dacoit due to the atrocities of the feudal lords.
The next song is an all time favourite of mine on several counts. Firstly, its lyrics are exquisite and beautifully worded to express the feelings of Vyjayanthimala as a simple village girl Dhanno who has spent a carnal night with her love Dilip Kumar as Gungaram or Gunga in his dacoit’s den in the forest. Secondly, it is one of the best songs in Raag Pilu (Tal Dadra) though the Raag used to be a favourite of OP Nayyar. Thirdly, the Hindi film industry hasn’t seen a dancer of the calibre of Vyjayanthimala (she is simply grace personified in motion and she seems to enjoy dancing as much as we enjoy watching her).
Please enjoy: Dhoondo dhoondo re saajna more kaan ka baala…
DhU.nDho DhU.nDho re saajanaa DhU.nDho re saajanaa
more kaan kaa baalaa, ho
DhU.nDho DhU.nDho re saajanaa DhU.nDho re saajanaa
more kaan kaa baalaa
moraa baalaa chandaa kaa jaise haalaa re – 2
jaame.n laale laale haa.N,
jaame.n laale laale motiyan kii laTake maalaa, ho DhU.nDho …
mai.n soii thii, apanii aTaravaa
Thagavaa ne Daakaa Daalaa
luT ga_I nindiyaa, gir gaI bi.ndiyaa
kaano.n se khul gayaa baalaa, balam
moraa baalaa chandaa …
baalaa moraa baalepan kaa
ho ga_I re jaa kii chorii
o chhailaa toraa manavaa mailaa
laagii najariyaa torii, balam
morA baalaa chandaa …
baalaa moraa sejiyaa pe gir gayaa
DhU.nDhe re more nainaa
naa jaanuu.N piyaa
tuune churaay liyaa
da_iyyaa re kal kii rainaa, balam
morA baalaa chandaa …
Day #18 of 31
Song #54
The last song tonight from the movie Ganga Jamuna shouldn’t be a surprise to you at all. I have written about this song and the idealism of our education system at one time, for example here:
A village school teacher (the same Abhi Bhattacharya who was there with Kavi Pradeep in his Jagriti songs that are so inspirational) is teaching the village children in an open air school (which was the norm those days) and he is telling them to follow the path of righteousness and justice so as to emerge leaders of India in future.
MSN portal in 2011 adjudged it as the #1 patriotic song of India.
For me there is even greater enchantment with this song since my favourite singer Hemant Kumar has sung it.
Please enjoy: Insaaf ki dagar pe bachcho dikhao chal ke….
insaaf kii Dagar pe, bachcho.n dikhaao chal ke
ye desh hai tumhaaraa, netaa tumhii.n ho kal ke
duniyaa ke ra.nj sahanaa aur kuchh na mu.Nh se kahanaa
sachchaaiyo.n ke bal pe aage ko ba.Dhate rahanaa
rakh doge ek din tum sa.nsaar ko badal ke
insaaf kii …
apane ho.n yaa paraae sabake liye ho nyaay
dekho kadam tumhaaraa haragiz na Dagamagaae
raste ba.De kaThin hai.n chalanaa sambhal-sambhal ke
insaaf kii …
insaaniyat ke sar par izzat kaa taaj rakhanaa
tan man bhii bhe.nT dekar bhaarat kii laaj rakhanaa
jiivan nayaa milegaa a.ntim chitaa me.n jal ke,
insaaf kii …
Appreciating Good Lyrics Song #18
As you are aware, I started these posts more than two weeks 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 pur 18th Lyricist Neeraj‘s creation. Neeraj is still amongst us and we pray to God for his health and long life.Why so many lyricists, you may ask me? The fact is that just between two singers Lata Mangeshkar and Mohammad Rafi, we can count songs in excess of 30000. Now you can count other singers such as Mukesh, Hemant Kumar, Asha Bhosle et al and you will come to know that a number of lyricists were indeed required to write those songs.
Gopaldas Saxena ‘Neeraj’ was born in the village of Puravali near Mahewa of Etawah in Uttar Pradesh, India on 4 January 1924.
Lyricist Neeraj
He wrote under the pen name “Neeraj” and made a name for himself by using Hindi in his lyrics as compared to most others who wrote in Hindustani/Urdu. However, Hindustani/Urdu was still the language of the ‘Hindi’ film industry and hence even Neeraj wrote in that language many of his songs.
There was an era when he was highly popular such as when he wrote Phoolon ke rang se for the 1970 movie Prem Pujari. But, after the death of those that he worked with such as SD Burman and Shankar Jaikishan, he gave up on writing lyrics.
Matching lyrics with Shakeel?
Well, his songs for the 1965 movie Nai Umr Ki Nai Fasal were very good indeed such as:
Dekahti hi raho aaj darpan na tum.
Karvaan guzr gaya gubaar dekhate rahe.
Swapan jhade phool se, meet chubhe shool se.
Isako bhi apnaata chal.
And of course, this one, that happens to be his masterpiece as far as lyrics are concerned.
This was sung by Mohammad Rafi and Asha Bhosle for Rajeev and Tanuja respectively, and composed by Roshan.
Please enjoy: Aaj ki raat badi shokh badi natkhat hai, aaj to tere bina neend nahin aayegi….
Rafi solo
aaj kii raat ba.Dii shokh ba.Dii naTakhaT hai
aaj to tere binaa nii.nd na aayegii
ab to tere hii yahaa.N aane kaa ye mausam hai
ab tabiiyat na Kayaalo.n se bahal paayegii
dekh vo chhat pe utar aayii hai saavan kii ghaTaa
de rahii dvaar pe aavaaz kha.Dii puravaaii
bijalii rah rah ke pahaa.D.n pe chamak uThatii hai
suunii aa.Nkho.n me.n koii Kvaab le jyo.n a.nga.Daaii
kaise samajhaa_uu.N?
kaise samajhaa_uu.N ki is vaqt kaa matalab kyaa hai
dil kii hai baat
ho dil kii hai baat na ho.nTho.n se kahii jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
ye bhaTakate hue jugunuu ye diye aavaaraa
bhiigate pe.Do.n pe bujh-bujh ke chamak uThate hai.n
tere aa.Nchal me.n Take salame.n sitaare jaise
mujh se milane ko binaa baat damak uThate hai.n
saaraa aalam
saaraa aalam hai giraftaar tere husn me.n jab
mujhase hii kaise
ho, mujhase hii kaise ye barasaat sahii jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
raat raanii kii ye bhiinii sii nashiilii khushabuu
aa rahii hai ke jo chhan chhan ke ghanii Daalo.n se
aisaa lagataa hai kisii DhiiTh jhakhore se lipaT
khel aayii hai tere ulajhe hue baalo.n se
aur bezaar
aur bezaar na kar, mere ta.Dapate dil ko
aisii ra.ngiin
ho, aisii ra.ngiin Gazal raat na phir gaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
% Asha – Rafi Duet
aa: aaj kii raat ba.Dii shokh ba.Dii naTakhaT hai
aaj to tere binaa nii.nd nahii.n aayegii
ab to tere hii yahaa.N aane kaa ye mausam hai
ab tabiiyat na Kayaalo.n se bahal paayegii
haay paanii kii ye rimajhim ye khuledaar phuhaar
aise nas nas me.n terii chaah jagaa jaatii hai
jaise pi.njare me.n kisii qaid pa.De pa.nchhii ko
apanii aazaad u.Daano.n kii yaad aatii hai
ab to aa jaao
ab to aa jaao mere maa.Ng ke sinduur suhaag
saa.Ns terii hai
saa.Ns terii hai tere naam pe miT jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
aisii hii raat to vo thii ki terii nazaro.n ne
mujhe pahanaayaa thaa jab pyaar ke kapa.Do.n kaa libaas
aur us raat bhii aisii hii sharaabii thii fizaa
jab terii baaho.n me.n mahakii thii merii saa.Ns-o-adaa (?)
aur ab aisii
aur ab aisii javaa.N rut me.n akelii mai.n huu.N
aa jaa varanaa
aa jaa varanaa ye shamaa kaa.Np ke bujh jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
ra: par Thahar vo jo vahaa.N
par Thahar vo jo vahaa.N leTe hai.n fuT_paatho.n par
laash bhii jinake kafan tak na yahaa.N paatii hai
aur vo jho.npa.De chhat bhii na hai sar par jin ke
chhaate chhappar hii jahaa.N zi.ndagii so jaatii hai
pahale in sab ke liye
pahale in sab ke liye ek imaarat ga.Dh luu.N
phir terii maa.Ng
phir terii maa.Ng sitaaro.n se bharii jaayegii
aa: aaj to tere binaa nii.nd nahii.n aayegii …
Day #19 of 31
Song #55
Yesterday, I was giving you songs of 1961 movie Ganga Jamuna and I am sure that you would have wanted me to give you all the songs. “You gave only Nain lad jai hai, Dhoondo dhoondo re sajana, and Insaaf ki dagar pe”, you are bound to ask me, “What about, “Dagabaaz tori batiyan na maanu re, Tora man bada paapi sanwariya re, and Do hanso ka joda?”
Please remember that Shakeel wrote over 700 songs; 761 to be exact and at best in this tribute I can give you only about a hundred or so.
Anyway, it appears to me, that closer to the Birth Centenary, I shall have to increase the number of songs per day.
For the time being, I do not know how I am going to manage this, but, here is, a fourth song from the movie. After this, please, no more!
Naushad composed it in Raag Bhairavi, in Tal Hinch, which made a sad song with high tempo (something that Shankar Jaikishan excelled at).
Please enjoy: Do hanso ka joda bichhud gayo re….
do hanso ka joda bichhad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
do hanso ka joda bichhad gayo re
gajab bhayo rama, julam bhayo re
mora sukh chain bhi, jivan bhi mora chhin liya
papi sansar ne sajan bhi mora chhin liya
piya bin tadape jiya, ratiya bitau kaise
biraha ki agani ko asvan se bujau kaise
jiya mora mushkil me pad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
raat ki aas gayi, din ka sahara bhi gaya
mora suraj bhi gaya, mora sitara bhi gaya
prit kar ke kabhi pritam se na bichhade koyi
jaisi ujadi hu mai, aise bhi na ujade koyi
bana khel mora bigad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
jite ji chhod ungi saiyya na dagariya tori
bit jayegi yuhi sari umariya mori
naino se hoti rahegi yuhi barsat balam
yaad me roti rahungi teri dinaraat balam
nagar more man ka ujad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
do hanso ka joda bichhad gayo re
gajab bhayo rama, julam bhayo re
gajab bhayo rama, julam bhayo re
https://www.youtube.com/watch?v=qSbMdrP5xbI
Day #19 of 31
Song #56
Ladies and gentlemen,
This is really too much: thinking about you, I am unable to progress as planned and end up giving more songs than I have planned to give!
Anyway, after five years of making the 1957 movie Mother India, in 1962, Mehboob Khan made a sequel to it called Son of India. He took relatively lesser known stars Kamaljith, Simi Garewal, Jayant and Kumkum in the lead roles. However, as far as the songs were concerned he retained the team of Shakeel Badayuni and Naushad.
The movie had nine songs in all. All gems as follows:
1. “Aaj Chhedo Mohabbat Ki” Lata Mangeshkar
2. “Aaj Ki Taaza Khabar” Shanti Mathur
4. “Dil Todne Wale” Lata Mangeshkar, Mohammed Rafi
5. “Diya Na Bujhe Ri Aaj” Lata Mangeshkar, Chorus
6. “Insan Tha Pehle Bandar” Shanti Mathur
7. “Mujhe Huzoor Tum Se” Geeta Dutt
8. “Nanha Munna Rahi Hoon” Shanti Mathur, Chorus
9. “Zindagi Aaj Mere Naam” Mohammed Rafi
So far we have seen that Shakeel wrote the best songs on beauty of a beloved: Chaudhvin ka Chand and Husn waale tera jawaab nahin; he wrote the best patriotic song: Insaaf ki dagar pe bachcho dikhaayo chal ke; he wrote the best folk songs as in, for example, Baiju Bawra and Gunga Jamuna. Now, it is time to see his best children’s song (even better than Dadi amma dadi amma maan jaayo).
This song was sung by Shanti Mathur and chorus and picturised on Master Sajid, the adopted son of Mehboob Khan, the director of the movie (if you recall, he starred in Mother India too).
Please enjoy: Nanha munha raahi hoon, desh ka sipaahi hoon….
nanhaa munnaa raahii huu.N, desh kaa sipaahii huu.N
bolo mere sa.ng, jay hi.nd, jay hi.nd, jay hi.nd …
raste pe chaluu.ngaa na Dar-Dar ke
chaahe mujhe jiinaa pa.De mar-mar ke
ma.nzil se pahale naa luu.ngaa kahii.n dam
aage hii aage ba.Dhaau.ngaa kadam
daahine baae.n daahine baae.n, tham! nanhaa …
dhuup me.n pasiinaa bahaau.ngaa jahaa.N
hare-bhare khet laharaae.nge vahaa.N
dharatii pe faake na paae.nge janam
aage hii aage …
nayaa hai zamaanaa merii na_ii hai Dagar
desh ko banaau.ngaa mashiino.n kaa nagar
bhaarat kisii se na rahegaa kam
aage hii aage …
ba.Daa ho ke desh kaa sitaaraa banuu.ngaa
duniyaa kii aa.Nkho.n kaa taaraa banuu.ngaa
rakhuu.Ngaa uu.nchaa tira.ngaa haradam
aage hii aage …
shaa.nti ki nagarii hai meraa ye vatan
sabako sikhaauu.ngaa pyaar kaa chalan
duniyaa me.n girane na duu.ngaa kahii.n bam
aage hii aage …
https://www.youtube.com/watch?v=rszFSH6z4Us
Day #19 of 31
Song #57
Last year I was the Chief Guest at a Christian run school in Vashi. And guess what, 53 years after Nanha munha raahi hoon was first sung, it is still popular in schools, irrespective of language, creed, religion and region.
To end today, I give you this vintage Shakeel song from the same movie; this is so typical of him: sorrow, ruefulness, irony all rolled in one.
This was composed by Naushad in Raag Jaijaivanti, a raag originally composed by the ninth guru of the Sikhs: Guru Teg Bahadur (the gurus, like all gurus in India, who were absobed in intellectualism (that’s how Bharat got its name: Bha: Intellect and Rat: Absorbed in) but upon whom war was imposed by the mughals and hence they had to become ‘Bahadur’ and finally ‘Singh’).
This was sung by Mohammad Rafi.
Please enjoy: Zindagi aaj mere naam se sharmaati hai….
zindagii aaj mere naam se sharamaatii hai
apane haalaat pe mujhe khud hii ha.Nsii aatii hai
zindagii aaj mere …
ek Gam chain se jiine nahii.n detaa mujhako -2
ek ulajhan hai jo aksar mujhe ta.Dapaatii hai
zindagii aaj mere …
is tarah chho.D ke nikalaa huu.N mai.n apanii ma.nzil
jaise hasarat ko_ii siine se nikal jaatii hai
zindagii aaj mere …
raah chalate hu_e kuchh soch ke ruk jaataa huu.N -2
har qadam par ko_ii bhuulii hu_ii yaad aatii hai
zindagii aaj mere …
Appreciating Good Lyrics Song #19
As you are aware, I started these posts more than two weeks 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 19th Lyricist Bharat Vyas‘s creation.Today (22 Jul) also happens to be the Birth Anniversary of the singer Mukesh Chand Mathur and as luck would have it, and I haven’t planned it (I am a great liar!), Bharat Vyas’s most iconic song also happens to be one of the best sung by Mukesh. In my boyhood days I used to listen to it in my dad’s parties and I used to imagine the scene as depicted in the beautiful lyrics penned by Bharat Vyas.
Bharat Vyas was born on 18th Dec 1923 in a small town of Churu in Bikaner district of Rajasthan. He graduated in commerce stream in Calcutta and then shifted to Bombay. The first movie for which he penned songs was the 1943 movie Duhaai. Duhaai had the following songs:
1. Aao Sajan Aao Sajan
Shanta Apte, Prakash Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
2. Ab Hovega Byah Tumhara Ho
Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
3. Ab Mast Jawani Aayi
Noor Jehan Rafiq Ghaznavi, Pannalal Ghosh, Shanti
Kumar Bharat Vyas
4.Bade Bewafa Hai Mard In Pe Bhul Hai Marna
Noor Jehan Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
5.Kyu Shor Kar Rahe Ho
Shanta Apte Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
6. Maan Gayi Mai
Shanta Apte, Rafiq Ghaznavi Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
7. Mai Piya Se Milne Ko Jaa Rahi Hu
Shanta Apte Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
8. Mat Chhedo Hame Girdhari
Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
9. Mohe Neend Na Aaye
Shanta Apte, Rafiq Ghaznavi Rafiq Ghaznavi, Pannalal Ghosh, Shanti Kumar Bharat Vyas
The 1961 movie Saranga, a Dhirubhai Desai movie, starred Jayshree Gadkar in the title role with Sudesh Kumar. It had two excellent songs of Mukesh. Have a look at the list:
1 Haan Diwana Hoon Mukesh 04:04
2 Saranga Teri Yaad Mein (Mukesh) Mukesh 05:06
3 Saranga Teri Yaad Mein (Rafi) Mohammad Rafi 01:05
4 Piya Kaise Miloon Mohammad Rafi, Lata Mangeshkar 05:41
5 Likh De Piya Ka Naam Suman Kalyanpur 04:06
6 Aa Aaja Mere Saathi Mohammad Rafi, Asha Bhosle 02:29
7 Koi Ghar Aayega Lata Mangeshkar, Chorus 03:28
8 Lagi Tumse Lagan Mukesh, Lata Mangeshkar 03:42
9 Na Ja Mere Saath Mohammad Rafi, Chorus 03:46
10 Daiya Re Daiya Ek Lata Mangeshkar, Chorus 03:40
11 Chali Re Chali Main Asha Bhosle 04:49
12 Haan Diwana (Revival) Mukesh 04:24
13 Saranga Teri (Revival) Mukesh 05:11
All the songs were composed by Sardar Malik.
Please enjoy the iconic song of both Bharat Vyas and Mukesh: Saranga teri yaad mein…..
saara.ngaa terI yaad me.n nain hue bechain
madhur tumhaare milan binaa
din kaTate nahii.n rain, ho~
saara.ngaa terI yaad me.n …
vo ambuvaa kA jhuulanaa, vo pIpal kii chhaa.Nv
ghuu.NghaT me.n jab chaa.Nd thA, meha.ndii lagI thI paa.nv
ho, (aaj uja.Dake rah gayaa – 2)
vo sapano.n kA gaa.Nv, ho …
saara.ngaa terI yaad me.n …
sa.ng tumhaare do gha.Dii, bIt gaye jo pal
jal bharake mere nain me.n, aaj hue ojhal
ho, (sukh leke duHkh de gayii.n -2)
do akhiyA.N cha.nchal, ho …
saara.ngaa terI yaad me.n …
Day #20 of 31
Song #58
We are going to go off track a bit today (22 Jul) only because it happens to be the Birth Anniversary of the legendary singer Mukesh and I would like to give you Shakeel’s songs sung by Mukesh.
(Pic courtesy: www.saavn.com)
In one of the earliest movies of Shakeel, indeed in his second movie after the 1947 movie Dard in which all songs were sung by females only, the 1948 movie Anokhi Ada, that is, I had mentioned that Mohammad Rafi hadn’t yet started singing Shakeel’s songs. I had given you a Mukesh song from the movie: Kabhi dil se dil takraata to hoga.
Here is a second Mukesh song from the movie. The uniqueness of this song is that both Shakeel and Mukesh excelled in depicting gham (sorrows) in their songs and yet here is a happy song for both of them!
It has been composed by Naushad.
Please enjoy: Manzil ki dhun mein jhumate gaate chale chalo…
(do din kii zi.ndagii me.n ko_ii kyuu.N uThaaye Gam
ko_ii kyuu.N uThaaye Gam) – 2
naGme.n Kushii ke sab ko sunaate chale chalo – 2
bichha.De …
(insaaniyat to pyaar mohabbat kaa naam hai
mohabbat kaa naam hai) – 2
insaaniyat kii shaan ba.Dhaate chalo chalo
bichha.De hue …
(aazaad zi.ndagii hai to barbaad kyuu.N rahe
barbaad kyuu.N rahe) – 2
barbaadiyo.n se dil ko bachaate chale chalo – 2
bichha.De hue …
ma.nzil …
Day #20 of 31
Song #59
Now, I am jumping several years to give you a Mukesh song of Shakeel Badayuni. It is from one of the last movies of Shakeel: the 1967 movie Wahan Ke Log.
The title is the same as the Awara song sung by Mukesh on the lyrics of Hasrat Jaipuri and music of Shankar Jaikishan.
This one is not picturised on Raj Kapoor but on Pradeep Kumar, who acted in the movie opposite Tanuja.
It is rare for Shakeel Badayuni to have his lyrics composed by C Ramchandra. However, this one was.
Please enjoy: Ham tujhase mohabbat karke sanam duniya ka fasaana bhool gaye….
hum tujhse mohabbat ka rke sanam
dunia ka fasana bhul gaye
hum tujhse mohabbat kar ke sanam
dunia ka fasana bhul gaye
aankho se teri ek jam piya
aankho se teri ek jam piya
phir hosh me aana bhul gaye
hum tujhse mohabbat kar ke sanam
jab dekh li teri mast najar
jab dekh li teri mast najar
maykhane ka rashta chhod diya
julfo pe teri jab aankh padi
sawan ka jamana bhul gaye
aankho se teri ek jam piya
aankho se teri ek jam piya
phir hosh me aana bhul gaye
hum tujhse mohabbat kar ke sanam
aye husn teri ulfat ne hame
aye husn teri ulfat ne hame
pahucha diya aisi manjil pe
kadmo me tere ek sajda kiya
phir sar ko uthana bhul gaye
aankho se teri ek jam piya
aankho se teri ek jam piya
phir hosh me aana bhul gaye
hum tujhse mohabbat ka rke sanam
Day #20 of 31
Song #60
The 1969 movie Beti was the last movie whose songs were penned by Shakeel Badayuni. It had a Mukesh number: Ye kya kiya re duniyawaale.
Once again, rare for Shakeel Badayuni, that the songs of the movie were composed by Sonik Omi (the uncle nephew team; of which Omi we lost recently).
Here is a complete list of songs from the movie:
2. Hasin Zulfo Ka Rang De Do Mohammed Rafi
3. Shyam Dhun Lagi Hari Nam Dhun Lagi Lata Mangeshkar
4. Lehnga Manga De Mere Babu Asha Bhosle, Lata Mangeshkar
5. Yeh Kya Kiya Re Duniyawale Mukesh
6. Ek Mithi Nazar Phul Barsa Gayi Mohammed Rafi, Asha Bhosle
Please enjoy: Yeh kya kiya re duniyawale…..
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
o re bedardi o harajayi, dekh li maine teri kudayi
o re bedardi o harajayi, dekh li maine teri kudayi
pehle hi meraa dil ghayal tha
aur bhi uss par chot lagayi
tune rulake mujhe dar dar phira ke mujhe
kab ke yeh araman nikale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
subah kaa suraj rat ke tare, ban gaye sab ke sab angare
subah kaa suraj rat ke tare, ban gaye sab ke sab angare
aas ke bandhan tod ke tune
chhin liye sabhi sang sahare
mere lahu ki kasam aur bhi kar le sitam
aag too dil ki bujhale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
jaha ke ghum tune sabhi mujhko de dale
yeh kya kiya re duniyawale
https://www.youtube.com/watch?v=AFUCWGqpNtY
Appreciating Good Lyrics Song #20
As you are aware, I started these posts more than two weeks 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 pur 20th Lyricist Gulzar‘s creation.Gulzar is the DN Madhok and Kidar Sharma of the modern day. He is a lyricist, director, producer, story and screen play and dialogue writer and of course a poet of eminence.
He was born as Sampooran Singh Kalra in Jhelum district (now in Pakistan) on 18th Aug 1934.
He made a mark in the Hindi movies with his very first song in Bimal Roy’s Bandini for the music director SD Burman: Mera gora rang lai le, mujhe shyam rang dai de.
He has received the Best Lyricist Flimfare Award for a record 11 times and in 2013 he received the highest award: the Dadasaheb Phalke award.
He is married to the actress Rakhee and they have a daughter Meghna.
He has dozens or even hundreds of songs with matching lyrics to Shakeel Badayuni even though he was born a good 18 years after Shakeel.
His songs of the 1969 Hemant Kumar production Khamoshi are my favourite since these have Hemant da’s composition and also one of them have his voice.
Here is the list:
01. Tum pukar lo.. tumhaara intezaar hai: Hemant Kumar
02. Woh Shaam Kuch ajeeb thi.. yeh shaam bhi ajeeb hai : Kishore Kumar
03. Humne dekhee hai un aankhon ki mehekti khushboo: Lata Mangeshkar
04. Aaj Ki Raat Charagon- Aarti Mukherjee
05. Dost Kahan Koi Tumsa: Manna Dey
Please enjoy: Tum pukaar lo, tumhaara intzaar hai….
tum pukaar lo, tumhaaraa intazaar hai,
tum pukaar lo
Kvaab chun rahii hai raat, beqaraar hai
tumhaaraa intazaar hai, tum pukaar lo
ho.nTh pe liye hue dil kii baat ham
jaagate rahe.nge aur kitanii raat ham
muqtasar sii baat hai tum se pyaar hai
tumhaaraa intazaar hai, tum pukaar lo
dil bahal to jaayegaa is Kayaal se
haal mil gayaa tumhaaraa apane haal se
raat ye qaraar kii beqaraar hai
tumhaaraa intazaar hai, tum pukaar lo
https://www.youtube.com/watch?v=Iiobymr_yq4
Day #21 of 31 Song #61
This is a post of 23 July since I was away to Nagpur.
In the chronological order, starting from his 1947 movie Dard, we had reached the 1962 Mehboob Khan movie Son of India. Until then, Shakeel had done 19 movies with Naushad, 08 with Ghulam Mohammad, one each with Khursheed Anwar and Sardar Malik, and three with Ravi that got him two Filmfare Best Lyricist awards.
And now another great composer entered his life and got him another Best Lyricist award, his last. The music director was my favourite: Hemant Kumar and the name of the movie was Sahib Bibi Aur Ghulam.
This 1962 movie was produced by Guru Dutt (Best Movie) and directed by his favourite story-writer Abrar Alvi (he received Best Direction Filmfare Award) It was based on Bimal Mitra’s Bengali story Sahib Bibi Gholam and starred Meena Kumari (who received Bset Actress award for the movie), Rehman, Guru Dutt and Waheeda Rehman.
Fifty-four years later, the songs of the movie are as fresh as when they were first sung. Here is the list:
1.”Sakiya Aaj Mujhe Neend Nahin Aayegi” Asha Bhosle Minoo Mumtaz
2. “Meri Jaan O Meri Jaan” Asha Bhosle Bimla Kumari, Rehman
3. “Piya Aiso Jiya Mein Samaaye Gayo Re” Geeta Dutt Meena Kumari
4. “Na Jao Saiyan Chhudaake Baiyan” Geeta Dutt Meena Kumari, Rehman
5. “Koi Door Se Aawaaz De Chale Aao” Geeta Dutt Meena Kumari, Guru Dutt
6. “Bhanwara Bada Naadaan” Asha Bhosle Guru Dutt, Waheeda Rehman
7. “Meri Baat Rahi Mere Man Mein” Asha Bhosle Waheeda Rehman
8. “Sahil ki Taraf Kashti Le Chal” Hemant Kumar Meena Kumari, Guru Dutt.
You will agree with me that each one is a veritable gem.
Lets start with Saakiya aaj mujhe neend nahin aayegi, the song that depicts the feudalism of West Bengal and the done thing by the Choudharies to visit the courtesans neglecting their wives.
The song has been sung by Asha Bhosle and picturised on Minoo Mumtaz.
saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai
aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai
ko : saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai
aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
aa : aa
saaqii hai aur shaam bhii
ulfat kaa jaam bhii
ho
taqadiir hai usii kii
jo le inase kaam bhii
ra.ng-e-mahafil hai raat bhar ke liye
ko : ra.ng-e-mahafil hai raat bhar ke liye
aa : sochanaa kyaa abhii sahar ke liye
ko : sochanaa kyaa abhii sahar ke liye
aa : ra.ng-e-mahafil hai raat bhar ke liye
sochanaa kyaa abhii sahar ke liye
teraa jalawaa ho terii suurat ho
aur kyaa chaahiye nazar ke liye -2
aaj suurat terii beparadaa nazar aayegii
ko : sunaa hai terii mahafil me.n ratajagaa hai
saaqiyaa aaj mujhe nii.nd nahii.n aayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
aa : aa
mohabbat me.n jo miT jaataa hai
wo kuchh kah nahii.n sakataa
haa.N
ye wo kuuchaa hai jisame.n
dil salaamat rah nahii.n sakataa
kisakii duniyaa yahaa.N tabaah nahii.n
ko : kisakii duniyaa yahaa.N tabaah nahii.n
aa : kaun hai jisake lab pe aah nahii.n
ko : kaun hai jisake lab pe aah nahii.n
aa : kisakii duniyaa yahaa.N tabaah nahii.n
kaun hai jisake lab pe aah nahii.n
husn par dil zaruur aayegaa
isase bachane kii ko_ii raah nahii.n -2
zindagii aaj nazar milate hii luT jaayegii
ko : sunaa hai terii mahafil me.n ratajagaa hai
aa : o o o
ko : saaqiyaa aaj mujhe nii.nd nahii.n aayegii
aa : aa aa aa
ko : aa.Nkho.n-aa.Nkho.n me.n yuu.N hii raat guzar jaayegii
sunaa hai terii mahafil me.n ratajagaa hai -2
Day #21 of 31
Song #62
I hope you liked the last song that Hemant Kumar had composed on the lyrics of Shakeel, in Raag Bhairavi, Tal Kaherava.
Sahib Bibi Aur Ghulam’s songs are amongst the best of Shakeel and the only reason that he didn’t get his third consecutive Filmfare Award for the songs of this movie was that he got the Best Lyricist award for Kahin deep jale kahin dil of Bees Saal Baad, his next movie.
The next song is a sad song in the context of the movie. Meena Kumari dresses up for her husband Rehman, only to be told that he is going to spend the evening with the courtesan.
(piyaa aiso jiyaa me.n samaay gayo re
ki mai.n tan man kii sudh budh gavaa.N baiThii ) – 2
har aahaT pe samajhii vo aay gayo re
jhaT ghuu.NghaT me.n mukha.Daa chhupaa baiThii
piyaa aiso jiyaa me.n samaay gayo re …
(more a.nganaa me.n jab puravayyaa chalii
more dvaare kii khul gaI kivaa.Diyaa.n ) – 2
o daiyaa! dvaare kii khul gaI kivaa.Diyaa.n
maine jaanaa ki aa gaye saa.nvariyaa more – 2
jhaT phuulan kii sejiyaa pe jaa baiThii
piyaa aiso jiyaa me.n samaay gayo re …
(maine si.nduur se maa.Ng apanii bharii
ruup saiyaa.N ke kaaraN sajaayaa ) – 2
o maine saiyaa.N ke kaaraN sajaayaa
is dar se kisii kii nazar na lage – 2
jhaT nainan me.n kajaraa lagaa baiThii
piyaa aiso jiyaa me.n samaay gayo re …
Day #21 of 31
Song #63
This is the last post of 23 July which I couldn’t post since I was away to Nagpur.
I have given you two songs from the 1962 Guru Dutt production Sahib Bibi Aur Ghulam which has music by Hemant Kumar on Shakeel Badayuni’s lyrics.
Hemant Kumar and Shakeel Badayuni, the pair that gave us remarkably good songs in Sahib Bibi Aur Ghulam, Bees Saal Baad and Bin Baadal Barsaat
The third song is the song about Meena Kumari‘s attempt to keep her husband Rehman at home since he would have otherwise gone to the courtesan. She even takes to drinking so as to convey to him that she was ready to do what a courtesan would do for him. In that context, it is another poignant song; if not the most poignant song in the movie. I am sure her acting in the song would have played a large role in getting her the Filmfare Best Actress award of that year.
This too was sung by Geeta Dutt for Meena Kumari and composed by Hemant da in Raag Pilu, Tal Kaherava.
Please enjoy: Na jaayo sainyan chhuda ke bainya….
na jaao sai.nyaa chhu.Daa ke bai.nyaa
qasam tumhaari mai.n ro pa.Duu.Ngii, ro pa.Duu.Ngii
machal rahaa hai suhaag meraa
jo tum na ho to, mai.n kyaa karuu.Ngii, kyaa karuu.Ngii
ye bikharii zulfe.n ye ghulataa kajaraa
ye mahakii chunarii ye man kii madiraa
ye sab tumhaare liye hai priitam
mai.n aaj tum ko na jaane duu.Ngii, jaane na duu.Ngi
mai.n tumharii daasii janam kii pyaasii
tumhi.n ho meraa {shh}R^i.ngaar priitam
tumhaarii raste kii dhuul le kar
mai.n maa.Ng apanii sadaa bharuu.Ngii, sadaa bharuu.Ngii
jo mujh se akhiyaa.N churaa rahe ho
to merii itanii araj bhii sun lo
piyaa ye merii araj bhii sun lo
tumhaarii qadamo.n me.n aa gayii huu.N
yahii.n jiyuu.Ngii yahii.n maruu.Ngii, yahii.n maruu.Ngii
Appreciating Good Lyrics Song #21
As you are aware, I started these posts more than two weeks 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 twenty 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.
14. Pt. Indra Chandra with Baag laga doon sajani.
15. Anjaan with Tumhen zindagi ke ujaale mubarak.
16. Anand Bakshi with Chand si mehbooba ho meri kab.
17. Prem Dhawan with Seene mein sulagate hain armaan.
18. Neeraj with Aaj ki raat badi shokh badi natkhat hai.
19. Bharat Vyas with Saranga teri yaad mein.
20 Gulzar with his Tum pukaar lo, tumhaara intezaar hai.
Today we take up our 21st lyricist: Pt. Narendra Sharma‘s creation.
Pandit Narendra Sharma was born on 28th Feb 1913 in Jahangirpur near Khurja (now in Gautam Buddha Nagar district) Uttar Pradesh. He did his undergraduate program and M.A in English Literature at Allahabad University. “Lata Mangeshkar the legendary singer use to call him as father while she was called as daughter. In a documentary on Lata Mangeshkar produced and directed by Nasreen Munni Kabir for Britain’s Channel 4 the legendary singer has confessed that she learnt a lot from pandithji and could negotiate many difficulties of life based on his advice”.
He achieved considerable fame for writing the title song of 1979 Raj Kapoor movie Satyam Shivam Sundaram. The song was nominated for Filmfare Best Lyricist Award.
For the matching lyrics to Shakeel’s, we are going to take up a song from his 1952 movie Aandhiayan.
The movie was written and directed by Chetan Anand. The movie was based on actual incidents in Amritsar. The movie starred Dev Anand, Nimmi and Kalpana Kartik. The music was composed by Ali Akbar Khan with Jaidev assisting him.
Following is a list of the songs:
1. “Woh Chand Nahin Hai Dil Hai” Hemant Kumar, Asha Bhosle 3:19
2. “Dil Ka Khazana Khol Diya” Asha Bhosle 3:10
3. “Hai Kahin Par Shaadmani” Lata Mangeshkar 03:11
4. “Main Mubarakbaad Dene Aai Hoon” Surinder Kaur 03:10
Lets take up the one sung by Hemant Kumar and Asha Bhosle: Woh chand nahin hai, dil hai kisi deewaane ka….
he: vo chaa.Nd
vo chaa.Nd nahii.n hai
dil hai kisii diivaane kaa
(aakash jise kahatii duniyaa) – 2
vo naam hai ik viiraane kaa …
(diivaane ke dil kii hii tarah) – 2
vo raato.n jalataa rahataa hai
is nii.nd kii maaTii nagarii me
vo kuchh na kisii se kahataa hai
(hai us me shamaa kii bechainii) – 2
aur pyaar bhii hai paravaane kaa …
he: jab se pahaluu se gayaa hai dil
kisii pahaluu nii.nd nahii.n aatii
aa: (jo suurat dil men samayii hai) -2
(vo suurat dil se nahii.n jaatii ) -2
aao aa.Nchal patalaa jaa_o
kyaa raat hai dil me samaane kaa
kyaa raat
https://www.youtube.com/watch?v=9dzvG6XF5gw
With that we come to the end of the third week of Countdown to the Birth Centenary of Shakeel Badayuni.
Please await the Part IV with the fourth week of the Countdown.
Secondly, why do I have to write posts about this colony? It is simply because after retirement from the Indian Navy in end Feb 2010 I made this colony my home for the rest of my life and whatever happens here affects me in a huge manner.
Thirdly, why this queer title of the post: ‘Hell In The JVDE (Kharghar) – A ‘War’ Movie In The Making!’? Let me explain:
I saw this 1968 World War II film titled Hell In The Pacific (starring Lee Marvin and Toshirō Mifune, the only two actors in the entire film) in the New Empire theatre in South Bombay in a matinée show after I became a commissioned officer in the Indian Navy. The film is a story of two military men, an American pilot and a Japanese navy captain, marooned on an uninhabited Pacific island, who, in order to survive, must accept their differences and work together, despite their two countries being at war.
The film was entirely shot in the Rock Islands of Palau in the north Pacific Ocean, near the Philippines in the Philippine Sea. A curious historical factual coincidence was that somewhere near there, on an island, an American and a Japanese soldiers were actually discovered many years after the war; they kept plotting against each other many years after the World War II ended since on that island they had no means of knowing that the war had been called off.
In real life too, both actors served for their respective countries during the Pacific War. Marvin, who was in the US Marines, was wounded and received the Purple Heart during the Battle of Saipan in 1943. Mifune served in the Imperial Japanese Army Air Service.
And now, perhaps you will understand the title of the post. Retired IAF and IN personnel, despite my best efforts and those of my other well-meaning colleagues, are still at war with one another in JVDE (Kharghar) and they ain’t on a remote island! Who is to tell them that the hostilities have been called off? And that, now, they must work together for the well-being and survival of JVDE (Kharghar).
The following scene from the movie could very well be between the previous MC (Managing Committee of JVDE who were voted out last year) holding by throat the new MC (duly elected) and not allowing it to do its assigned job. What does the previous MC have to gain by it? Well, the same that the British had to gain by their crafty policy of ‘Divide and Rule’.
(Photo courtesy: cinezinekane.com)
Last month, the previous MC guys, in a bid to prove that though they didn’t fight the (re)elections for the MC last year, they were indeed the God’s gift to JVDE during their tenure, called for a calling-attention Special General Body Meeting (SGM) of JVDE. The agenda was only one; which is, that the new MC was doing enormous harm by not following the confrontational and spy versus spy approach of the previous MC, which had successfully made disharmony as the way of life in the Society. It was a sheer wastage of time for all of us since they were hell-bent on proving by rhetoric what is against the commonsense of majority of the members.
I had broken my silence of the last few years during that SGM and reminded these members that the number one issue concerning our Society is to actually restore peace and harmony, trust and camaraderie. I was supported by an unambiguous voice vote. Undeterred, the JVDE rabble-rousers immediately after the SGM, renewed and even doubled their efforts to disrupt normal functioning of the Society. As far as they are concerned, every plan and effort of the new MC has to be somehow countered and opposed. Every issue of JVDE has to be connected with the single-point agenda of the last MC, that is, the so-called Encroachment Issue. So far, they have made all out efforts to link Fire Safety of the buildings and the Land Conveyance Deed to the Encroachment Issue. This has been done so as to justify the five years of their tenure that they dissipated on this non-issue to the exclusion of any other scheme for the welfare of the Society.
Take the case of this rabble-rouser group’s strident opposition to Rain Water Harvesting (RWH) on Terraces of the buildings. They already know that it would actually solve the rampant leakages problems in buildings for which in the five years of their tenure they were able to do nothing. They have already sensed the danger to their relevance as rabble-rousers and hence have started an all out campaign not to let it happen.
Two buildings: Tulip and Daffodil (all buildings in JVDE have been named after flowers not knowing that there are people in the Society forever in love with thorny issues) are due for major repairs and hence the works committees of these buildings had approached the present MC for installation of RWH with twin aims: One, it would result in rain water harvesting, which buildings in Mumbai and Navi Mumbai are increasingly undertaking so as to get over perpetual water shortages. And two, the shed over the terraces would keep the terraces dry and prevent the perpetual leakages the top floors face due to bad design and construction. Have a look at the pictures below and remember that since the original construction of JVDE buildings and until now we have not been able to arrest the leakages in buildings; the number two issue facing the Society (the first being restoration of Peace, Harmony, Trust and Camaraderie), that the previous MC wasn’t able to do a fig about because of focus on only one issue: the so called encroachments.
Of course, there are many other measures to keep the terraces clean and dry, in addition to the above. However, the intransigence of some of the members of the previous MC (they actually want the focus to return to a single point agenda of the so-called encroachments) is keeping the present MC from implementing any of these plans.
Time has therefore come in the society whence most of us (if not all of us) must abandon the earlier path chosen by the previous MC of confrontation, mistrust, hostility and suspicion (and doing nothing else) and think in terms of being participants with the present Managing Committee for the well-being of the Society.
I am, by no means suggesting (since some of the rabble-rousers are adept at twisting every word of others) that there should be no opposition to the ideas and plans of the Managing Committee. We should debate and discuss, in civilized fashion, all significant issues of the Society. However, we should shun the highly disruptive approach adopted by some of these people who have vested interests in ensuring peace, harmony and well-being don’t ever return to JVDE.
Let us all join hands in ensuring that ‘Hell In The JVDE (Kharghar) – A ‘War’ Movie In The Making!‘ is stopped here and now and bring home to the handful of rabble-rousers that their disruptive methods are not appreciated and won’t succeed.
P.S. Please do feel free to give your comments below. When the comments on my last article were published, the rabble-rousers had this to say to me: “All favourable comments to your article are by those who have encroached upon common-spaces in the buildings”. However, I publish all comments, whether favourable to me or not, except when comments become rhetoric and even longer than the article itself!
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
We have completed Part I of this Countdown from 03 Jul to 09 Jul 16. Those of you who read Part I would know that I have been giving three songs a day and a feature titled ‘Appreciating Good Lyrics’ wherein I bring out the lyrics of Shakeel’s contemporaries.
I initially started without any chronological order but soon settled into that. Hence, I have covered Shakeel’s songs from his first in AR Kardar’s 1947 movie Dard (Afsaana likh rahi hoon sung by Uma Devi (later Tun Tun)) till AR Kardar’s 1953 movie Dil-e-Nadaan (Jo khushi se chot khaaye sung by Talat Mehmood).
As far as ‘Appreciating Good Lyrics’ of other Lyricists is concerned, in Part I, I have covered seven of them:
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 Aansu bhari hain ye jeevan ki raahen.
With this, we are ready to move into Part II, covering the second week of the countdown. Before we do, here is my own adoration:
Shakeel geeton aur ghazalon ke umdha fankaar the, Gham se unaka rishta tha, gham ke khareeddaar the,
Husn aur ishq pe likhana unaki khaasiyat hi nahin,
Lagata tha jaise mohabbat karne waalon ke raazdaar the.
Day #8 of 31
Song #22
In the 1954 movie Shabab, Shakeel Badayuni was back with Naushad and I have already given you (earlier in Part I) the Hemant Kumar Lata Mangeshkar song: Chandan ka palna resham ki dori.
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
By 1954, Ghulam Mohammad had emerged as a Music Director on his own. Hence when Sohrab Modi made his biographical movie Mirza Ghalib on the life of the poet Ghalib, he took Ghulam Mohammad as the Music Director.
(Pic courtesy: www.youtube.com)
The movie starred Bharat Bhushan as Ghalib, Suraiyya as his courtesan beloved Moti Bai and Nigar Sultana as his wife. Naturally, almost all songs were penned by Ghalib himself.
However, there was still one that was penned by Shakeel!
It was sung by Shamshad Begum and chorus.
(Pic courtesy: indianexpress.com)
Please enjoy: Chali pii ke nagar….
sha : chalii pii ke nagar
ab kaahe kaa Dar
more baa.Nke
ho more baa.Nke balam kotawaal -2
ko : chalii pii ke nagar ab kaahe kaa Dar
more baa.Nke
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
sha : apane piyaa kii
ko : apane piyaa kii
sha : mai.n paTaraanii
maaruu.N najariyaa dil hove chhalanii
ko : maaruu.N najariyaa dil hove chhalanii
sha : meha.ndii se hathelii hai laal
ho
ko : meha.ndii se hathelii hai laal
more
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
sha : ban ke dulhaniyaa mai.n itaraa_uu.N
ko : ban ke dulhaniyaa mai.n itaraa_uu.N
sha : ab na kisii se aa.Nkh milaa_uu.N
ko : ab na kisii se aa.Nkh milaa_uu.N
sha : mohe dekhe ye kisakii majaal
ho
ko : mohe dekhe ye kisakii majaal
more
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
sha : ghar me.n balam ke
ko : ghar me.n balam ke
sha : raaj karuu.Ngii
saas-nanad se mai.n naa Daruu.Ngii
ko : saas-nanad se mai.n naa Daruu.Ngii
sha : devaraa ko me.n duu.Ndii nikaal
ho
ko : devaraa ko me.n duu.Ndii nikaal
more
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
ko : chalii pii ke nagar ab kaahe kaa Dar
more baa.Nke
ho more baa.Nke balam kotawaal
sha : ho more baa.Nke balam kotawaal
https://www.youtube.com/watch?v=NH7ZBvNnHuE
Day #8 of 31
Song #24
In the next movie of 1954, Chor Bazar, Sardar Malik composed Shakeel’s lyrics into songs.
What a story the movie had! Finally, after all the intrigue, there was happy ending!
Prince Murad is the infant, heir-apparent of the state of Sherkand in the Persian Gulf. His uncle, the wily Mustafa hires the greedy (but not evil) Om Prakash (Yusuf Ustad) to kill the child and bring him proof of the killing.
Yusuf develops cold feet to kill an infant and hence runs away with him to a neighbouring state. Prince Murad is thus brought up as a highly accomplished thief Shimoo, who grows up as Shammi Kapoor. Sumitra Devi plays the role of Princess Gulnaar, Mustafa’s daughter. When Shimoo goes to rob the palace, he falls in love with her. Though she was engaged to Marrakesh Prince Haider, finally Shimoo wins and Mustafa’s deceit is revealed.
Shimoo is then reinstated as the King of Sherkand: Murad.
Here are the songs of the movie:
1. Chalataa Rahe Ye Kaaravaan Lata Mangeshkar
2. Tere Dar Pe Aaya Hun Fariyad Ley Kar Talat Mahmood
3. Ye Duniya Ke Mele Magar Hum Akele Shamshad Begum
4. Qismat Men, Dar Dar Ki Thokaren Hain Lata Mangeshkar
5. Taro Ki Palki Me Aayi Jawani Shamshad Begum
Please enjoy Lata Mangeshkar sing: Hui ye ham se naadaani teri mehfil mein jaa baithe….
huii ye ham se naadaanii terii mahafil me.n jaa baiThe
zamiin kii khaaq hokar aasamaan se dil lagaa baiThe
Kabar kyaa thii gulistaan-e-muhabbat me.n bhi khatare.n hai.n
jahaa.N giratii hai bijalii ham usii Daalii pe jaa baiThe
huaa khuun-e-tamannaa isakaa shiqavaa kya kare.n tumase
na kuchh sochaa na kuchh samajhaa jigar par tiir khaa baiThe
na kyo.n a.njaam-e-ulfat dekh kar aa.Nsu nikal aaye
jahaa.N ko luuTane vaale khud apanaa ghar luTaa baiThe
https://www.youtube.com/watch?v=zDDnd94TJhg
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
Now that I have started going chronologically with Shakeel’s songs in Hindi movies, if you recall yesterday we concluded the day with the 1954 movie Chor Bazaar song.
Today, we take up his 1954 movie Amar.
This song has been mentioned by me as one of the best of Shakeel. It is because of songs like this that I dubbed him the King of Irony.
There is no better way to bring home your situation than to use Irony. And, as luck would have it, tonight itself I am arriving at the 1954 movie Amar, yet another Mehboob Khan movie in which Shakeel and Naushad gave their best songs.
(Pic courtesy: www.youtube.com)
“A prosperous, well-respected lawyer (Dilip Kumar as Amarnath), in love with and engaged to an educated, socially conscious young woman (Madhubala), succumbs to a weak moment and rapes a poor local village milkmaid (Nimmi). The rest of the story deals with the aftermath of this tragic event, with all the inevitable undercurrents of guilt, penitence and pervasive heartbreak that stem from it.”
Each word, each line by Shakeel can be weighed in gold. I keep thinking how well he could write irony?
Chalo achha huaa apano mein koi gair to nikala,
Agar hote sabhi apane to begaane kahan jaate?
Please enjoy: Na milata gham to barbaadi ke afsaane kahan jaate….
ho, tamannaa luT ga_ii phir bhii tere dam se mohabbat hai
mubaarak Gair ko Kushiyaa.N mujhe, Gam se mohabbat hai
na milataa Gam to barabaadii ke afasaane kahaa.N jaate
agar duniyaa chaman hotii, to viiraane kahaa.N jaate
chalo achchhaa huaa apano.n me.n koii Gair to nikalaa
jii, koii Gair to nikalaa
agar hote sabhii apane, to begaane kahaa.N jaate
du_aae.n do mohabbat hamane miTakar tumako sikhalaadii
mohabbat tumako sikhalaadii
na jalate shamaa me.n to parvaane kahaa.N jaate
tumhii.n ne Gam kii daulat dii ba.Daa ahasaan farmaayaa,
ba.Daa ahasaan farmaayaa
zamaane bhar ke aage haath phailaane kahaa.N jaate
https://www.youtube.com/watch?v=0BKLe-L6Dtg
Day #9 of 31
Song #26
The 1954 movie Amar had the following songs:
1. “Ek baat kahoon mere piya sun le agar tu” – Asha Bhosle
2. “Oodi oodi chhayi ghata jiya lehraaye” – Lata Mangeshkar and chorus
3. “Umangon ko sakhi pee ki nagariya kaise le jaaoon” – Lata Mangeshkar and chorus
4. “Jaanewaale se mulaaqaat na hone paayi” – Lata Mangeshkar
5. “Tere sadqe balam na kar koyi gham” – Lata Mangeshkar
6. “Khaamosh hai khewanhaar mera, naiya meri doobi jaati hai” – Lata Mangeshkar
7. “Na shiqwa hai koi” – Lata Mangeshkar
8. “Insaaf ka mandir hai yeh bhagwan ka ghar hai” – Mohammad Rafi and chorus
9. “Radha Ke Pyare”- Asha Bhosle
10. “Na Milta Gham To Barbadi Ke Afsane Kahan Jaate” – Lata Mangeshkar
And, just now I gave you the last in the list Na milta gham.
We shall take up one more song: Insaaf ka mandir hai ye Bhagwan ka ghar hai. It was composed by Naushad in Raag Bhairavi in Tal Dadra.
I have often quoted this song by Mohammad Rafi as a song which is exemplary in inter-religious respect: that is, it is a Hindi bhajan and a number of Muslims have contributed towards its making. These are:
1. Shakeel Badayuni as lyricist.
2. Naushad Ali as music director.
3. Mehboob Khan as producer and director.
4. Dilip Kumar as hero.
5. Madhubala as heroine.
6. Mohammad Rafi as singer.
Please enjoy in Raag Bhairavi: Insaaf ka mandir hai ye bhagwan ka ghar hai….
During casting
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
ra: kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
Casting ends here
Part 2
Dilip and Madhubaalaa go to temple
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
hai.n paa.Nv tere phir bhii tuu aane se hai majabuur
aane se hai majabuur
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
insaaf kaa mandir hai ye bhagavaan kaa ghar hai
dukh de ke jo dukhiyo.n se na insaaf karegaa
bhagavaan bhii usako na kabhii maaf karegaa
ye soch le -2
ye soch le har baat kii daataa ko Kabar hai
daataa ko Kabar hai
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
Part 3:
At the end
ra: maayuus na ho haar ke taqadiir kii baazii
pyaaraa hai vo Gam jisame.n ho bhagavaan bhii raazii
dukh dard mile
dukh dard mile jisame.n wohii pyaar amar he
wohii pyaar amar he
ye soch le har baat kii daataa ko Kabar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
Day #9 of 31
Song #27
That brings us to the 1955 movie Udan Khatola.
This was another movie in which Shakeel Badayuni paired with Naushad. I have already given you, on Day #3, Song #8 the movie’s short story and the song Hamare dil se naa jaana.
Lets take this gem from Mohammad Rafi that has the despondency about Love that Shakeel was so famous for.
Please enjoy: Muhabbat ki raahon pe chalna sambhal ke…
muhabbat kii raaho.n me.n
chalanaa sambhal ke
yahaa.N jo bhii aayaa
gayaa haath mal ke
na paaii kisii ne muhabbat kii ma.nzil
qadam Dagamagaae, zaraa duur chal ke
hame.n Dhuu.NDhatii hai, bahaaro.n kii duniyaa
kahaa.N aa gae ham, chaman se nikal ke
kahii.n Duub jaae na, hasarat bharaa dil
na yuu.N tiir fe.nko, nishaanaa badal ke
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.
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.
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
Lets start today with the 1955 movie Sitara that starred Pradeep Kumar and Vyjayanthimala in the lead roles. In this movie, for making the songs, Shakeel Badayuni was with Ghulam Mohammad. So far, since 1947 movie Dard, you would have noticed that Shakeel has stayed firmly with Naushad Ali (13 out of 19 movies) and his disciple Ghulam Mohammad (4 out of 19 movies). The only exceptions have been: Singaar (1949) with Khursheed Anwar and Chor Bazaar (1954) with Sardar Malik.
Here is the list of songs of the movie:
1. Yeh Duniya Ki Rail Musafir Chak Chak Chalti Jaye
2. Masti Me Jhum Jhum Jiya Mera Gaye
3. Nashe Me Jo Daulat Ke Hum Dagmagaye Zamana Ye Samjha Ke
4.Thandi Hawayei Kali Ghataye Are Dil Hai Bekrar
5. Jamunaa Ke Paar Koi Bansi Bajaaye
6. Chanda Dheere Se Aa Aangan Me
7. Tham Ke Dil Main Rah Gayi
Lata Mangeshkar Ghulam Mohammad Shakeel Badayuni
And this one, that has been sung by Lata Mangeshkar.
Please enjoy: Taqdeer ki gardish kyaa kam thi us par ye qayaamat kar baithe?
taqadiir kii gardish kyaa kam thii -2
us par ye qayaamat kar baiThe
betaabii-e-dil jab had se ba.Dhii -2
ghabaraake muhabbat kar baiThe
taqadiir kii gardish kyaa kam thii
(aa.Nkho.n me.n chhalakate hai.n aa.Nsuu
dil chupake chupake rotaa hai) -2
dil chupake chupake rotaa hai
vo baat hamaare bas kii na thii -2
jis baat kii himmat kar baiThe
taqadiir ki gardish kyaa kam thii
(Gam ham ne Kushii se mol liyaa
us par bhii hu_ii ye naadaanii) -2
us par bhii hu_ii ye naadaanii
jab dil kii ummiide.n TuuT ga_ii -2
qismat se shikaayat kar baiThe
taqadiir kii gardish kyaa kam thii -2
us par ye qayaamat kar baiThe
taqadiir kii gardish kyaa kam thii -2
us par ye qayaamat kar baiThe
betaabii-e-dil jab had se ba.Dhii -2
ghabaraake muhabbat kar baiThe
Day #10 of 31
Song #29
Shakeel’s 20th movie in eight years since Dard (1947) was Kundan that was produced and directed by Sohrab Modi who also played the title role of a man who stole a loaf of bread (the movie was based on Victor Hugo’s Les Misérables) and had the police following him throughout the movie.
(Pic courtesy: www.youtube.com)
Nimmi had a dual role in the movie as mother and dughter. Sunil Dutt, Pran, Murad, Ulhas, Baby Naaz, Kumkum, Manorama, and Om Prakash completed the cast.
The songs of the movie were penned by Shakeel and composed by Ghulam Mohammad. Take a look at the list:
1 Naujavano Bharat Ki Taqdir Bana Do Mohammed Rafi
2 Shikayat Kya Karun Donon Taraf Gam Kaa Fasana Hai Lata Mangeshkar
3 Jahan Wale Hamein Duniya Mein Lata Mangeshkar
4 Meri Aankhon Ke Tare Mere Dil Ke Sahare Lata Mangeshkar
5 Yeh Baharon Ke Din, Yeh Suhana Sama Lata Mangeshkar, Mohammed Rafi
6 Matwale O Matwale Naino Ke Teer Lata Mangeshkar, Shamshad Begum
7 Hosh Mein Aao Murakh Bande Manna Dey
8 Meri Jaan Gair Ko Tum Paan Khilaya Mohammed Rafi, Geeta Dutt
9 Aao Hamare Hotal Mein S D Batish, Sudha Malhotra
10 Mera Bhola Balam Mubarak Begum
Lets take up Lata‘s Jahan wale hamein duniya mein since the lyrics are so typically Shakeel whilst bemoaning poverty.
Please enjoy: Jahan waale hamen duniya mein….
( jahaa.N waale hame.n duniyaa me.n
kyo.n paidaa kiyaa tuune ) -2
Gariibii de ke aa.Nkhe.n pher lii.n
ye kyaa kiyaa tuune
jahaa.N waale
( mujhe shiqawaa nahii.n
tuune miTaa dii zindagii merii ) -2
karam se tere Takaraatii
kahaa.N tak mufalisii merii
mere dil kii ummiide.n to.D dii.n
achchhaa kiyaa tuune
jahaa.N waale
( hame.n kyaa ham to mar-mar kar
jiye hai.n aur jii le.nge ) -2
hameshaa Kuun ke aa.Nsuu
piye hai.n aur pii le.nge
zamaane me.n Kud apane naam ko
rusawaa kiyaa tuune
With Shakeel’s last movie of 1955, Hoor-e-Arab, Ghulam Mohammad scored a hat-trick. You would notice that tonight’s all three movies have him as the Music Director.
Hoor-e-Arab was Shakeel’s second movie with the Director Prem Narayan Arora, the first being Chor Bazaar of 1954 whose story had Shammi Kumar becoming a thief from Prince Murad and finally being reinstated as a king in the Gulf country of Sherkand. This also shows the fascination with Arab countries.
Who was PN Arora and why did I take time out to mention him? Well, he is the same man who was married to Helen for 35 years and then threw her out of the house. She had no choice but to marry Saleem Khan, Salman Khan’s father as his second wife!
(Pic courtesy: post.jagran.com)
The movie starred Pradeep Kumar, Chitra, Helen, Om Prakash, Sajjan and Shashikala.
The movie had the following songs:
1. Dar Dar Ki Thokare Hai
2. Mere Dil Me Sanam
3. Zamane Ke Malik Duhayi Hai Teri
4. Sanduk Me Banduk Hai Banduk Me Goli
5. Ae Saaqi-e-mastana Bhar De Mera Paimana
6. Aao Aao Mere Bhai Dekho Laalpari Aayi
7. Chand Ne Pahana Taj, Sitaro Jhum Jhum Kar Nacho
8. Naujawano Meharbano Sun L
9. Taraa Raa Raa Ram Mere Dil Men Sanam
I am going to give you the fourth song: Sanduk mein bandook hai bandook mein goli. It appears like a B-grade song but do not forget that the tale of Hoor-e-Arab is based on the tales of Arabian Nights and must have that element of being suitable for young, children’s minds.
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
majnoo mere khaaloo thhe
aur maamu thhe Farhaad
mere maamu thhe Farhaad
majnoo mere khaaloo thhe
aur maamu thhe Farhaad
mere maamu thhe Farhaad
kabristaan mein mahal banaakar
chhod gaye aulaad
nanhi si meri jaan hai
main hoon badi bholi
nikli hai badi dhoom se
maashooqon ki toli
aa haa
o ho
hahahaaha
nikli hai badi dhoom se
maashooqon ki toli
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
sabzpari
duniya mein aakar doondh rahi gulfaam
apna dhoondh rahi gulfaam
sabzpari
duniya mein aakar doondh rahi gulfaam
apna dhoondh rahi gulfaam
ishq mein tere kaanta ban gayi
muft huyi badnaam
khidki mere dil ki kisi ne bhi nahin kholi
nikli hai badi dhoom se
maashooqon ki toli
haha
o ho ho
hahahah
nikli hai badi dhoom se
maashooqon ki tol
sandooq mein bandook hai
bandook mein goli
nikli hai badi dhoom se
maashooqon ki toli
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.
(Pic courtesy: glamsham.com)
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
In the number of songs written, Shakeel Badayuni ranks tenth in Hindi movies; this ranking headed by Sameer with 4073 songs and Anand Bakshi with 3441 songs. Shakeel wrote only one fifth, only 761 songs, nine less than Sahir and less than most of his contemporaries Rajinder Krishan (1423), Anjaan (1208), Bharat Vyas (1173), Hasrat Jaipuri (1130). Even Prem Dhawan, Shailendra and Gulzar are ahead of both Shakeel and Sahir Ludhianvi.
This goes to prove that whilst at one time the number of songs in the movies were more, the number of movies themselves were less. Nowadays, Jawed Akhtar, for example, has already written more than a thousand songs.
Yesterday, we had reached the year 1955 in the career of Shakeel Badayuni that started with the 1947 movie Dard (Afsana likh rahi hoon). I gave you a light-hearted number from the 1955 movie Hoor-e-Arab: Sanduk mein bandook, bandook mein goli sung by Shamshad Begum.
There was no movie with Shakeel’s songs released in the year 1956 and I shall tell you why a little later.
Lets first take the 1957 movie Pak Daman in which Ghulam Mohammad once again composed Shakeel’s lyrics into songs; making it the fourth movie in a row since the 1955 movie Sitaara.
Here is the list of songs for the movie:
1. Khel Khiladi Khele Ja Mauj Kare Dil Vala Dushman Ka Muh Kala
Geeta Dutt
2. Dil Mein Rehte Ho
Shamshad Begum, Mohammed Rafi
3. Bhatke Huye Raahi Tujhe Manzil
Mohammed Rafi, Bande Hasan
4. Jahaan Wale Garibon Ki Tu Hi Bigdi
Asha Bhosle
5. Pyar Ki Chandni Leke Raat Aayegi
Asha Bhosle
6. Sun Dard Bhari Faryad
Asha Bhosle
7. Ek Din Laila Kisko
Mohammed Rafi, Mubarak Begum, Mirza Musharraf, Balbir
8. Mil Mil Ankhiyan Balam Jiya Dhadke
Geeta Dutt
9. Mushaira (1)
Shakeel Badayuni, Mubarak Begum
10. Mushaira (2)
Shakeel Badayuni, Mubarak Begum
Lets listen to the 11th song that became famous: Mubarak Ho Dulha Dulhan Ko Ye Shadi, Mile Dil Se Dil Zindagi Muskura Di sung by Mohammed Rafi:
mubaaraq ho duulhaa-dulhan ko ye shaadii
mile dil se dil zindagii muskaraa dii
ba.Ndhaa sar pe jab chaa.Nd-taaro.n kaa seharaa
ko_ii jal gayaa aur kisii ne du_aa dii
mile dil se dil …
Kudaa is mohabbat ko aabaad rakhe
ki jisane ummiido.n kii duniyaa basaa dii
mile dil se dil …
bhare god yaa-rab khile.n dil kii kaliyaa.N
muraade.n ho.n puurii miTe naamuraadii
mile dil se dil …
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
Mother India was, in a way, remake of Mehboob Khan’s 1940 movie Aurat. It has been rated as the most iconic film ever made in India. The inspiration for Mehboob Khan was not just his own movie of 1940, but also the celebrated author Pearl S Buck’s two novels: The Good Earth (1931) and The Mother (1934).
Besides Nargis, the movie starred Sunil Dutt, Rajendra Kumar, and Raaj Kumar.
At this stage, I have to give you this song since it is a favourite of mine. Lata Mangeshkar and Mohammad Rafi have sung this for Nargis and Raaj Kumar in their happy days. This is also the kind of folk songs that Shakeel and Naushad really mastered; you may recall Gunga Jamuna’s Nain ladh jayi hai or Baiju Bawra’s: Door koi gaaye dhun ye sunaaye.
la : matavaalaa jiyaa Dole piyaa jhuume ghaTaa chhaa_e re baadal
ra : karanaa hai to kar pyaar na Dar biitii umar aa_egii naa kal
are paagal -2
ko : matavaalaa jiyaa …
karanaa hai to kar …
la : aramaan bharaa dil hai balam tere havaale
tuu apanaa banaa le are tuu apanaa banaa le
ra : saavan hai javaanii pe lagii dil kii bulaa le
ha.Ns le zaraa gaa le are ha.Ns le zaraa gaa le
la : naache meraa man aaj sajan chhan chhananan bole re paayal
ko : matavaalaa jiyaa …
karanaa hai to kar …
ra : ho dil teraa diivaanaa merii aa.Nkhe.n bhii diivaanii
kuchh de de nishaanii are kuchh de de nishaanii
la : duniyaa ke maze luuT le jiivan hai kahaanii
do din hai javaanii are do din hai javaanii
ra : duniyaa hai ba.Dii jaaduu bharii merii galii saath mere chal
ko : karanaa hai to kar …
matavaalaa jiyaa …
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.
(Pic courtesy: www.apnaarchive.wordpress.com)
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
We took up two songs of the 1955 Mehboob Khan movie Mother India yesterday: Duniya mein ham aaye hain to jeena hi padhega, and Matwala jiya dole piya. This was Shakeel’s 23rd movie after a spectacular start in 1947 movie Dard.
Whilst I feel like giving you a number of other songs from the movie since they are all good ones, I shall give you one last one before moving on.
Whilst Khemchand Prakash composed a song in 1940 movie Tansen on Raag Megh Malhar (Tal Tintal), Naushad did the same in 1957 movie Mother India (in Tal Dadra).
Rains brought instant happiness to the farmers and they forgot all their worries. It is another thing that soon they would be back in debt and misery but Raag Malhar was the favourite of the farmers. All of you who must have seen Bimal Roy’s 1953 movie Do Bigha Zameen would recall how Balraj Sahni made Nirupa Roy dance in the rain though they were so poor that they didn’t know from where the next meal was coming from. The song, if you recall was: Hariyala saawan dhol bajaata aaya.
Dukh bhare din beete re bhaiyya ab sukh aayo re is Mother India equivalent song. Mohammad Rafi, Asha Bhonsle, Shamshad Begum, and Manna De have sung this. Pay attention to the line: Sawan ke sang aaye jawani, sawan ke sang jaaye!
When you see the video, do not forget the fact that Nargis, the great actress that she was, was only 26 years old whilst acting in the movie.
Please enjoy in Raag Megh Malhar: Dukh bhare din beete re bhaiyya, ab sukh aayo re….
(duHkh bhare din biite re bhaiyaa ab sukh aayo re
ra.ng jiivan me.n nayaa laayo re) -2
hoy hoy duHkh bhare din biite re bhaiyaa, biite re bhaiyaa
dekh re ghaTaa ghirake aa_ii ras bhar-bhar laa_ii -2
o ghaTaa ghirake aa_ii, ho
chhe.D le gorii man kii biinaa rimajhim rut chhaa_ii -2
o ghaTaa ghirake aa_ii
prem kii gaagar laa_e re baadar bekal moraa jiyaa hoy -2
duHkh bhare din biite re bhaiyaa …
madhur-madhur manavaa gaa_e apane bhii din aa_e -2
o madhur manavaa gaa_e, ho
saavan ke sa.ng aa_e javaanii saavan ke sa.ng jaa_e, o -2
o madhur manavaa gaaye, ho
aaj to jii bhar naach le paagal kal na jaane re kyaa hoye -2
duHkh bhare din biite re bhaiyaa
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
Day #12 of 31
Song #36
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.
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 12th Lyricist Kidar Sharma’s creation. If DN Madhok, our last lyricist here, was called by us a versatile personality, what can we say about Kidar Sharma? He directed a number of movies such as Dil Hi To Hai (His debut directorial attempt in 1939), Aulad (1940), Chitralekha (1941), Armaan (1942), Gauri (1942), Mumtaz Mahal (1944), Dhanna Bhagat (1945), Chand Chakori (1945), Duniya Ek Sarai (1946), Neel Kamal (1947) (he penned the story too and produced the movie), Sohag Raat (1948), Neki Aur Badi (1949) (he acted in it too), Bawre Nain (1950) (as a writer and producer too), Jogan (1950), Gunah (1953), Chora-Chori (1954), Rangeen Raaten (1956) (as producer and lyricist too), Hamari Yaad Aayegi (1961) as lyricist too), Fariyad (1964), and Chitralekha (1964) (as writer too).
He also acted in some from as early as 1935 movie Inquilaab, Dhoop Chhaon (1935), Puharin (1936) and others.
And then of course he wrote lyrics.
He also launched the careers of Geeta Bali, Madhubala, Raj Kapoor, Mala Sinha, Bharat Bhushan and Tanuja.
Kidar Sharma with his wife (Pic courtesy: www.indianetzone.com)
As soon as I think of Kidar Sharma as a lyricist, I start thinking of his 1950 Raj Kapoor and Geeta Bali starrer: Bawre Nain‘s song that is an all time favourite with me.
It was composed by Roshan in Raag Darbari Kanada, tal Kaherava and sung by Mukesh, the singing voice of Raj Kapoor in most of his movies.
Please enjoy: Teri duniya mein dil lagata nahin, waapas bula le…
terii duniyaa me.n dil lagataa nahii.n, vaapas bulaa le
mai.n sajade me.n giraa huu.N, mujhako ai maalik uThaa le
terii duniyaa…
bahaar aaii thii kismat ne magar ye gul khilaayaa
jalaayaa aashiyaa.N saiyyaad ne, par noch Daale
terii duniyaa…
bha.Nvar kaa sar na chakaraae na dil laharo.n kaa Duube
ye kashtii aap kar dii maine tuufaa.n ke havaale
terii duniyaa…
Day #13 of 31
Song #37
In the year 1959, once again, just as it happened in 1956 before Mother India (1957), there was no movie released that had Shakeel Badyuni’s songs. This time, I am sure, it would be easy for you to guess that he was working on one of his greatest songs’ movie: the 1960 K Asif movie Mughal-e-Azam, the grandest movie ever made on the Indian screen until then.
Legend has it that K Asif so desperately wanted Naushad to compose the songs and make the background music for his magnum-opus that he approached Naushad with a suitcase full of money. Naushad reportedly threw him and the suitcase out. “I am an artiste”, he said, “Not a prostitute”. For the next six months they didn’t talk to each other. And then a rapproachment was brought about by their wives.
As far as we are concerned, we are thankful for the rapproachment, since that gave us some of the greatest songs in the Hindi movies:
1. “Mohe Panghat Pe” Lata Mangeshkar and chorus 04:02
2. “Pyar Kiya To Darna Kya” Lata Mangeshkar and chorus 06:21
3. “Mohabbat Ki Jhooti” Lata Mangeshkar 02:40
4. “Humen Kash Tumse Mohabbat” Lata Mangeshkar 03:08
5. “Bekas Pe Karam Keejeye” Lata Mangeshkar 03:52
6. “Teri Mehfil Mein” Lata Mangeshkar, Shamshad Begum and chorus 05:05
7. “Ye Dil Ki Lagi” Lata Mangeshkar 03:50
8. “Ae Ishq Yeh Sab Duniyawale” Lata Mangeshkar 04:17
9. “Khuda Nigehbaan” Lata Mangeshkar 02:52
10. “Ae Mohabbat Zindabad” Mohammed Rafi and chorus 05:03
11. “Prem Jogan Ban Ke” Bade Ghulam Ali Khan 05:03
12. “Shubh Din Aayo Raj Dulara” Bade Ghulam Ali Khan 02:49
At this stage, you are bound to tell me, “Each one is a gem; which ones are you going to keep out?” However, my other blog on the immortal songs of this movie has come to my rescue and I don’t have to share all with you.
Since our last song was done in Raag Darbari Kanada, lets start with that song for several reasons, the foremost being that Mian Tansen was reputed to have brought back this Raag with him from the south into the court of Emperor Akbar. Anarkali (Madhubala) was, afterall, a courtesan, in the same court. Hence by composing it in this Raag, Naushad was secretly sending a message too.
This song was sung by Lata Mangeshkar.
The tal is Kaherava.
Please enjoy: Muhabbat ki jhooti kahani pe roye….
muhabbat kI jhUThI kahAnI pe roye
ba.DI choT khAI (javAnI pe roye – 2)
muhabbat kI jhUThI …
na sochA na samajhA, na dekhA na bhAlA
terI ArazU ne, hame.n mAr DAlA
tere pyAr kI meharabAnI pe roye, roye
muhabbat kI jhUThI …
khabar kyA thI ho.nTho.n ko sInA pa.DegA
muhabbat chhupA ke bhI, jInA pa.DegA
jiye to magar zindagAnI pe roye, roye
muhabbat kI jhUThI …
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
The twelve songs of the movie take up one third of the movie’s playing time. This shows the importance of the songs in movies of that era.
This is the last song that I am taking up from the movie. It was composed by Naushad in Raag Gara, Tal Tintal, Dadra.
Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This is how the ‘historical inaccuracies of Mughal-e-Azam’ were analysed because Thumri is supposed to have been thought of in late 18th century or early 19th century whereas Mughal-e-Azam is supposed to reflect the period of 16th century.
Raga Jaijaiwanti, composed by the 9th Guru of the Sikhs: Guru Teg Bahadur, bears the closest resemblance to Gara. It is supposed to be a Raaga of the night (9 PM to midnight).
The only other thing to be noticed is that even in the court of a Muslim king, with Muslim courtesan and musicians, a song about Krishna was a done thing.
Please enjoy in Raag Gara: Mohe panghat pe Nand Lal chhed gayo re…
mohe panaghaT pe nandalaal chhe.D gayo re
morii naajuk kala_iyaa maro.D gayo re
mohe panaghaT pe …
ka.nkarii mohe maarii, gagariyaa pho.D daarii
morii saa.Dii anaa.Dii bhigoy gayo re
mohe panaghaT pe …
naino.n se jaaduu kiyaa, jiyaraa moh liyaa
moraa ghuu.NghaTaa najariyo se to.D gayo re
mohe panaghaT pe …
https://www.youtube.com/watch?v=H4y8tXUlJjA
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…
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
“The Koh-i-Noor (Persian for Mountain of Light; also spelled Koh-i-Nûr and Kooh-è Noor) is a large, colourless diamond that was found near Guntur in Andhra Pradesh, India, possibly in the 13th century. It weighed 793 carats (158.6 g) uncut and was first owned by the Kakatiya dynasty. The stone changed hands several times between various feuding factions in South Asia over the next few hundred years, before ending up in the possession of Queen Victoria after the British conquest of the Punjab in 1849.”
And then, in 1960 movie by the same name, we have the quartet that made best songs in Hindi movies: Shakeel Badayuni, Naushad Ali, Mohammad Rafi and Dilip Kumar.
In my own words:
Kohinoor film yaa heere ka naam nahin sirf, Kohinoor heera the Badayuni ke geetkar, Aise shaa’ir bahut kam paida hote hain, Tarashne se pehle hi woh sabase chamakdaar.
This one is a favourite of mine and of many of my friends; and not merely because Naushad composed it in Raag Pahadi, the raag of my home-station, the hills. Tal is Dadra.
It is an enchanting duet between Mohammad Rafi and Lata Mangeshkar.
Please enjoy: Do sitaaron ka zameen par hai milan aaj ki raat….
ra: muskuraataa hai ummiido.n kaa chaman aaj kI raat
la: saarii duniyaa nazar aatii hai dulhan aaj kI raat
dono: do sitaaro.n kA zamii.n par hai milan aaj kI raat
aaj kii raat …
ra: husn vaale terii duniyaa me.n koii aayaa hai
tere diidaar kii hasarat bhii koii laayaa hai
to.D de to.D de parde kaa chalan aaj kI raat
muskuraataa hai ummiido.n kaa chaman aaj kI raat
dono: do sitaaro.n ka zamii.n par …
la: jin se milane kii thii tamannaa vo hii aate hai.n
chaa.Nd taare merii rAho.n me.n bichhe jaate hai.n
chuumataa hai tere kadamo.n ko gagan aaj kI raat
saarii duniyaa nazar aatii hai dulhan aaj kI raat
dono: do sitaaro.n ka zamii.n par …
https://www.youtube.com/watch?v=n9Y0mswuQJE
Day #14 of 31
Song #42
I end with this third song from the movie Kohinoor.
To understand this song, you ought to know the story:
After the passing of Maharaj Dhiraj Rana Chandrabhan of Kailash Nagar, the Senapati, Veer Singh, crowns Rajkumar Dhivendra Pratap Bahadur Chandrabhan (Dilip Kumar) as the next King. Veer’s wife (Leela Chitnis), who has brought up Dhivendra like her own son, Surinder, would like Dhivendra to get married to Rajkumari Chandramukhi of Rajgarh (Meena Kumari). The Maharaja of Rajgarh is pleased to hear of this, and asks his daughter to set forth to Kailash Nagar. On the way there, she is abducted by her very own Senapati (Jeevan) and held captive until she gives her consent to marry him. Dhivendra rescues her, both fall in love, but are captured by Senapati’s men. Dhivendra is gravelly injured but manages to escape and is looked after Rajgarh’s Raj Nartaki, Rajlaxmi (Kumkum), who also falls in love with him. After Dhivendra recuperates, he finds out that Chandramukhi is being against her will at Senapati’s castle, he sets forth to set her free, but is captured in the process. Held in chains, he is blinded by a vengeful Rajlaxmi, and Chandramukhi is given an ultimatum – either wed Senapati or witness the death of Dhivendra.
How far can the Tragedy King go away from tragedy when even in this movie, tragedy chased him?
Please enjoy Mohammad Rafi sing for him: Dhal chuki shaam-e-gham (do I call him ‘King of Irony’ for nothing?):
Dhal chukii shaam-e-Gam muskaraa le sanam
ik na_ii subah duniyaa me.n aane ko hai
pyaar sajane lagaa saaj bajane lagaa
zindagii dil ke taaro.n pe gaane ko hai
Dhal chukii shaam-e-Gam …
aaj paayal bhii hai naGmaa-e-dil bhii hai
ra.ng-e-ulfat bahaaro.n me.n shaamil bhii hai
aa ga_ii hai milan kii suhaanii gha.Dii
vaqt kii taal pe ( naachatii hai Kushii ) -2
ghu.Ngharu_o.n kii sadaa ra.ng laane ko hai
Dhal chukii shaam-e-Gam …
jhuumate aa rahe hai.n zamaane na_e
hasarate.n gaa rahii hai.n taraane na_e
aaj dil kii tamannaa nikal jaa_egii
giit hogaa vahii ( lay badal jaa_egii ) -2
ik nayaa raag qismat sunaane ko hai
Dhal chukii shaam-e-Gam …
https://www.youtube.com/watch?v=1bzh9FyAoPE
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.
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.
These blogs, one part in a week, have been reconstructed from my Facebook Page: Lyrical whereat I am attempting a four week tribute to Shakeel Badayuni leading up to his Birth Centenary on 03 Aug 2016.
I love the date of 03 Aug 1916 when my favourite poet and lyricist Shakeel Badayuni was born in the small town of Badayun in Uttar Pradesh state. That part of the country was milling with all kinds of poets at that time and Shakeel (literally ‘Handsome’) was greatly influenced by this poetical atmosphere.
His father, Mohammed Jamaal Ahmed Sokhta Qadiri, arranged tuition for Shakeel in the prevalent languages of that time: Urdu (a language indigenous to India), Arabic, Persian, and Hindi.
Shakeel appeared to have given his heart to learning these so well that the greatest ghazal (in Urdu) of its times, Aye mohabbat tere anjaam pe rona aaya (sung by Begum Akhtar), and the greatest Hindi bhajan of all times, Man tadpat Hari darshan ko aaj, were both penned by him.
In the Aligarh Muslim University, whereat he received his college education, he frequently took part in mushairas and won.
The first one to sign him for the movies was someone who stayed as his friend, guide and mentor for his life: Naushad Ali. This was for the 1947 AR Kardar movie Dard.
I feel that the name of the movie itself portended the genre’ of songs and ghazals that he excelled at: there was always love, always dard, always gham, and always great deal of irony.
Even if he had written nothing else, other than Aye mohabbat tere anjaam pe rona aaya, he would have obtained adequate glory to be counted amongst the best. But, he wrote and wrote and excelled in all genres of songs, including children’s songs, bhajans, ghazals and songs depicting the beauty of a woman (husn).
Here is my own attempt at why we love his poetry:
Hamen Shakeel ki shayari kyun pasand hai? Dil ke taar baja kar woh chala jaata hai, Phir ham chain o neend apni kho dete hain Guzra hua zamaana hamen yaad aata hai Kyaa rang tha, kyaa noor tha, gham-e-aashiqi thi Woh aalam dil-e-jahan pe chha jaata hai Door kahin Naushad ki mausiqi ki dhun bajti hai Dil khud-ba-khud gaata hai aur sunaata hai Waah Shakeel, mar ke bhi tum zinda hi rahe Har haseen naghma tumhaari Yaad dilaata hai.
Day #1 of 31 Song #1
Let me start with his song (I am initially not going to put up songs in any order; but, the way and the time they impinge on the chords of my heart) that Naushad Ali composed in the Raaga of my home in the hills: Raag Pahadi.
It is also appropriate to start with this Raag since some of Shakeel’s best songs were set in this Raaga such as Chaudhvinh Ka Chand (for which he got his first Filmfare Best Lyricst award in 1961, though with Ravi), Aaj ki raat mere dil ki salaami le le (Ram Aur Shyam), Koi pyaar ki dekhe jaadugari (Kohinoor), and O door ke musaafir (Udan Khatola).
The tal in this song is Kaherava.
Only yesterday, my friend Anand Desai, whilst giving his third post on the musical instruments used in Hindi songs, in our Facebook group Yaad Kiya Dil Ne, wrote about the trumpet. This is what he had to say about the song:
“Accomplished Trumpeters use a blocker called the “Mute” for a subtle and a muzzled effect which allows the player to depict the mood on the screen… examples of this Mute effect are in Awaaz de kahan hai; Suhani raat dhal chuki naa jaane tum kab aaoge).”
And then I saw the video of the live singing of this song, the link to which I am giving here.
Of course, Pahadi is not so much a Raaga as a ‘dhun’. Soundofindia.com describes Raag Pahadi as: “The raga is like a lover, unruffled in union, serene in separation, powerful enough to achieve eternal union, but resigned to the painful parting ordained by destiny.”
This description of Raag is as if describing this most enchanting song put together by Shakeel, Naushad and Rafi.
nazaare .a .a .a apanii mastiyaa.n
dikhaa dikhaa ke so gaye
sitaare .a .a .a apanii raushanii
luTaa luTaa ke so gaye
har ek shammaa jal chukii
naa jaane tum kab aaoge
suhaanii raat Dhal chukii …
ta.Dap rahe hai.n ham yahaa.N – 2
tumhaare i.ntazaar me.n – 2
(khizaa kaa ra.ng, aa chalaa hai
mausam-e-bahaar me.n ) – 2
mausam-e-bahaar me.n
havaa bhii rukh badal chukii .a .a .a
naa jaane tum kab aaoge
suhaanii raat Dhal chukii
naa jaane tum kab aaoge
https://www.youtube.com/watch?v=9nfG4vmyhds
Song #2
He started writing songs for the Hindi movies, as I said, with the 1947 movie Dard when Naushad Ali took him up as the lyricist for the songs of the movie. His very first song became a popular song of those times: Afsana likh rahi hoon.
The movie was directed by Abdul Rashid Kardar and was a movie of Kardar Productions house. Munawwar Sultana was the main lead of the movie and Suraiyya as the second lead.
(Pic courtesy: mio.to)
Some people say that Shakeel was “lucky” to get unprecedented success in his very first movie itself. I, being amongst his biggest fans, am not surprised at all! Shakeel, throughout his life, never seemed to have written with pen and paper. I feel that he wrote from heart directly to our hearts. Here is my own take on that:
Kalam ka kalaam to bahut shaayar likhate the, Shakeel to dil se dilon ke taar milaate the, Waise to duniya mein sukhanwar ki kami naa thi, Shakeel nazaara-e-naghma hu-ba-hu dikhate the.
There were as many as ten songs in the movie Dard:
1 “Afsana Likh Rahi Hoon” Uma Devi
2 “Aaj Machi Hai Dhum” Uma Devi
3 “Yeh Kaun Chala Yeh Kaun Chala” Uma Devi
4 “Betaab Hai Dil Dard-E-Mohabbat Ke Asar Se” Uma Devi, Suraiya
5 “Beech Bhanvar Men Aan Phansa Hai” Suraiya
6 “Dil Dhadke Aankh Meri Phadke” Suraiya
7 “Hum Thay Tumhare Tum Thay Humare” Suraiya
8 “Chale Dil Ki Duniya Barbaad Kar Ke” Suraiya
9 “Yeh Afsana Nahin Zalim Mere Dil Ki Haqeeqat Hai” Shamshad Begum
10 “Ham Dard Kaa Afsana Duniya Ko Suna Denge” Shamshad Begum
Uma Devi, of course, later got recognition as the obese comedy actress Tun Tun. But, here she sang for Shakeel and Naushad.
The lyrics of the song are as if telling the tale (afsaana) of the future life of Shakeel as the lyricist par excellence, if you change from female to male, ie, instead of likh rahin hoon to likh rahan hoon!
jab tuu nahii.n to kuchh bhii nahii.n hai bahaar me.n
nahii.n hai bahaar me.n
jii chaahataa hai muu.Nh bhii
jii chaahataa hai muu.Nh bhii na dekhuu.N bahaar kaa
aa.Nkho.N me.n rang bhar ke tere i.ntazaar kaa
afasaanaa likh rahii huu.N
haasil hai.n yuu.N to mujhako zamaane kii daulate.n
zamaane kii daulate.n
lekin nasiib laa_ii
lekin nasiib laa_ii huu.N ik soGavaar kaa
aa.Nkho.N me.n rang bhar ke tere i.ntazaar kaa
afasaanaa likh rahii huu.N
aajaa ki ab to aa.Nkh me.n aa.Nsuu bhii aa gaye
aa.Nsuu bhii aa gaye
saaGar chhalak uThaa
saaGar chhalak uThaa mere sabr-o-qaraar kaa
aa.Nkho.N me.n rang bhar ke tere i.ntazaar kaa
afasaanaa likh rahii huu.N
Song #3
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.
(Poster courtesy: www.youtube.com)
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!
(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….
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
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.
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.
No, this article is not about the 1970s British sitcom by the same name. Nowadays, in Mumbai, for example, it is common to see a man sharing a house with two single women (all students or all in their early careers); the women preferring the man’s presence for safety and security. However, in the 70s sitcom, starring Richard O’Sullivan, Paula Wilcox and Sally Thomsett, it was considered a very daring idea.
This article is about the fantasy that the wives in the armed forces have about having their husbands home and what actually happens when this dream is realised.
If you read my piece titled ‘Selfing’ – An ‘Evolutionary’ Way For Navy Wives? , you would have known (if you ain’t from the Navy, that is; else, you would have known without any articles reminding you) that any further neglect of wives by their husbands would eventually force the wives into doing everything by themselves. The husbands are so busy sailing and doing (or not doing) a motley of things on the ships and in the offices that the wives are virtually on their own.
From the comments on that post by my friends I could make out that the situation is no different in the other two armed forces. The percentage of husband’s contribution in the running of the households in the armed forces is what was believed to have been discovered by Aryabhata in the fifth century AD: Zero.
The armed forces personnel’s wives are, therefore, always day-dreaming that a day would come when their husbands would retire (like I did six years ago) and be a man about the house, helping her tackle a number of things that she had hitherto been tackling all by herself.
And, God, satisfied with her relentless prayers, gives her her heart’s desire. He is retired from the Navy and at home, finally.
As she walks by his side, tugging at his shirt-sleeve, and happily tripping over his feet, she wants the whole world to take notice of the fact that finally her husband is all hers and not married anymore to her sauten (a Hindi word that translates into co-wife or the other wife): the Navy.
The entire evening and the night is spent in wistfulness. Late in the night, she, as she revels in his presence in the bed next to her, is filled with those what-if feelings. “What if”, she thinks, “The Navy guys could finish their day’s work at some earthly hours and then I could’ve had more of him”. It starts a chain of thoughts, “What if the Navy would retire its officers early so that they could be of some use to their wives and children?” And so on.
The next morning she is already in the kitchen when he saunters along. “You should have stayed in bed”, she tells him, “I would bring tea for you in the bed”. He ignores it by saying, “No, no, no and no. I don’t want to do that now that I have retired. I want to help, something that I missed doing with all the work the Navy gave me…….ah, what do I see here? A leaking tap.”
She: “You don’t have to worry about that, darling. During the forenoon, the plumber will be coming to set it right”.
He: “Plumber? Plumber? When I, your husband, am around? No, no, no and no (looks like he loves this expression that has been borrowed from his Fleet Commander when he used to suggest he could go on leave). For what do you think I bought that complete plumber’s kit including wrenches of all sizes during my foreign cruise? I shall have this leak behind us within no time.”
She has that look of foreboding on her face, but he, with the sweep of his hand, reassures her: “Darling, do you know anything about NBCD and DC? No, you don’t? Well, NBCD is Nuclear, Biological, Chemical, Defence and DC is Damage Control. We have exercised these on the ships any number of times. A leaking faucet is nothing. Just watch me for a minute and you would know that a Navy man is a plumber, electrician, carpenter, painter, odd-job-man, all rolled into one.
She watches him as he fiddles with the wrench and soon there is water everywhere. To end a long story short, she has to make an emergency call to the Society office to stop all water to the building and send the plumber immediately to arrest leak from a badly broken pipe.
(Pic courtesy: www,flickr.com)
She feels thankful that there was nothing wrong with the cooking gas stove, lest he should have offered to help there too. It could have been serious.
It takes her hours to clear up the mess, what with his helping suggestions on how to clean up. By this time, the jhaadu-bota (broom and mop) bai (maidservant) comes along and the retired husband’s helpful suggestions are now directed at her, through the wife, “You know, darling, during the annual inspection of ships, it was the favourite of the Fleet Commander to lift up the carpets and find dust underneath. I lifted up our drawing-room carpet and found tons of dust under that. I am sure the bai is doing a magnificent job but, I think, I should tell her where all the dust normally settles….”
He has endless suggestions for the cooking maid too, “From very young age in the Navy, ever since I was an AOOD (Assistant Officer of the Day), I have been tasting food in the sailors galleys so that they would get wholesome, well cooked, delicious food. We are experts in this area too. Abhi dekho amma, tum ne kya kiya? Tumane gas on karke pan chadha diya par tumahaare baaki samaan ready nahin. Gas waste jaa raha hai. Ise pehle band karo…..(Now look here, amma, what you did? You turned on the gas and put on a pan but the rest of your stuff is not ready. Gas is being wasted. First turn it off…”
And to the jhaadu-bota bai, “Dusting ghar ke liye bahut zaroori cheez hai. Hamaare ship mein to jo achha dusting karta tha, hum use inaam dete the….dekho wahan chhoot gaya….arre pehle sookhe kapade se aur phir geele kapade se karo na….aur brass shells ko daily brasso karo (Dusting is very essential for the house. On my ship the one who used to do dusting well, I used to give him an award….see, you left some dust there….you should first try a dry mop and then a wet one…. and brass shells need to be shined with brasso everyday)”
(Cartoon courtesy: www.cartoonstock.com)
And in the children’s room, “What do we have here? Watching Television? During our days (another favourite expression of the Fleet Commander), television was allowed only for half an hour each day…..in fact, if I recall correctly, we didn’t have television at all….So what? Napoleon didn’t have television, Nelson didn’t have, Kanhoji Angre didn’t have, Kunjali Marakkar never heard of it….and they still became great…”
And during all this, she goes about doing her work like any other day….not really like any other day since she couldn’t play the music of her choice because he listened to his songs. As it is those stupid Hemant Kumar songs don’t make any sense to her; but, he insisted on playing them over and over again and as loud as they could get. And she decided that if he were to play zindagi kitani khoobsurat hai (How beautiful life is), one more time, she would tell him!
All the helping that he has done the whole day, assisted by the beer in the afternoon and his favourite Navy rum in the night, whilst listening to those idiotic songs, makes him tired and he goes to sleep early with the resolve that next day he’d sort out more things in and around the house.
Late in the night, as she lies awake in her side of the bed, she whispers to God, “God, I had a good thing going for me all this while and I didn’t know about it. Now, do me a favour: Find him a job….. urgently, PLEASE.”
Armed forces are called uniformed services. Many uninformed (not the opposite of uniformed) people feel that they are called so only because of the uniform that they wear: olive-green for the army, white for the navy and the sky blue for the air-force. Of course, that’s right but it is only a small part of the uniformity obtained in the services. The major part is to do with the uniformity of training, operations and responses. What it then boils down to is that, a uniformed person, in dress and in every other sense, is a disciplined person with as standard or near standard responses to situations as possible.
We Indians are as far from being uniformed or disciplined as possible. We are creative in our responses and approach, which makes us destructive in our outlook. The best example to understand this is our traffic sense or more aptly: traffic non-sense. Continuing in one lane for anything more than a few seconds gets on our nerves and mars our creativity and sense of adventure. So we leave the relative safety of our lane and venture out in other lanes or in-between areas to see if we can speed up things a bit. From experience we know that it doesn’t help. But, so sure we are of our traffic skills that rather than experience teaching us, we can teach the bally experience a thing or two.
In India, therefore, we offer lip-service to the services and publicly (because of the acute sense of jingoism that we possess, something which can only be called Indianness) extol their discipline and sense-of-purpose. However, privately we hate their guts for being what they are. And that’s precisely the reason why in our country there is so much of chasm between the society and the armed forces. Any number of WhatsApp forwards, for example, tell us how abroad the politicians, bureaucrats and general public have deep respect for their armed forces; but, here in India no one gives a damn.
Here is, therefore, a fantasy (nightmare). After having made relentless abortive attempts so that some of the civilians in our country, if not the majority, would become like the uniformed armed forces, the armed forces decide to follow the dictum when in Rome do as the Romans do. Politically, it doesn’t mean to follow Sonia Gandhi; it simply means that the armed forces decide to adopt the civilian ways of doing things. Here are some of the scenarios thought of by my creative mind:
Scenario I
Kargil War II
CO: We have received orders to capture the Tiger Hill…. Officer1 (Cutting him short): I know, Sir, that Tiger is our national animal and all that. However, too much focus on one animal, to the exclusion of others, is not good. The PM has shown Lion as the prominent symbol of Make in India. Why can’t we go and capture Lion Hill?
(Pic courtesy: ideasmakemarket.com)
Officer2 (Cheerfully): Simply because there is no Lion Hill anywhere in the vicinity. Officer1 (Not giving up so easily; no Indian ever does): That’s no excuse. What’s the use of ‘Make in India‘ campaign if we can’t even make a Lion Hill? Lets make one, Sir (this is said with the same resolve as the one employed by a passenger with the railway conductor to somehow find him a seat even though he has no reservation but merely a heavy wallet). CO (Straightway seeing a flaw in this. Even though these days COs are elected rather than selected, he is quick to see this flaw): But, for us to capture Lion Hill, the enemy should have occupied it. Officer3 (Dismissing this as something insignificant): That’s hardly a problem, Sir. If we can do match-fixing in cricket right in front of thousands of people sitting in the stadium, here it shouldn’t be any problem. Let me call my friend Abbas on the cellphone and ask them if they are willing to occupy a fictional Lion Hill so that we can evict them in return for our first occupying and then being evicted from the Markhor Hill. CO (Reaching a quick decision; people in the higher echelons are adept at quick decisions): Alright guys, we shall capture Lion Hill and make a report to the HQ that Tiger Hill wasn’t occupied and hence we had no choice but to capture Lion Hill. 2nd-in-Command (Understanding his duty well and with determination; they are paid to do precisely this): I think I should get on with the citations for the gallantry awards after the successful match-fixing – sorry – successful operations.
Scenario II Somewhere in the Arabian Sea (Renamed Bhartiya Samundra after the Modi government took up the issue at the United Nations)
Signal Communication Officer (SCO) (To CO on the Bridge of a warship): Sir, on the Tactical Primary we have just got a signal asking us to proceed on course 270 at a speed of 14 knots. CO (with a chuckle): Splendid (the standard response of acknowledging messages by saying Very Good has been done away with long time back and now officers use all kinds of adjectives. Only the other day, on the communication circuit, instead of asking for ‘Say again your last’, someone got the brain-wave (at sea you get all kinds of waves) of using the more creative “mukarrar”. The South Indian communication operator on the other end responded to it by a safe, “Same to you, over”), I was expecting it. Can we quickly check up with the quartermaster in the wheelhouse and engineers in the engine room if they have any objection to it. I must carry everyone along. Quartermaster in the Wheelhouse on the Conning Intercom: I overheard that, Captain Sir. I am from Delhi and must advise against this politically incorrect course. You see, Sir, probably the Fleet Commander has forgotten about the fact that today is an odd day and courses and speeds must conform with Kejriwal’s odd day directives. I would suggest steering 269 or 271 until midnight at least. Machinery Control Room: Captain Sir, I have called a meeting of all concerned to ask we can do 14 knots and for how long. With the staggered lunch timings of between 1 to 3:30 PM, I hope to have an answer by about 4 PM. We are at it, Sir, and we shall inform you if we can proceed at 14 knots. Else, we shall suggest to you the speed that we can do. CO: Beautiful, lovely, remarkable. What I love about this ship is the spirit. I wouldn’t be surprised if we eventually get the Most Spirited Ship trophy this year. I mean, just look at it this way: it has been less than ten minutes since we were asked to steer course 270 and proceed at 14 knots and already we are about to take a decision whether we can do it or not. Many of my engine room sailors would probably have to let go of their siesta. But, for us, the country comes first, the ship next and our own welfare last. Alright, SCO, make a signal to the Fleet Commander that by about 1615 hrs today we shall let them know what course and speed we would be doing. SCO: Never mind Sir, they have cancelled their last order and are asking for suggestions as to what course or courses the Fleet should do.
The uniform formations of the Indian Navy ‘at one time’ (Pic courtesy: nausena-bharati.nic.in)
Scenario III Fly-Past for the Republic Day Parade
Commentator: For the last about nine and half hours we have been witnessing smart march-past by the smartly dressed soldiers, sailors and airmen. The nine and half hours were required due to jawans trickling in as and when they had time to do so. But, it is still better than last year when the 26th January parade spilled over to 27th January. The Department of Diversity and LGBT has given the first prize to a sailor who came dressed as a banana (he nearly added: the fruit that describes best the present state of our armed forces). And now we are all expecting the grand-finale of Fly-past by the IAF aircraft that would appear at the end of the Raj Path or any other path as is hereinafter mentioned. Please keep your eyes glued for the aircraft in all kinds of possible directions. It is as much a surprise for them as for you. Commentator (after much wait): And now as you can see, one lone aircraft has appeared over the horizon. And what do we see? It is a commercial flight that has been re-routed safely over the Raj Path since the IAF planes are going all over the place. We may actually see more commercial flights over this route……ah, here is another….and hold your breath….this one is from Pakistan, which should have flown over Islamabad on 14th Aug but is competing with IAF in creativity.
How we used to enjoy these R-Day Fly-pasts until the Air-Force became non-uniform! (Pic-courtesy:
Scenario V
The Aftermath
As the modern young officers, men and women of the three services have all become more non-uniformed, independent-minded and independent-actioned, there is a small bunch of veterans sitting in the most uniformly disciplined manner and chanting slogans in unison. These are the men and women who are still protesting against the anomalies in OROP and the recommendations of the Seventh Pay Commission. An old, wrinkle-faced, former Major General of the Indian Army, raises a feeble hand high in the air and screams: Sadda haq (Our right).
And a few dozen veterans, equally feeble, respond weakly but with determination and in unison: Ithe’ rakh (Keep it here).
They are the last of the men and women who have any kind of faith and pride in being uniformed and disciplined.
An orderly conduct of an OROP Rally! Even agitation has to be done in ‘disciplined manner!
Post-Script
By the way, the Roget’s Thesaurus gave me the following antonyms of Uniform:
disorderly
flexible
pliable
pliant
soft
unmethodical
unsystematic
yielding
abnormal
broken
changeable
changing
corrupt
different
dishonest
disloyal
eccentric
imbalanced
inconsistent
inconstant
intermittent
irregular
rough
uncommon
unconventional
uneven
unfair
unfixed
unstable
unsteady
untrustworthy
unusual
variable
varying
wobbly
deviating
dissimilar
divergent
unalike
unlike
varied
God save us all. However, in keeping with the non-uniform practices, it should be gods (thousands of them) save us all.
As you are already aware, these blogs are being recreated from the posts on my Facebook page Lyrical wherein I started with this theme of giving you the best raaga based songs in Hindi movies on the 8th of Aug 2015. Presently, I am on my 24th Raaga: Raag Kafi. I have already given you blogs on Raaga Bhairavi (Part I, II and III), Yaman or Kalyan (Part I, II and III), Jhinjhoti (Part I, II), Darbari Kanada (Part I, II, and III), Bhimpalasi (Part I and II) Raag Khammaj, Raag Todi, and Raag Pilu Part I, which make only seven and a half of the twenty-four Raagas. This means that I have to make a determined effort to catch up. I had therefore decided to start giving you Raagas even as I put up on Lyrical, in addition to the back-log.
With this, lets start with our Ninth Raaga here (the 23rd Raaga on Lyrical): Raag Jaijaivanti.
The cover picture on Lyrical is from the 1955 movie Seema with Lata Mangeshkar singing for Nutan a great composition by Shankar Jaikishan, the best music duo in Hindi films who were very adept with Raaga based songs; Raag Bhairavi being their favourite. This song has special value for me now having attended Shankar Jaikishan Music Foundation Mumbai meet on Sunday, 19th June whereat Dinesh Shailendra Singh, son of lyricist Shailendra was present amongst other luminaries.
I belong to all the religions in the world. But, I am a Sikh by birth. Here is a Raag composed by the ninth guru of the Sikhs: Guru Teg Bahadur.
Raag Jaijaivanti is also spelled as Raag Jaijaiwanti. I have often given you the ten fundamental thaats of the Indian classical music. Raag Jaijaivanti belongs to the Khamaj Thaat.
Those of you, like me, who are familiar with the Sri Guru Granth Sahib, would know that Raag Jaijaivanti is considered a blending of two raagas that happen to come in the middle of SGGS of 1430 pages. However, the raag is not mentioned in the Raagmala at the end of SGGS on pages 1429-30. This raaga is also not mentioned in the list of raagas in any ancient scriptures about Indian classical music.
The time of the raaga is evening time. frpm 6 to 9 pm. Normally the season is summer season.
“A soul in whose life dawn has come finds its path. Duality has ended and soul has merged with God and garland of victory will be put around the neck of that soul. Four shabads recited by Guru Tegh Bahadur Ji in Raag Jaijawanti have come at the end. Soul has been freed from ‘Love for Body’ for ever. By giving new appearance, new shape and new musical form, Guru Sahib has caused a big new expansion and made it a tool to achieve peace for the soul.”
Song #1
Manmohna bade jhoote….
As far as Hindi movies are concerned, the first song that comes to mind in this Raaga, as I have already said above whilst describing the cover picture, is from the 1955 movie Seema starring Balraj Sahni and Nutan.
The movie, directed by Amiya Chakravarty had a very intense plot. Here is the story from Wikipidea:
“After her parents pass away, teenager Gauri (Nutan) goes to live with her paternal uncle, Kashinath (Shivraj), and his wife. She is ill-treated there, made to do all the housework, and verbally abused by her aunt. She is made to work as a servant for meager wages in another household, and her earnings are taken away by her aunt. One day, Kashinath is summoned to the Police Station where he is told that since Gauri has been convicted of stealing a necklace from her employer, she is placed under his care for 12 months. Kashinath undertakes to look after her, but she manages to escape, and beats up Bankelal (CS Dubey), who had originally accused her of stealing the necklace. The Police are summoned again, and this time Gauri is placed with Shree Satyanand Anathalaya, an orphanage run by a compassionate Manager, Ashok (Balraj Sahni). Gauri revolts against all the rules imposed upon her and she is placed in solitary, where she ends up breaking all the windows and furniture. Then one day she escapes, beats up Bankelal severely, and returns. She is once again placed in solitary. Then Ashok and his associate Murlidhar (Surender) find out that Bankelal had framed Gauri, and they inform the Police, who make Bankelal confess. In this way, Gauri gets a pardon, and is asked to leave the orphanage, but she refuses to do so and stays on after promising that she will always obey Ashok. When Ashok has a heart attack, she proposes to stay and look after him, but Ashok wants her to leave and get married to Murlidhar. The question remains, will Gauri disobey Ashok or keep her promise and get married to Murlidhar?”
The song portrays, as I said above, the excellence of the best music duo in Hindi films Shankar Jaikishen in Raaga based songs. Lyrics are, predictably, by Shailendra. The tal is Ektal.
Jaikishan (of Shankar Jaikishan music duo) with Shailendra (Pic courtesy: flickrhivemind.net)
The singer is Lata Mangeshkar.
Please enjoy in Raag Jaijaivanti: Man mohna bade jhoothe…
manamohanaa ba.De jhuuThe
haar ke haar nahii.n maane
manamohanaa …
bane the khilaa.Dii piyaa
nikale anaa.Dii piyaa
mose beimaanii kare
mujhase hii ruuThe
manamohanaa …
tumharii ye baa.Nsii kaanhaa
banii galaa phaa.Nsii
taan sunaake meraa
tan man luuTe
manamohanaa …
Song #2
Yeh dil ki lagi kam kya hogi…
The second song of the Raaga composed by the ninth guru of the Sikhs: Guru Teg Bahadur.
Anyone at all knowing me knows that when a new Raag is started, as soon as possible, I return to Shakeel Badayuni and Naushad.
I had put up this song in Raag Gara too but some feel that it belongs to Raag Jaijaivanti.
Do you remember this part of the story of Mughal-e-Azam? Madhubala as Anarkali buys the life of her love Prince Salim (Dilip Kumar) from Emperor Akbar (Prithviraj Kapoor) by offering her own in exchange. She is granted one last wish; which is that she could spend a night with Prince Salim but must drug his drink so that he won’t resist when she is taken to the dungeon.
Life is just one night of love… (Pic courtesy: www.amazon.com)
Shakeel Badayuni, the king of Irony, wrote the lyrics that are as ironical as they sound joyous. Naushad has composed them and Lata Mangeshkar sang it.
Please enjoy in Raag Jaijaivanti: Ye dil ki lagi kam kyaa hogi…
ye dil kii lagii kam kyaa hogii
ye ishq bhalaa kam kyaa hogaa
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
naGamo se barasatii hai mastii
chhalake hai.n khushI ke paimaane – 2
aaj aisI bahaare.n aaii hai.n
kal jinake bane.nge afasaane – 2
ab ise jyaadaa aur hasii.n ye pyaar kA mausam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
ye aaj kA ra.ng aur ye mahafil
dil bhI hai yahaa.N diladaar bhI hai – 2
aa.Nkho.n me.n kayaamat ke jalave
siine me.n sulagataa pyaar bhI hai – 2
is ra.ng me.n koI jii le agar marane kA use Gam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
haalat hai ajab dIvaano.n kii
ab khair nahii.n paravaano.n kii – 2
anjaam-e-mohabbat kyaa kahiye
laya ba.Dhane lagI aramaano.n kii – 2
aise me.n jo paayal TuuT gayii phir ai mere hamadam kyaa hogaa – 2
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
https://www.youtube.com/watch?v=7vLKhdjXBkg
Song #3
Bairan ho gayi raina…
‘Bairan ho gayi raina’ is the title of our third and last song for tonight. It is from the 1957 movie Dekh Kabira Roya. Although the movie was a lighthearted comedy, it had some excellent songs thanks to the lyrics by Rajinder Krishan and compositions by Madan Mohan. Today, as I write this, it happens to be the Birth Anniversary of this great composer and music director.
This was sung by Manna De who excelled in classical and semi classical songs in Hindi movies.
Manna Dey (Pic courtesy: www.indianexpress.com)
Please enjoy: Bairan ho gayi raina….
bairan ho ho gayi raina
bairan ho ho gayi raina
bairan ho ho gayi raina
raina raina bairan ho ho gayi raina
bairan ho ho gayi raina, bairan ho
aawan kah gaye aur na aaye
piya bin kari rain daraye
baat sakat are nain
bairan ho ho gayi raina, bairan ho
bairan ho aa aa ho gayi raina
bairan ho ho gayi, bairan ho
bairan ho aa aa bairan ho
ho gayi raina aa aa aa
bairan ho ho gayi, bairan ho
bairan ho, bairan ho
Song #4
Tere mere sapne ab ek rang hain…
We started with our 23rd Raag yesterday, a raag composed by Guru Teg Bahadur, the ninth guru of the Sikhs.
When two people fall in love, even their dreams become of the same hue. That’s the underlying theme of this song from the 1965 Dev Anand classic movie Guide directed by his brother Vijay Anand and which is listed at #4 in the Best Hindi Movies of all times.
The movie was based on a story by RK Narayan with the same title. A great deal of the success of the movie owes to its songs penned by Shailendra and composed by Sachin Dev Burman who directed music in most of Dev Anand movies.
SD Burman (Pic courtesy: movies.ndtv.com)
Have a look at the songs of this movie:
“Aaj Phir Jeene Ki Tamanna” Lata Mangeshkar Dev Anand & Waheeda Rehman
“Din Dhal Jaaye” Mohammed Rafi Dev Anand & Waheeda Rehman
“Gaata Rahe Mera Dil” Kishore Kumar & Lata Mangeshkar Dev Anand & Waheeda Rehman
“Kya Se Kya Ho Gaya” Mohammed Rafi Dev Anand & Waheeda Rehman
“Piya Tose Naina Laage Re” Lata Mangeshkar Waheeda Rehman
“Saiyaan Beimaan” Lata Mangeshkar Dev Anand & Waheeda Rehman
“Tere Mere Sapne” Mohammed Rafi Dev Anand & Waheeda Rehman
“Wahan Kaun Hai Tera” Sachin Dev Burman Dev Anand
“He Ram Hamare Ramchandra” Manna Dey & Chorus Dev Anand
“Allah Megh De Paani De” Sachin Dev Burman Dev Anand
I have selected for you this one by Mohammad Rafi singing for Dev Anand and telling Nalini (Waheeda Rehman) that now that they are in love (to hell with the taboo about a married woman (she had a wretched marriage with the archaeologist Kishore Sahu who was more interested in ruins than in her) re marrying), they better see the world through the same eyes.
Please enjoy in Raag Jaijaivanti: Tere mere sapane ab ek rang hain…
tere mere sapane ab ek ra.ng hai.n
ho jahaa.N bhii le jaae.n raahe.n, ham sa.ng hai.n
tere mere dil kaa, tay thaa ik din milanaa
jaise bahaar aane par, tay hai phuul kaa khilanaa
o mere jiivan saathii…
tere dukh ab mere, mere sukh ab tere
tere ye do nainaa, chaa.nd aur suuraj mere
o mere jiivan saathii…
laakh manaa le duniyaa, saath na ye chhuuTegaa
aa ke mere haatho.n me.n, haath na ye chhuuTegaa
o mere jiivan saathii…
https://www.youtube.com/watch?v=kNkpApxkqhk
Song #5
Meri aankhon se koi neend liye jaata hai…
Next, I turn to this really beautiful Neend song from the 1964 AVM Production Pooja Ke Phool directed by Bhim Singh. The movie starred Ashok Kumar, Mala Sinha, Dharmendra, Pran, Nimmi and Leela Chitnis.
It had the genius of the pair of Rajinder Krishan as lyricist and Madan Mohan as music director who composed its songs. Some of Lata Mangeshkar‘s top songs were created by the duo. This is one of them.
“Brother and sister” jodi of Madan Mohan with Lata Mangeshkar (Pic courtesy: www.thequint.com)(
Please enjoy in Raag Jaijaivanti: Meri aankhon se koi neend liye jaata hai….
Meri aankhon se koi neend liye jaata hai
Door se pyar ka paighaam diye jaata hai
Raatbhar jaagenge hum tumse chhup chhupke sanam
Aankh jhapke na kabhi chand taaron ki qasam
Dil mera aaj iqrar kiye jaata hai
Door se pyar ka paighaam diye jaata hai
Meri aankhon se koi neend liye jaata hai
Baat jo unse chali woh idhar aake ruki
Naam jab unka liya ek khushboo si udi
Ek tasavvur hai jo madhosh kiye jaata hai
Door se pyar ka paighaam diye jaata hai
Meri aankhon se koi neend liye jaata hai
Song #6
Muhabbat ki raahon mein chalna sambal ke….
The best of old Hindi songs, as I have mentioned any number of times, are with the quartet of Shakeel Badayuni as lyricist, Naushad as composer, Mohammad Rafi as singer and Dilip Kumar as actor. This happened in many movies. One of these was the 1955 movie Udan Khatola in which Nimmi acted opposite Dilip Kumar.
(Pic courtesy: munshimaniac.wordpress.com)
This song has Shakeel’s irony at its best; he brings out the uselessness of Love!
Please enjoy in Raag Jaijaivanti: Mohabbat ki raahon mein chalna sambhal ke…
muhabbat kii raaho.n me.n
chalanaa sambhal ke
yahaa.N jo bhii aayaa
gayaa haath mal ke
na paaii kisii ne muhabbat kii ma.nzil
qadam Dagamagaae, zaraa duur chal ke
hame.n Dhuu.NDhatii hai, bahaaro.n kii duniyaa
kahaa.N aa gae ham, chaman se nikal ke
kahii.n Duub jaae na, hasarat bharaa dil
na yuu.N tiir fe.nko, nishaanaa badal ke
Song #7
Zindagi aaj mere naam pe sharmaati hai…
Third day of Raag Jaijaivanti based songs.
Lets begin, once again, with my favourite lyricist Shakeel Badayuni. This is from the 1962 movie Son of India, a movie that Mehboob Khan made after the 1957 iconic movie Mother India, which lost at the Academy Awards by just one vote. Mehboob Khan took up, in Son of India, relatively minor actors Kamaljit, Simi Grewal, Jayant and Kumkum.
(Producer-Director Mehboob Khan who made such movies as Mother India, Son Of India, Andaz, Anmol Ghadi, Aan, Amar, and Roti. (Pic courtesy: www.indianetzone.com)
He however, retained the team of Shakeel Badayuni as lyricist and Naushad Ali as Music Director and composer and they didn’t fail him in the excellence of the songs. This one was sung by Mohammad Rafi.
The movie had the following songs including the ever popular patriotic song: Nanha munha raahi hoon:
1. “Aaj Chhedo Mohabbat Ki” Lata Mangeshkar 3:57
2. “Aaj Ki Taaza Khabar” Shanti Mathur 3:58
3. “Chal Diye Peeke Gham” Lata Mangeshkar 3:05
4. “Dil Todne Wale” Lata Mangeshkar, Mohammed Rafi 4:28
5. “Diya Na Bujhe Ri Aaj” Lata Mangeshkar, Chorus 3:14
6. “Insan Tha Pehle Bandar” Shanti Mathur 2:47
7. “Mujhe Huzoor Tum Se” Geeta Dutt 2:18
8. “Nanha Munna Rahi Hoon” Shanti Mathur, Chorus 4:13
9. “Zindagi Aaj Mere Naam” Mohammed Rafi 3:48
Please enjoy in Raag Jaijaivanti: Zindagi aaj mere naam se sharmaati hai….
zindagii aaj mere naam se sharamaatii hai
apane haalaat pe mujhe khud hii ha.Nsii aatii hai
zindagii aaj mere …
ek Gam chain se jiine nahii.n detaa mujhako -2
ek ulajhan hai jo aksar mujhe ta.Dapaatii hai
zindagii aaj mere …
is tarah chho.D ke nikalaa huu.N mai.n apanii ma.nzil
jaise hasarat ko_ii siine se nikal jaatii hai
zindagii aaj mere …
raah chalate hu_e kuchh soch ke ruk jaataa huu.N -2
har qadam par ko_ii bhuulii hu_ii yaad aatii hai
zindagii aaj mere …
Song #8
Pyaare darshan dijo aaye…
The 1979 movie Meera starred Hema Malini in the title role of the Rajasthani princess Meerabai who was born in a royal family but she renounced everything in her deep devotion and love for Lord Krishna.
The 16th century Rajasthani princess Meerabai who renounced everything in her devotion for Lord Krishana (Pic courtesy: www.youtube.com)
The movie itself was extraordinary in that it had Pandit Ravi Shankar, the sitar maestro as the music director. The songs/bhajans were sung by Vani Jairam, one of the finest exponents of Indian classical music. Of course, the bhajans were all written by Meerabai herself.
Please enjoy in Raag Jaijaivanti: Pyaare darshan dijo aaye…
pyare darshan dijo aaye
tum bin jiyo na jaaye, darshan dijo jaye
pyare darshan dijo aaye
jal bina kamal chanda bina rajani
aise tum dekhe bin sajani
jal bina kamal chanda bina rajani
aise tum dekhe bin sajani
aakul byakul firu re din
biraah kalejo khaayo
darshan dijo aaye
pyare darshan dijo aaye
bivas na bhukh nind nahi raina
mukh su kahat na awe baina
kaha kahu kuchh kahat na aawe
milkar tadap bujhaye
kyu tarso antaryami
aaye milo kripa kar swami
kyu tarsao antaryami
aaye milo kripa kar swami
meera dasi janam janam ki
meera dasi janam janam ki
padi tumhare paaye
darshan dijo aaye
tum bin jiyo na jaaye, darshan dijo jaye
pyare darshan dijo aaye
https://www.youtube.com/watch?v=7efN9y44U2o
Song #9
Maare gaye gulfam….
For the last song of the evening, I am going to take a song from Teesri Kasam for the sole reason that yesterday I was honoured to meet Shailendra’s son Dinesh Shailendra at Shankar Jailkishan Music Federation Meet at Mumbai. The movie was produced by the lyricist Shailendra and starred Raj Kapoor and Waheeda Rehman.
The movie wasn’t a commercial success even though it won the National Award for Best Feature Film. However, many years later, it was critically acclaimed as a very fine movie.
The lyrics that Shailendra wrote for the songs of the movie are amongst his greatest, eg:
1. Sajan re jhoot mat bolo khuda ke paas jaana hai.
2. Duniya banane waale kya tere mann mein samaayi.
3. Chalat musaffir moh liyo re pinjare waali muniyaa.
4. Sajanva bairi ho gaye hamaar.
5. Paan khaayo sainyaa hamaro.
Shankar Jaikishan outperformed themselves in the compositions of the songs. So strong were the bonds between Shailendra, Hasrat Jaipuri, S-J and Raj Kapoor that Shailendra asked Hasrat Jaipuri to pen two songs for the movie.
And which songs? The movie’s story was based on a short story Maare gaye gulfaam by Phanishwarnath Renu. So, in asking Hasrat Jaipuri to pen this song, Shailendra virtually gave him the title song in his own production that was directed by Basu Bhattacharya.
(Pic courtesy: www.indianetzone.com)
It was sung by Lata Mangeshkar.
One little thing more about the song. Yesterday, Yunus Khan, in an interactive audio based session referred to three of the songs of S-J as what he called as: “Happy-Sad Songs”; meaning that even though these were sad songs, these had lively music. Songs such as Anaadi’s Tera jaana fitted into this definition.
This one is another one that fits in with the description. It is fast paced and Waheeda could dance on it. However, it is a song that carried a sad emotion.
Please enjoy in Raag Jaijaivanti: Maare gaye gulfaam….
is pyaar kii mahafil me.n
wo aaye muqaabil me.n
( wo tiir chale dil par
halachal sii hu_ii dil me.n ) -2
halachal sii hu_ii dil me.n
chaahat kii sazaa paa_ii
Tonight lets start with Sahir Ludhianvi for a change. As is often the case with Sahir Ludhianvi, this has been composed by Roshan. The singers are several: Mohammad Rafi, Asha Bhosle, Meena Kapoor and Manna De.
Mahendra Kapoor, Yash Chopra, N Dutta and Sahir Ludhianvi (Pic courtesy: www.livemint.com)
The name of this 1963 movie is Taj Mahal that starred Pradeep Kumar as Shah Jehan and Beena Roy as Mumtaz. Everyone knows their historic love story that ended in Shah Jehan erecting the Taj Mahal in her memory; one of the seven wonders of the world.
One of the most wonderful things about the movie was its songs. These are some of the best by the team of Sahir Ludhainvi with Roshan:
1. “Jo Baat Tujh Mein Hai” Mohammed Rafi
2. “Jo Wada Kiya Wo” Mohammed Rafi, Lata Mangeshkar
3. “Jurm-E-Ulfat Pe” Lata Mangeshkar
4. “Qhuda-E-Burtur” Lata Mangeshkar
5. “Na Na Na Re Na Na, Haath Na Lagana” Suman Kalyanpur, Minoo Purshottam
6. “Paaon Chhoo Lene Do” Mohammed Rafi, Lata Mangeshkar
7. “Chandi Ka Badan” Mohammed Rafi, Manna Dey, Asha Bhosle, Meena Kapoor
8. “Husn Se Duniya Hansi” Asha Bhosle
Please enjoy in Raag Jaijaivanti: Chandi ka badan sone ki nazar…
Male:
chaa.Ndii kaa badan sone kii nazar
us par ye nazaakat kyaa kahiye
ejii kyaa kahiye
kis kis pe tumhaare jalvo.n ne
to.Dii hai qayaamat kyaa kahiye
ejii kyaa kahiye
chaa.Ndii kaa badan sone kii nazar
Female:
gustaaKh zubaa.N gustaaKh nazar
ye ra.ng-e-tabiyat kyaa kahiye
ejii kyaa kahiye
aise bhii kahii.n is duniyaa me.n
hotii hai muhabbat kyaa kahiye
ejii kyaa kahiye
GustaaKh zubaa.N gustaaKh nazar
Male:
aa.Nchal kii dhanak ke saaye me.n
ye phuul gulaabii cheharo.n ke
ye phuul gulaabii haaye gulaabii cheharo.n ke
is vaqt hamaarii nazaro.n me.n
kyaa chiiz hai jannat kyaa kahiye
ejii kyaa kahiye
is vaqt hamaarii nazaro.n me.n
tumase nazare.n jo milii.n
diin-o-duniyaa se gaye
ik tamannaa ke sivaa
har tamannaa se gaye
mast aa.Nkho.n se jo pii
jaam-o-miinaa se gaye
zulf laharaa_ii jahaa.N
ham bhii laharaa se gaye
huure.n milatii hai.n kise
is kii paravaah se gaye
is kii paravaah se, paravaah se, paravaah se gaye
is vaqt hamaarii nazaro.n me.n
kyaa chiiz hai jannat kyaa kahiye
ejii kyaa kahiye
chaa.Ndii kaa badan sone kii nazar
Female:
yuu.N garm nigaahe.n mat Daalo
ye jism pighal bhii pighal bhii sakate hai.n
ye jism pighal bhii sakate hai.n
u.De na kahii.n ruup kii shabanam *
garm nigaahe.n Daalo kam-kam *
aadaab-e-nazaaraa bhuule ho – 2
tum logo.n kii vahashat kyaa kahiye
ejii kyaa kahiye
tum hame.n jiit sako
is kaa imkaan nahii.n
Khud ko badanaam kare.n
ham vo naadaa.N nahii.n
ko_ii marataa hai mare
ham pe ehasaan nahii.n
un se kyuu.N baat kare.n
jin se pahachaan nahii.n
tum ko aramaa.N hai to hai
ham ko aramaan nahii.n
ham ko aramaan ke aramaan ke aramaan nahii.n
aadaab-e-nazaaraa bhuule ho
tum logo.n kii vahashat kyaa kahiye
ejii kyaa kahiye
gustaaKh zubaa.N gustaaKh nazar
Male:
jin logo.n ko tum Thukaraa ke chalo *
vo log bhii qismat vaale hai.n *
tum jis kii tamannaa kar baiTho *
un logo.n kii qismat kyaa kahiye *
ejii kyaa kahiye
ye javaanii ye adaa **
kyo.n na maGaruur ho tum **
farsh par utarii hu_ii **
arsh kii huur ho tum **
shoKh jalvo.n kii qasam **
sholaa-e-tuur ho tum **
ko_ii dekhe to kahe **
nashe me.n chuur ho tum **
tum jis kii tamannaa kar baiTho *
un logo.n kii qismat kyaa kahiye *
ejii kyaa kahiye
chaa.Ndii kaa badan sone kii nazar
Female:
din raat duhaa_ii dete hai.n
ye haal hai in diivaano.n kaa
jahaa.N dekhii na_ii suurat machal baiThe
yahii, yahii, yahii le.nge
ye haal hai in diivaano.n kaa diivaano.n kaa
Male:
jin kii Khaatir Gam sahe.n aur ro-ro jaa.N gavaaye.N
haay rii qismat u.nhii.n ke muu.Nh se diivaane kahalaaye.N
Female:
in aashiqo.n ke haath hai
ai zi.ndagii bavaal
in kaa kare.n Khayaal ke
apanaa kare.n Khayaal
har lab arz-e-shauq to
har aa.Nkh hai savaal
ye Gam se beqaraar hai
vo dard se niDhaal
arey ye haal hai in diivaano.n kaa
ye haal hai in diivaano.n kaa
Male:
merii nii.nd ga_ii meraa chain gayaa
vo jo pahale thii taab-o-tabaan ga_ii
yahii ra.ng rahaa yahii Dha.ng rahaa
to ye jaan lo jaan kii jaan ga_ii
ye haal hai in diivaano.n kaa – 2
Female:
kisii ko Khud-Khushii kaa, shauq ho to, kyaa kare ko_ii
Male:
davaa-e-hijr de, biimaar ko, achchhaa kare ko_ii
Female:
ko_ii bevajah sar pho.De to kyo.n paravaah kare ko_ii
Male:
kisii majabuur-e-Gam kaa haal kyo.n aisaa kare ko_ii
Female:
mazaa to hai ke jab tum,
tum ta.Dapaa karo,
dekhaa kare ko_ii
Male:
mare.n ham aur tum par,
ke tum par Khuun kaa
daavaa kare ko_ii
Song #11
Badle badle mere sarkaar nazar aate hain….
And, after Sahir Ludhianvi, who was good no doubt, lets return to the best: Shakeel Badayuni. This is from Guru Dutt’s 1960 movie Chaudhvinh Ka Chand, which starred the ‘Living Legend” Waheeda Rehman in the title role. This song, a sad song after love went sour between them, was composed by Ravi and sung by Lata Mangeshkar for Waheeda Rehman.
Mohammad Rafi recording a song with the music director Ravi (Pic courtesy: www.hamaraphotos.com)
Marvel at the mastery of each word crafted by the master craftsman: Shakeel (Handsome).
Please enjoy in Raag Jaijaivanti: Badle badle mere sarkar nazar aate hain….
badale badale mere sarakaar nazar aate hai.n -2
ghar kii barabaadii ke aasaar nazar aate hai.n
badale badale mere sarakaar nazar aate hai.n
badale badale
Duube rahate the mere pyaar me.n jo shaam-o-sahar -2
mere chehare se na haTatii thii kabhii jinakii nazar
merii suurat se vo bezaar nazar aate hai.n -2
ghar kii barabaadii ke …
vo jo badale to zamaane kii hawaa bhii badalii -2
dil kii Kushiyaa.N bhii ga_ii.n ghar kii fazaa bhii badalii
suune suune dar-o-diiwaar nazar aate hai.N -2
ghar kii barabaadii ke …
mere maalik ne muhabbat kaa chalan chho.D diyaa -2
kar ke barabaad mere dil kaa chaman chho.D diyaa
phuul bhii ab to mujhe Kaar nazar aate hai.n -2
ghar kii barabaadii ke …
https://www.youtube.com/watch?v=Pjf9ORFDwQA
Song #12
Dhal chuki shaam-e-gham muskara le sanam…
I will tell you one major concern that I have whenever I put up Shakeel Badayuni; which is that how does one get out of the mood or the atmosphere that his lyrics create?
At the time when Chaudhvinh Ka Vhand was made, another 1960 movie was made and it was called Kohinoor. The movie was primarily made to get Dilip Kumar out of the depression that constantly playing sad and tragic roles had caused him.
(Pic courtesy: songsmp3.info)
If he was the tragedy king, Meena Kumari was an equivalent tragedy queen and she too needed a lighthearted role to get out of the sadness.
This song by Shakeel, therefore, gave hope rather than putting them in further gham and misery that his songs normally caused.
Naushad composed it and the God of Songs: Mohammad Rafi sang it.
Please enjoy in Raag Jaijaivanti: Dhal chuki shaam-e-gham muskara le sanam…
Dhal chukii shaam-e-Gam muskaraa le sanam
ik na_ii subah duniyaa me.n aane ko hai
pyaar sajane lagaa saaj bajane lagaa
zindagii dil ke taaro.n pe gaane ko hai
Dhal chukii shaam-e-Gam …
aaj paayal bhii hai naGmaa-e-dil bhii hai
ra.ng-e-ulfat bahaaro.n me.n shaamil bhii hai
aa ga_ii hai milan kii suhaanii gha.Dii
vaqt kii taal pe ( naachatii hai Kushii ) -2
ghu.Ngharu_o.n kii sadaa ra.ng laane ko hai
Dhal chukii shaam-e-Gam …
jhuumate aa rahe hai.n zamaane na_e
hasarate.n gaa rahii hai.n taraane na_e
aaj dil kii tamannaa nikal jaa_egii
giit hogaa vahii ( lay badal jaa_egii ) -2
ik nayaa raag qismat sunaane ko hai
Dhal chukii shaam-e-Gam …
https://www.youtube.com/watch?v=1bzh9FyAoPE
Song #13
Sooni sooni saans ke sitaar par….
The other day – 19th June, Sunday to be exact – during the Shankar Jaikishan Music Foundation Meet in Mumbai, it was talked about how most of S-J’s songs were penned by Shailendra or Hasrat Jaipuri and how, only in later years that lyricists like Neeraj stepped in.
This is a song of the 1971 movie Laal Patthar in which Hema Malini had her only negative role in the movies. She, as Saudamani, acted as a jealous mistress of Zamindar Kumar Bahadur Gyan Shankar Rai played by Raaj Kumar. Raaj Kumar married Sumita played by Rakhee; although he was in love with Sadamani (whom he called Madhuri), he never married her and kept in his palace as a mistress. Later he found out that Sumita was earlier in love with Shekhar (Vinod Mehra) and hence the plot to get rid of him.
A scene from the 1971 movie Laal Patthar, which had the only negative role of Hema Malini (Pic courtesy: www.rediff.com)
The movie had excellent songs composed by S-J, which included an outstanding one Unake khayaal aaye to aate chale gaye, which we have already covered in Raag Gara.
This one has been sung by Asha Bhosle.
Please enjoy in Raag Jaijaivanti: Sooni sooni saans ki sitaar par….
suunii suunii saa.Ns kii sitaar par
bhiige bhiige aa.Nsuo.n kii taar par
ek giit sun rahii hai zi.ndagii
ek giit gaa rahii hai zi.ndagii
suunii suunii saa.Ns kii sitaar par …
pyaar jise kahate hai.n
khel hai khilonaa hai
aaj ise paanaa hai kal ise khonaa hai
suunii suunii saa.Ns kii sitaar par
bhiige bhiige aa.Nsuo.n kii taar par
ek sur milaa rahii hai zi.ndagii
ek sur vbhulaa rahii hai zi.ndagii
suunii suunii saa.Ns kii sitaar par …
koii kalii gaatii hai
koii kalii rotii hai
koii aa.Nsuu paanii hai
koii aa.Nsuu motii hai
suunii suunii saa.Ns kii sitaar par
bhiige bhiige aa.Nsuo.n kii taar par
kisii ko ha.Nsaa rahii hai zi.ndagii
kisii ko rulaa rahii hai zi.ndagii
suunii suunii saa.Ns kii sitaar par …
https://www.youtube.com/watch?v=0OzEIS4Rix8
Song #14
Dil shaam se dooba jaata hai….
Now that you had a song from 1971 movie Laal Patthar that brought out the singing excellence of Asha Bhosle, here is another of approximately a decade and a half before that.
It is from the 1958 movie Sanskaar starring Anant Kumar with Ameeta. Sarshar Sailani penned the lyrics. Other than this movie, he wrote lyrics for the songs of the 1949 movie Rakhi including Babul ka ghar chhod ke gori ho gayi aaj prayyi re, and 1952 movie Bewafa.
Anil Biswas composed the song.
Anil Biswas with Lata Mangeshkar (Pic courtesy: chandrakantha.com)
Please enjoy in Raag Jaijaivanti: Dil shaam se dooba jaata hai….
dil shaam se Duubaa jaataa hai -2
raat aa_egii to kyaa hogaa -2
jab naagan banakar tanahaa_ii -2
Das jaa_egii to kyaa hogaa -2
dil shaam se Duubaa …
jab pyaas mere aramaano.n kii
har saa.Ns pe ba.Dhatii jaa_egii -2
ye kashtii jab tuufaano.n se -2
Takaraa_egii to kyaa hogaa -2
dil shaam se Duubaa …
raah takate agar thak jaa_e nazar
detii hai tasallii aas magar -2
jab aas tasalii de-de kar -2
thak jaa_egii to kyaa hogaa -2
dil shaam se Duubaa …
Song #15
And to end with Raag Jaijaivanti based songs tonight, this song is not from a Hindi movie but a Pakistani movie. Noorjehan sang for herself in the 1959 movie Koel or Koyal that starred her opposite Aslam Parvez.
Noorjehan with Aslam Parvaiz (Pic courtesy: cineplot.com)
Tanvir Naqvi who gave us that remarkably beautiful number in the 1956 movie Shirin Farhad (sung by Lata Mangeshkar): Guzara hua zamaana, aata nahin dobara, also penned this song.
Khurshid Anwar composed it.
Please enjoy in Raag Jaijaivanti: Dil ka diya jalaaya…..
dil kaa diyaa jalaayaa,
mai.n ne dil kaa diyaa jalaayaa
tujh ko kahii.n na paayaa,
tujh ko kahii.n na paayaa
kahii.n naa bahalaa dil bechaaraa,
kahii.n milaa naa mujh ko sahaaraa
aas ke taare Duube saare,
ghor a.ndheraa chhaayaa
tujh ko kahii.n na paayaa
dil kaa diyaa jalaayaa, mai.n ne dil kaa diyaa jalaayaa
biit gayaa hai ek zamaanaa,
kahii.n milaa na teraa Thikaanaa
tak tak haare nain bechaare,
kuchh bhii nazar na aayaa
tujh ko kahii.n na paayaa
tujh ko kahii.n na paayaa …
dil kaa diyaa jalaayaa,
dil kaa diyaa jalaayaa
mai.n ne dil kaa diyaa bujhaayaa
There that is my list of fourteen Best Songs in Hindi movies and one in Pakistani movie composed in our 23rd Raaga on Lyrical: Raag Jaijaivanti. I hope you liked the selection.
Please await my post regarding the next Raaga based songs in Hindi movies.
Jal Vayu (Navy, Air Force) colonies, through AFNHB (Air Force Navy Housing Board with head-office in New Delhi) are meant to provide affordable housing to officers and other ranks of IAF and Navy). Here is from the Home page of AFNHB site:
“AFNHB generally constructs two categories of dwelling units, one for the officers category and the other for airmen / sailors category of Air Force and Navy. The funding for the dwelling units is through Self Financed Schemes with an approximate of 10% of the expected price of the flat being deposited at the time of registration and balance in easy installments.
The Air Force Naval Housing Board (AFNHB) as a Service Welfare Body is committed to serve the housing needs of the Naval and Air Force community purely on ‘No Profit No Loss’ basis. This Board was registered under the Societies Registration Act 1860, with an objective to promote housing schemes in cities all over the country as per the demand of the Naval and Air Force personnel.
AFNHB can proudly claim to have a clientele of over 18,000 allottees and by the turn of the millennium, it had completed handing over of almost 14,000 dwelling units and farm units.”
JVDE Phase I, Kharghar was advertised by AFNHB as an Officers’ Colony though over a period of time it has mixed clientele of officers, other ranks and even civilians.
Whilst the colony (due to the focus on Societies Act, these days it is convenient to call a colony as a ‘society’) residents enjoy the facilities and privileges as planned by AFNHB, being a defence housing society, it has a responsibility of becoming an ideal society or a role model that people all around should look up to.
Regrettably, due to raging environment of animosity between the members for over five years now (ranging from strong under-currents to open fist-fighting hostilities), the ordinary members like me have suffered. I joined the scheme in 1994-5 itself and my serial number in the scheme was KHA0004 (the fourth member to have joined the scheme!) On retirement from the Indian Navy on 28th Feb 2010, I looked forward to a peaceful, officer-like atmosphere. Sadly, within no time it was made home to me that the atmosphere was more like a melee. In the Annual General-body Meets of the Society (that used to last for days and even nights), all the proceedings used to be video recorded so that in case of serious injuries due to free-for-all there would be some legal record for the police and other authorities. Everyone used to hurl something called bye-laws at one another. Everyone used to look at everyone suspiciously. People had formed various camps and the only agenda that members followed was to somehow sort out the other party/camp.
During one such melee, I got up to speak and requested everyone to behave like officers (the word, that to me, is always synonymous with gentlemen). The mike that I held was rudely snatched from my hands and the person snatching the mike spoke with ferocity, “That’s exactly what is wrong with this Society; officers think that they are the only ones staying here. We ain’t officers; we are sailors and we have every right to be here.”
That put an end to my active participation in any discussion or debate in the AGMs. I find it rather lowly to win an argument with lung power and noise. But, then we have quite a few experts in the Society who revel in noise (Please also read: ‘Noise Is The Newest Form Of Devotion’) and blasting the day-lights out of other members for them is routine).
I silently (I have always done it in this manner) pray to God to let good sense return to the JVDE, Kharghar Society.
However, for the time being, there is a major camp that is forever drilling into all of us, a la political parties style debates in the media: Yes, we did some mistakes and we were bad. But, we weren’t as bad as the new management committee that you have elected.
Then there is a camp of the new MC that is seeking to set right every wrong that was earlier done and lead the Society into better days.
And then there is a small camp (you can call it a camp but we ain’t formally organised as the other two) of people like me who wish that we would actually live in harmony and work towards making JVDE, Kharghar the best colony ever.
Lets look at some of the issues that have divided us and made us choose, sometimes unwittingly, one or the other camp. Most often people start taking sides without understanding the issues. I may not be right in the kind of legalese that has come to prevail in our colony now. However, I do know that I am factually right and have, as always, no axe to grind.
Encroachments. These were made into such a huge issue. At one time it was made to look like that the very existence of JVDE was dependent upon removing the so called encroachments. Anyone listening to the term and the ensuing heated discussions and fist-fights would have thought that somehow members of JVDE had become so unlawful that they thought of nothing but encroaching upon what was called as common areas. Basically, if my memory serves me right, the issue first came up in an SGM of 2012 when an agency called MM Consultants were asked by the then MC to carry out a survey to establish the extent and nature of encroachments. Two internal committees were constituted too; one of them to see if any structural concerns were there. Meanwhile, it appeared to most people that people were targeted (this approach of putting the other party in its place became a way of life). Whilst it was said that CIDCO had pointedly objected to such encroachments, it later came out that we ourselves went to CIDCO repeatedly with the list of encroachments until they’d take notice. This aa-bail-mujhe-maar (Come-bull-hit-me) approach finally divided the entire community. Curiously, it came out that two opposite flats being combined together was done by AFNHB themselves in their show-case flats and AFNHB itself sought from CIDCO regularisation of the same. However, some 18 members who emulated AFNHB were made to feel like worms and repeatedly and publicly humiliated. With this issue, with each of the two major camps relentlessly approaching CIDCO and AFNHB, it was amply demonstrated that we had no vision towards a harmonious, ideal, and happy society, but that, we considered ego and prestige issues above the welfare of everyone. This non-issue also kept us away from discussing issues that we should have been discussing to make ours as the best colony.
Fire-Safety. Having divided the community squarely on the above issue of Encroachments, the next thing was to scare the hell out of all of us by combining the issue of encroachments with that of Fire-Safety. I have been a keen listener during the heated discussions (having been shut-up by absolutely rude conduct by some of the other members). It was repeatedly told, in the anti-people approach that was perfected, that the Maharashtra Fire Safety Rules were flouted by members indiscriminately by encroachments and that our Fire Insurance of Rupees 17 Lakhs was wasted because of the self-serving approach of these members. Flower-pots, shoe racks, foot-mats were all targeted. It finally came out that what stood in the way of Fire Insurance wasn’t so much as these items but the deficiencies that were to be made up in the Fire-equipment. Somehow, in the prevailing spy versus spy atmosphere that prevailed, the significant issues were put under the carpet. Take for example the fact that MSEB had taken a complete transformer sub-station and we were not bothered to get it back, which would have ensured that every two buildings had a transformer instead of at that time four buildings per transformer. However, we were fighting amongst ourselves in our holier-than-thou attitude.
Water Shortages. In relentless attempt to divide the society and hence prove that the earlier camp of the MC was a better proposition, this issue came in handy. The timing of this was perfect; most acute water shortages were noticed when the transition took place last year. Passions were so strong that no one wanted to go into the reasons for it but spew his/her venom with impunity. In the midst of constant din and vitriol, the problem was sorted out by resorting to firstly, overall cleaning and upkeep of the pump-house; secondly, upgrading the water treatment plant; and lastly, replacement of about 75 metres of pipeline from CIDCO pipe to our pump-house.
Conveyance Deed. Everyone is concerned about the fact that the Conveyance Deed of the Land and the Buildings hasn’t yet taken place between the AFNHB and the JVDE Society. This is a little complex issue than meets the eye. During the period 1996-99, there is an unregistered agreement between AFNHB and CIDCO (for a 60 years lease deed) and it should always have been AFNHB’s intention to pass it on to us when the society would be registered. However, it seems that between Dec 2010 and Jul 2011, some change of thought-process has taken place. Also, the CIDCO project accounts were finalised only in 2012. AFNHB has been, in the meantime, earning money on resale of flats and it is estimated that it has made some Rupees 14 Lakhs so far (for each resale of flat, the JVDE and AFNHB get Rupees 20000 each and CIDCO gets Rupees 10000). Meanwhile, two other issues have made the matter a little more complicated: One, that AFNHB has written to CIDCO to regularise the alterations to flats (some of which was being touted heatedly as Encroachment issue) that it did at that time. And two, residents of Gulab building took HCC, AFNHB, and Architect Kukreja to Consumer Court and won an award of Rupees 8.59 Lakhs to compensate them for poor construction. This money cannot be paid out of Society funds as it is discriminatory against those who haven’t gone to the court (all the other buildings) though they too face issues of similar poor construction. Now that AFNHB has been caught on the wrong foot on a number of these issues, there is quite a bit of softening of their earlier stand. We must, therefore, get the best deal in favour of the society from both AFNHB and CIDCO.
It can thus be seen that the issues that engage our attention most of the times, at present, are really not the issues that we should dissipate extensive time and energy on unless it is a viable argument that an eye for an eye and one-upmanship are the correct approach for the Society.
Here are some of the issues that should really be worthy of our consideration in order that JVDE should become an ideal society:
Water re-cycling.
Rainwater harvesting.
Waste management leading to composting and zero waste.
Long term structural issues of buildings.
Roofs over terraces of all buildings in the manner of Tulip and Daffodil.
Flogging dead horses is a hobby fit for those who want to win popularity contests and let ego rule over everything. On the other hand, time has come for all of us to abandon camps and one-upmanship and truly become participants in the management of our society and lead it to become the best colony anywhere.
Our colony is really very beautiful with its central lawn and landscaping, thanks to all those earlier and now who have managed the affairs of our colony. Lets all pull together and focus on positives rather than being constantly surrounded by negatives all the while and pull in different directions.
