This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Recently, I read ‘In the Company of a Poet – Gulzar in Conversation with Nasreen Munni Kabir’ (2012). The book gives a bird’s eye view on the life of Gulzar – from setting his foot in Bombay (Mumbai) in mid-1950 to his continuing association with Bollywood. Before reading this book, I was under the impression that, like many others who came to Bombay to fulfill their aspirations to work in Bollywood, Gulzar was one of them. It was not so as revealed from his conversations in the book. Gulzar came to Bombay not by his own choice but as a part of his father’s plan to divide the financial responsibility of his large family following his post-partition migration from Dina (in Pakistan) to Delhi.

After staying with his step brother for some time in South Bombay, Gulzar shifted to a guest house in Chaar Bungalow area in Andheri (west) where some of the members of Progressive Writers Association (PWA) like Krishan Chandra, Rajinder Singh Bedi, Sahir Ludhianvi, Sagar Sarhadi etc. were already staying. They were all associated with Hindi film industry. Some of other members of PWA like Balraj Sahani, Khawja Ahmed Abbas, Ali Sardar Jafri, Shailendra, Majrooh Sultanpuri used to visit the guest house for attending the meeting. So most of the time, Gulzar had the company of writers and poets associated with Hindi film industry.

But the young Gulzar had different aspirations. His aim was to become a poet and writer like Mirza Ghalib and Rabindranath Tagore who were his role models. So, despite his almost daily mingling with poets and writers associated with Hindi film industry, he was not interested in working for Hindi films. As events have unfolded now, he was destined to work in Hindi film industry – an association of over 5 decades which is still continuing. How did it happen?

Shailendra and SD Burman had some creative differences over a song situation in the film ‘Bandini’ (1963). So Shailendra decided to withdraw from the film and suggested to Gulzar to meet Bimal Roy, the producer-director of the film. At first, Gulzar flatly refused to write songs for the film. It was after much persuasion (Gulzar terms it as ‘scolding’) by Shailendra that he agreed and wrote ‘Mora Gora Rang Lai Le Mujhe Shyaam Rang Dai De’ on a pre-set tune of SD Burman. Bimal Roy liked the lyrics very much. At that time, Gulzar was working as a mechanic in a garage at Byculla. Bimal Roy advised him to leave his job and become his assistant. Gulzar remained his assistant until his death in 1965.

But a superstitious SD Burman was not prepared to work with a new comer as he felt that when he worked with a new lyricist, the films failed at the box office. So he patched up with Shailendra and rest of the songs for ‘Bandini’ (1963) was written by him. This is the only song (his first, but third song in terms of the film’s year of release) he wrote for SD Burman. On the positive side, Gulzar’s first song brought together Lata Mangeshkar and SD Burman after a gap of over 3 years.

For ‘Kabuliwala’ (1961), Prem Dhawan was the lyricist. However, Bimal Roy was not happy with the lyrics of a song of a philosophical nature. So Bimal Roy entrusted the writing of lyrics for this song situation to Gulzar who had by then become his Chief Assistant Director. Thus, ‘Ganga Aaye Kahaan Se Ganga Jaaye Kahaan Re’ came from the pen of Gulzar. Later on, Gulzar came to know that it was at the instance of Prem Dhawan that Bimal Roy entrusted the song to Gulzar.
In ‘Prem Patra’ (1962), Gulzar wrote only one song ‘Saawan Ki Raaton Mein Aisa Bhi Hota Hai’. Rest of the songs were written by Rajinder Krishan. In terms of releases, however, ‘Kabuliwala’ (1961) was released first, followed by ‘Prem Patra’ (1962) and ‘Bandini’ (1963).

It is interesting to note that in the conversation, Gulzar has not even hinted that he had written songs for ‘Choron Ki Baarat’ (1960), ‘Diler Haseena’ (1960) and ‘Shriman Satyawadi’ (1960) under his then pen name ‘Gulzar Dinvi’. According to the year of release, these 3 films preceded the films mentioned in the earlier paragraph. However, he maintains that ‘Mora Gora Ang Lai Le’ for ‘Bandini’ (1963) is his first song. There must be some reason as to why he has kept silent on the songs of the earlier three films mentioned above.

Very recently, I came across a discussion on Yahoo Group’s ‘Sangeet ‘Ke Sitaare’ about Gulzar’s songs. Pavan Jha, a close friend of Gulzar who runs http://www.gulzaronline has clarified therein that Gulzar had only improvised the original lyrics written by Gulshan Bawra for three films of 1960s and much against Gulzar’s wishes, his friends had put his name in the respective films’ credit. So he would not like to take credit for those songs. Incidentally, those days, Gulzar’s short stories and poems used to get published in Urdu magazines like ‘Shama’ under his pen name of ‘Gulzar Dinvi’.

After the death of Bimal Roy, Gulzar was supported mainly by Hemant Kumar, though Hrishikesh Mukherjee and Salil Choudhury also lent their hands of support. Hemant Kumar took him as lyricist for films like ’Sannaata’ (1966), ‘Biwi Aur Makaan’ (1966), ‘Do Dooni Chaar’ (1968) ‘Khamoshi’ (1969), and ‘Raahgir’ (1969). With ‘Mere Apne’ (1971) Gulzar turned director. Thereafter he directed many films like ‘Parichay’ (1972), ‘Khushboo’ (1975), ‘Mausam’ (1975), ‘Aandhi’ (1975), ‘Kinaara’ (1977), ‘Kitaab’ (1977), ‘Angoor’ (1982), ‘Ijaazat’ (1988), ‘Machhis’ (1996) etc. The last film he directed was ‘Hu Tu Tu’ (1999) after which he announced that he was now done with the film production and direction. However, he continues to write lyrics for Hindi film even now.

I am presenting a song which Gulzar wrote for an unreleased film ‘Mitti Ke Dev’ (1968) from his early phase of carreer as a film lyricist. The song is ‘Shaam Se Aankh Mein Nami Nami Si Hai’ and is sung by Mukesh, set to music by Salil Chaudhary.

As per http://www.salilda.com, the film was produced by Padma Trivedi and was directed by Samir Chaudhary, Salil Chaudhary’s younger brother. Sanjeev Kumar and Anjana were in lead roles. It is said that Lata Mangeshkar and Mukesh were so impressed with the film that they wanted to distribute it in Maharashtra and Rajsathan. However, before the film was released, a studio fire completely destroyed the film. There were three songs, one each written by Gulzar, Yogesh and Prem Dhawan.  Of the three, only the song under discussion survived.

While this song of Mukesh is not well known, Gulzar wrote a ghazal retaining the mukhda of the song with the the same theme which Asha Bhosle had recorded in her NFS album ‘Dil Padosi Hai’ (1987) under the music direction RD Burman. Jagjit Singh made this ghazal popular through his NFS album ‘Marasim’ (1999).

All the three singers have sung in their own style. Of course, one can see the difference between filmy and non-filmy versions in regard to the singing style and orchestrations, apart from rendering in different verses. Note how , Gulzar has used imagery in the context of ‘saans’ differently in the song and in NFS ghazal versions:

In the song :
        ajnabi si hone lagi hai aati jaati saanse
        aansoun mein khadi huyi hai roothi huyi si yaaden

In the NFS ghazal – Asha Bhosle version:
        dafn kar do hamen to saans aaye
        der se saans kuchh thami si hai

In the NFS ghazal – Jagjit Singh version:
        dafn kar do hamen ke saans miley
        nabz kuchh der se thami si hai

Enjoy a rare Mukesh song with Salil Chaudhary’s typical orchestration. And do not forget to listen to its ghazal versions of Asha Bhosle and Jagjit Singh.

Song – Shaam Se Aankh Mein Nami Si Hai (Mitti Ke Dev)(1968 UR) Singer – Mukesh, Lyrics-Gulzar, MD – Salil Chaudhry

Lyrics

shaam se
aankh mein
nami nami si hai
shaam se
aankh mein
nami nami si hai
aaj phir
aap ki
kami kami si hai
shaam se
aankh mein
nami nami si hai

ajnabi si hone lagi hain
aati jaati saanse
aansuon mein khadi huyi hain
roothi huyi si yaadein
ajnabi si hone lagi hain
aati jaati saanse
aansuon mein khadi huyi hain
roothi huyi si yaadein
aaj kyun
raat yun
thami thami si hai
shaam se
aankh mein
nami nami si hai

patharon ke hothon pe hamne
naam taraasha apna
jaagi jaagi aankhon mein bhar ke
soya hua sa sapna
patharon ke hothon pe hamne
naam taraasha apna
jaagi jaagi aankhon mein bhar ke
soya hua sa sapna
aankh mein
neend bhi
thami thami si hai
shaam se
aankh mein
nami nami si hai

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Hindi script lyrics (Provided by Sudhir)
———————————————————-

शाम से
आँख में
नमी नमी सी है
शाम से
आँख में
नमी नमी सी है
आज फिर
आप की
कमी कमी सी है
शाम से
आँख में
नमी नमी सी है

अजनबी सी होने लगी हैं
आती जाती सांसें
आंसुओं में खड़ी हुईं हैं
रूठी हुई सी यादें
अजनबी सी होने लगी हैं
आती जाती सांसें
आंसुओं में खड़ी हुईं हैं
रूठी हुई सी यादें
आज क्यों
रात यूं
थमी थमी सी है
शाम से
आँख में
नमी नमी सी है

पत्थरों की होठों पे हमने नाम
तराशा अपना
जागी जागी आँखों में भर के
सोया हुआ सा सपना
पत्थरों की होठों पे हमने
नाम तराशा अपना
जागी जागी आँखों में भर के
सोया हुआ सा सपना
आँख में
नींद भी
थमी थमी से है
शाम से
आँख में
नमी नमी सी है

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 3
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The off-screen romance between Dev Anand and Suraiyya was well known. On-screen, if there was any song which symbolized the relationship it was this romantic duet from Vidya 1948 sung by Mukesh and Suraiyya.

Hold on. Mukesh giving playback for Dev Anand?. Well, yes, there were 3 occasions in which this rarity occurred. A solo and a duet in Vidya and a duet in Shair with Lata under Ghulam Mohammed.

The composer who brought the romance on screen was S D Burman. The duet was a huge craze amongst young budding lovers in those days. The philosophical solo in Vidya may not be very well known. But, this beautifully written song by Yashodanandan Joshi is a pleasure to listen to with some excellent verses. The trio of Mukesh, S D Burman and Dev Anand worked only in this movie.

The next year 1949, S D Burman reinforced the Mukesh magic, this time for Dilip Kumar in Shabnam wherein Mukesh sang 3 duets with Shamshad Begum and 1 with Geeta Dutt. The year 1949 as we all know was a threshold year as far as music is concerned. It had several great composers, lyric writers and singers come together for some huge and very popular hits. And, for S D Burman to stick his neck out in this year speaks volumes of his talent which was very much evident in the latter years. The duets of Shabnam were very popular during their days. So you have 6 songs of the combo in two years.

And then there is the unfortunate and familiar story with which I have bound these three posts. S D Burman forgets Mukesh for 11 years till 1960. Not a trace in the entire fifties.

S D Burman, during these fifties, relied on Mohammed Rafi, Kishore Kumar, Manna Dey, Talat Mahmood etc, but not Mukesh. Yet, when this recording from Bambai ka Babu came up in 1960, Kishore Kumar was either unavailable or expressed his unwillingness to sing such a “bidai” song. S D Burman himself an accomplished singer, however, decided to bring in Mukesh and that too with a warning that the song would be excluded if it was not up to the mark. Today if there is any reason for which the film is remembered, then it’s for this great rendering by Mukesh.

Two years later, again, a single solo from Bandini had all the Mukesh midas touch attached to it. No compilation of Mukesh is ever complete without either or both of the above songs by S D Burman.

From 1960 to 1976, you have 6 songs, which was the exact number in only two years in 1948-49.

Out of these twelve songs, eleven have already been posted on the blog. Here is the final song of the combo on the blog. It’s from the film “Barood” released in 1976. It is directed by Pramod Chakravorty and the star cast includes Rishi Kapoor, Reena Roy, Shoma Anand etc.

The song itself is very good kids song pictured on Shriram Lagoo & Master Raju. Shivange Kolhapure sings for the kid, whereas Mukesh gives playback for Shriram Lagoo.
(PS-The lyrics of this song were sent by Avinash Scrapwala ages ago.)

I hope this song brings back fond memories of the past for many of the readers.

In the next post, we shall see the collaboration of Mukesh with C Ramchandra.

Song-Tu shaitaanon ka sardaar hai (Baarood)(1976) Singers-Mukesh, Shivangi Kolhapure, Lyrics-Anand Bakshi, MD-S D Burman

Lyrics(Provided by Avinash Scrapwala)

Tooti
Tooti

Tu shaitaanon ka sardaar hai
Sach hai
Hardam ladne ko taiyyar hai
Sach hai
O tere haathon mera jeena dushwaar hai
Daddy phir bhi tumko
Mujhse pyaar hai
O daddy phir bhi tumko
Mujhse pyaar hai
Tu shaitaanon ka sardaar hai
Sach hai
Hardam ladne ko taiyyar hai
Sach hai
O tere haathon mera jeena dushwaar hai
Daddy phir bhi tumko
Mujhse pyaar hai
O daddy phir bhi tumko
Mujhse pyaar hai

Maar ke thokar mez ka kona tod diya hai
Ha ha ha
Arey mera to har sapan salona tod diya hai
Hmm
Maar ke thokar maij ka kona tod diya hai
mera to har sapan salon tod diya hai
Aur apna bhi har ek khilauna tod diya hai
Aur ab jaane kya tode
koi aitbaar hai
Daddy phir bhi tumko
Mujhse pyaar hai
O daddy phir bhi tumko
Mujhse pyaar hai

Socha thha tu mere kitne kaam karega
Padh likhkar duniya mein raushan naam karega
Socha thha tu mere kitne kaam karega
Padh likhkar duniya mein raushan naam karega
Tu to mera naam bhi badnaam karega
Tujhko samjhaane ki
har koshish bekaar hai
Daddy phir bhi tumko
Mujhse pyaar hai
O daddy phir bhi tumko
Mujhse pyaar hai

Kya jungle ka raaja kabhi morr banega
Sher ka beta kya itna kamzor banega
Arey kya jungle ka raaja kabhi morr banega
Sher ka beta kya itna kamzor banega
Main sipaahi bana tu shaayad chor banega
Kya kahoon tu phool hai
ya kaanton ka haar hai
Daddy phir bhi tumko
Mujhse pyaar hai
Daddy phir bhi tumko
Mujhse pyaar hai
Tooti
Hmm hmm hmm
Tooti
Hmm hmm hmm hmm
Tooti
Tooti
Tooti
Tooti

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 4
——————————–
This beautiful Thursday morning let us listen to a bhajan by Mukesh in praise of Shirdi Sai Baba.

The philanthropic and humanitarian deeds of Mukesh are well known and documented. No article on Mukesh is complete without a mention of these activities during his life time. Distribution of blankets to the poor in winter, insistence to share the same boarding as that of his music arrangers during out-station concerts, performing shows for children and neighbours without charging any fees etc are few of the many examples. Also, being the senior-most among many of his contemporaries, he was often a peace maker amongst various disputes that arose in the film fraternity amongst artists. He was often called a noble soul for all these reasons.

His visit to the temple town of Shirdi in Nashik district is well known where he helped his fan who was a poor auto driver. This incident was about an auto driver who recognised Mukesh and refused to take any money for the travel that Mukesh performed in his vehicle. The driver also insisted on escorting Mukesh in and around Shirdi to take him to other places of interest. During conversations Mukesh learnt that the auto driver did not own the vehicle and had to surrender his earnings for the day to the actual owner on whose payroll he was. This left very little for the driver to support his family and to send his children to school. Mukesh on learning this went to Mumbai and came back to Shirdi with enough money to help buy a brand new auto for his new found fan. He also made it a point to support the cause of the auto-driver’s children education for many years.

The personal life of Mukesh is full of many such incidents and humanitarian works.

To continue with the series on “Mukesh and his composers” we shall today deal with his association with C. Ramchandra. Actually, there is not much to discuss as there are only three film songs that C Ramchandra composed for Mukesh. One is an outstanding duet on Motilal which Sudhir ji discussed recently. The other two are solo songs from Sharda and Wahan ke Log pictured on Raj Kapoor and Pradeep Kumar respectively. C Ramchandra who was an accomplished singer himself, never felt the need for Mukesh. And, even when Mukesh was sought for the odd occasion, it must have been on the demand of the hero himself.

All the three film songs sung by Mukesh for C Ramchandra are already posted on the blog. So what am I doing with this post on the combo ?
Well, it so happens that Mukesh also sang a solitary NFS, a non film bhajan to be precise, for C Ramchandra. And, incidently this beautiful bhajan happens to be on Sai Baba and hence the incident at Shirdi was referred above in the post.

Before we listen to the bhajan itself, here is the table of the short collaboration of the combo.

*

In the next post we shall discuss the songs of Mukesh for Khaiyyam.

Song-Shirdi ke sai baba teri duhaai baaba (Mukesh NFS)(1960) Singer-Mukesh, Lyrics-Bharat Vyas, MD-C Ramchandra

Lyrics

o o o
o o o
Shirdi ke Sai baba,
teri duhaai baaba
Teri sharan hum aa gaye
O sai hum to
janm janm ka phal pa gaye
Shirdi ke Sai baaba
teri duhaai baaba
Teri sharan hum aa gaye
O Sai hum to
janm janm ka phal pa gaye

Na koi ooncha
na koi neecha
tere iss darbaar mein
na koi ooncha na koi neecha
tere iss darbaar mein
jo bhi aaye
sab kuchh paaye
tere nirmal pyaar mein
Ho manmohak moorat waale
Ho manmohak moorat waale
Tum sabse ho niraale ae
Deendayaalu humen bhaa gaye
O Sai hum to
janm janm ka phal pa gaye
O Sai hum to
janm janm ka phal pa gaye

Na maangen hum heere moti
na chaandi na sona
Na maangen hum heere moti
na chaandi na sona
Humen tumhaari kripa chaahiye
aur hriday ka kona
Hum ko haath daya ka dena
Hum ko haath daya ka dena
Apni chhaaya mein lena aa
Leela tumhaari hum ga gaye
O Sai hum to
janm janm ka phal pa gaye.
O Sai hum to
janm janm ka phal pa gaye
O Sai hum to
janm janm ka phal pa gaye
O Sai hum to
janm janm ka phal pa gaye
O Sai hum to
janm janm ka phal pa gaye

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 5
————————————

Remembering Mukesh (22 July 1923 – 27 August 1976) today (22 july 2015)on his 92nd birth anniversary.

The year 1958 was a turning point in the singing career of Mukesh. Though he had started his career nearly two decades back in 1940 and had some remarkable hits in late 40’s and early 50’s, his foray into acting-singing in the early fifties had some disastrous consequences which in my view affected his whole career in some way or the other. The first three posts in this series clearly show that his songs with those composers stopped sometime after 1949-50. And then there are huge gaps before he was called again by the same composers.

I have read in one article that Mukesh in fact called some sort of a press conference in early fifties to declare that henceforth, his fans would only see him singing. It meant he would not be giving playback to other actors and all his songs would be picturised on himself. This may not have gone down well with composers as playback was very much in vogue during those days after the Saigal and Noorjahen era. Yes, there was Suraiyya, but Lata Mangeshkar had already conquered her way to the top.

His films as actor failed miserably and his experiments with composing and producing also did not come off. In short he tried too many things in a very short span and failed on all accounts. Today it is hard to believe that Malhar (1951) with some excellent compositions from Mukesh’s classmate Roshan was not a huge hit during its time. This was the first film produced by Mukesh followed by Anuraag (1956) for which he was the music director as well.

After trying his hands in all these multi-disciplines, Mukesh realised that playback singing was prerhaps the only safe and suitable option for him. However he also found out that few composers were willing to take him seriously as the film industry had moved on.

In 1958, he got some badly needed singing assignments again from his trusted composers Shankar Jaikishan and Salil Chowdhary who used his voice in their compositions. One solo in Yahudi and one solo, one duet in Madhumati were enough for the film industry to take notice of Mukesh once again. It was also in this year that he sang one of the greatest hits for Dattaram in “Parvarish”. However what is less talked about is the contribution of one composer in using Mukesh as the lead playback singer of his movie by getting his to sing as many as 5 songs in that film. Khayyam was the composer and Mukesh sang five Hard hitting songs penned by Sahir in “Phir Subh Hogi”. The magic of this trio was also very much evident in the last year of Mukesh’s career in 1976 which I will come to later.

The songs of 1958 referred above and the poignant solos and duets with Asha Bhosale in “Phir Subha Hogi” saw Mukesh’s career getting revived once again. The following year in 1959, he went on to become the first ever male playback singer to win the filmfare award, a coveted one, which he received from his fan and president of Egypt Mr. Abdel Nasser who was visiting the country and was the chief guest for the award function.

In the last post we saw the human side of Mukesh and his ever-helping nature. I came across this unique article “Legend with a heart of gold” in Hindustan Times written by Gurbir Singh Grewal. I say unique since it’s the only article which I have come across dealing only with Mukesh’s helping deeds etc. and not about his songs. For readers who may not take the trouble of opening the article, I reproduce below the paragraph pertaining to the incident with Khaiyyam.

During a meeting with Khayyam Sahib and Jagjit Kaur in 1997, they narrated that once in the late 1950s, they were to pay an instalment for their flat, and if they defaulted they would lose their flat; they tried their best, but got no help. Jagjit Kaur called Mukesh and explained, but he banged the phone down. Hardly had they recovered from the shock when Mukesh was at their door with the money. The reason for banging the phone down was he didn’t want to waste any more time!

No explanation is required for the above incident reflecting the humane side of Mukesh and it’s no wonder that he was fondly referred to as “Guni Jan” (Noble Soul) in the film industry.

Below is the table of the “film songs” sung by Mukesh for Khaiyyam.

Apart from the list above, Mukesh has also sung about 6-8 NFS for Khaiyyam. I don’t have the definite and complete list and so have not included them here. I will try to take up the NFS list of the combo separately sometime later.

The table again shows a gap of nearly a decade from 1965-1974. However it must be noted that Khaiyyam had secluded himself from film song composing for about a decade. He spent this time in composing NFS for Rafi saab, Mukesh, Talat saab, Begum Aktar etc.

Khaiyyam is one of the very few mainstream composers for whom Mukesh sang some of his best non film hindi, urdu ghazals and nazms.

All songs from the above table except the ones from “Sankalp” have been posted on the blog.

Any article of the combo is incomplete without the mention of one of their greatest hits in 1976, the very year that Mukesh passed away. It’s Kabhi Khabie with the magical trio of Mukesh-Khaiyyam-Sahir once again. This movie with its super-hit songs also proved to be a major comeback for Khaiyyam. His trajectory after this film is very well known.

The effects of Mukesh’s songs were all the more noted since they were pictured on none other than Amitabh Bachhan himself. Today, it’s hard to imagine any other playback singer singing those iconic numbers in the film.

Amitabh Bachhan sitting under a tree with doe-eyed Rakhee’s face in his hands, her lustrous hair strewn around, the slight rising of his head and the melodious outpour of “kabhi khabie mere dil mein khayal atta hai” will forever be etched in the golden annals of Hindi film music.

Meritoriously, the song also fetched Mukesh his fourth and last filmfare award which was awarded posthumously.

Coming to today’s song and the series in general, I am not finding many romantic or the pathos filled songs of Mukesh something for which he is very well know. This is because a majority of his songs are already covered in the blog. Philosophical, children song, bhajan etc are what I coming across. But then, what an invigorating exercise it is turning out to be to uncover the last few but nonetheless, outstanding songs of the legend such as this one from Sankalp released in 1974.

As discussed many times, it’s the infusion of zeal, honesty and integrity into the rendering which make Mukesh’s songs special and continue to remain in public memory.

The present song is written by Kaifi Azmi, and is based on the poetry from Nazeer Akbarabadi called Banjaranama. (Chronicle of the Nomad).
As such the refrain “sab thaath pada rah jaavega” keeps repeating in the song with wonderful lyrics interwoven by Kaifi Azmi. The refrain itself means all your splendour will lie useless, when the nomad packs-up and leaves. In other words, when the messenger of death arrives to carry us on his back, all our riches and possessions will be left here only.

I tried translating this song into English with some very prompt help from Sadanand ji, but could not complete it as the post was due for today. I request any knowledgeable reader to translate this wonderful song which is full of idioms and proverbial context.

We all know that Mukesh lived by the very verses he sang in this song. I consider it very apt and befitting that he got to sing this song. Paying tributes to Mukesh on his birth anniversary and to conclude this post, I again reproduce the last para from the same article referred above.

A song only touches the sensitive strings of the listeners’ hearts. When the performer himself is an honest and emotional person who feels the pain and instills it in his singing, he becomes a legend. Mukesh was such a legend.

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Translations (Provided by Sudhir)
——————————————

sab thhaath pada rah jaavega
jab laad chalega banjaara aa

All your splendor and treasures
Will lie ruined and worthless
Left behind
When the reaper comes calling
And the wandering traveler
Hauls up its load and moves on
To the next journey
[Note 1: the reference to ‘banjaara’ or the wandering traveler, is for the soul that inhabits the human body.  The soul is a ’wandering traveler’ that never stays permanently at any one place.]
[Note 2: the phrase ‘laad chalega’ has a very deep and oblique reference.  The soul is unable to carry anything from this world, except the sum total of all the good and bad actions.  The ‘load’ being referred to in these lines is the same as ‘paap ki gathri’ – the bundle of sins. This ‘bundle’ or record of sins is the only thing that the soul will carry from this world, to its next journey.]

dhan tere kaam na aaveg
jab laad chalega banjaara

All the gold and riches
Will not be of any help
When the wandering traveler
Hauls up its load and moves on

jo paaya hai wo baant ke kha
kangal na kar kangaal na ho

All that you have received in life
Share it with your fellow beings
Neither live like a destitute
Nor drive others to destitution

jo sabka haal kiya tone
ek roz wo tera haal na ho

What you do to your fellow beings
May well be the very fate
That may befall you one day

is haath se de us haath se le
ho jaave sukhi ye jag saara

Receive with thanks what comes your way
Give abundantly with a gentle hand
Make this world a happy place for all

kya kotha kothi kya bangle
ye duniya rain basera hai

This world is but
A stop for just a night
All your palaces and castles
Are but a comfort for a night

kyun jhagda tere mere ka
kuchh tera hai na mera hai ae

These quarrels of yours and mine
Are meaningless
Nothing belongs to you or to me

sun kuchh bhi saath na jaavega
jab kooch ka baajaa nakkaara

When the drums of retreat will sound
No treasure or palace will move with you

ek banda maalik ban baithha, har bande ki kismat phooti ee
thhaa itna moh khazaane ka, do haathon se duniya looti ee
thhe donon haath magar khaali, uthha jo sikandar bechaara

The parable of Alexander the Great
Is familiar and eminent
A single man
Who triumphed the world
Putting to sword
The destiny of millions
Plundering nations for his greed of riches
Bur on the day they carried his bier
His hands were as empty as any other

Song-Sab thhaath pada rah jaavegaa (Sankalp)(1974) Singer-Mukesh, Lyrics-Kaifi Azmi, MD-Khaiyyam

Lyrics

sab thhaath pada rah jaavega aa
sab thhaath pada rah jaavega
jab laad chalega banjaara aa
dhan tere kaam na aavega
jab laad chalega banjaara

jo paaya hai wo baant ke kha
kangal na kar kangaal na ho o
jo sabka haal kiya toone
ek roz wo tera haal na ho o
is haath se de us haath se le
ho jaave sukhi ye jag saara
ho jaave sukhi ye jag saara
sab thhaath pada rah jaavega
jab laad chalega banjaara

kya kotha kothi kya bangla
ye duniya rain basera hai ae
kyun jhagda tere mere ka
kuchh tera hai na mera hai ae
sun kuchh bhi saath na jaavega
jab kooch ka baajaa nakkaara
jab kooch ka baajaa nakkaara
sab thhaath pada rah jaavega
jab laad chalega banjaara
dhan tere kaam na aavega
jab laad chalega banjaara

ek banda maalik ban baithha
har bande ki kismat phooti ee
thhaa itna moh khazaane ka
do haathon se duniya looti ee
thhey donon haath magar khaali
uthha jo sikandar bechaara
uthha jo sikandar bechaara
sab thhaath pada rah jaavega
jab laad chalega banjaara

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Hindi script lyrics (Provided by Sudhir)
——————————————

सब ठाठ पड़ा रह जावेगा॰ ॰आss

सब ठाठ पड़ा रह जावेगा
जब लाद चलेगा बंजारा
धन तेरे काम ना आवेगा
जब लाद चलेगा बंजारा

जो पाया है वो बाँट के खा
कंगाल ना कर कंगाल ना हो॰ ॰ओss
जो सबका हाल किया तूने
एक रोज़ वो तेरा हाल ना हो॰ ॰ओss
इस हाथ से दे उस हाथ से ले
हो जावे सुखी ये जग सारा
हो जावे सुखी ये जग सारा
सब ठाठ पड़ा रह जावेगा
जब लाद चलेगा बंजारा

क्या कोठा कोठी क्या बंगला
ये दुनिया रैन बसेरा है
क्यों झगड़ा तेरे मेरे का
कुछ तेरा है ना मेरा है॰ ॰एss
सुन कुछ भी साथ ना जावेगा
जब कूच का बाजा नक्कारा
जब कूच का बाजा नक्कारा
सब ठाठ पड़ा रह जावेगा
जब लाद चलेगा बंजारा
धन तेरे काम ना आवेगा
जब लाद चलेगा बंजारा

एक बंदा मालिक बन बैठा
हर बंदे की किस्मत फूटी॰ ॰ईss
था इतना मोह ख़ज़ाने का
दो हाथों से दुनिया लूटी॰ ॰ईss
थे दोनों हाथ मगर खाली
उठा जो सिकंदर बेचारा
उठा जो सिकंदर बेचारा
सब ठाठ पड़ा रह जावेगा
जब लाद चलेगा बंजारा

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 5a
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In my last post on Mukesh’s birth anniversary(sab thhaath pada rah jaavega), we saw his association with Khaiyyam in terms of his “film songs”. I had said that I would come back with his NFS for the composer sometime later. Though I was cognizant about most of the NFS, I was not very sure of the complete list and hence restricted myself to the film songs. When I wrote that post, I too was not aware that “sometime later” would mean the very next post, that’s this one.

Harish Raghuvanshi ji the compiler of “Mukesh Geetkosh” (1985) sent a mail to Arunkumar sir, to be forwarded to self, with the details of the NFS of Mukesh for Khaiyyam. Details received from such an eminent and authoritative personality ought to be included and presented before I proceed with other composers. Harish ji’s mail was sent on 22nd July itself, but because of my preoccupations (honestly, it includes lethargy) this post got delayed for two weeks.

I thank both Harish ji and Arunkumar Sir for the details and the help extended.

As enlisted below in the table, Mukesh also sang eight (8) NFS and two (2) songs in an incomplete film “Hum ek hain” under Khaiyyam.

In the above table, song no 4 and 6 are attributed to Ghalib, while all the remaining songs have been written by Jaan Nisaar Akhtar. A very interesting thing to be noted in the table is the last song which Mukesh has sung with Jagjit Kaur. To the best of my knowledge, it’s the only duet sung by the duo. I was not very successful in tracing these two songs. I vaguely remember hearing the duet sometime back and it seems it has not been sung together as a duet. However I am not at all sure of this. Hope these two unreleased songs surface somewhere in the near future.

Another interesting point to be noted is that none of the above 10 NFS are featured on the blog. So I had ample scope and all the liberty to choose any song for this post. In view of most songs of Mukesh already being posted on the blog, this opportunity and occurrence is quite a rarity.

I have selected the 4th NFS in the table above, a Ghalib ghazal which flows fluently with the clear dictation in the voice of Mukesh. I also happened to stumble upon a very good website (here it is). It has the lyrics in Hindi, English and Urdu. Some noble soul has taken all the trouble to explaining each and every word of the ghazal, which can be found by just clicking on the word on the web page.

So here is the first NFS of the combo of Mukesh and Khaiyyam on the blog.

In the next post, we shall go through the association of Mukesh with composer Jaidev.

Song-Na hui gar mere marne se tasalli na sahi (Mukesh NFS)(1960) Singer-Mukesh, Lyrics-Ghalib, MD-Khaiyyam

Lyrics

Na hui gar mere marne se tasalli na sahi
Imtihaan aur bhi baaqi ho to ye bhi na sahi
Imtihaan aur bhi baaqi ho to ye bhi na sahi

Khaar-khaar-e alam-e hasrat-e deedaar to hai ae ae ae ae
Shouq gul-cheen-e gulistaan-e-tasalli na sahi
Shouq gul-cheen-e gulistaan-e-tasalli na sahi

Ek hangaame pe moukoof hai ghar ki raunaq a a a
Nauha-e-gham hi sahi,
naghma-e shaadi na sahi
Nauha-e-gham hi sahi
naghma-e shaadi na sahi

Na sataaish ki tamanna aa aa
na sile ki parvaah aaa aaa aaa
Gar nahin hain mere ashaar mein maani na sahi
Gar nahin hain mere ashaar mein maani na sahi
Na hui gar mere marne se tasalli na sahi

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 6
————————————
Jaidev ! The very name brings to mind some of the most beautiful and melodious creations in our film industry. Sadly, barring a few, the films for which he composed music did not fare well at the box-office. In spite of being a three time national award winner, luck and good fortune eluded him till the very last days of his life in terms of fame, money, happiness, health, marriage and a settled life.

The association of Mukesh with composer Jaidev is also unfortunately restricted to very few songs. The collaboration started in 1963 with Mukesh giving playback for Chetan Anand in “Kinare Kinare”. This film apart from being known to be made by Lyricist Nyay Sharma was also known for 3-4 singers singing for Dev Anand. Many web sites erroneously include Mukesh’s name among singers singing for Dev Anand (citing this movie as the instance of Mukesh singing for Dev Anand) which is wrong. After this solitary song in 1963, the next phase of Mukesh-Jaidev collaboration started only in early seventies and it was also restricted to just half a dozen songs, two of which were in “Chand Grahan” which was unreleased as a film and whose recordings were released much later in 1997.

Now, analyzing these few songs, one really wonders, again, without any coherent conclusions as to why the combination did not collaborate more often. Jaidev worked under S D Burman who was not very appreciative of Mukesh. When Jaidev started composing independently, he was associated with Navketan films fora few movies. This fact must also be kept in mind that Jaidev himself ran out of luck many times. After the phenomenal success of “Hum Dono”, Dev Anand had promised him more work, but Hum Dono was the first and last film that they worked together. Jaidev even composed a couple of songs for Guide, but ultimately he had to settle down as SD Burman’s assistant in it.

All these names of Chetan Anand, S D Burman, DevAnand, Jaidev, Navketan made my mind wander to an intriguing question. Did Mukesh ever sing for Navketan films? I posed this question to Shri Harish ji who literally came back in a jiffy with the reply mail and also a wealth of articles pertaining to Jaidev. I thank him profusely for all the help extended.

So to slightly stray away from this topic, Mukesh sang “Sunte thhe shauk se…. Is mulaaqat ka …” in the film “Jaaneman” 1976 along with Rafi saab and Hemlata under Laxmikant Pyarelal. This triad-qawalli seems to be his only song for Navketan films.

Coming back to the subject at hand, below is the table of songs sung by Mukesh for Jaidev in Hindi movies.

So after the first solo in 1963, we have the next few songs only in 1971-72. However each song is a gem with the rendering and composition of the highest class. Among the co singers, Noor Jahan is a mystery with not much clarity. However what is amply clear from the voice is that she is not the legendary Malika-e-Tarannum. Also, very curiously there is a female voice at the very fag end of the last song in the table and that too restricted to just a few seconds of humming only. I request more knowledgeable readers to throw some light on this voice.

Only two songs (S. No 3 and 5) are yet to be posted on the blog. How I wish I could post both the songs in the same post as it’s very difficult to choose the better one. Both are outstanding duets with Lata and Vani Jairam respectively. I will go with Lata-Mukesh duet from “Ek Thi Reeta” (1971). Needless to say, it’s a beautiful composition by Jaidev with some excellent rendering by Lata and Mukesh. A song that will linger in the mind long after listening and one feels like listening to this song again and again.

In the next post we shall go through the songs of Mukesh with R D Burman which incidentally Atulji has already covered a few days back.

Song-Main kise apna kahoon aaj mera koi nahin (Ek Thhi Reeta)(1971) Singers-Mukesh, Lata, Lyrics-Naqsh Llayalpuri, MD-Jaidev

Lyrics

main kise apna kahoon
aaj mera koi nahin
mera hamdard mere dil ke siwa koi nahin
koi nahin
koi nahin
main kise apna kahoon
aaj mera koi nahin
koi nahin
koi nahin

ek tinke ki tarah ham toh ude jaate hain
ek tinke ki tarah ham toh ude jaate hain
kahaan le jaaye hawa iss ka pata koyi nahin
kahan le jaaye hawa iss ka pata koyi nahin
koi nahin
koi nahin

tees ban-ban ke sada deti hai kyun yaad teri
tees ban-ban ke sada deti hai kyun yaad teri
ik mohabbat ke siwa meri khata koyi nahin
ik mohabbat ke siwa meri khata koyi nahin
koi nahin
koi nahin
aaaaaaaa
main kise apna kahoon aaj mera koi nahin

tujhko maaloom nahin teri tamanna ke siva
tujhko maaloom nahin teri tamanna ke siva
dil ke jalte huye zakhmon ki dava koyi nahin
dil ke jalte huye zakhmon ki dava koyi nahin
koi nahin
koi nahin
main kise apna kahoon aaj mera koi nahin
mera hamdard mere dil ke siwa koi nahin
koi nahin
koi nahin
koi nahin
koi nahin
koi nahin
koi nahin

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 7
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Boarding a ST bus in a depot is quite an exercise and we all may have not-so-fond memories of such pursuits. It’s a herculean task involving strength, luck and technique with which you push through the door entrance to get in. Peak hours pose tougher challenge with dozens trying to enter the rather narrow entrance of the bus at the same time. On some occasions a comic situation arises when two people get struck at the door entrance when the sum total of their waistlines is slightly more than the entrance width. For a moment (which to others behind seems like several minutes) there is some sort of air-lock or more appropriately a waistline-lock.

This impasse is however short-lived as the people behind give a jagged push with all their might to the struck up pounds of futile waistline fat. :) After one successfully enters the bus, finding a seat to sit becomes the new and different kind of challenge requiring altogether different kinds of skill sets.

A short distance away from the door and on both sides of the bus some other interesting scenes will be unfolding. Some extra-intelligent people will be trying their luck by other means which I call the “Handkerchief Technology (HT)”. Though the name looks hi-fi, it just involves tossing your handkerchief through any of the open windows which you come across and then try to enter the bus at a rather leisure pace and hoping against hope that the seat on which the handkerchief has landed is unoccupied and is waiting for you. This is a very safe technique, but more often than not is simply not effective. Arguments with co-passengers are inevitable. Forget the seat, getting back your own piece of cloth is sometimes a reward in itself. :) With the process of advance booking etc, such practises may have reduced, but I bet they must be in vogue in many remote areas even today.

I successfully managed to pull off an online version of HT in this post. :) Here is how it happened.

On 27th June when I checked mail inbox in my cell phone, there was this song Karm kaho kismat kaho (Karm) lying there. The four words were enough for me to know that it was a Mukesh number. There was nothing unusual about it as songs of all artists do feature regularly. However, when I opened the mail to read the post, I was in for some sort of anxious moments.

Atul ji had done a neat job of enlisting all the songs that Mukesh had sung for RD Burman. There was an elaborate table also with all the details. I was sort-of-anxious because I was planning a similar excerise for the last few days and had Naushad, Madan Mohan and S D Burman in mind for the initial three posts. However the writeups were very sketchy and obviously not ready.

Now the problem was hardly one Mukesh song each for these composers were left for me to use. And as I explained in the first three posts of this series there was something similar in their patterns, which is engaging Mukesh in late forties and forgetting him for 1-2 decades before using him again to sing for them. Now if Atul ji posted any of these remaing songs my whole best laid plans would have gone waste. Sending three songs with the write-ups and tables would definitely take time.

I thought of executing the HT and sent a mail to Atul ji and Sudhir ji requesting to please reserve these songs for me. This was my online version of HT, learnt the hard way during my ST bus days. :)

To impress and also to convey my seriousness of the series, I detailed in the mail how only one song each of the composers were remaining etc.

Fortunately the HT did work and Atul ji sent me a return mail-gram (a short email) :) asking me to go ahead with the series. And that’s how the first post of this series was posted the very next day on 28th June with Mukesh singing the philosophical song Kar bhala hoga bhala ant bhale ka bhala (Taangewaala) for Naushad.

Coming to today’s post. We are well aware that Mukesh sang about 26 songs for R D Burman. This is against only 12 that he sang for his father S D Burman. How ironic.

Even before I started writing this post, I received a mail from Shri Harish ji, detailing once again the films of R D Burman featuring Mukesh songs. I thank him for his kind and pro-active help.

I also took the liberty of copying the table prepared by Atul ji (without permission) and to have some sort of value-addition, I have included a column of all the actors on whom the songs were featured in the films.

Coming to the songs itself, it’s so amazing that almost all of them are well known. (Mukesh maintains the 90+ popularity strike rate). Starting with 2, Mukesh does not fail to deliver in spite of the fact that there were three very prominent Kishore Kumar solos in Kati Patang. 3 and 4 are very good duets to listen to. 6 is an out-standing duet with Vani Jairam, best enjoyed by listening with the volume kept high. :)

8 is so popular, that it was also re-mixed several times with disastrous results by present generation manipulators.
No profile of Majrooh saab is complete without this song number 9 from Dharam Karam. In the next song Mukesh joins with Kishore and Asha for a melodious triad. 13 is a very well known and a relatively rare male-lullaby. 14 features an unshaved Shashi Kapoor singing his heart-out at a piano.

11 and 15 are songs sung by Mukesh to his best friend Raj Kapoor and are the only songs yet to be posted.

In the last post on Jaidev, I wished I could include two songs in the same post. To grab the opportunity now, I have selected the song from Chaandi Sona which is sung by Mukesh in gusto in three parts of more than 5:40 minutes. The video link is however less than three minutes.

Very interestingly the refrain from one of my recently posted songs Sab thhaath pada rah jaawega (Sankalp) is reflected in this song also in part III of the audio link.

With this song being posted, only the last song in the table from Naukri(1978) remains to be discussed in the blog as far as Mukesh’s songs for RD Burman are concerned.

The next post (HT again :) ) will be on Mukesh’s death anniversary on 27th August with a special composer. Keep guessing.

Audio (Part I,II and III)

Video(Part I)

Song-Apna kya hai ham to anjaane (Chaandi Sona)(1977) Singer-Mukesh, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

Part I
————————————-
tujhe bhool ke maati ki putli par
koyi man ki khidki khol raha
jismein tera naam aa aa tule
usme jag chaandi sona aa tol raha
apna kya hai
hum toh anjaane
ho teri duniya kaisi tu jaane
apna kya hai
hum toh anjaane
ho teri duniya kaisi tu jaane
jeevan path pe nikle do pal ko
hum toh apne jee ko behlaane
ho teri duniya kaisi tu jaane,
yaara duniya kaisi tu jaane

toone jab duniya yeh banaayi
dharti ki chaadar phailaayi
chanda sooraj ki jyot jagaayee
toone jab duniya yeh banaayi
dharti ki chaadar phailaayi
chanda sooraj ki jyot jagaayeee
o yaara
o yaara
par jiske liye jag toone racha
woh karke ise veeraan raha
dharti ki chaadar chheen chuka
abb chaand aur sooraj maang raha
yeh tere bandon ke afsaane
ho teri duniya kaisi tu jaane
jeevan path pe nikle do pal ko
hum toh apne jee ko behlaane
apna kya hai hum toh anjaane
ho teri duniya kaisi tu jaane
————————————
Part II
————————————
ulti ganga jo bahe
jogi chup kaise rahe
abb devta kuchh bhi nahin
maanwta kuchh bhi nahi
yaaron se yaari gayi
wo dildaari gayi
aisi chhaaya tale
hum deewaane bhale
kaisa pyaar
kahaan ki dosti
kaisa rishta naata
tere hote insaan aan tera
shaitaan huaa o daata
par yeh kyun keh rahe hum deewaane
teri duniya kaisi tu jaane
jeevan path pe nikle do pal ko
hum toh apne jee ko behlaane
apna kya hai hum toh anjaane
ho teri duniya kaisi tu jaane
———————————-
Part III
———————————-
jab dil mein paraaya dard uthhe
dooje ke tu kaam aaye yaara
tab jaan mila jeevan tujhko
chaandi sone se bhi pyaara
warna dhan daulat cheej hai kya
kahe miya nazeer ka ektara
sab thhaat pada raha jaayega
jab laad chalega banjaara
kaam aayenge yahi pyaar ke najraane
ho teri duniya kaisi tu jaane
jeevan path pe nikle do pal ko
hum toh apne ji ko behlaane
apna kya hai hum toh anjaane
ho teri duniya kaisi tu jaane

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 8
————————————–
It was on 27th August 1976 in faraway Detroit city of US that Mukesh breathed his last after suffering a massive heart attack. He was there with Lata Mangeshkar and his son Nitin Mukesh for live performances in a few US cities. It was the 7th or 8th out of 10 performances to be performed.

A career which started in 1940 with acting-singing soon settled and rightly so for playback only. In a career spanning 36 years, Mukesh sang less than a 1000 songs. However each one of these songs is a gem, in its own right.

In my post last year Mil Na saka dil ko agar pyaar tumhaare on the same date, we had seen the various roles donned by Mukesh before he finally took up play back singing alone seriously. The last entry of the table in the post was about the film titled “Anuraag” released in 1956. In this movie Mukesh was the Actor, Singer, Music Director and Producer.

Continuing this series on “Mukesh and his Composers”, we shall have a look at all the songs that Mukesh sang and composed himself. Anuraag was in fact the first and last film that he composed for. Apart from two solos on himself, he also accommodated Shamshad Begam, Lata Mangeshkar, and Manna Dey etc for playback in this film.

Mukesh is one of the few singers whose NFS are as famous as his film songs. In the NFS category he composed five of his songs himself. Below is the table of the film and NFS he sang and composed himself.

In compiling the table, it goes without saying that I again received prompt help from Shri Harish ji who was also kind enough to share the lyrics in Hindi of today’s song. I was unaware that the last song on Pandit Nehru was also composed by Mukesh.

Paying tributes to the legend on the 39th year of his passing away, I present here one of Mukesh’s NFS written by Zafar and well, composed by himself.

Song-Diya apni khudi ko jo hamne mita (Mukesh NFS)(1960) Singer-Mukesh, Lyrics-Zafar, MD-Mukesh

Lyrics

Diya apni khudi ko jo hamne mita
wo jo parda sa beech mein thha na raha
raha parde mein ab wo na parda nasheen
koi doosra uske siwa na raha
raha parde mein ab wo na parda nasheen
koi doosra uske siwa na raha
diya apni khudi ko jo hamne mita

na thhi haal ki jab hamen apne khabar
rahe dekhte auron ke aib o hunar
na thhi haal ki jab hamen apne khabar
rahe dekhte auron ke aib o hunar
padi apni buraaiyon per jo nazar
to nigaah mein koi bura na raha
padi apni buraaiyon per jo nazar
to nigaah mein koi bura na raha
diya apni khudi ko jo hamne mita

zafar aadmi usko na jaaniyega
zafar aadmi usko na jaaniyega
ho wo kaisa hi saahab e paimozkaar
jise aish mein yaad e khuda na rahi
jise taish mein khauf e khuda na raha
jise aish mein yaad e khuda na rahi
jise taish mein khauf e khuda na raha
diya apni khudi ko jo hamne mita

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

What can one achieve at a tender age of 20? Name ? Fame ? Fortune ?. Well to most of us, 20 is an age when we start aspiring for these things in life. However, a few men acquire all these and more even in their early twenties.

Remembering Jaikishen on his 44th death anniversary.

Jaikishen Dayabhai Panchal was born on 4th November 1929 in Gujarat. A chance meeting with Shankar brought to the knowledge that he was a good harmonium player. Shankar who was aware of such a requirement at Prithivi Theatres recommended his name. What followed was an association that only great destinies could write. They teamed up as assistants to Ram Ganguly for Raj Kapoor’s directorial debut of Aag in 1948. The film in spite of good music did not fare very well. Raj Kapoor then started his next film retaining Ram Ganguly as the composer. However, some misunderstanding with Ram Ganguly and Raj’s decision to have a completely new team saw Shankar and Jaikishen being elated as the composers. A very reluctant Shailendra and a bus conductor Hasrat Jaipuri were the lyricists along with Jalal Malihabadi and Ramesh Shastry. Mukesh was retained as the voice of Raj Kapoor and in an era where having different payback singers for different actresses, Shankar Jaikishan along with Raj Kapoor decided to rope in a relatively new singer called Lata Mangeshkar to sing for all three female actors in the movie.

The resulting phenomenon called “Barsaat” 1949 is too very well known to write anything about, the likes of which have rarely been seen or will ever been seen in Indian Film music.

Shankar Jaikishan had created history with their very first film and Jaikishen was hardly 20 years of age. The next year had no release of theirs but they were busy creating “Awara” 1951 the musical craze of which crossed the boundaries of our country and reached many a communist bloc countries in USSR and eastern Europe. Shankar Jaikishan’s compositions from Awara and Shree 420 are sung to this day in many of these countries. Apart from Awara, Shankar Jaikishan also had “Badal” and “Kali Ghata” in 1951. They followed up with many other directors and production houses in subsequent years for several other hit films.

But, the team of Shankar Jaikishan-Mukesh-Lata-Shailendra-Hasrat Jaipuri and Raj Kapoor were always on a different platform for RK as well as other banners.

The greatness of Shankar Jaikishan’s compositions was the phenomenal frequency and consistency with which they came up with musical blockbusters one after the other. Due to the colossal number of hit albums that the duo gave, I will refrain myself from giving even a sample of their songs or the movies they composed for.

Indian classical music deeply ingrained in their songs, Shankar Jaikishan also very successfully made use of Arabian, Latin and Western music in their tunes. In spite of having given numerous hits from 1949-1955, there were always critics who said Shankar Jaikishan’s compositions were devoid of pure Indian classical music and were mostly based on the lighter stuff of romance and its aftermath formula in the movies.

Shankar Jaikishan took up this challenge in 1956 and came up with “Basant Bahar” which silenced their critics if any forever. The songs in this movie sung by Rafi saab and Manna da are anything but heavenly and divine.

Assisted by dedicated musicians like Dattaram, Sebastian etc, the orchestra set up by Shankar Jaikishan reached jumbo size. Many of their songs prelude and interlude are amazing display of such orchestra. Such was the effect that the compositions themselves tower over the wording and the singing in most of their songs. The very name of Shankar Jaikishan sold music and made producers to make a beeline to the offices and music rooms.

The fifties and early sixties were the years in which melody was the over-riding component after which commercialization started taking over. Added to this factor was also the emergence of KA, LP and RBD. However till the late sixties, the popularity of Shankar Jaikishan refused to go down.

Shailendra’s passing away in 1966, was the first setback. Then in 1971, the unthinkable happened. The world lost Jaikishan on 12 September 1971. He was mere 41 when he passed away. Shankar did continue with the Shankar Jaikishan tag till the mid-eighties. But without Shailendra and Jaikishen, the team was no longer the same. After 1971, it was a painful downhill for Shankar. There were a series of flops and movie makers started looking for greener pastures. Raj Kapoor too started to move away for Laxmikant Pyarelal.

From their debut movie in 1949 to Jaikishen’s death in 1971, Shankar Jaikishan composed for some 125-140 movies, averaging about a movie for every two months. (The total number of films varies on many websites). Along with the frequency of composing for films, what is truly admirable is the very high success rate that they offered. Shankar Jaikishan’s compositions were always for the masses and their contribution to Hindi Film music will be remembered forever.
Jaikishen, an ever smiling and handsome personality worked for only two decades as a composer, but along with Shankar has left behind a treasure which can be cherished for several lifetimes.

Incidentally, 1971, the year Jaikishen passed away saw their pinnacle in terms of number of movies composed. It had not less than 15-17 movies running at the same time all over the country. One of the movies was the acting and directorial debut of Randhir Kapoor’s “Kal aaj aur kal”. As we all know, this film featured three generations of Kapoor family and including Randhir Kapoor’s wife Babita. The film was released just after Jaikishen’s passing away and the RK film titles in the movie prominently displayed their respects to their”comrade” who was no more with them.

I am very much surprised that only one song from this film has been posted as yet. Though the film was not a huge commercial success as other RK films, it did have some decent music and the songs were popular. Here is one such song involving Prithivraj Kapoor, Raj Kapoor, Randhir Kapoor and Babita. Whereas Kishore Kumar and Asha Bhonsle sing for Randhir Kapoor and Babita respectively, Raj Kapoor retains his soul, Mukesh.

Song-Tik tik tik tik chalti jaaye ghadi(Kal Aaj aur Kal)(1972) Singers-Kishore Kumar, Asha Bhonsle, Mukesh, Lyrics-Neeraj, MD-Shankar Jaikishan
Kishore Kumar + Asha Bhonsle
Kishore Kumar + Asha Bhonsle + Mukesh

Lyrics

isi liye to kehta hoon daddy
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
chalti jaaye ghadi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
chalti jaaye ghadi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
chalti jaaye ghadi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haanah haanah haanah haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik

nahin waqt ke saath jo chalte
peechhe woh reh jaate hain
nahin waqt ke saath jo chalte
peechhe woh reh jaate hain
apne hi haathon se apne ghar mein aag lagaate hain
duniya badle mausam badle
dharti apni saadi badle
tum badlo pagdi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
chalti jaaye ghadi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik

naye-puraane aaj aur kal mein bhed yeh kisne daala hai
naye-puraane aaj aur kal mein
bhed yeh kisne daala hai
jale deep se deep yahaan par
sab mein ek ujaala hai
ho waqt naya ho raat nayi ho
baat nayi ho mile jahaan par
chhoti suyi se badi ee
kal aaj aur kal ki pal-pal
judti jaaye kadi
haanah haanah haanah haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
chalti jaaye ghadi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik

ramta jogi behta paani
waqt ki raam-kahaani hai
ramta jogi behta paani
waqt ki raam-kahaani hai
ik saagar ki lehron jaisi duniya aani-jaani hai
isse chalaaye use chalaaye
saare jag ko ghadi chalaaye
par khud rahe khadi ee
kal aaj aur kal ki pal-pal judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
chalti jaaye ghadi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
chalti jaaye ghadi
kal aaj aur kal ki pal-pal
judti jaaye kadi
haan haan haan
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik
tik-tik tik-tik

lallah lallah lallah lallah
lallah lallah lallah laaa
lallah lallah lallah lallah
lallah lallah lallah laaa
lallah lallah lallah laa
lallah lallah lallah laa
lallah lallah
lallah lallah
lallah lallah

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 9
————————————————

“Houston, we have a problem.”

This famous quote from the Hollywood film ‘Apollo 13’ (1995) pertains to the problem on board NASA’s unsuccessful mission to the moon. Though there is a different version to the line from NASA’s actual transcript, the phrase has now become part of everyday language for reporting any kind of problem.

For this post on Mukesh and his composers, I take up a very special composer for whom Mukesh has sung many a famous and popular songs. The total tally is 36. And not surprisingly 35 of them have already been covered on the blog. I was left to represent the 36th and last song for this post. But, in my first email to Atul ji in this regard, I said there seems to be a ‘problem’ in attributing the song to this series.

Well, before we go to the problem, let us first go through their works.

There have been many a great associations in film industry. However the one of Mukesh and Roshan not only stands tall but also quiet apart. I say this because there were childhood friends and acquaintances much before either of them joined films. May websites claim that they studied in the same class at school. However Roshan was born 6 years before Mukesh and so I personally feel that he could have been his senior and not classmate. The life of Roshan with reference to when he completed his matriculation and what exactly he did before 1949 is not very clearly documented. That he received a lot of training is however well known. I request knowledge readers to throw some light on this aspect regarding his timeline before 1949.

Roshan’s first movie as a composer was Kidar Sharma’s “Neki aur Badi” in 1949. The film flopped, the songs went unnoticed and Roshan contemplated suicide. However like so many other well-known deeds of Kidar Sharma to the film industry, his reposing of faith and confidence in Roshan for ‘Baawre Nain’ the very next year was a very great one which needs to be mentioned with high gratitude time and again. Else, who knows there may not have been the family line-up of the Roshans in our industry.

Why Mukesh was not part of Roshan’s first film is also not very well known. Firoz Dastoor had a couple of duets in the film dominated by female singers.

‘Baawre Nain’ in 1950 was the second film composed by Roshan and the first in which he took along his childhood friend Mukesh for playback. Mukesh sang two duets and one perpetual and immortal solo in this film. From the second film of Roshan in 1950 to the last film in 1968, Mukesh was a very dominant male playback singer along with Rafi saab, Talat saab et. al. in many of the films. When Mukesh produced ‘Malhar’ in 1951, it was Roshan to whom he entrusted the music. The well composed 9 songs in this film were divided very equally between Lata and Mukesh. 3 solos each and 3 enduring duets.

The magical duo of Mukesh and Roshan can be best explained or understood by enlisting the gems in the form of a table and here they are.

I have curtailed the name of the song and some artists name only to accommodate in limited height of the rows in the table. It means no disrespect to the artists whatsoever. I have also provided the links to all the songs so that any Mukesh-Roshan enthusiast can have all the songs in one source.

So there are 36 songs and only one is to be represented.  It is at number 16 and it again brings us to the subject as to what is the issue in just presenting the song and finishing this wonderful collaboration of Mukesh and Roshan.

Well, again, before we head off to the problem, let’s discuss the table of songs. I can only say that these gems are like a golden necklace embedded and studded with the choicest of jewels. Each song is a masterpiece of creativity and melody.

In the first five years of their association there are 22 songs which are about 60% of the total.  In the next ten years there are 14 songs which are only about 40% of the total. It is in this period of ten years that he used Rafi saab most. However Mukesh was always there right up to the last movie composed by Roshan. In fact the swan song of Roshan the highly philosophical “Oh Re Taal Miley Nadi Ke Jal Mein” was sung by Mukesh.

Another interesting thing.  In the table, the songs at 23, 24 and 25 are the only songs represented on the blog, from the respective movies. This happens more often with the films in which Mukesh has sung songs. The songs that he has sung are usually the known and famous, and are obviously the first to be discussed.

There was something peculiar about Roshan’s choice of male singers. He engaged Mukesh heavily for his first few films and then when Mukesh started to move away from playback for his many experiments, Roshan relied on Talat saab. In fact in the year 1952, we have Talat Mahmood singing for four films ‘Anhonee’, ‘Nau Bahaar’, ‘Raag Rang’ and ‘Sanskaar’ (all from 1952). Very curious is the fact that Mohammed Rafi is missing totally for the first 12-14 films which Roshan composed. And, then when Roshan started using Rafi saab, we know what kind of iconic songs they produced.

And that brings to my mind a very interesting relation on this blog. The very first and second songs to be featured on this blog are sung by Rafi Sb and Mukesh respectively and Roshan is the composer for both the songs.

It’s a pity that Roshan’s composing was all for 18 years only in which he composed for 53 movies at the rate of about 3 per year. He passed away on 16 November 1967 during the making of the film ‘Ankohi Raat’ (1968). He was only 50 when he left this world.

Before I discuss today’s song, I would like to thank Harish ji Raghuvanshi, plentifully for his selfless act of sharing the mp3 of the song as it’s not available on the net. I sent one request mail asking if he possessed the song and he was back the same day with the attachment (mp3) and also a word of caution and strange legacy of the song.

Well, we are here finally with the problem.  Before I infuriate the readers in not diluting the issue, let me reveal that the problem is that Mukesh is hardly audible in the song. It is completely dominated by Kishore Kumar. All known sources reveal that the singing voices is the triad of Kishore Kumar, Mukesh and Ram Kamlani. However most of the song has been sung either in Kishore Kumar’s voice or in chorus. A chorus which is so perfect that it’s extremely difficult to distinguish the three voices singing it.

And then began a cross country effort to understand the problem. After receiving the audio from Harish ji, I sent the same to Atul ji and Sudhir ji highlighting the problem. Atul ji was not convinced about the presence of Mukesh’s voice in the song. He went to the extent of saying that it’s almost a solo of Kishore Kumar. Harish ji was quick to intervene that all records suggest 3 names for the song. He also said at two places “Kahaan Bhai” & “Kis Ki”, is the voice of Mukesh. Sudhir ji was conspicuous by his absence of reply in the chain of emails. However, it was later revealed that he was very much on the job and had already requested Zafar Bhai to check the actual physical record GE 28049. To my great relief he sent another mail after confirmation from Zafar Bhai that the name of Mukesh is very much present on the record.

Meanwhile, Harish ji, amused by the developments, was still trying other sources for confirmation. He had sought the details from Harmandir ji ‘Hamraaz’, from the booklet of the film. It turns out that the booklet of the film ‘Maalkin’ (1953) does not contain the names of either Mukesh or Ram Kamlani under playback singers.  And so, it was stalemate once again.

There were a few more mail interactions between us regarding the possible circumstances during the recording of the song. All these were opinions and nothing concrete has yet been decided on this song.

Then on 8th September Atul ji sent me a mail asking me to go ahead with the song. I had made it clear that I will start with the write up on Mukesh-Roshan only if I can include it in the series etc. So here we are with song and the problem not yet resolved to its logical conclusion or to our satisfaction. I think things can become clearer if we were able to get the video of this song which seems a distant possibility. If there are three actors singing and the picturisation is helpful in understanding the situation the film the problem could be solved. I thank all the people who have helped Harish ji and Sudhir ji in trying to sort out this problem.

For the time being I feel very happy and contended that I got an opportunity to discuss this very unique collaboration of Mukesh songs for Roshan. There was only one song remaining and so much to write. I have still not made any justice in writing about the beautifully created melodies. Most of the above songs are my personal favourites. The one form ‘Chandni Chowk’ is such a wonderful song. It’s almost a recital, but the pathos put in by Mukesh in delivering it is so enduring. Song no 15 is like Mukesh asking the skies if all the sad songs are to be sung by him only and who is to sing them, once he is no more. Songs from ‘Dil Hi To Hai’ and ‘Malhaar’ are outstanding and so are the ones from ‘Baawre Nain’, the film from which it all started. It is said that Kidar Sharma wrote the solo song keeping in view Roshan’s state of mind at that time. And what a composition, and what a rendering it turns out to be.

To end the post and in view of the sensitivity of the problem I request Sudhir ji or Atul ji to please help me with the lyrics (colour coding will be tricky) and also the video upload of the song.

[Note from Sudhir: This issue was discussed within the group of regulars in Delhi, at one of our Saturday get togethers.  One explanation (opinion?) that was forwarded – Mukesh was not part of the singing team for this song, when originally planned by Roshan.  On the day of recording, Mukesh simply chanced to be at the studio when this song was scheduled for recording.  The decision to include Mukesh as part of the chorus, was taken by Roshan on the spur of the moment.  That would explain why the name is missing from the information booklet of the film – as Mukesh was not originally planned as a singer.  And it also explains why is name is on the gramophone record – since in the records HMV, Mukesh’s voice was present when the recording of this song occurred.]

Song – Lo Mil Gayi Degree Pyaar Ki (Maalkin) (1953) Singers – Kishore Kumar, Lyrics – Rajendra Krishan, MD – Roshan
Mukesh
Kishore+Mukesh+Ram Kamlani

Lyrics (Provided by Sudhir Kapur)
[Note: first line of song, within parentheses, is not present in the available audio clip.]

(koi khushnaseeb hoga
humsa na is jahaan mein)
paas ho gaye hain
ulfat ke imtahaan mein

lo mil gayi degree pyaar ki
khair meri sarkaar ki
laa de taali
laa de taali
khair meri sarkaar ki
hoye khair meri sarkaar ki
lo mil gayi degree pyaar ki
khair meri sarkaar ki
laa de taali
laa de taali

pehle pehle aati na thi pyaar ki a..b..c
o yaaro pyaar ki a..b..c
o pehle pehle aati na thi pyaar ki a..b..c
o yaaro pyaar ki a..b..c
lekin awwal number paaya
mehnat karke ji. . .eee
mehnat karke ji
oo ooo
oo ooo
oooo ooooo
din mein sau sau chakkar kaate
kaa bhai
haaye gali mein yaar ki
khair meri sarkaar ki
laa de taali
laa de taali
khair meri sarkaar ki
hoye khair meri sarkaar ki
lo mil gayi degree pyaar ki
khair meri sarkaar ki
laa de taali
laa de taali

uth uth ke raaton ko bahaaye
aansoo garma garam
ho yaaro aansoo garma garam
uth uth ke raaton ko bahaaye
aansoo garma garam
ho yaaro aansoo garma garam
arre tab kahin jaa kar hua dosto
dilbar ka din naram
ho mere dilbar ka din naram
oo ooo
oo ooo
oooo ooooo
baithe baithe kismet khul gayi
kis kee. . .
mujh jaise bekaar ki
khair mere sarkaar ki
laa de taali
laa de taali
hoye khair meri sarkaar ki
hoye khair meri sarkaar ki
lo mil gayi degree pyaar ki
khair meri sarkaar ki
laa de taali
laa de taali

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

(कोई खुशनसीब होगा
हमसा ना इस जहां में)
पास हो गए हैं
उलफत के इम्तहाँ में

लो मिल गयी डिग्री प्यार की
खैर मेरी सरकार की
ला दे ताली
ला दे ताली
खैर मेरी सरकार की
होए खैर मेरी सरकार की
लो मिल गयी डिग्री प्यार की
खैर मेरी सरकार की
ला दे ताली
ला दे ताली

पहले पहले आती ना थी प्यार की ए॰॰बी॰॰सी
ओ यारो प्यार की ए॰॰बी॰॰सी
ओ पहले पहले आती ना थी प्यार की ए॰॰बी॰॰सी
ओ यारो प्यार की ए॰॰बी॰॰सी
लेकिन अव्वल नंबर पाया
मेहनत करके जी॰॰॰ईss
मेहनत करके जी
ओ ओss
ओ ओss
ओssss ओsssss
दिन में सौ सौ चक्कर काटे
का भाई
हाय गली में यार की
खैर मेरी सरकार की
ला दे ताली
ला दे ताली
खैर मेरी सरकार की
होए खैर मेरी सरकार की
लो मिल गयी डिग्री प्यार की
खैर मेरी सरकार की
ला दे ताली
ला दे ताली

उठ उठ के रातों को बहाए
आँसू गरमा गरम
हो यारो आँसू गरमा गरम
अरे तब कहीं जा कर हुआ दोस्तो
दिलबर का दिल नरम
हो मेरे दिलबर का दिल नरम
ओ ओss
ओ ओss
ओssss ओsssss
बैठे बैठे किस्मत खुल गई
किस की॰॰॰
मुझ जैसे बेकार की
खैर मेरी सरकार की
ला दे ताली
ला दे ताली
होए खैर मेरी सरकार की
होए खैर मेरी सरकार की
लो मिल गयी डिग्री प्यार की
खैर मेरी सरकार की
ला दे ताली
ला दे ताली

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 10
————————————————

Wishing Usha Khanna on her 74^th birth anniversary, a celebration full of all things good and happy.

For some reason, Usha Khanna never received the recognition and fame that she so rightfully deserves. She is not the first, but definitely is the most successful and talented of a handful of female composers in the Hindi film industry. Born on 7^th October 1941, she composed music for her first film at a very young age of 17 with ‘Dil Deke Dekho’ 1959. This was also after more than one year of a sort of apprenticeship and convincing the world that composing was an easy task for her.

“Hum Tumse Juda Ho Ke”, “Maanjhi Meri Kismet Ke”, “Madhuban Khushboo Deta Hai”, “Zindagi Pyar Ka Geet Hai”, “Teri Galiyon Mein Na Rakhenge Kadam”, “Chhodo Kal Ki Baatein”, “Dil Ke Tukde Tukde Kar Ke”, “Barkha Rani Zara Jamke Barso”,  “Apne Liye Jiye To Kya Jiye”, “ Tu Is Tarah Se Mere Zindagi Mein Shaamil Hai”,” Bin Phere Hum Tere”, “Jiske Liye Sabko Chhoda”, “Pyar Karte Hain Tumhe Itna”, “Shaayad Meri Shaadi Ka Khayal”, “Ajnabi Kaun Ho Tum”and many many more….

No, we are not taking here about hit songs of various composers. All the above memorable songs and many more were composed by only Usha Khanna. I am fully aware that I have missed several more hit songs in the above paragraph. Such is the legacy that she has bequeathed to us.

I began the post by saying that recognition has eluded Usha ji. There are a few interviews and articles on the net, but no dedicated blogs or articles highlighting her complete works chronologically etc. I am in possession of highly revered and celebrated author Ashok Da. Ranade’s book Hindi Film Song. However strangely there is no article on Usha ji in the ‘Later Composers’ section. The only reference is on page 134 wherein the author says in a general chapter that in 1959, with her debut film ‘Dil Deke Dekho’, Usha Khanna “fluttered” as a music composer. With so many hit songs and a long successful career, I think there should have been a more appropriative word for her debut as well as her career.

She is not only a very good composer, but a well known singer and has written a few lyrics as well. She has sung songs not only for her own music but also for other composers. One can easily notice the influence of the music of OP Nayyar and Laxmikant Pyaarelal in her tunes, but there is no denying of the fact all her songs were her own creations. Almost all the singers during that period have sung many a hit songs for her.

This blog has only 175 odd songs composed by her. The stats page says that there are about 973 songs in total. So the representation is less than 18%. I earnestly request contributors to this blog to add more of her songs with increased frequency.

For today’s discussion, I shall restrict myself to the songs that Mukesh has sung for Usha Khanna. Having already said that it is difficult to get proper classification of Usha ji’s composed songs on the web. However, as usual, my task involved just writing a mail to Shri Harish ji Raghuvanshi, who sent me the complete list, which is illustrated in the table below. I thank him on behalf of myself and all readers for sharing the list.

Mukesh has sung a total of 26 songs for Usha Khanna and 18 have been posted on the blog. So there will be another 7 songs remaining after this post.

I think it was Naushad Saab who said that all composers including himself were guilty of not using Mukesh’s voice in high pitch. However, a glance at the songs in the table will reveal that the observation may not be applicable for Usha Khanna as she came out with many hit songs for Mukesh on higher notes as well.

My first introduction to Mukesh singing for Usha ji, was the song no 15 from the above list, which I like immensely. I still remember that this was second song on Side A of HMV’s cassette titled “Dard Bhare Geet” of Mukesh. As details are usually given, I knew it was composed by Usha Khanna. I did possess several T-series cassettes also, but these were devoid of any details regarding composer and lyricist etc. As such, I always wondered who was the composer of song nos 4, 5, 6, 7, 14, 20, 25 etc. Just by reading the titles of the songs, readers can associate these romantic numbers sung with all zeal and zest by Mukesh. It’s a welcome irony that my last post featured soulful slow songs of Mukesh sung on lower notes for Roshan and the opposite effect of songs in this post, the common thread being immense popularity of the songs in both the cases.

‘Hum Hindustani’ (1960) was the second film composed by Usha ji.  Not single programme on Independence and Republic Day passes without playing the iconic “Chhodo Kal Ki Baatein”. The song sounds fresh to this day, not only with Mukesh’s voice and the composition of Usha Khanna but also the meaning of the lyrics so well penned by Prem Dhawan. Song no 2 and 13 are evergreen enchanting duets with Asha ji.

Shatrugan Sinha lip-syncing “Barkha Rani Zara Jamke Barso” in ‘Sabak’ (1973) to Poonam, who is his wife in real life, is such a great composition that the heart flutters and jumps in joy even when one is not enjoying in the rains.

Several songs of other composers were released even after Mukesh’s passing away in 1976 till the early eighties. However it’s a very curious case that we do not have any Mukesh songs for Usha Khanna after 1974 itself. One of the reasons may be her successful attempts in introducing new singers.

Today’s duet with Usha Khanna is from the 1966 released film ‘Dada’. There are several movies titled ‘Dada’. Incidentally Usha Khanna herself has composed for two films named ‘Dada’. The one from 1978 has two songs already posted on the blog. This “Dada” released in 1966 and starring Dara Singh, makes its debut on our blog today.

Before I close this post, I once again wish her many happy returns of this day, and pray for a long and healthy life for her.  Her compositions will remain in music lover’s active memory for generations.

Song – Tera Mera Pyaar Koi Aaj Kal Ki To Baat Nahin (Dada) (1966) Singers – Mukesh, Lyrics – Asad Bhopali, MD – Usha Khanna
Mukesh + Usha Khanna

Lyrics

tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega
tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

sun ae hasina haathon se mere
daaman chhudaana achha nahin hai
naazuk labon ko daanton ke neeche
aise dabaana achha nahin hai
achha nahin hai
tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

aakhir pasina maathe pe kyun hai
kyun kaanpte hai palkon ke saaye
chanchal jawaani khamosh kyun hai
kya sochti hai gardan jhukaaye
gardan jhukaaye
tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

tera mera pyar koi
aaj kal ki to baat nahin
tera mera saath koi
chaar din ka to saath nahin
hamesha se hai
aur hamesha rahega
hamesha se hai
aur hamesha rahega

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा
तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

सुन ए हसीना हाथों से मेरे
दामन छुड़ाना अच्छा नहीं है
नाज़ुक लबों को दांतों के नीचे
ऐसे दबाना अच्छा नहीं है
अच्छा नहीं है
तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

आखिर पसीना पे क्यों है
क्यों काँपते हैं पलकों के साये
चंचल जवानी खामोश क्यों है
क्या सोचती है गर्दन झुकाये
गर्दन झुकाये
तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

तेरा मेरा प्यार कोई
आज कल की तो बात नहीं
तेरा मेरा साथ कोई
चार दिन का तो साथ नहीं
हमेशा से है
और हमेशा रहेगा
हमेशा से है
और हमेशा रहेगा

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (11 october 2015) is the 73rd birth anniversary of Amitabh Bachchan (11 october 1942). From his date of birth, it can be seen that he was born a few months after the Quit India movement. Inspired by that movement, he was initially named “Inquibaab”. He was later renamed Amitabh on the suggestion of
Hindi poet Sumitranandan Pant who was a close friend of Amitabh’s father, poet Hariwanshrai Bachchan.

On the occasion of Amitabh Bachchan’s birth anniversary, here is a song fro his earlier struggling days. This song is from “Raaste Ka Paththar”(1972). “Raaste Ka Paththar”(1972) was produced by Bolu Khosla and Lekhraj Khosla and directed by Mukul Dutt for Khosla Enterprises. The movie had Amitabh Bachchan, Shatrughan Sinha, Laxmi Chhaya,Neeta Khayani(Introducing), Asit Sen, Satyendra Kappoo, Prem Chopra, Kishan Mehta, Bhagwan Dada, Trilok Kapoor, Shah Agha, Asrani, Mohan Choti, Birbal, Polson, Viju Khote, Suresh Bedi, Shivraj, Ashoo, Nikita, Sabeena etc in it with special appearances by Chand Usmani, Sanjana and Sudhir.

This song is a duet that is sung by Asha Bhonsle and Mukesh. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

This is a song that I had never heard before. It is picturised on Amitabh Bachchan and a lady I had not heard of. She is called Neeta Khayani who was making her debut in Hindi movies with this movie.

Lyrics of this song were sent to me by Prakashchandra.

Audio (full song)

video(partial)

Song-Ib tum paas na aana door hi rehna (Raaste Ka Patthar)(1972) Singers-Asha Bhonsle, Mukesh, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics (audio version)(Provided by Prakashchandra)

ib tum paas na aanaa
door hi rehnaa aa
ib tum paas na aanaa
door hi rehnaa aa
mohey dar laagey
jaagey nainaa saari rainaa aa
aaan
mohey dar laagey
jaagey nainaa saari rainaa aa
Ib tum door naa jaanaa
paas hi rehnaa aa
torey sang laagey mere nainaa
naahin chainaa aa
torey sang laagey mere nainaa
naahin chainaa aa

piyaa mat chhedo o o
prem ki batiyaan
piyaa mat chhedo o o
prem ki batiyaan
laaj se jhuk jaayengeen meri ankhiyaan
din hain suhaane
dil hain deewaane
chhodo bahaane aen
tori ankhiyon mein
to haan hai
honthon pe hai naa
tori ankhiyon mein
to haan hai
honthon pe hai naa
ib tum paas na aanaa
door hi rehnaaa aa

kuchch to kaho kaahey ae
khoyee huyi ho
kuchch to kaho kaahey ae
khoyee huyi ho
jaagi huyi ho ke ae soyee huyi ho
dil ki ye dhadkan
kehti hai saajan
main torey kaaran
aisey tadpoon rey
jaise pinjre mein mainaa aa
haan aan
aisey tadpoon rey jaise
pinjre mein mainaa aa
ib tum door naa jaanaa
paas hi rehnaa aa

kho gaye tum kahin aur hi jaisey
kho gaye tum kahin aur hi jaisey ae
dekh rahe ho kaahey tum mujhe aisey
ye matwaari chaal tihaari
kitni hai pyaari ee
seekhaa nadiyon ki maujon ne
tum se hi behnaa aa
seekhaa nadiyon ki maujon ne
tum se hi behnaa aa
ib tum paas na aanaa
door hi rehnaa aa
ib tum door naa jaanaa
paas hi rehnaa aa
mohey dar laagey jaagey nainaa
saari rainaa
torey sang laagey mere nainaa
naahin chainaa aa

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is a Parody song, filmed on Mehmood, Aruna Irani and many others, from the film “Main sundar hoon”-1971.

Isak Mujawar was a Film Journalist, Film Historian and an acclaimed author in Marathi. He has written about 30 books in Marathi and just one book in English. This English book,”Maharashtra-The birthplace of Indian Film Industry” was published in 1969. This book is used by British and Australian Universities as a reference book. Copies of this book are not available anymore, but Amazon Ausralia sells this book at Rs. 3500, while the original price was just 50 rupees !

You must be wondering why I am telling all this, instead of discussing the relevant song to be posted today. The reason is- I am a great fan of Isak Mujawar. I have 20 of his books in my library out of the 31 books that he has written. Mujawar recently died on 26th February 2015, at the age of 85 years. He had enjoyed silent films, Talkie films and had very close relations with almost every small and big personality in Marathi and Hindi Film industry.

His books describe incidents and facts which are rarely known to majority and are very interesting. His deep knowledge and intimacy with the cine artistes give us a glimpse into matters which are not well known, but highly informative. In today’s post, I intend to write about actor Mehmood’s early life and things which are hardly known, all based on Mujawar’s article in his book “Cinerang”. My thanks to him.

Ashok Kumar had a lot of connection to Mehmood’s early and later part of career. When Mehmood was 10-12 year old, his father Mumtaz Ali was a Choreographer, actor and dancer in Bombay Talkies. Mehmood used to go to the studio almost daily. In 1943, when film KISMET was being made, it was Mehmood who did the role of Ashok Kumar’s childhood. In a way, it was the begining of Mehmood’d career.

When film SHIKARI-46 was made in Filmistan, the film had a few scenes involving children. Those days Kishore Kumar, Mehmood and his sister Minoo Mumtaz took part in these scenes. They were young and their names were not known names in those days. In the film also, their original names were used and in one scene Ashok Kumar calls them,”chalo, Kishore, Mehmood, Minoo, chalo mere saath”. When this film came for a re-run in the 60-61 period, these three were quite well known in films. When that scene came on the screen, audience used to clap when Ashok kumar took their names on the screen !

In 1957, Ashok Kumar acted in the film Mr X . In this film there were a few scenes where Ashok had to remain in Burkha, as he was supposed to be invisible. Actually Ashok Kumar never did those scenes. It was Mehmood in the Burkha as Ashok Kumar. Those days Mehmood was an Extra.

In 1960, Mehmood did the role of Ashok Kumar’s son in the film KANOON. In the same year, he did villain’s role in Ashok Kumar’s film KALA AADMI. Later in 1973 also, Mehmood did Ashok kumar’s son’s role in the film DO PHOOL-73.

When KISMET-43 was made, film BASANT was also being made simultaneously in Bombay Talkies on another floor. Madhubala was doing a child role in this film. Raibahadur Chunilal’s son Madan Mohan, Madhubala, Kishore and Mehmood used to pay together in the studio compound. They used to play a game of marriage. Kishore and Mehmood used to make Madan Mohan and Madhubala the Bride and Groom and the marriage would take place, as any other normal children’s play.

Madhubala became a Heroine in 1947 in NEEL KAMAL. After MAHAL-49, she became famous, but Mehmood was nowhere. He was P L Santoshi’s driver. Once on the sets of film NADAAN-51, Mehmood- who was present at the shooting- got a role opposite Madhubala and spoke a few lines. This was his first Adult role as an Extra ! Later Mehmood was driver of Shakti Samanta and also of Guru Dutt. Shakti Samanta featured him in films BAHU-55, INSPECTOR-56 and HOWRAH BRIDGE- 58 ( he did a Bhangda dance with his own sister Minu). Guru Dutt gave him roles in C I D and PYAASA. Guru Dutt had recognised his Comical Talent and annonced a film DHANDHORA, with Mehmood as a Hero. This was to be a remake of earlier hit film DHANDHORA- 41. acted and Directed by another legend N.M.Charlie . Unfortunately, like many of his announcements, this too remained only on paper.

However, mehmood did N M Charlie’s role in the film “DUNIYA KA MELA-74”. This was a remake of the Debut film of Nargis TAQDEER-42. Charlie was father of Nargis in this film. Mehmood became father of Rekha in DUNIYA KA MELA-74.

When Mehmood was working as an extra, many times he used to borrow money from actor Yakub. He too used to oblige Mehmood every time. However when Yakub was in his twilight zone of career, he could not give Mehmood any money which he asked,but he said, “today I cant give you money, but I will pay you in another way some other time”. Yakub died in 1958. In 1963 a film GHAR BASA KE DEKHO was being made. This was actually a remake of Yakub’s film GRIHASTHI-48. Mehmood had the same role as Yakub did. That time Mehmood remembered Yakub’s last words to him. Before doing the make up for the shooting, Mehmood visited the grave of Yakub, put a Rose and then came back for shooting !

Sometimes, when the film becomes old, an extra song or a scene is added to it and the film again attracts crowds who are curious to see that extra addition to the movie. Mehmood is the only comedian who has this honour. From 1960 to 1980, Mehmood was in Top form and his scenes were a must in almost every film. Film AARTI-62 was a successful hit film. However, after a few months, Mehmood’s comedy scenes were shot and added to the film to continue its popularity.

Finally, in an informal chat in 1984, Ashok Kumar was asked who, according to him, was the best actor of that time. Ashok Kumar,without hesitation, said, “among the present day crop of actors, I don’t find anyone who can surpass Mehmood in acting.” Coming from Ashok Kumar,this was certainly the most appreciative remark for Mehmood !

The film MAIN SUNDAR HOON-71 was made by A.V.M. Madras and was directed by Krishnan-Panju. Music was by Shankar-Jaikishen. Lyricist was Anand Bakshi. The cast was Mehmood, Biswajeet, Leena Chandavarkar, David,Mukri etc etc. The story of the film is….

Sunder (Mehmood) works in a hotel owned by Ram Swarup (David Abraham) as a waiter. He is a very funny, uneducated man, with a suitably funny face, opposite to his name. Radha (Leena Chandavarkar) is the daughter of Ram Swarup. She often comes to the hotel, and Sunder happens to meet her and amuse her with funny jokes. One day, in a casual remark, she says,”I like your innocence”. He does not understand the word ‘innocence’, and thinks that she likes him. He also likes her, but is afraid to tell her, as he works in her father’s hotel.

Then, he seeks help from his friend, Amar (Biswajeet). He helps him get work in film industry. And in no time, Sunder emerges as leading comic actor. But in this duration, Amar, ignorant about his friend’s love, and Radha fall in love. When he knows that Sunder’s love is Radha, he asks Radha, who says that she never loved Sunder. Amar stops Sunder multiple times from expressing his feelings to Radha, thinking that the truth will break down Sunder.

During his stardom days, he once performs at a charity show for orphan children. He gets emotional seeing the children, and decides to stay a day longer, and in the process, misses his father’s death ceremony at his home. Her mother asks him to be with her in her last moments. And he promises to.

One day, during an interview to the All India Radio, he says that he likes to have his old dress of the waiter in front of him, so that it could remind him of what he was earlier, and he does not develop any pride. And in the same interview, he says that he is going to marry someone he loves. Amar and Radha listen to this on the radio. Knowing that Sunder will come to express his love to her, Radha urges Amar to tell him the truth, but he says, he is unable to do so. Sunder comes, and Radha tells her the truth. Heartbroken, Sunder wishes for his friend, and Radha.

Then, one day, he goes for the shooting of the climax of a film, whose date of release has come very near. The producer says to his guard that nobody, in any circumstance could disturb them. And back home, his mother falls down the stairs. She is rushed to the hospital. She wants to see her son, so, a man is sent to call him, but the guard does not allow him in. Instead, he himself goes to get some good medication. Sunder, after finishing the work, comes to know about the accident, and rushes away. But he finds her dead. He repents being a celebrity.

Amar and Radha marry. At that ceremony, Sunder comes in his old dress, of a waiter. He says, he will no longer work in films, as that life is unreal. He will meet his mother now onwards, by helping poor and orphan children.

With today’s song ALL songs of this film are posted.

Let us now re-live Mehmood’s typical comedy in this Parody Video from the film MAIN SUNDAR HOON-71. This film was a remake of AVM’s hit Tamil film SERVER SUNDARAM-64, directed by the duo Krishnan – Panju. Actor Nagesh had done the role which Mehmood did in this Hindi film. Enjoy….

Song-Ye kaun hain ye kaun hain jo besahaara hain (Main Sundar Hoon)(1971) Singers- Mukesh, Manna Dey, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Shankar Jaikishan
Mehmood
Aruna Irani
Shahu Modak
Unknown female voice
Chorus

Lyrics

ye kaun hain ye kaun hain
jo besahaara hain
tum akele ho
magar ye poore gyaarah hain
bolo bolo saathi
nahin
baaraati
nahin ji
pujaari
nahin
bhikhaari
naa
taare
taare nahin mere dulaare hain

mere chunno ko
mere munno ko
kisi ji nazar na lage
chashme baddu
mere chunno ko
mere munno ko
kisi ji nazar na lage
chashme baddu

goal
arre munno ki amma
kya
ye to bata
oy ??
teri football team ka naam kya hai
sach sach bata
prabhu se na chhupa
ismein sharmaane ka bhala kaam kya hai
munno ki amma
ye to bata
teri football team ka naam kya hai
bolo jooroo
sab ke naam
prabhu
ye
arre hato na beech mein se
january february march
april may june
july august september
october
november god mein
aur december pet mein
arre
tumhaare ek parivaar mein
itne saare bachche
kyaa karoon bhagwaan
kyaa karoon
ye sab to aap hi ki den hain
kya karoon

khaali khaali thha ye ghar mera
bhar gaya ismein tera dera
khaali khaali thha ye ghar mera
bhar gaya ismein tera dera

mamma
ik roti de
baaba
langoti de
mamma
ik roti de
baaba
langoti de

ik taara bole
tun tun
o shankar bhole
sun sun
kaanten lagte hain ye phool
hamse ho gayi kaisi bhool
phir iske baad
unh taakoon takoon
ik tara bole tun tun
o shankar bhole sun sun

jyot se jyot jagaate rahe
haaye haaye
roz deewaali manaate rahe
roz deewaali manaate rahe
kaise deewaane thhe hum apne ae ae
ghar mein hi aag lagaate rahe
roz diwaali manaate rahe

roop tera mastaana
paas mere naa aana
phool koi phir se na khil jaaye
tada aa aa
hey roop tera mastaana
paas mere na aana
phool koi phir se na khil jaye
tadaa aa aa

aaa
oy oy oy oy
kya hua
kya hua
kya hua
ab aur phool nahin khilna chaahiye ??

achcha
achcha
prabhu
prabhu
is badhti hui aabaadi ki museebat se ham log kaise bachen
aap brahma ji se kahiye na
kuchh dinon ke liye bachchon ki paidaayish band kar den
hmm hmm
ye kaise ho sakta hai bhakt
to phir ek kaam kariye prabhu
wo kya
prabhu
isse aabaadi bhi kam ho jaayegi
bachche bajaaye nau maheene ke
athhaarah maheene mein paida ho
aa
aayaa yaa yaa yaa
kyun roti hai
athaarah maheene
arre ham auraton ka haal kya hoga
ye bojh tum mard kyon nahin le lete
nakko nakko nakko
ye dard mere ko nakko

prabhu aap hi kuchh bataaiye
dekho bhakt
brahm dev ki srishti ko badalne ki koi aawashyakta nahin
kyunki unhone pehle hi manushya ko
anant shakti ka vardaan diya hai
yadi manushya soch samajh kar
apna jeewan bitaane ka prayatn kare
to use sukh aur shaanti awashya praapt hogi
praapt
prabhu main kuchh samjha nahin
nahin samjhe baalak
ha ha
achcha
tum abhi samajh jaaoge
soham
ye dekho
is aadarsh parivaar ko dekho
arre
sirf do bachche
ye kaise
ye leejiye
parivaar niyojan
hah
parivaar niyojan
jai ho prabhu

ye tum khud bhi samajh lo
aur sabko samjhaao
apni chaadar dekh ke
tum paanv phailaao
jaao bhakt jaao
jaao bhakt jaao

ae bhai
zara dekh ke chalo
dekho tum karo shaadi bhi
paida karo tum bachche bhi
kam hon to lage ae ae achche bhi
ae bhai
ae bhai
zara dekh ke chalo
dekho tum karo shaadi bhi
paida karo tum bachhce bhi
kam hon to lage ae achche bhi
ae bhai

This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Visiting HFGK (Vol-V -1971-1980) that I have, glancing through its pages, and reading and concentrating on few, then searching the songs’ links, noting lyrics, and mailing it to our beloved Atul ji and Sudhir ji is mostly my daily routine whenever I am at my base station (now Nagpur).

Now, going through HFGK is like visiting a ‘treasure trove’ or I may compare it with visiting a historical museum /monument, which I always love, and it’s my habit to go through all small details available there, watching them, observing them, reading the information there with minute details unless my family members or friends accompanying me push forward :) on to next step.

Coming back to the daily routine I mentioned above, the ‘by-products’ of the routine are more interesting, like;
– Discovering of some hidden gems
– Discovering of the audio/video links on YT of the songs that are yet to be posted
– Finding songs that we never heard and not known
– Going through a ‘nostalgic trip down memory lane’
– Getting surprises when we find some familiar songs that we used to listen frequently in our growing years, but yet to be posted and discussed on the blog
– And conceiving of new posts

Now, recently one more ‘by-product’ has become a part of the routine i.e. adding the YT links where the audio/video have been terminated due to( ‘multiple third-party notifications of copyright infringement’ ) various reasons, which was initially there with the songs already posted on the blog. It is easier in cases where the other links are available but it is really very disappointing when other links of the same song are not available.
(For example I had shared this song ‘In ujley mehlon ke taley’ long back, and now its shared link has been de-activated, and other link is not available.)

So what should one do?

Here our Pradeep ji’s ‘Project-Yippee’ :) has a role to play.

How?

Pradeep ji has given us training to ‘convert’ mp4 into mp3s, and so taking a ‘hint’ from that I have now been finding mp3s of such obscure songs and converting them into mp4 audio links, through my good, generous, lovely  friend Ashish Tilak (he always takes out time from his busy schedule to fulfill my ‘farmaishes’ )

And given all this when one find a song which is being awaited for long, and if it is a song of Sahir Ludhianvi, then a person like me will immediately grab the opportunity to share it (and of course, now, taking a care to keep its mp3 in stock, because we never know when the YT link is going to be not available in future)

With huge thanks to the YT up loader for uploading this rare song, here we enjoy this one from the ‘1962 – Dilli Ka Dada’, sung by Mahendra Kapoor and Mukesh and composed by N.Datta.

Lyrics are by Sahir Ludhianvi, and as is his wont, he is taking a dig at the system in this song.

Song-Ham Dilli ke daade hain (Dilli Ka Dada)(1962) Singers-Mukesh, Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-N Datta
Both

Lyrics

Ho ho ho
Ho ho ho ho

Dee dee dee
Doo doo doo
Laa laa laa laa laa

Aji ham Dilli ke daade hain
Arey daade kya pardaade hain
Buron ke haq mein tedhe hain
Bhalon ke haq mein saade hain ae ae
Ham Dilli ke daade hain
Daade kya pardaade hain
Buron ke haq mein tedhe hain
Bhalon ke haq mein saade hain ae ae
Ham Dilli ke daade hain

Daa daa da da daa daa
Doo doo doo
Doo doo doo oo doo

Shahar ki chaudi sadakon par ham
Seena taan ke chalte hain
Dhan-daulat waale bhadbhunje
Hamko dekh ke jalte hain
Aji unke aur iraade hain
Apne aur iraade hain
Arey ham Dilli ke daade hain
Daade kya pardaade hain
Buron ke haq mein tedhe hain
Bhalon ke haq mein saade hain ae
Ham Dilli ke daade hain
Daa daa da da daa daa
da daa daa
Doo doo doo
Doo doo doo oo doo

Jaama Masjid ki seedhhi par baith ke
Khichda khaate hain
Laal qile ke agle-pichhle
Sab qisse dohraate hain
Aji yoon lagta hai jaise ham
Laawaaris shahzaade hain
Arey ham Dilli ke daade hain
Daade kya pardaade hain
Buron ke haq mein tedhe hain
Bhalon ke haq mein saade hain ae
Ham Dilli ke daade hain

Do din apna band bajaa kar
Gayi hakumat goron ki
Lekin ab bhi dhauns hai baaki
Chor munaafaakhoron ki
Dekhein kab tak poore hon
Jo sarkaar ke waade hain
Arey ham Dilli ke daade hain
Daade kya pardaade hain
——————————————–
Devnagari Script Lyrics:
——————————————–

हो हो हो
हो हो हो हो

डी डी डी
डू डू डू
ला ला ला ला

अजी हम दिल्ली के दादे हैं
अरे दादे क्या परदादे है
बुरों के हक में टेढ़े हैं
भलों के हक में सादे हैं
हम दिल्ली के दादे हैं
दादे क्या परदादे है
बुरों के हक में टेढ़े हैं
भलों के हक में सादे हैं ए ए
हम दिल्ली के दादे हैं

डा डा ड ड डा डा
डू डू डू
डू डू डू ऊ डू

शहर की चौड़ी सड़कों पर हम
सीना तान के चलते हैं
धन दौलत वाले भडभूंजे
हम को देख के जलते हैं
अजी उनके और इरादे हैं
अपने और इरादे हैं
अरे हम दिल्ली के दादे हैं
दादे क्या परदादे है
बुरों के हक में टेढ़े हैं
भलों के हक में सादे हैं ए ए
हम दिल्ली के दादे हैं
डा डा ड ड डा डा
डू डू डू
डू डू डू ऊ डू

जामा मस्जिद की सीढ़ी पर बैठ के
खिचड़ा खाते हैं
लाल किले के अगले पिछले
सब किस्से दोहराते है
अजी यूं लगता है जैसे हम
लावारिस शहजादे हैं
अरे हम दिल्ली के दादे हैं
दादे क्या परदादे है
बुरों के हक में टेढ़े हैं
भलों के हक में सादे हैं ए ए
हम दिल्ली के दादे हैं

दो दिन अपना बैंड बजा कर
गयी हकुमत गोरों की
लेकिन अब भी धौंस है बाकी
चोर मुनाफाखोरों की
देखें कब तक पुरे हों
जो सरकार के वादे है
अरे हम दिल्ली के दादे हैं
दादे क्या परदादे है

This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

———————————————
#the Decade of Seventies – 1971 – 1980 #
——————————————–
# Bhoole-Bisre Geet # 32 #
———————————————
I have neither watched this film ‘Khel Khilaadi Ka-1977’ nor was I familiar with any of the songs of this film. I remember the film’s name because I know it was from Arjun Hingorani the famous director who repeatedly cast Dharmendra in his films and the titles of his films mostly started with the letter ‘K’.

Now, after going through the filmography of Arjun Hingorani and his ‘K’ series films, I have only watched Kab? Kyun? Aur Kahaan? in theatre in my childhood with my uncle (and I remember I was very much scared of Pran coming on screen every time, and I would clutch my uncle’s hand every time Pran appeared on screen.).

I later watched some parts of ‘Kahaani Kismat Ki’ on TV. But its songs viz. ‘raftaa raftaa’ figures in my list of ‘songs that bring back memories’. And I got a chance to share the wonderful ‘title song’ of this film, sung by Mukesh, and which has been posted here, almost two years back.

Few days back when I was searching for Dharmendra songs for his birth anniversary I come across this film ‘Khel Khilaadi Ka-1977’ and I checked for its songs. From the list I can recall having heard the song ‘ek babloo poochhe babli se’. I had not heard the other songs of this movie.

But when I find this song ‘pyaar ka bandhan …’ and listen to it, I recall having heard this one before but not with that much attention.

On searching for this song on YT I find that only the ‘second part’ of this song was available, while as per HFGK this song was in three parts. Fortunately the audio of the other two parts were available and as usual I resort to my good friend Ashish Tilak for converting the mp3 to mp4 and it’s uploading on YT, for sharing and posting here, and as usual, he responded promptly to my request.

So here is this ‘theme’ song from ‘Khel Khilaadi Ka-1977’. This is a typical theme song that one got to listen to in movies of those era that had ‘lost and found’ formula as their underlying theme.

The film was produced under the banner of ‘Kapleshwar Films, Bombay’ and was directed by Arjun Hingorani. The cast of ‘Khel Khilaadi Ka’1977’ had Dharmendra, Shabana Azmi, Dev Kumar, Narendra Nath, Junior Mehmood, Johny Walker, Komila Virk, Sujata, Bharat Bhushan, Shyama, Sajjan, Ravi, Vijay, Hiralal, Jankidas, Ranveer Raj, Anand Bihari, Hari Shivdasani, Birbal, Darshan Arora, Bhagwan, Sunder, Rajan Haksar, C.S.Dubey, Deepak, Pardesi, Hangama, Maruti, Polsan and Arjun Hingorani. It also had few new debutants (new discoveries) viz. Dhruv, Shakti Kapoor, Phansok, Shaili, Krushma, Ashima, Karuna, Master Suhail – a new discovery, and Padmini Kapila and Helen in Special Appearance. Upendra Trivedi and Aashu make a friendly appearance in this movie.

An interesting review of this movie is available on Greta Memsaab’s blog .

This film had total seven songs (including today’s song consisting of three parts) written by Rajendra Krishna and composed by Kalyanji-Anandji.

‘Khel Khilaadi Ka-1977’ is making its debut in the blog with this song sung by Mukesh ji and Lata Mangeshkar. Lyrics are by Rajendra Krishna and music is composed by Kalyanji-Anandji.

Part I (Audio)

Part II (Audio)

Part III (Audio)

Part II (Video)

Song-Dil se dil ki dor bandhi jo (Khel Khilaadi Ka)(1977) Singer-Mukesh, Lata, Lyrics-Rajinder Krishan, MD-Kalyanji Anandji
Both
Chorus

———————————
Lyrics

—————————-
PART-I
—————————-

Is kismat ke bhi hain kaise
Kaise rang niraale
Ho o o o kaise rang niraale
Ek duje se ulajh rahe hain
Ek hi maa ke paale
Ho o o o ek hi maa ke paale
Jo dekhe thhe
Bachpan mein wo
Sapne ho gaye jhoothhe ae ae ae ae ae
Dil se dil ki dor bandhi jo
Toote se na toote ae ae
Toote se na toote

——————————
PART-II
——————————
Aa aa aa aa aa aa
Aa aa aa aa aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa aa aa

Pyaar kaa bandhan
Khoon kaa rishta aa
Chhoote se naa chhoote ae ae ae
Dil se dil ke dor bandhi jo
Dil se dil ki dor bandhi jo
Toote se na toote ae ae
Toote se na toote ae
Pyaar kaa bandhan,
Khoon kaa rishta
Chhoote se naa chhoote ae ae ae
Dil se dil ki dor bandhi jo
Toote se na toote ae ae ae
Toote se na toote

Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa aa

Lage rahe aur bhare rahenge
Pyaar bhare ye mele
ho o o o
pyaar bhare ye mele
Khushiyon ka jhoola jhoolenge
Bhaai behan albele
O o o o
Bhaai behan albele
Sun le daata
Inka naata
Janam janam naa chhoote ae ae ae
Dil se dil ki dor bandhi jo
Toote se na toote ae ae ae
Toote se na toote ae

Aa aa aa aa aa aa
Aa aa aa aa
Aa aa aa aa aa aa
Aa aa aa aa

Jagmag jagmag aaye deewaali
Lakshmi dhan barsaaye
Ho o o o
Lakshmi dhan barsaaye
Rang birange dhaage lekar
Raakhi ka din aaye
Ho o o o o raakhi ka din aaye
In dhaagon ka rang ho gehraa
Chhoote se na chhoote ae ae ae
Dil se dil ki dor bandhi jo
Toote se na toote ae ae ae
Toote se na toote ae
Pyaar kaa bandhan
Khoon kaa rishta
Chhoote se naa chhoote ae ae
Dil se dil ki dor bandhi jo
Toote se na toote ae ae ae
Toote se na toote ae

———————————
PART-III
———————————

Ye na jaane lekin inki
Rag rag to ye jaane
Ho o o o
Rag rag to ye jaane ae
Aaj lahoo ko apna lahoo hi
Dekho na aa pehchaane
Ho o o o
Dekho na pehchaane
Ek badaa hai
Ek hai chhota
Haath ye kaise chhoote ae ae ae
Dil se dil ki dor bandhi jo
Toote se na toote ae ae ae
Toote se na toote ae
——————————–
Devnagri Script Lyrics:
——————————–
Part-I
————————-
इस किस्मत के भी हैं कैसे
कैसे रंग निराले
हो ओ ओ ओ कैसे रंग निराले
एक दूजे से उलझ रहे हैं
एक ही माँ के पाले
हो ओ ओ ओ एक ही माँ के पाले
जो देखे थे
बचपन में वो
सपने हो गए झूठे ए ए ए
दिल से दिल की डोर बंधी जो
टूटे से न टूटे ए ए
टूटे से न टूटे
————————–
Part-II
————————–
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ आ आ

प्यार का बंधन
खून का रिश्ता आ
छूटे से ना छोटे ए ए ए
दिल से दिल की डोर बंधी जो
दिल से दिल की डोर बंधी जो
टूटे से न टूटे ए ए ए
टूटे से न टूटे
प्यार का बंधन
खून का रिश्ता आ
छूटे से ना छोटे ए ए ए
दिल से दिल की डोर बंधी जो
टूटे से न टूटे ए ए ए
टूटे से न टूटे

आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ

लगे रहे और भरे रहेंगे
प्यार भरे ये मेले
ओ ओ ओ ओ प्यार भरे ये मेले
खुशियों का झूला झूलेंगे
भाई बहन अलबेले
ओ ओ ओ ओ भाई बहन अलबेले
सुन ले दाता
इनका नाता
जनम जनम न छूटे ए ए ए
दिल से दिल की डोर बंधी जो
टूटे से न टूटे ए ए ए
टूटे से न टूटे

आ आ आ आ आ आ
आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ

जगमग जगमग आये दीवाली
लक्ष्मी धन बरसाए ए
हो ओ ओ ओ लक्ष्मी धन बरसाए ए
रंग बिरंगे धागे लेकर
राखी का दिन आये
हो ओ ओ ओ ओ राखी का दिन आये ए
इन धागों का रंग हो गहरा
छूटे से न छूटे ए ए ए

दिल से दिल की डोर बंधी जो
टूटे से न टूटे ए ए ए
टूटे से न टूटे
प्यार का बंधन
खून का रिश्ता आ
छूटे से ना छोटे ए ए ए
दिल से दिल की डोर बंधी जो
टूटे से न टूटे ए ए ए
टूटे से न टूटे
———————
Part-III
———————
ये न जाने लेकिन इनकी
रग रग तो ये जाने
हो ओ ओ ओ
रग रग तो ये जाने ए
आज लहू को अपना लहू ही
देखो ना आ पहचाने
हो ओ ओ ओ
देखो न पहचाने
एक बड़ा है
एक है छोटा
हाथ ये कैसे छूटे ए ए ए

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Sant Gyaneshwar”(1964) was directed by Manibhai Vyas for Ranglok, Bombay. The movie had was Shahu Modak, Sudhir Kumar, Jeevan, Sulochana, Surekha, Asit Sen etc. in it.

Four songs from this movie have been discussed in the past. Here is the fifth song from the movie. This song is sung by Mukesh, Shyama Hemmady and accompanied by male and female chorus. The song is lip synced by Sudhir Kumar (in Mukesh’s voice) while I am unable to identify the lady lip syncing in Shyama Hemmady’s voice. I request our knowledgeable readers to help identify the actors visible in the picturisation.

Bharat Vyas is the lyricist. Music is composed by Laxmikant Pyarelal.

Song-Bhakti shakti hai karm dharm hai…jai jai raam krishn hari (Sant Gyaneshwar)(1964) Singers-Mukesh, Shyama Hemmady, Lyrics-Bharat Vyas, MD-Laxmikant Pyarelal
Male chorus
Female chorus

Lyrics

bhakti shakti hai
karm dharm hai
gyaan mukti ka aa path hai
aatma ki anant yaatra mein aen aen
ye tan to basrat hai
path anek hain
rath anek hain
ek hi lakshay dikhaate chalo
us viraat mein ho vileen tum
nity hi alakh jagaate chalo o
nity hi alakh jagaate chalo
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari

raadhe govind bhaj raadhe govind
raadhe govind bhaj raadhe govind
radhe govind bhaj radhe govind
radhe govind bhaj raadhe govind
raadhe govind bhaj raadhe govind
raadhe govind bhaj raadhe govind
aaa aa aa aa aa
madhav mukund bhaj madhav mukund
madhav mukund bhaj madhav mukund
madhav mukund bhaj madhav mukund
bhaj madhav mukund
bhaj raadhe govind
bhaj raadhe govind
aa aa madhav mukund
bhaj madhav mukund
bhaj raadhe govind aaha madhav mukund
bhaj madhav mukund bhaj raadhe govind
bhaj madhav mukund bhaj raadhe govind
bhaj madhav mukund bhaj raadhe govind

aayo re prabhu aayo re
aayo re prabhu aayo re
mohan hamaare ghar aayo re
ghar aayo re
chhaayo re
rang chhaayo re
mohan hamaare ghar aayo re
rang chhaayo re
jai jai raam krishn hari
jai jai raam krishn hari
aayo re prabhu aayo re
aayo re prabhu aayo re
jai jai raam krishn hari
jai jai raam krishan hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari
jai jai raam krishn hari

This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mukesh and his Composers – 11
————————————-
Remembering Ravindra Jain on his birth anniversary today 28th February. Last year on 9th October he passed away from multiple organ failure in a Mumbai hospital at the age of 71. So this will his first birth anniversary without his physical presence in this world.
Born blind, Ravindra Jain has been one of the leading examples and a role model for visually challenged people. In fact he is a huge inspiration to the whole of mankind for what one can achieve in life, disabilities notwithstanding. His accomplishments in life are too many to enlist.

Starting his career as a composer, lyricist and a singer in the early 70’s he went on to score hits for many a films in his career. In fact many of the films in which he composed and wrote lyrics are remembered to date only for their melodious songs and music. He was also instrumental in shaping the careers of many singers. Hemlata and Yesudas’s singing career can never be complete without an elaborate reference to Ravindra Jain. He also composed for several movies of other languages. Many devotional movies invariably bore the stamp of his compositions.

Associations with RK Films and Rajshri productions are too well known.
Apart from all of the above, his is too well known for giving music to numerous TV serials, notably Ramayan, Luv Kush, Shree Krishna, Alif Laila and a host of others.

Reiterating what I have written above that his accomplishments are too many to enlist, I would refer readers to his wiki-page wherein many details are mentioned including his association with many well known singers.

Continuing my series on Mukesh and his Composers after a long hiatus, I present here the songs sung by Mukesh under the composition of Ravindra Jain. There are 4 NF Bhajans and a few filmi songs. In this post we shall cover the four NF bhajans that Mukesh sang for him. Of course only one bhajan will be presented in this post, but here is the table of the short list of four.

No, the above table is not devoid of more columns as all the NF bhajans are written as well as composed by Ravindra Jain himself. Surprisingly, none of them have featured on the blog. So it was a matter of abundance for me to choose and I go by the first in the list.
The bhajans of Mukesh in praise of Lord Ram are very well known. The total allegiance and ardor with which he sang them is very much evident. The above list was again confirmed to me by Shri Harish Raghuwanshi ji for its completeness and I thank him for the same.
In the next post, I will try to cover the film songs that Mukesh sang for Ravindra Jain and also tire the readers with the reasons for the long break I had taken in posting this next song of the series.

Song-Prabhu ka naam japo man mere (Mukesh NFS)(1975) Singer-Mukesh, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

prabhu ka naam japo mann mere
prabhu ka naam japo mann mere
door kare wohi sankat tere
door kare wohi sankat tere
hare Ram hare Ram
Ram Ram hare hare
hare Krishna hare Krishna
Kishna Krishna hare hare
prabhu ka naam japo mann mere

jeevan rain basera hai
kya tera kya mera hai
yeh, jeevan rain basera hai
kya tera kya mera hai
kyun naino se neer jhare re
door kare wohi sankat tere
hare Ram hare Ram
Ram Ram hare hare
hare Krishna hare Krishna
Kishna Krishna hare hare
prabhu ka naam japo mann mere

pinjra jab khul jaataa hai
paanchi kab ruk paata hai
yeh, pinjra jab khul jaataa hai
paanchi kab ruk paata hai
kyun iska afsos kare re
door kare wohi sankat tere
hare Ram hare Ram
Ram Ram hare hare
hare Krishna hare Krishna
Kishna Krishna hare hare
prabhu ka naam
prabhu ka naam
prabhu ka naam japo mann mere

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The last post by me in the blog was on 28th february 2016. Nine days have passed since then and I have not posted a single post in the blog during this period !

Some unavoidable reasons kept me away from the blog for this long. Despite my absence, the blog stayed active thanks to posts made by Sudhir Ji. I am extremely thankful to him to keep the musical bandwagon going single handedly for these nine days.

I come back today on 8 march 2016. Today is an important day for HFM, what with several anniversaries falling today. Sahir Ludhianvi and Manohari Singh have their birth anniversaries today whereas today happens to be Van Shipley’s death anniversary.

Today also happens to be Women’s day !

If we look back in time, we find that women were given a subservient status vis a vis men in most societies and civilisations.

Change is taking place in the status of women, but quite slowly. It is difficult to imagine it today that women were not allowed to watch ancient olympic games that took place more than two thousands years ago. And one may find it difficult to imagine that women were not allowed to vote till 100 years ago in most countries ! USA allowed their women to vote in 1920 ! France allowed women to vote in 1944, Italy in 1946, Greece in 1952. Switzerland allowed women to vote only in 1971. Saudi Arabian women got this right only in 2015 ! Indian women have enjoyed voting rights since 1947 when India became independent.

Women going to school/college to study, which we take for granted today was considered unusual in olden days. For instance, Kadambini Basu (later Ganguly) and Chandramukhi Basu became the first women graduates not only in India, but in entire British Empire when they graduated in 1880s. Kadambini Ganguly also became the first woman doctor of India in 1890s.

While girls had begun to go to schools by 1990s, few of them were sent to colleges and beyond. It was only for the last few decades that females have been allowed to do graduation and post graduation etc. Now a days we have many ladies jo “Thoda padhi likhi bhi hain”. :)

Then there are women who have begun to work as well. While they have been working in fields that were considered tailormade for them (nursing, air hostess, reception etc), they have begun to work in fields that were considered the sole preserve of men. It caused a sensation when Kiran Peshawariya (later Bedi) became the first female IPS officer of India. Even today, four decades later, she is regarded as a legend and she has inspired many movies and serials in different languages. A female policewaali is still a curiosity among average Indians. Forget ordinary Indians, even elite film stars want to get themselves photographed with real life policewaalis when they come across them.

While the number of working women have increased with time, majority of women have traditionally been brought up to serve as home makers when they grow up and get married. The household work that a housewife does often goes unnoticed. Or more accurately, it gets noticed only when the home makers fails to do her household works. The sensible and mature men (like many regulars of this blog) appreciate and recognise her contribution, but there are people who fail to appreciate her contributions. It is because of such people that we still need to have a “Woman’s day.”

Personally I find it quite ironical that there should be the need for a day like this. It is not than women are a minority community among humans. They are half of the total population. That is how nature intended it to be. So every day in the year should be a Woman’s day as well as men’s day. Hopefully a day will come when we may not have the need for such a day. I know for sure that many regulars in this blog (including me) observe women’s day everyday. :)

On the occasion of “Woman’s day”, here is the title song from a movie called “Maa Bahen Aur Biwi”(1973). This movie, an obscure movie despite being a recent movie by the standards of this blog was produced and directed by Harbans Kumar. The movie had Kabir Bedi, Prema Narayan, David Abraham, Raj Kishore, Jankidas, Tabassum, Tuntun, Anjana etc in it.

The song is sung by Mukesh. Sharda is the music director. Though there were two lyricists in the movie, the lyricist of this song is not known.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

Song-Naari kaisi shaan hai teri(Maa Bahen Aur Biwi)(1973) Singer-Mukesh, MD-Sharda

Lyrics

naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

dukh seh kar sukh deti hai
jag ko pyaar sikhaati hai
dukh seh kar sukh deti hai
jag ko pyaar sikhaati hai
sewa kar ke duniya ki
tu taqdeer banaati hai
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

ghar ki shobha tujhse hai
tu sansaar chalaati hai ae
ghar ki shobha tujhse hai
tu sansaar chalaati hai
kaarobaar chalaati hai
tu sarkaar chalaati hai ae
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

kal jo sati ho jaati thhi
bikti thhi baazaaron mein
kal jo sati ho jaati thhi
bikti thhi baazaaron mein
aaj usi ki raunaq hai
jalson mein darbaaron mein
naari kaisi shaan hai teri
har tasveer mahaan hai teri
tere oonche roop hain kya kya
tu hai maa behan aur biwi
tu hai maa behan aur biwi

adhaaypak hai rakshak hai
vigyaanik hai ab naari
adhaaypak hai rakshak hai
vigyaanik hai ab naari
naari ki kya shakti hai
maan gayi duniya saari
maan gayi duniya saari
maan gayi duniya saari

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Pehchaan”(1970) was produced and directed by Sohanlal Kanwar. The movie had Manoj Kumar, Babita, Balraj Sahni, Sulochana, Sunder, Sailesh Kumar, Chand Usmani, Tiwari, Asit Sen, Mohan Choti, Daisy Irani, Lata Bose, Madhui Apte, C S Dubey etc in it.

Five songs from this movie have been discussed in the past. Here is the sixth song from “Pehchaan”(1970) to appear in the blog. This song is sung by Mukesh and Lata. Verma malik is the lyricist. Music is composed by Shankar Jaikishan.

Only the audio of this song is available on YT. I wonder if this song was excluded from the movie. I request our knowledgeable readers to throw light on the picturisation of this song.

Song-Kar le dil ki baat aaj mauqa hai (Pehchaan)(1970) Singers-Mukesh, Lata, Lyrics-Verma Malik, MD-Shankar Jaikishan

Lyrics

kar le dil ki baat
kar le dil ki baat
aaj mauqa hai
aaj mauqa hai
arre kar le dil ki baat
kar le dil ki baat
aaj mauqa hai
aaj mauqa hai
arre chal duniya ke saath
chal duniya ke saath
aaj mauqa hai
aaj mauqa hai
are chal duniya ke saath
chal duniya ke saath
aaj mauqa hai
aaj mauqa hai

pyaar tera dhadkan mein rakh loon
meetha dard banaa ke
apne ghoonghat ki badli mein
le jaaun tujhe chhupa ke
apne maathe mein rakh loon
tujhko taqdeer banaa ke
teri duniya mein kho jaaun
apna aap bhulaa ke
naachoon tere saath
naachoon tere saath
aaj mauqa hai
aaj mauqa hai
arre kar le dil ki baat
kar le dil ki baat
aaj mauqa hai
aaj mauqa hai

patli patli kamar hai teri
lachak gayi bal khaa ke
lut gaya ek pardeshi gori
teri gali mein aake
jitne bhi armaan hain mere
sabke geet banaa de
sab rang phheeke pad jaayen
tu aisa rang jamaa de
are karde sab ko maat
karde sab ko maat
aaj mauka hai
aaj mauka hai
arre kar le dil ki baat
kar le dil ki baat
aaj mauqa hai
aaj mauqa hai

jhuk jhuk lambe ho gaye
teri palkon ke ye saaye
maang ye teri zulfon ki
kuchh kehne se sharmaaye
apne munh se kaise keh doon
tujhko hi man chaahe
mere dil ki baat sharam se
honthon pe ruk jaaye
arre sab kuchh tere haath
sab kuchh tere haath
aaj mauqa hai
aaj mauqa hai
arre kar le dil ki baat
kar le dil ki baat
aaj mauqa hai
aaj mauqa hai
are chal duniya ke saath
chal duniya ke saath
aaj mauqa hai
aaj mauqa hai
arre kar le dil ki baat
kar le dil ki baat
aaj mauqa hai
aaj mauqa hai

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Mera Ghar Mere Bachche” (1960) was a Minerva Movietone movie. It was directed by Sohrab Modi. The movie had Sohrab Modi, Subbiraj,Sulochana, Naaz, Balraj, Daisy Irani, Kavita, Nana Palsikar, Sudesh Kumar etc in it.

Three songs from this movie have been discussed in the past.

Here is the fourth song from “Mera Ghar Mere Bachche”(1960) to appear in the blog. This song is sung by Mukesh. Hasrat Jaipuri is the lyricist. Music is composed by Sardar Malik.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Song-Wo hi oodi oodi ghataayen hain (Mera Ghar Mere Bachche)(1960) Singer-Mukesh, Lyrics-Hasrat Jaipuri, MD-Sardar Malik

Lyrics

wo hi oodi oodi ghataayen hain
ek tum nahin ho to kuchh nahin
ek tum nahin ho to kuchh nahin
wo hi bheegi bheegi hawaayen hain
ek tum nahin ho to kuchh nahin
ek tum nahin ho to kuchh nahin

hai kali se gul to miley huye
yahaan zakhm e dil hain khile huye
wo hi koyalon ki sadaayen hain
wo hi koyalon ki sadaayen hain
ek tum nahin ho to kuchh nahin
ek tum nahin ho to kuchh nahin

jo kiye thhe vaade nigaahon mein
wo hi ud gaye hain hawaaon mein
wohi khoyi khoyi fizaayen hain
wohi khoyi khoyi fizaayen hain
ek tum nahin ho to kuchh nahin
ek tum nahin ho to kuchh nahin

yahin kal to tum mere saath thhe
gore haathon mein mere haath thhe
magar aaj honthon pe aahen hain
magar aaj honthon pe aahen hain
ek tum nahin ho to kuchh nahin
ek tum nahin ho to kuchh nahin