This article is written by Avinash Scrapwala and Pradeep Raghunathan, fellow enthusiasts of Hindi movie music and contributors 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.

—————————————
Avinash Scrapwala’s writeup
—————————————

#the Decade of Seventies – 1971 – 1980 #
————————————————
# Bhoole-Bisre Geet # 40 # Qawwalis – 4#
———————————————–

#Chennai Gang Out #1
——————————-
As mentioned in my previous post I had to travel in the East for some official work as a part of some strategic planning at my work place.

And at that time i.e. around second/third week of May, there was a discussion at my work place, that I could also be deputed for some official work at Chennai in near future.

‘Ab aap mahina bhar Chennai mein rehkar ‘rasam’ khana’.
yes it was in a different tone anticipating that I would be reluctant to go. (Unhe kya pataa ki hamaare man to ladoo phoot rahe the , so I was already excited and I wished that it happened as early as possible)

But not wanting to show my eagerness (so that it doesn’t get backfired ), and still to ensure that it happened, I also mentioned that I had no problems in eating ‘rasam’, because during my stay at Kota for more than Seven years (Nov’88 to Aug’96) I was a regular customer at the Madras Hotel in the ‘shopping center’ area of that city and all of us friends never missed the ‘rasam’ there. (We had specifically instructed the Manager of the Hotel there that he should keep our quota of‘rasam’ preserved for us even if we were late for the food while returning back late from our working schedule.) And this practice continued till I get married in 1994.

***
Well, not sure of when actually the visit was going to take place I did not disclose it to Pradeep ji then.

***

On 6th June on the ‘Whatsapp’ group Pradeep ji mentioned that he was just thinking that there might be a few songs of Rafi-Mukesh that are to be posted yet on the blog. And that he liked these duet songs very much.

In response to that Khyatiben informed Pradeep ji that I had sent a good number of such songs to Atul ji and these songs may include such unique songs.

My response to that was that some such songs from the seventies might have been shared or may be coming up under the #bhoole bisre geet of seventies#

As usual Pradeep ji exclaimed ‘cool’:). He makes such comment of ‘cool’ at most of the times and I always wonder if I will ever see him comming up with the exclamation of ‘hot’ as well..

***

Now, while I was on the tour to Burnpur-Asansol (West Bengal), the developments at the office front suggested that my Chennai visit could materialise around the second week of July . I conveyed this information to Pradeep ji while I was still on my return trip back to Nagpur.

And during this travel I also re-visited the above conversation on Rafi-Mukesh songs and kept wondering about the number of such songs including the number that may already have been posted on the blog. And I started looking for the remaining songs that are yet to come up on the blog.

One song that immediately came to my mind was ‘saat ajoobe is duniya mein’ from the film ‘Dharam Veer-1977’, and the other film that immediately came to mind was ‘Do Jaasoos-1975’.

So, I thought that after reaching home I would search for such songs and see if any one of them fitted into for a post which I could present to Pradeep ji and which, if possible, could be posted on the day we met there.

***

On searching on net I got a list of songs sung by Rafi-Mukesh’ jodi (I am deliberately not listing all the songs here, till the details are verified).

Going by the possibility of meeting Pradeep ji in near future in my mind, I was looking for a song that would also be suitable for the post on this gang-out, and a song which contained words like ‘mulaaqaat’, ‘geet’, ‘naghme’. I was even prepared to consider a song containing the reference to ‘rains’ as the rainy season would be n full flow all over by then and would serve as an appropriate song for the occasion.

Yes! I discovered that there indeed was an a song appropriate for the occasion. I had never heard this song before and this song had the voices of Rafi, Mukesh and Hemlata.

And what a song this was … (shhhh …! Silence!)

***

During all this period the ‘Yippee Project’ was going on in full swing and regular conversations were going on ‘Whatsapp-Yippee’ group and mails were also being exchanged on regular basis (More on this will be discussed in the following post with an interesting song to enjoy with).

***

Well, after coming back from the East I get three days at Home and thereafter all of us had to proceed westward for the admission formalities of my daughters at Anand-Gujarat.

Along with other set-up and house-keeping, we had to stay there for five days, but still the ‘Yippee’ project was on roll and kept going …

***

Now, knowing that the meet was approaching fast, but going by my track record there was a ‘humble request’ from Pradeep ji – ‘Please don’t cancel the visit’!

I assured him that since this time it was for official purpose, it was unlikely to get cancelled. There was in fact the possibility that it could happen very soon as the developments at the workplace were suggesting. So finally, when I resumed office on 20th June, after our return from Anand-Gujarat on 19th, it was decided that I would be leaving for Nellore on 22nd evening…

I thought that I would finish my official work there within three days and then I would reach Chennai by 27th or 28th, but it took me five days at Muthukur-Nellore and finally it was on 29th morning that I started my journey for Chennai (but this delay for helpful for Pradeep ji who was recovering from flu and who had to take rest ) …

I started early at 05:00 hrs from Muthukur for Chennai, and when everything was going well we had a break for breakfast near the Naidupet by-pass and started again.

But suddenly some snag developed in the car and it had to be left there at a near-by petrol pump. The alternative taxi took almost one and half hour to reach and thus delayed the journey.

During all this time Pradeep ji kept reminding me that I needed to update him about my whereabouts at regular intervals. (as he was getting impatient for the meeting … Bahut bechain ham hain …)

Well,the driver of my car was not very familiar with the city of Chennai and the traffic was so heavy that searching on GPS and continuous messaging and calls in between exhausted my cell battery. But before my battery could die, I had passed on the driver’s cell number to Pradeep ji and to my office ( … Suno ab waqt kam hai )

***

Ruko ham aa gaye hain …

Pradeep ji was aware aboutmy first station at Chennai which was not very far from his place and when I came downstairs after finishing my work at that location, he was standing waiting for me at the reception … we hug each other …

“Sunte the shauq se
Ham ye naam door se
Khush ho gayi tabiyat milkar huzoor se”

***

For the first time after coming into contact with the ASAD team I was meeting a member of the team in person …

And as Atul ji and other members have mentioned in their meeting experiences when they met each other, like all other like-minded friends are, Pradeep ji too is a very simple and kind-hearted person, a generous one, ready to share his collections of music and most importantly the ‘project’ that he single handedly undertook several years back.

And to put in simple words I can just say that he has done a ‘great, great job’

It’s huge!!

And, still I have to go through it completely it’s only a part of it that I have so far been able to understand …

And when he was just showing me the Yippee Project, the ‘permutations-combinations’ that we can use to ‘search’ this huge collection and how we could enjoy it better, and how it could all be achieved at a ‘single click’ – the song, the details(write-up of the blog), the lyrics and how one can enjoy this ..

It was literally like…

Dil kyon taras rahe hain
Nagme baras rahe hain
Nagme baras rahe hain
To aisi barsaat ka bas mazaa leejiye

The experience of meeting Pradeep ji cannot be put in words and so I will just put in simple words that ‘unhone hamaare interzaar mein palken to bichhaa hi rakhi thi’, lekin khatirdari bhi itni ki , ke ‘palak pawde bichhaa diye’.

The emotions and the feelings that I was going through could not be explained in words, I will leave it all to listen to this song and enjoy it all …

It was to feel and savor and I was savoring it, each and every moment that we spent together.

Pradeep ji took me to the heart of the city and show me the important areas where the big-wigs of the city live. He also took me to the ‘boat-club’ of which he is an active member and a ‘rower’, he has qualified and exceeded the minimum requirements required to become a ‘rower’.

***

I will cut short here, because I had already requested Pradeep ji that he has also to put his thoughts on the meeting, may be a ‘small write-up’, and while I will mainly write upon the background of the meeting, and he will focus mainly on the proceedings of our meeting on 29th and 30th June’2016.

And yes last but not the least is that I enjoyed the delicious food there and as I also like the city very much. (We both expressed our gratitude to God for creating ‘food’ and ‘music’ )

And I am sure Pradeep will like this;

‘Jab Rafi saab khud nagme paros rahen ho to ham jaise ‘bhookhe-pyaason’ ko aur kya chaahiye …

And he sang the song with full gusto and the performances of all the actors/actresses involved in this song are simply entertaining and enjoyable

Rest all is in the song that is being presented today ‘is mulaaqaat ka bas mazaa lijiye’ and we will cherish these memories forever…

I told him that I had a song already selected for this ‘occasion’, but didn’t disclose this to him and I am sure that he is going to like it very much because it has Rafi Saab singing here and what a wonderful qawwali song this is …

‘to mazaa lijiye, mazaa lijiye,
lijiye, lijiye, lijiye …’

Enjoy music!!!

Today song is from the 1976 film ‘Jaan e Man’ and sung by Mohd Rafi, Mukesh and Hemlata. Lyrics are by Anand Bakshi and music is composed by Laxmikant-Pyarelal.
And what a great composition they have came with … its simply highly enjoyable !!

Since the write up has already become too long I will not repeat the details about the movie, which have been discussed in the post earlier here.

(and I am eager to see the tag # ‘Regulars meet at Chennai’ # ) …

———————————
Pradeep Raghunathan’s write up
———————————
Wow Avinash ji.. loved reading your emotions and feelings. I was really looking forward to this meet because like Avinash ji.. I was also guilty to have missed a few of the earlier gangouts (case of so near yet so far). This was all the more reason I wanted this to happen.

Also, to actually a fellow YIPPEEEE!! team member in person would be such a good feeling (I have met Aparna, earlier at the Bangalore Gangout (first one). From the time he said he will be leaving Nagpur, I was trying to see how long it would take him to reach the south of india.

Knowing Murphy and how he works overtime.. his train was delayed by some 5 hours. But, we were not going to be bogged down by such stumbling blocks. The yippeeee gang was literally tracking / stalking Avinash ji on his train journey. I was not too interested in his stay in Krishanpatnam as I was more keen that he reach Chennai at the earliest. The only condition was that I was busy on Sunday. Avinash ji, then made sure that he got his job all completed and leave for chennai only after sunday.

I thought he would leave the previous afternoon, but that was not the case.. He finally left the next day morning and had to cover just around 160 odd kms. As mentioned earlier by Avinash ji.. thanks to Murphy, and the breakdown of the car.. his drive was delayed. We were constantly in touch through whatsapp, making sure they were on the right track.

Finally, he reached Chennai and we met at one of the offices he had some work at. After this he settled the car and sent him on his way. We then went home and spent a little time over there going through the YIPPEEEE!! collection. Initially, Avinash ji seemed liked a fish out of water.. and then things slowly but surely started making sense (or I hope they did). We were not sure about when Avinash ji was going to reach Chennai.. so there was no lunch at home.. so we stepped out to have a very light masala dosa for lunch. I seriously started doubting the fact that he called himself a foodie now.

The lack of sleep was showing.. and we then decided to head to his guest house. I assumed that he would get a few hours of rest and we will again catch up later in the evening. I even did not message / whatsapp in this time, not wanting to disturb him. Later when I went to pick him up, did I get to know that he was busy all afternoon and got no rest at all. We then went to the club and I showed him around the place and how things work with regards to rowing. I wanted Avinash ji to try a few of the specialities of the club and also wash these special dishes down with some nice cool.. but again, he hardly ate anything. After spending some time there, we went back home and that is when Avinash ji gave me a few books, one on Rajesh Khanna, one on Sahir Ludhianvi and the best of the books, was the book full of poems written by his daughter.. when she was in her 7th standard. I was totally floored, and here is a girl with profound poetic skills. God bless her.

After this we got back on to Project Yippeeee!! and i showed Avinash ji, how I go about with things once i get the songs from Avinash ji and the text from Aparna. This took a little time as we completed an entire movie. Then we had a simple dinner, pudina roti and dal. My wife and daughter who had gone out, got back and I introduced Avinash ji to them.

As he had not had any rest all day, we decided to call it a day, and I went and dropped Avinash ji.

Looked like he had a good nights sleep and morning when I went to pick him up.. he was fresh and brimming with energy. With so much energy, we had to go eat.. so we went to this small and unassuming place which I like and take most of my friends there. We ordered 2 malli masala dosa, which is essentially a sandwich dosa with coriander chutney spread on the dosas. While we were waiting for the dosa, we ordered one pongal and vada to just keep us busy. This is when Khyati Ben was very curious to know where we were and what we were upto. She called us and we described the breakfast to her, and she so wished she was there with us.

One of the main agenda for me was to copy Project Yippeeee!! and give it to Avinash ji. So we went to a store and bought a fast 64gb pen drive. From there, Avinash ji had to go finish some work, so he hailed a cab and went to complete his work. I got back and started copying project yippeeee!! which would take at least around an hour or more. My afternoon which seemed pretty free suddenly had a lot of driving to do.. with pick up and drops at classes. When I had some time in between.. i went and dropped the pen drive with Avinash ji. He had to leave to the railway station at around 8 and I was sure I would make it before that to see him off. But, then, I had not considered our friendly neighbor, Mr. Murphy. There was a bad traffic jam, and what was supposed to take me just 10 odd mins to reach, felt like Bangalore. I did not want to make Avinash ji wait and get late for his train. So there is still this regret that we could not meet once more before he left. I could take consolation when we spoke though, that he might be now making frequent trips to the south.

So this was how our Chennai meet went and it was nice to have one here. We were also wondering if there is any other Atulite in Chennai. If there are.. we could make sure we meet them also next time we have a Chennai meetup. It was really nice to have you over in Chennai Avinash ji.. looking forward to your next trip.

Video (Full)

Audio (Full)

Song-Is mulaaqaat ka bas mazaa leejiye (Jaaneman)(1976) Singers-Rafi, Mukesh, Hemlata , Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics

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

Sunte the shauq se
Ham ye naam door se
Khush ho gayi tabeeyat mil kar hazoor se
Hazoor se
Hazoor se
Huzoor se
Haan
Is mulaaqaat ka bas mazaa leejiye
Is mulaaqaat ka bas mazaa leejiye
Is mulaaqaat ka bas mazaa lijiye
Aa aa aa
Aaj ki raat ka bas mazaa lijiye
Is mulaaqaat ka bas mazaa lijiye ae
Is mulaaqaat ka
Dil kyon taras rahe hain
Naghme baras rahe hain
Naghme baras rahe hain
To aisi barsaat ka bas mazaa leejiye
Is mulaaqaat ka bas mazaa leejiye
Is mulaaqaat ka

Ishaara kar rahaa hoon
Haa
Ishaara kar rahaa hoon
Magar main dar rahaa hoon
Ho o o ho ho ho ho ho o
Ho ho ho
Ho ho ho
Ho ho ho
Ho ho ho
Ho ho ho
ho o o
Ishaara kar rahaa hoon
Magar main dar rahaa hoon
Ke dekho rang e mehfil
Sambhaalo sahibon dil
Kyun ke
Kyun ke
Kyun ke
Ishaara kar rahaa hoon
Magar main dar rahaa hoon
Ke dekho rang e mehfil
Aahe
Sambhaalo sahibon dil
Aahe
Ye dil hai teer maana
Aahe
Na ban jaaye ye nishaana
Banaa hai pyaar dulhaa
Pahan khwaabon ka sehraa aa
Bani hai preet dulhan
Dulhan
Bani hai preet dulhan
Dulhan
Bani hai preet dulhan
Dulhan
Bani hai preet dulhan
Dulhan
Bani hai preet dulhan
Dulhan
Dulhan
Dulhan
Bani hai preet dulhan
Jamaa hain dost dushman
To mazaa leejiye
Mazaa leejiye
To mazaa leejiye
aahe Mazaa leejiye
Mazaa leejiye
Leejiye
Leejiye
Dil ki baaraat ka bas mazaa leejiye
Is mulaaqaat ka

Bahut bechain ham hain ae ae ae
Bahut bechain ham hain
Ham hain
Ghazal mein she’r kam hain
Kam hain
Nahin ustaad aaye
Koyee unko bulaaye
Bulaaye
Bulaaye
Bulaaye
Bulaaye
Aa aa aa aa
aa aa aa aa

Sunaayen aur kya ab
Samjah lo meraa matlab
Koyi dhoondho bahaana
Banaa daalo fasaana
Koyi dhoondho bahaana
Banaa daalo fasaana
Agar ham chup rahenge
To saahib kya kahenge
Agar ham chup rahenge
To saahib kya kahenge
To mazaa leejiye
mazaa leejiye
Mazaa leejiye
aahe mazaa leejiye
Leejiye
Leejiye
Lijiye
mazaa leejiye
mazaa leejiye
Aise haalaat ka bas mazaa lijiye
Is mulaaqaat ka bas mazaa lijiye
Is mulaaqaat ka

Suno ab waqt kam hai
Magar jab tak ke dam hai
Ruke na taal taali
Lagaao taan khaali

Ruko o o
Ruko
Ruko ham aa gaye hain
Sabhi ghabraa gaye hain
Ruko ham aa gaye hain
Sabhi ghabraa gaye hain
Nahin dar ki zaroorat
Zaroorat
Samaa hai khoobsoorat
Shuru ab khel hoga
Shuru ab khel hoga
Aa aa aa aa aa
Aa aa aa aa aa
Shuru ab khel hoga
Dilon ka mel hoga
To mazaa leejiye
Leejiye
Leejiye
Khul ke har baat ka
Ab mazaa leejiye
Is mulaaqaat ka bas mazaa leejiye
Is mulaaqaat ka aa
———————————————————————————
Lyrics in Devnagri Script (Provided by Avinash Scrapwala)
———————————————————————————-
आ आ आ आ
आ आ आ आ आ आ आ आ आ
आ आ आ आ
आ आ आ आ आ आ

सुनते थे शौक़ से
हम ये नाम दूर से
खुश हो गयी तबियत मिलकर हुज़ूर से
हुज़ूर से
हुज़ूर से
हुज़ूर से
हाँ
इस मुलाक़ात का बस मज़ा लीजिये
इस मुलाक़ात का बस मज़ा लीजिये
इस मुलाक़ात का
आ आ आ
आज की रात का बस मज़ा लीजिये
इस मुलाक़ात का बस मज़ा लीजिये
इस मुलाक़ात का
दिल क्यों तरस रहे हैं
नगमे बरस रहे हैं
नगमे बरस रहे हैं
तो ऐसी बरसात का बस मज़ा लीजिये
इस मुलाक़ात का बस मज़ा लीजिये
इस मुलाक़ात का

इशारा कर रहा हूँ
हा
इशारा कर रहा हूँ
मगर मैं डर रहा हूँ
हो हो हो हो हो हो हो हो ओ
हो हो हो
हो हो हो
हो हो हो
हो हो हो
हो हो हो
इशारा कर रहा हूँ
मगर मैं डर रहा हूँ

के देखो रंग ए महफ़िल
संभालो साहिबों दिल
क्यूँ के
क्यूँ के
क्यूँ के
इशारा कर रहा हूँ
मगर मैं डर रहा हूँ
के देखो रंग ए महफ़िल
आहे
संभालो साहिबों दिल
आहे
ये दिल है तीर माना
आहे
न बन जाए ये निशाना

बना है प्यार दुल्हा
पहन ख़्वाबों का सेहरा आ
बनी है प्रीत दुल्हन
दुल्हन
बनी है प्रीत दुल्हन
दुल्हन
बनी है प्रीत दुल्हन
दुल्हन
बनी है प्रीत दुल्हन
दुल्हन
बनी है प्रीत दुल्हन
दुल्हन
दुल्हन
दुल्हन
बनी है प्रीत दुल्हन
जमा है दोस्त दुश्मन
तो मज़ा लीजिये
मज़ा लीजिये
तो मज़ा लीजिये
आहे मज़ा लीजिये
मज़ा लीजिये
लीजिये
लीजिये
दिल की बरात का बस मज़ा लीजिये
इस मुलाक़ात का

बहुत बेचैन हम हैं ए ए ए
बहुत बेचैन हम हैं
हम हैं
ग़ज़ल में शे’र कम हैं
कम हैं
नहीं उस्ताद आये
कोई उनको बुलाये
बुलाये
बुलाये
बुलाये
बुलाये
आ आ आ आ आ आ आ

सुनाये और क्या अब
समझ लो मेरा मतलब
कोई ढूंढो बहाना
बना डालो फ़साना
कोई ढूंढो बहाना
बना डालो फ़साना
अगर हम चुप रहेंगे
तो साहिब क्या कहेंगे
अगर हम चुप रहेंगे
तो साहिब क्या कहेंगे
तो मज़ा लीजिये
मज़ा लीजिये
तो मज़ा लीजिये
अरे मज़ा लीजिये
लीजिये
लीजिये
लीजिये
लीजिये मज़ा लीजिये
मज़ा लीजिये

ऐसे हालात का बस मज़ा लीजिये
इस मुलाक़ात का बस मज़ा लीजिये
इस मुलाक़ात का

सुनो अब वक़्त कम हैं
मगर जब तक के दम हैं
रुके न ताल ताली
लगाओ तान खाली

रुको ओ ओ
रुको
रुको हम आ गएँ हैं
सभी घबरा गए हैं
रुको हम आ गएँ हैं
सभी घबरा गए हैं
नहीं डर की ज़रुरत
ज़रुरत
समा है खूबसूरत
शुरू अब खेल होगा
शुरू अब खेल होगा
आ आ आ आ आ
आ आ आ आ आ
शुरू अब खेल होगा
दिलों का मेल होगा
तो मज़ा लीजिये
लीजिये
लीजिये
खुलके हर बात का
अब मज़ा लीजिये
इस मुलाक़ात का बस मज़ा लीजिये
इस मुलाक़ात का

This article is written by Mahesh Mamadapur, 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.

————————————
Mukesh and his Composers – 11a
———————————-
The last post on this series dealt with the non-film songs sung by Mukesh for Ravindra Jain. That was nearly five months back. Some personal and professional matters crept in resulting in the inordinate delay. Though there was enough time for a few posts, the procrastinator in me kept on scoring small victories resulting in the holdup.

However I was in touch with the impeding post by gathering information about Ravindra Jain not presented in the earlier post. I came to know that there were not one but two films with which he started his career as a composer only to find that the films were either unreleased or shelved. The two films which never saw the light of the day were Lorie and Silsila Hai Pyaar Ka. Here is a nice article on his initial works. Thus the first released film of Ravindra Jain as a composer was Kaanch Aur Heera in 1972 followed by Saudagar, Chor Machaye Shor and the string of hits that we all know of.

Also, two songs from Lorie sung by Mukesh were not on my radar while covering this series. Though I had heard these songs, I was not aware that they were composed by Ravindra Jain for an unreleased film. It’s only a couple of week’s back that I learnt of this.

Many of the songs from these incomplete films were released by Ravindra Jain himself in the form of an album CD later on. Coming to Mukesh’s film songs association with Ravindra Jain, as usual with this series, below is the table with all details.

So there are 5 film songs and 2 NFS, out of which only 2 film songs have been posted on this blog so far. Since the film songs will inevitably be covered someday, I will pick up one of the two NFS from the above list for this post. It is clear that this could have been a title song had the film been released. Needless to say it’s the voice that does the justice to the well written and composed lorie.

I again sought the help of Shri Harish Raghuvanshi ji for the correctness and completeness of the table. I thank him for his ever-prompt replies to all queries and his selfless deeds in sending material. In fact I added the 7th song in the list at the eleventh hour after seeking his help. This complete song does not seem to be available on the net. He has now sent me the complete mp3 of this song. However I have picked up the 6th song for this post as I had already noted down the lyrics.

My next post will be on 22nd July with a slight twist in the series, a sort of hint of which is in the table above. Keep guessing.

Song-Pal bhar jo behla de koi aisi khushi laa de (Lorie)(1972)(UR) Singer-Mukesh, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

pal bhar jo behla de
koi aisi kushi la de
pal bhar jo oo behla de
koi aisi khushi la de
gham ko zara neend aa jaaye
koi aisi lorie gaa de
pal bhar jo behla de
koi aisi khushi la de

kab tak bekal mann ko
sapnon se behlaaoon
kab tak sooni dagar pe
tanha chalta jaaoon
khwaab o khayaalon ki
uljhe sawaalon ki
manzil kahaan hai bata de
pal bhar jo behla de
koi aisi khushi la de

woh din woh raatein meri ee
jinse bandha mann mera
haaye koi lauta de
le ke yeh jeevan mera
yaadein hi yaadein machi hain
ab to mere daaman mein
phool nahin hai lekin
khushboo hai ab bhi chaman mein
guzre zamaane ko
bhoole fasaane ko
kaash koi dohraa de
pal bhar jo behla de
koi aisi khushi la de
gham ko zara neend aa jaye
koi aisi lorie gaa de
pal bhar jo behla de
koi aisi khushi la de

This article is written by Mahesh Mamadapur, 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.

Mukesh and his co-singers – 1
———————————–
Remembering Mukesh on his birthday today (22nd July 2016). (22 July 1923 – 27 August 1976)

We start with a new series today titled “Mukesh and his co-singers”. Here too, there will be a table enlisting all the songs (duets, triads and chorus included) of a particular singer with Mukesh. I am happy to start this series with Mohammed Rafi saab and Mukesh singing together. Mohammed Rafi’s death anniversary is a little over a week away and I pay my tribute to both the great singers with this post.

The hint I spoke in the last post was pertaining to the 3 duets of Mukesh with Mohammed Rafi from Do Jasoos which was very much discernible in the table.

Coming to today’s post, there is nothing much to pen down since the musical journey of both the singers is well known and at the same time there is so much to write as there are many songs with different composers and other singers unique and popular in their own way. Some of the songs of the combo are unforgettable and iconic as far as Hindi cinema is concerned. A glance at the table is enough to know the importance and popularity of the songs when the two singers came together.

Discussing the songs from top of the table, the first popular song is of course No 5 from Shree 420, which remains popular to this day. 6, 7 and 8 are famous songs in their own right. 9 is from the first film of Sonik Omi and what a debut it turned out to be. There are a few more things I want to discuss about this song and will do so in some other post. 10 and 11 are Holi and Navratri festival songs respectively and are yet to be covered in the blog. 12 continues to remain in active public memory after all these years. 14, incidentally was taken up by me when Mukesh’s collaboration with Madan Mohan was discussed in the other series.

15, 16 and 17 are from Do Jasoos, with two songs yet to be covered including the title number. I initially had planned to take up one song from this film and make a hat-trick of Ravindra Jain but then I was spoilt for choice.

18 was recently taken up by Avinash ji when he went to meet the Yippee master at Chennai. It will remain a memorable song on this blog for the visit and post associated with it.

And then, do I need to say anything about song number 19 ! Rafi, Kishore Kumar, Mukesh and Lata came together for the first and last time in a Hindi cinema song. A song sung by three male singers for three male actors and Lata Mangeshkar lending her voice to three different actresses. It’s an extremely unique song and was made all the more special by Sudhir ji with his post for song no 11,111. Five aces and five artists with their milestones numbers were clubbed into a mind-blowing phenomenal post on 9th May last year. Gosh…some of the great posts, songs and days this blog has seen.

21, 23 and especially 22 were also quite popular in their respective films.

There are several “only song sung by” in the above table. So the representations of Shamshad Begum, G M Durrani, Manna Dey, Suman Kalayanpur, Hemlata, Anuradha Paudwal etc in the respective songs are very unique as they the only of their kind.

Before I take up today’s song, I would like to thank Shri Harish Raghuwanshi ji for all the help, advice and guidance. The draft table prepared by me had a few flaws and it took us quite a few email exchanges over the last few days to get them right. The Mohammed Rafi and chorus song from Love and God (1986) has been dropped in this table, though I had included it in the post on Naushad. The voice of Mukesh in the song is not at all traceable, but then the presence of his name in the credit titles still warrants explanation.

“saat ajoobe iss duniya mein aathavi apni joodi”, Well, literally, when Rafi saab and Mukesh came together, the songs became wonders as we have seen above. I had no hesitation in selecting this duet for today’s post when I learnt that it was not yet covered. Rafi saab singing for Dharmendra and Mukesh for Jeetendra this a lively song from the film that grows on you, the more you listen to it. Manmohan Desai had 4 releases in 1977 including this movie. The full details of this particular film are available here.

So here is the duet in fast and a short slower version.

Fast version

Slow version

Song-Saat ajoobe is duniya mein aathvin apni jodi (Dharam Veer)(1977) Singers-Rafi, Mukesh, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both
Chorus

Lyrics
————————–
Fast version
————————–
saat ajoobe iss duniya mein
aathvin apni jodi
saat ajoobe iss duniya mein
aathvin apni jodi
arre tode se bhai toote na yeh dharm-veer ki jodi
ho ho ho,
ho ho ho,
ho ho ho
saat ajoobe iss duniya mein
aathvin apni jodi
saat ajoobe iss duniya mein
aathvin apni jodi
are toode se bhai toote na yeh dharm-veer ki joodi
ho ho ho,
ho ho ho,
ho ho ho

koyi tujhko de aawaaz to main booloon
koyi tujhe pukaare to main lab kholoon
koyi tujhko de aawaaz to main booloon
koyi tujhe pukaare to main lab kholoon
kya jeena aur kya mar jaana
aisa hota hai yaaraana
arre chhodi yaron ne duniya
par yaar ki baanh na chhodi
ho ho ho,
ho ho ho,
ho ho ho

yeh ladki hai ya resham ki dor hai
kitna gussa hai kitni munhjor hai
ye ladki hai ya resham ki dor hai
kitna gussa hai kitni munhjor hai
dheela chhod na dena hans ke
rakhna dost lagaamen kas ke
arre mushkil se kaabu mein aaye
thhodi dheel jo chhodi
ho ho ho
ho ho ho
ho ho ho
saat ajoobe iss duniya mein aathvin apni jodi
arre tode se bhai toote na yeh dharm-veer ki jodi

dukh-sukh ke hum saathi hain ye vaada hai
apna jo kuchh hai sab aadha-aadha hai
dukh-sukh ke ham saathi hain ye vaada hai
apna jo kuchh hai sab aadha-aadha hai
jo ye sachcha vaada hai to sab-kuchh aadha-aadha hai to
arre raani maa se mujhko bhi mamta mil jaaye thodi
aa aa aa,
aa aa aa,
aa aa aa

saat ajoobe iss duniya mein aathvin apni jodi
saat ajoobe iss duniya mein aathvin apni jodi
arre tode se bhai toote na yeh dharm-veer ki jodi
ho ho ho
ho ho ho
ho ho ho

aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
———————-
Slow version
———————-
aa aa aa,
aa aa aa
saat ajoobe iss duniya mein aathvin apni jodi
saat ajoobe iss duniya mein aathvin apni jodi
are toode se bhai toote na yeh dharm-veer ki jodi
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 aa
aa aa aa
aa aa aa
aa aa

This article is written by Bharat Upadhyay, 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.

Genius of Jaidev – 49
————————–

Maan Jaaiye of 1972 was a social film produced by Vasudha Productions. Bombay and directed by B R Ishara. The star-cast included Rehana Sultana, Rakesh Pande, Jalal Agha, Asit Sen, Leela Misra, Samar Rao, Asha Nadkarni, Shefali, Jyoti, Abhijit Sen, Sabina, Amol Sen, Roopali, Madhumati, Misrilal, A Agrawal, Dube, Hamid, Ratan, Deep, Dharmavir, Kumud, Satyadeep etc.

With the lyrics of Naqsh Layalpuri, Jaidev-ji had composed three songs for the film. Two songs by Lata and Kishore, one each, has been already discussed in this Musical Blog. This Is the ‘YIPPEEE’ song for this film, which is sung by Vani Jayram and Mukesh, a rare combination, as per my limited knowledge. If there are more duets by this pair, Nitinbhai, please bring me from darkness to brightness (Tamaso ma jyotirgamaya.)

Young couple’s usual doubts before full plunge in relationship is described by Naqsh in simple lyrics. The orchestration, in parts, sounds TO ME, like Shankar Jaikishan, unlike Jaidev. But let us enjoy the rare song for its rarity.

Song – Le Chalo Le Chalo Ab Kahin Le Chalo (Maan Jaaiye) (1972) Singers –Vani Jairam, Mukesh, Lyrics –Naqsh Llayalpuri, MD – Jaidev
Both

Lyrics

le chalo
le chalo
ab kahin le chalo
le chalo
le chalo
ab kahin le chalo
soch lo
soch lo
ek tarah(?) soch lo
le chalo
le chalo
ab kahin le e chalo

pyaar tum se kiya
hai khushi ke liye
pyaaar tum se kiya
hai khushi ke liye
tum ko saathi chuna
zindagi ke liye
yeh na ho tum kahin
raah mein chhod do o
soch lo
soch lo
ek tarah(?) soch lo
gar nahin hai yakeen
to kadam rok lo o
le chalo
le chalo
ab kahin le chalo

pyaar ki raah mein
hain kayee mushqilen
pyaar ki raah mein
hain kayee mushqilen
tum ko soche huye
sukh miley naa miley
nibh sake to nibhaane ka waada karo o
le chalo
le chalo
ab kahin le chalo
thhaam lo ab mera
haath tum thhaam lo
le chalo
le chalo
ab kahin le chalo
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

This article is written by Sudhir, 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.

= = = = = = = = = = =
The Voice of Mukesh #69
– – – – – – – – – – – – – –

The film industry has seen many stars, who, by logical analysis, should not have been. Let me mention the names of four male singers, who have become legends now – Saigal Sb, Rafi Sb, Mukesh, and Kishore Kumar. Besides all four of them being singers who have rendered songs that have become timeless in their essence and popularity, there is one more common thread that runs through their lives. None of these four had any recognized formal training in classical music. And yet, their voice, their renditions, the emotional alchemy contained therein – has an element of something that can only be attributed to providence.

There is an anecdote about a famous classical singer. He was to going to meet Kalyanji (of the Kalyanji Anand ji music director duo) at his recording studio. As he arrived and was entering the place, Mukesh was walking out. He saw Mukesh get into his car and drive off. Going in, after the customary pleasantries, the singer could not contain himself and commented that he had just seen Mukesh drive off in an expensive car. Then he added, here I am, with a solid background in classical music, and I have to travel by bus, and here is Mukesh, no formal training, no grounding in classical music, and he drives an expensive car. Kalyanji Bhai understood, and then gently proceeded to clarify. He pulled out the harmonium, and requested the singer to sit down and sing a few lines of the song “Chandan Sa Badan, Chanchal Chitwan”. He explained to him the notes, the meter, the rhythm, and all the other nuances that a music director would explain to the singer, as he rehearses. The singer started to render the lines. After going through multiple tries, and applying all his classical based training, he was still not able to capture the heart touching essence and the genuine emotional depth in his rendering. Then Kalyanji Bhai gently said – “now you will know why he drives an expensive car”.

Remembering Mukesh ji today (22^nd July) on his 93^rd anniversary of birth. Those who are visiting the google page today, will surely notice the image of Mukesh prominently displayed in today’s google-doodle, with another image of a boy and and girl and some trees on a snowy background. I am trying to think which song is represented here. Is it “Kabhi Kabhi Mere Dil Mein Khyaal Aata Hai”? I request other friends and readers to help out here.

I am getting back again into this particular series after almost a year. The song presented today is one of the missing songs from 1947, that has become available only recently. This song from the 1947 film ‘Laakhon Mein Ek’ had been untraceable for decades. Then as I started to search this song as part of this series, I was able to eventually get it. And the thanks for that goes to our dear Bakshish Singh ji, who continuously enquired from his circle of friends also. Finally, sometimes late last year, he was able to acquire it and then sent it to me. Missing some important dates on the way, I discussed with Atul ji and we decided to bring it on for today’s anniversary.  In the interim, then, I also discovered that the song has already been uploaded on the YouTube, quite recently.

The song is a light hearted fun filled duet with Shamshad Begum. The lyrics are from the pen of Pt Indra, and the music is by Hansraj Behl. The film is a production from the house of Ranjeet Movietone, and is directed by Temur Behram Shah. The list of artists in this film is brief, and is given as Khurshid (Junior), Nirupa Roy, Ghulam Mohammed, Bipin Gupta, Qamar and Sheikh Hasan. I request other readers and friends to please add more information about this film and the on screen performance of this song.

It is a fun song to hear. The lady is expressing her wish to go and take a bath in the waters of River Jamuna, and bring back a ‘gaagar’ of water for home. The gentleman is reminding that there would be a crowd of people looking; some may even dare to steal her clothes. And so she requests him to have soldier stand guard, with a gun in his hand. Then he says if you carry the ‘gaagar’, the spilling water would drench the clothes you wear. And she requests him to buy a new ‘Odhni’ for her, specially made in the city of Agra. Very interesting exchange. Listen and enjoy.

Song – Aagre Se Odhni Mangaa De Balma (Laakhon Mein Ek) (1947) Singer – Shamshad Begum, Mukesh, Lyrics – Pt Indra, MD – Hansraj Behl

Lyrics

ho..ooye
aagre se odhni manga de balma
oye aagre se odhni manga de balma
jaaungi jamna
nahaane sajna
jaaungi jamna
nahaane sajna. . .
aagre se
aagre se odhni manga de balma
oye aagre se odhni manga de balma

jamna ke teer gori ghutne ghutne neer
chanda sa
chanda sa ang dekhe dang rahe bheed
chanda sa ang dekhe dang rahe bheed
pehra bandook ka laga de balma
oye pehra bandook ka laga de balma
jaaungi jamna
nahaane sajna
jaaungi jamna
nahaane sajna. . .
aagre se
aagre se odhni manga de balma
oye aagre se odhni manga de balma

dubki lagaaun jahaan gehra gehra neer
dubki lagaaun jahaan gehra gehra neer
dhyaan rahe
dhyaan rahe gori koi le na jaaye chiir
dhyaan rahe gori koi le na jaaye chiir
pehra sipaahi ka laga de balma
oye pehra sipaahi ka laga de balma
jaaungi jamna
nahaane sajna
jaaungi jamna
nahaane sajna. . .
aagre se
aagre se odhni manga de balma
oye aagre se odhni manga de balma

bharoon gagariya mein meetha meetha neer
bharoon gagariya mein meetha meetha neer
chhalke gagariya to bheegega chiir
chhalke gagariya to bheegega chiir
nai nai odhni manga de balma
o nai nai odhni manga de balma
jaaungi jamna
nahaane sajna
jaaungi jamna
nahaane sajna. . .
aagre se
oy hoy hoy hoy aagre se odhni manga de balma
oye aagre se odhni manga de balma

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

हो॰॰ओए
आगरे से ओढनी मँगा दे बलमा
ओए आगरे से ओढनी मँगा दे बलमा
जाऊँगी जमना
नहाने सजना
जाऊँगी जमना
नहाने सजना॰ ॰ ॰
आगरे से
आगरे से ओढनी मँगा दे बलमा
ओए आगरे से ओढनी मँगा दे बलमा

जमना के तीर गोरी घुटने घुटने नीर
चंदा सा
चंदा सा अंग देखे दंग रहे भीड़
चंदा सा अंग देखे दंग रहे भीड़
पहरा बंदूक का लगा दे बलमा
ओए पहरा बंदूक का लगा दे बलमा
जाऊँगी जमना
नहाने सजना
जाऊँगी जमना
नहाने सजना॰ ॰ ॰
आगरे से
आगरे से ओढनी मँगा दे बलमा
ओए आगरे से ओढनी मँगा दे बलमा

डुबकी लगाऊँ जहां गहरा गहरा नीर
डुबकी लगाऊँ जहां गहरा गहरा नीर
ध्यान रहे
ध्यान रहे गोरी कोई ले ना जाये चीर
ध्यान रहे गोरी कोई ले ना जाये चीर
पहरा सिपाही का लगा दे बलमा
ओए पहरा सिपाही का लगा दे बलमा
जाऊँगी जमना
नहाने सजना
जाऊँगी जमना
नहाने सजना॰ ॰ ॰
आगरे से
आगरे से ओढनी मँगा दे बलमा
ओए आगरे से ओढनी मँगा दे बलमा

भरूँ गगरिया में मीठा मीठा नीर
भरूँ गगरिया में मीठा मीठा नीर
छलके गगरिया तो भीगेगा चीर
छलके गगरिया तो भीगेगा चीर
नई नई ओढनी मँगा दे बलमा
ओ नई नई ओढनी मँगा दे बलमा
जाऊँगी जमना
नहाने सजना
जाऊँगी जमना
नहाने सजना॰ ॰ ॰
आगरे से
ओय होय होय होय आगरे से ओढनी मँगा दे बलमा
ओए आगरे से ओढनी मँगा दे बलमा

This article is written by Peevesie’s mom, 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.

“Sanyasi” was a 1975 movie which had Manoj Kumar and Hema Malini in the lead. It had Sulochana Latkar playing mother to Manoj Kumar and Pran played Shanti Baba a true Sanyasi to Premnath’s Ishwar Baba who is a baba by day and Daku Mangal Singh at other times. The plot was pretty simple with the rich mother wanting to keep her son away from vices that his father had. She teaches him positive values Geeta etc and the son also dutifully refrains from all vices and in addition also becomes a sanyasi. Hema Malini played Champa alias Arti whose job is to break the sanyasi’s vow of celibacy and try and marry him. Added in the story is the case of Girdhari and Bhanwari played by Raj Mehra and Prem Chopra who are out to con the rich widow and walk away with her property. This synopsis I had read a long time ago in the various internet sites. I have never seen the movie but I had liked most of its songs specially “Sun bal brahmachari main hoon Kanyakumari” and “Karm kiye jaa phal ki chinta mat kar-e-insaan”.

On the occasion of Harikishan Goswami’s (aka Manoj Kumar) 79th birthday today (24 july 2016), here is a song from this 1975 movie which was directed by Sohanlal Kanwar. It had music by Shankar of Shankar- Jaikishan duo. It should be noted that the music was always credited as Shankar- Jaikishan till Shankar passed away in 1987. (Jaikishan had passed away in 1971).

This was the first time Hema Malini paired up with Manoj Kumar. Post this they acted in three other films- Dus Numbri and Santosh (in the late 80s) and in Kranti (1981). The 1977 “Shirdi Ke Sai Baba” which was produced by Manoj Kumar had the pair in a special appearance but there Hema played Rajendra Kumar’s wife (a Doctor). This movie had Vithalbhai Patel, Verma Malik, Hasrat Jaipuri, M.G.Hasmat, and Vishweshawar Sharma as lyricists.

Today’s entertaining song has some bit of preaching in it. It starts with “Geeta ke Bol” “Karmne Vadhikaraste Ma Phaleshu Kadachana”. The song has Manoj Kumar and Hema Malini dressed as Sanyaasis –I am not sure if they are in disguise. Various characters enter the scene as the song progresses- Aruna Irani as a Sanyaasin, Prem Chopra and Raj Mehra as Bhakts, and lastly Premnath as a Dhongi Baba. The duet is by Mukesh and Lata Mangeshkar, written by Vishweshwar SharmaM G Hashmat.

Some trivia that I read somewhere (only the gyaanis in the blog can confirm this: I have read somewhere that post “Sangam” (1964) Lata Mangeshkar had stopped singing for the duo. She re associated with Shankar for this movie.

So let us wish Manoj Kumar who was awarded the Dadasaheb Phalke award this year a long and healthy life.
Happy Birthday to you Mr. Bharat a.k.a Manoj Kumar

Song-Karm kiye jaa phal ki ichcha mat kar ae insaan (Sanyaasi)(1975) Lata,Mukesh, Lyrics-M G Hashmat, MD-Shankar Jaikishan
Both

Lyrics

Aaaaa
aaaaa
aaaaa haa
karmanye vaadhikaaraste
ma phaleshu kadachan

karam kiye ja phal ki ichcha mat kar ae insaan
jaise karm karega waise phal dega bhagwaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan

karm kiye ja phal ki ichcha mat kar ae insaan
jaise karam karega waise phal dega bhagwaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan

is praani ka kasht door karo mahaaraaj
yeh kaun hai devi
kya kasht hai isse
roop chand hai resham waala
kapde ka vyaapaari
bees baras tak saath mein reh kar
bhaag gayi iski naari
aur agar wo saath mein rehti
mar jaati bechaari
(accha)
pati dev ke man bhaayi thi bala ek kuwaanri
(Arrarara)
pati bana patni ka dushman
sankat mein thi jaan
jaise karam karega waise phal dega bhagwaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan

gurudev
is kanya ka mukhda toh bhola bhaala hai
kintu
kintu
kintu kya?

mrignayni si chanchal baala
man mein liye udaasi
dukh ke andar dabi huyi hai
sukh ki hai abhilaashi
kisi ke ghar ki raajkumaari
bani kisi ki daasi
majboori ke aankh mein aansoo
palken phir bhi pyaasi (hmm hmm)
pal pal dhoye armaanon ke ganga jal se praan
jaise karam karega waise phal dega bhagwaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan

aap toh gyaani hain
anataryaami hain
bataaye na maharaj
kya devi?

kaun si duwidha aapke charno mein inko le aayi
kis chinta mein magan hain dono
kyun aanhken pathrayi
ye mare huye hai ya jeewit
bas marne hi wale hai devi (han)
inka anth nikat hain
tathaastu
in donon dushton ne milkar aisi chaal chalaai
ek kans mama ban baitha
ek duryodhan bhai
krishna kans ka todega phir kalyug mein abhimaan
jaise karam karega waise phal dega bhagwaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan

hain
gurudev!
yeh main kya dekh rahi hoon
jinke darshanon ko duniya tarasti hain
swayam darshan dene aayein hain
pohuncha hua hai saadhu
kya kya chamatkar dikhlaaye
bholi janta bole ishwar
roop badal ke aaye
yeh janta ki bhool hai devi
hmm
yeh mahaapaapi hain ghor apradhi hain
achaa
ved shaastron ki bhaasha ko yeh dhongi kya jaane
ye pooja karwaye apni
prabhu ko kya pehchaane
ye sadhu ke bhesh mein daaku roz pakhand rachaye
rishiyon ko badnaam kare
santon pe daagh lagaye
din me daake daale paapi
raat mein katal karaaye (raam raam raam)
sach bole sanyaasi iska kabhi na ho kalyaan
jaise karam karega waise phal dega bhagwaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
karam kiye ja phal ki ichcha mat kar ae insaan
jaise karam karega waise phal dega bhagwaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan
ye hai geeta ka gyaan

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.

“Maa Beta”(1962) was produced by Kuldip Sehgal and directed by Lekhraj Bhakhri for Tasweeristaan. The movie had Nirupa Roy, Manoj Kumar, Ameeta, Lalita Pawar, Manmohan Krishan, I.S.Johar, Sheela Ramani, Kumar, Vijay Dutta, Manorama,Leela Mishra,Tarun Bose,Indira Bhansal, Shamlal, Raj Prakash, Madhumati, Shukla, Brahm Bhardwaj etc in it.

The movie had seven songs in it. Two of the songs have been discussed in the past.

Here is the third song from “Maa Beta”(1962) to appear in the blog. This song is sung by Lata and Mukesh. Prem Dhawan is the lyricist. Music is composed by Hemant Kumar.

The song is picturised on Ameeta and Manoj Kumar.

Lyrics of this song were sent to me by Prakashchandra.

Video

Audio

Song-Maine kaha ae ji maine kaha (Maa Beta)(1962) Singer-Lata, Mukesh, Lyrics-Prem Dhawan, MD-Hemant Kumar
Both

Lyrics(Provided by Prakashchandra)

o o o o
o o o o

maine kahaa
ae jee maine kahaa
tumse hamein pyaar hai
maine kahaa
aei jee maine kahaa
hamko kab inkaar hai
maine kahaa

ae jee ye to bataa do ke
huyee hai kyaa baat
kyun main tere sapne dekhoon
saari saari raat
ae jee ye to bataa do ke
huyee hai kyaa baat
kyun main tere sapne dekhoon
saari saari raat
main kyaa janoon
shaayad yehi pyaar hai
maine kahaa
hamko kahaan kab inkaar hai
maine kahaa

ho o o o
o o o o o

hamko bhi tanhaayiyon mein neend na aayee
le lo chaahey chaand sitaaron se gawaahi
hamko bhi tanhaayiyon mein neend na aayee
le lo chaahey chaand sitaaron se gawaahi
jaane bhi do
hamko aitbaar hai
maine kahaa
tumse hamein pyaar hai
maine kahaa

ab to tamanna hai tere dil mein hi rahen
hum bhi yehi chaahthe hain
aur kya kahein
ab to tamanna hai tere dil mein hi rahey
hum bhi yehi chaahthe hain
aur kya kahein
phir meri jaan
haan meri jaan
bahaar hi bahaar hai
maine kahaa
tumse hamein pyaar hai
maine kahaa
hamko kab inkaar hai
maine kahaa
ho o o o o
o o o o o

This article is written by Mahesh Mamadapur, 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.

Mukesh and his Composers – 12
—————————————–
Mukesh singing a light-hearted peppy number and none other than Bharat Bhusan dancing a few steps to the tune; the combination of such a scene is extremely rare in hindi cinema, knowing the songs that the singer has mainly sung and the roles the actor has played. We shall discuss more about this rare occurance a little later.

Coming to the next post in this series, we take up the case of Mukesh singing for Hansraj Behl.

On the face of it, there doesn’t seem much to be written about the combo. However there are some very important songs to be discussed. I too could measure the full extent of the excellent collaboration of the combo as I prepared the table and listened to the songs in continuity. Many of the songs are rare for the co-singers associated with Mukesh in Hansraj Behl’s compositions. The list includes 17 songs starting from 1946 and up-to1964. There are also two Punjabi songs which Mukesh has sung for the composer. These two songs cannot be included here, but are however available on utube. The list of 17 songs is as below out of which all but one have already been covered on the blog.

The 1st song with Susheela Rani is the only one which Mukesh has sung with her. Shamshad Begum with her heavy metallic voice was very popular with the composer for Hindi as well as Punjabi songs. She has sung 3 duets with Mukesh for the composer. The 5th elusive song was very recently posted by Sudhir ji.

I have provided the links to all the songs and would request readers to explore more of these vintage gems. Song no 6 is a patriotic song sung by Mukesh with much gusto. The 7th song with Husn Banu is an absolute wonder and also rare as it’s again the only song sung by Mukesh with her. 8 and 9 are solos with the usual hallmark voice of Mukesh. Whereas 8 is a philosophical song sung with absolute sincerity and composure, 9 features a “bidaai” song which touches the soul of anyone listening to it for Mukesh has poured his heart into it. 10 and 11 are the only two duets which Mukesh sang with the melodious Madhubala Javeri. The composer uses all his talent to orchestrate the two voices to form 2 unforgettable duets. 12 is like Mukesh singing to everyone at all times. I would again request readers to listen to these songs to appreciate the master creations.

13 is a rare duet with Lata and is unique for its composition is inter-woven with a very fast paced rendering by Lata and an equally opposite tune and pace sung by Mukesh, taking all his time to complete the verses. To go off track for a moment, Salil Chowdhary used somewhat similar technique in Poonam ki Raat (1965), again with Mukesh retaining the same style and Lata as well as Usha Mangeshkar joining together to form a wonderful traid. Here is the song. For the time being, let me just say that I have more to talk about the songs in this paragraph in the form of another post.

14 and 17 are two duets with Lata mangeshkar and Suman Kalayanpur respectively.
16 is a rare teasing song picturised on Bharat Bhushan and Anita Guha with a nice write-up by Atul ji.
15 is the only song yet to be posted and is featured in this post with the description in the very first para.
Before, we discuss the song itself, I would like to thank Shri Harish Raghuwanshi for going through the table and confirming the contents to be correct.

A couple of months back Arunkumar ji sent me the video and lyrics of this particular song and asked me to take it up in the series. I gladly replied in the positive but was very late in writing the post. I thank him also for sending me the song and considering me worthy enough to write a post on it.

Like the other solo in this movie “jahan tu tu tu wahan main main main” is a light-hearted romantic song. Both the tunes are catchy. The speciality of today’s song is the dance steps by the actor, something which I have not come across with my very limited viewing of hindi films. It’s a short song with three words uttered by a female voice which is not identified in Mukesh Geetkosh. I personally feel that it could be Anita Guha herself because I cannot imagine the producer or composer engaging a playback singer just to say these three words. And that too Shut up and Idiot of all the words.

Song-Jahaan tu tu tu wahaan main main main(Mud Mud Ke Na Dekh)(1960) Singers-Mukesh, Unknown female voice, Lyrics-Prem Dhawan, MD-Hansraj Bahl

Lyrics

jahaan tu tu tu
wahaan main main main
jahaan main aen aen
wahaan tu
jahaan tu tu tu
wahaan main main main
jahaan main aen aen
wahaan tu
tu hai kali gulaab ki
main hoon teri khushbu
Shutup!!!
jahaan tu tu tu
wahaan main main main
jahaan main aen aen
wahaan tu

tere bina mera guzaara nahin
mere bina tera koi chaara nahin
moti moti aankhon se na dekh mujhe
maine kuchh tera bigaada nahin
o madam
o begam
o miss ring ring ring ru
jahaan tu tu tu
wahaan main main main
jahaan main aen aen
wahaan tu
tu hai kali gulaab ki
main hoon teri khushbu
Idiot!!!
jahaan tu tu tu
wahaan main main main
jahaan main aen aen
wahaan tu

tu to bani hai bas mere liye
main hoon bana bas tere liye
ghadi ghadi chhod ke tu jaati hai kahaan
tere peechhe phirta hoon tere liye
o madam
o begam
o miss ring ring ring ru
jahaan tu tu tu
wahaan main main main
jahaan main aen aen
wahaan tu
tu hai kali gulaab ki
main hoon teri khushbu
Shut up!!!

This article is written by Sudhir, 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.

= = = = = = = = = = =
The Voice of Mukesh #70
– – – – – – – – – – – – –

This voice has such an alluring appeal. No matter what the song may be, Mukesh ji’s voice has the quality to enliven the song with the depth of his soulful emotion. The words come alive with his rendition. Listen to any of his songs, whether they have been popularized on account of association with successful films and actors, or they belong to obscure, unheard and unsuccessful films. His songs from many such films have remained obscure and unheard. For songs of Mukesh, the unexplored era is primarily in the 1970s.  There still are many songs sung by him, that have to find their place on this blog. Many of them are unfamiliar and obscure, and some are familiar but unheard for long.

Today I present this poignant song of unrequited love – love that is waiting for fulfillment and happiness. The film is ‘Intezaar’ from 1973. The words of this song are written by Verma Malik and the music is from the mind of the old maestro, Chitragupt. The career innings of Chitragupt started in mid 1940s, and lasted for more than four and a half decades. Although lesser in number, we do films with his music, listed well into the 1980s. The last such film probably is ‘Insaaf Ki Manzil’ in 1988. Then, we also see a film listed for 1998, well after his passing away in 1991.

The film is produced under the banner of De-Luxe Films, Bombay and is directed by Mohan Singh Kavia. The cast of actors includes Baldev Khosa, Padmini Kapila, Rakesh Pande, Rinku Jaiswal, IS Johar, Mohan Choti, Lata Arora, Chandrima Bhaduri, Leela Misra, Narmada Shankar, Manhar Desai, and more. On screen, this song is picturized as a background song, as Rakesh Pande and Rinku Jaiswal are seen in the frame, separated by a closed door, but very visibly pining for the other. There is also a child sleeping in the room. I request friends and readers who may have seen this film, to please comment on this situation.

Listen to this tender expression of desires and aspirations seeking fulfilment, and yet, held back by circumstances. There is a certain grace in how the protagonists are holding their emotions, and the words are coming from the background, telling the tale of suppressed sentiments. Listen and enjoy.

Song – Idhar Intezaar, Udhar Intezaar (Intezaar) (1973) Singer – Mukesh, Lyrics – Verma Malik, MD – Chitragupt

Lyrics

idhar intezaar
udhar intezaar
tu bhi beqaraar
mein bhi beqaraar
jag ki maryada dekho
bani hai deewaar
idhar intezaar
udhar intezaar

thandi thandi aahen aur jalti jawaani
aag se dekho jaise lipta hai paani
thandi thandi aahen aur jalti jawaani
aag se dekho jaise lipta hai paani
ye tanhaai
ye angdaai
ik hai jawaani aur gham beshumaar
idhar intezaar
udhar intezaar
tu bhi beqaraar
mein bhi beqaraar

paas reh ke bhi itni hai doori
koi nahin samjhega teri majboori
paas reh ke bhi itni hai doori
koi nahin samjhega teri majboori
zindagi hai teri
raat andheri
rooth na jaaye kahin roop ki bahaar
idhar intezaar
udhar intezaar
tu bhi beqaraar
mein bhi beqaraar
jag ki maryada dekho
bani hai deewaar
idhar intezaar
udhar intezaar

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

इधर इंतज़ार
उधर इंतज़ार
तू भी बेक़रार
मैं भी बेक़रार
जग की मर्यादा देखो
बनी है दीवार
इधर इंतज़ार
उधर इंतज़ार

ठंडी ठंडी आहें और जलती जवानी
आगे से देखो जैसा लिपटा है पानी
ठंडी ठंडी आहें और जलती जवानी
आगे से देखो जैसा लिपटा है पानी
ये तनहाई
ये अंगड़ाई
इक है जवानी और ग़म बेशुमार
इधर इंतज़ार
उधर इंतज़ार
तू भी बेक़रार
मैं भी बेक़रार

पास पास रह के भी इतनी है दूरी
कोई नहीं समझेगा तेरी मजबूरी
पास पास रह के भी इतनी है दूरी
कोई नहीं समझेगा तेरी मजबूरी
ज़िंदगी है तेरी
रात अंधेरी
रूठ ना जाये कहीं रूप की बहार
इधर इंतज़ार
उधर इंतज़ार
तू भी बेक़रार
मैं भी बेक़रार
जग की मर्यादा देखो
बनी है दीवार
इधर इंतज़ार
उधर इंतज़ार

This article is written by Raja, 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.

Today, the 11th of October, is the birthday of Amitabh Bachchan, superstar, legend, colossus, role model, vagaira, vagaira, vagaira.

Just to clarify, the vagairas here are not meant to demean Mr. Bachchan in any way. Rather, they are meant to stress the fact that there are so many facets to his personality that I stopped trying to list them, after just a few. So no offence of any sort meant.

Anyway, first things first. Through this post, I’d like to wish Mr. Bachchan a very happy 74th birthday and many happy and healthy returns of the day. Bahut shubh kaamnaayen, Sir.

Just as with Rekha (for whom I wrote a birthday post yesterday), Amitabh Bachchan’s career has also been with me for as long as I remember. This establishes a sort of familiarity that I cannot claim with actors whose careers only partly spilt over into my film-watching life (like Dharam, Shashi Kapoor and Manoj Kumar). The rest of their career would be largely hearsay for me.

No such fears for Amitabh Bachchan. Right from his very early days, I have been following his career. Through its ups and downs. Or, in his case, maybe I should say, downs and ups .

Amitabh Bachchan’s career has been so well-documented that it doesn’t make sense to repeat it. Not just his film career but even his brief (if ill-fated) stint in politics has been discussed extensively. His early struggle, his rise to success thanks to Zanjeer and Deewaar, his superstardom days, his accident, his lows during his ABCL days, his return to acting in the mid-90s, his super-successful stint with Kaun Banega Karodpati, his cameos and strong character roles thereafter, to this day – there’s enough material there for not just one film, but a biopic trilogy.

If Hollywood could make a very successful Godfather trilogy, we could easily make a similar trilogy on Amitabh Bachchan.

And mind you, I have only touched on his professional life. Not even brought his family into this. His parents, his famous wife, or the next generation.

For me, Amitabh Bachchan, in my schooldays, was not someone I warmed to instantly. No, it’s not his fault – it’s entirely mine.

In those days, I used to like Rajesh Khanna. It hurt me everytime a Rajesh film flopped. And almost as if it was an on-off switch, everytime a Rajesh film flopped, an Amitabh film seemed to do well. His star was clearly on the rise just as Rajesh’s was on the way down.

I was only in school – and I didn’t take this very well in the beginning.

It was like Gundappa Vishwanath getting out to excellent swing bowling in overcast conditions in England. You know the bowlers deserve credit for exploiting the conditions but you’re angry with them for dismissing your favourite batsman. So, unsporting though you might appear, you just sulk and pretend it didn’t happen.

I was like that for a while.

And Amitabh kept notching up those hits. Even if it was the same old formula, of a little bit of romance, but a lot more of beating up the villain and his henchmen. The times had changed – more than romance, people apparently wanted to see villains being beaten up.

I deliberately wouldn’t watch his movies – as if that made the slightest difference to his success!

I waited for one of his films to flop – it was a long wait. I waited for a Rajesh film to become a hit – it was an even longer wait!

Finally I had to accept that I was only fooling myself. All my friends had converted – traitors! I was probably the last of the Mohicans.

In all this, acting didn’t even figure. Or even professionalism. These things matter to the coldly rational. Not to the sentimental schoolboy.

Later, when I grew up just a bit more, I could understand better the reasons for Amitabh’s success. And for Rajesh’s decline. It didn’t make it easier to accept – but at least I wasn’t in denial anymore.

Today, decades later, much more grown up – on this topic at least – I am willing to accept that Amitabh was the better actor, the more professional actor (by several miles). And certainly the less flawed person (again by several miles).

There, I’ve said it! Dil pe patthar rakh ke…but I’ve said it. Mother Earth, please open up and accept me in your arms. And Kaka, please forgive me – I hope you understand. I still love you! And your movies did have the better songs!

Ok, enough of the dramebaazi.

The fact is, Amitabh is where he is today largely due to his acting skills and thorough professionalism.
In a country where professionalism is more an exception than a norm, he truly stands out. Even today, he is just as professional as he was in his early days. That’s something that needs to be commended. There’s a lot to learn from him, for aspiring youngsters.

I must admit there are a fair number of Amitabh films I haven’t seen. Not that I don’t like him, but it has just turned out to be that way. Really, you’ve got to believe me on this.

Recently I saw him in Pink. I quite liked his performance. Amongst his films of the last 10-15 years, I’ve seen only a very few. Cheeni Kum, Piku are the only ones I can remember off the top of my head. I haven’t even seen the much-acclaimed Paa and Black.

I plan to correct this situation and see more of his films. There’s no grudge anymore within me, those days are long gone with my childhood. He’s a fine actor – and only I’d be the poorer for missing out. Besides, much like with Rekha, he can’t be blamed for some of the terrible roles he had (especially in the 80s).

For his birthday today, I have deliberately chosen a song from his pre-stardom days. In fact, I quite like the Amitabh Bachchan before he became a superstar. The films might have not done well but there was a likeable vulnerability about him in those films, that one didn’t get to see in his superstar-era films.

This song is from Raaste Ka Patthar (1972). I remember watching this film in the early 70s. And again, a couple of years ago. The title song did ok but the film just added to the long list of flops for Amitabh at the time.

This song today is a pleasant, romantic song that deserves to be much better-known. Its words are simple (typical Anand Bakshi). The song grows on you, the more you listen to it. The female actor opposite Amitabh is Neeta Khayani.

I know nothing about her. Maybe others can throw some light on her?

In any case, please do listen to the song. I hope you enjoy it too.

And yes, wish Mr. Bachchan once again a very happy birthday!

Song-Main har dam kisi ko dhoondhta hoon (Raaste Ka Patthar) (1972) Singers-Mukesh, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Main har dum kisi ko dhoondhta hoon
Mujhe
kisi ki
Khoj hai
Main har dum kisi ko dhoondhta hoon
Mujhe
kisi ki
Khoj hai
Ye mujhko bahaaye liye jaa rahi hai
Jawaani samundar ki mauj hai
Main har dum kisi ko dhoondhti hoon
Mujhe
kisi ki
Khoj hai
Main har dum kisi ko dhoondhti hoon
Mujhe
kisi ki
Khoj hai
Ye mujhko bahaaye liye jaa rahi hai
Jawaani samundar ki mauj hai
Main har dum kisi ko dhoondhti hoon
Mujhe
kisi ki
Khoj hai
Mujhe
kisi ki
Khoj hai

Koi aib mujh mein
Nahin ae zamaane
Mere dil mein koi kharaabi nahin
Koi aib mujh mein
Nahin ae zamaane
Mere dil mein koi kharaabi nahin
Kadam dagmagaate hain masti mein mere
Magar main kasam se sharaabi nahin
Main uske khayaalon
mein jhoomta hoon
Main har dum kisi ko dhoondhta hoon
Mujhe
kisi ki
Khoj hai
Mujhe
kisi ki
Khoj hai
Ho o h
o ho
Ho o ho o
(Ho o ho ho)

Guzarti ho gulshan se to raaste mein
Nahin baat karti bahaaron se main
Guzarti ho gulshan se to raaste mein
Nahin baat karti bahaaron se main
Jo kuchh poochhti hoon
To bas poochhti hoon
Pataa ek usi ka hazaaron se main
Jise pyaar karti hoon
poojti hoon
Main har dum kisi ko dhoondhti hoon
Mujhe
kisi ki
Khoj hai
Mujhe
kisi ki
Khoj hai

Ye jee chaahta hai
Wo baitha rahe
Saamne bas
main baithi
Nihaaroon usey
Ye jee chaahta hai
Wo baitha rahe
Saamne bas
main baithi
Nihaaroon usey

Wo yunh na suney to
Banaa kar bahaana
Ye awaaz dekar
Pukaaroon usey
Ki bacha lo
main toofaaan mein doobta hoon
Main har dum kisi ko dhoondhta hoon
Mujhe kisi ki
Khoj hai
Ye mujhko bahaaye liye jaa rahi hai
Jawaani samundar ki mauj hai
Main har dum kisi ko dhoondhti hoon
Mujhe
kisi ki
Khoj hai
Mujhe
kisi ki
Khoj 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.

“Patthar Se Takkar”(1980) was produced and directed by Gulab Mehta under the supervision of Aspi for Film Dhaaraa’s. The movie had Sanjeev Kumar, Neeta Mehta, Urmila Bhatt, Bhagwan Daada, Birbal, Anju Gupta, Minoo Irani, Farida Jalal, Jeevan, Satyen Kappu, Javed Khan, Leela Mishra, Mac Mohan, Pran, Randhir, Amrish Puri, Shivraj, Kanchan Mattu, Usha, Jerry Raja, Sayed, Sheikh, Shheroo, Jerry Junior, Raj Verma, Kamal Thakur, Krishen Thakur, S.Mauji, Shiraj etc in it.

Today (6 november 2016) is the 31st death anniversary of Sanjeev Kumar (9 july 1938- 6 november 1985). It is amzing to realise that more than three decades have passed since he left us, and it is even more amazing to realise that he was just 47 years of age when he left us. He achieved so much and played some varied roles that people could well believe him to be much older than that.

As a tribute to sanjeev Kumar, here is the first song from “Patthar Se Takkar”(1980) to appear in the blog. This song is sung by Mukesh. Indeewar is the lyricist. Music is composed by Laxmikant Pyarelal.

This is a lovely song with a message which is lip synced by Sanjeev Kumar who has this message for so called devout people that those who illtreat fellow human beings cannot claim to be devotees of the Almighty.

Lyrics of this song, as well as details of this movie are sent to me by Prakashchandra.

“Patthar Se Takkar”(1980) makes its debut in the blog with this song.

Video

audio

Song-Phir jaao kaashi phir jaao kaabaa (Patthar Se Takkar)(1980) Singer-Mukesh, Lyrics-Indeewar, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

o o
o o o o

phir jaao kaashi
phir jaao kaabaa
pehle padosi ko pyaar karo baabaa
phir jaao kaashi
phir jaao kaabaa
pehle padosi ko pyaar karo baabaa
insaan hone ka phir karnaa daavaa
insaan hone ka phir karnaa daavaa
pehle gareebon pe dayaa karo baabaa

bhagwaan ko bhog kaise lagegaa
jab uske bande hi bhookhe rahenge
bhagwaan ko bhog kaise lagegaa
jab uske bande hi bhookhe rahenge
singaar moorat pe kaise sajegaa
jab us ke bachche hi nangey phirenge
mandir mein peechhe chadhhaana chadhaawaa
pehle gareebon pe dayaa karo baabaa
phir jaao kaashi
phir jaao kaabaa
pehle padosi ko pyaar karo baabaa

sajdon mein sar apna peechhe jhukaanaa
girte huon ko tum pehle uthhaao
sajdon mein sar apna peechhe jhukaanaa
girte huon ko tum pehle uthhaao
girzon mein shammaa chadhhaanaa tum peechhe
dukhiyon ke ghar pehle deepak jalaao
deen-o-dharam ka phir karnaa dikhaawaa
pehle gareebon pe dayaa karo baabaa
phir jaao kaashi
phir jaao kaabaa
pehle padosi ko pyaar karo baabaa

dukhiyaa dilon ki duaa leke dekho
is se badi koyee daulat nahin hai
dukhiyaa dilon ki duaa leke dekho
iss se badi koyee daulat nahin hai
insaan ki khidmat hi sachchi ibaadat
koyee iss se badhke ibaadat nahin hai
poojaa ibaadat ka phir karnaa daavaa
pehle gareebon pe dayaa karo baabaa
phir jaao kaashi
phir jaao kaabaa
pehle padosi ko pyaar karo baabaa
insaan hone ka phir karnaa daavaa
insaan hone ka phir karnaa daavaa
pehle gareebon pe dayaa karo baabaa
pehle padosi ko pyaar karo baabaa
pehle gareebon pe dayaa karo baabaa

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.

Welcome to all readers to the 126th century on the blog. Yes, we now have 12,600 songs on board with this post.

It’s now customary to have a special post or a song on such occasions. The last one saw a bundle of century celebrations in a single post. This time however it will be different in the sense that the highlight will be on the song itself and its historic importance rather than other aspects.

A certain impending exam for accreditation of my qualification and experience is holding me back to write more frequently on the blog. But when I came across this discovery, I was tempted to ask Atul ji if I could have it as a century post. In fact the conceptualization of this post began a little before the 125th century post. But then its grand design and posting was already decided and hence I sought for the 126th century post slot for this song.

The name of Ashok Ghosh will forever be remembered for introducing this singer to the Indian cinema. He was the first composer to give a chance to a very young singer. It so happened that the singer was also introduced as the lead actor in the film with Nalini Jaywant. The year was 1941 and the singer as we all can easily guess is Mukesh. But were Nirdosh (1941) songs the first ever recordings of Mukesh? We will learn in a few moments.

I had begun my association with Sudhir ji by sending him a few newspaper articles and other information of Mukesh which I had collected through the years. This was before he had started his very productive and highly appreciable efforts of tracing, uploading and posting the first few dozens of Mukesh songs in the films through his series “The voice of Mukesh”. On receiving the info he had thanked me enough in his return mail. However, I now feel that I had sent a few drops of water to a person who owns an ocean of information.

Anyway, the relevance of my first interaction with him to this post is the withholding of one article for a very odd reason of the problem of scanning. The article was on a broadsheet of “Screen” a weekly magazine which used to appear in the form of a newspaper earlier. Then, I had found it difficult to scan because of its size, but with this post coming up, I had to send it across by some means as there was a very important piece of information in it which one usually does not come across in the hundreds of articles which have appeared over the years on Mukesh.

The said article is dated Sept 1st 2006 and is written by Sanjay R Pillai. It’s a short article with the title MUKESH MATTERS in huge font and a large photo of Mukesh occupying much of the space. I will be happy to share this article with anyone who wishes to read it. It has a few interesting statistics of his songs, acting career and a very important information.

We all know that composer Roshan and Mukesh were studying in the same school. Whether, they were class-mates is debatable as there is a wide difference of 6 years in age among the two. We also know that Mukesh was a popular singer in his school and the students always looked forward to hear him sing in the school functions. After his matriculation in 1939, Mukesh briefly worked in a Govt service and ran away to Mumbai in October 1940. His life and career after coming to Mumbai is well known and documented.

However there is a very interesting segment to his profession, interest and life before he came to Mumbai which I believe has not been covered or addressed in the blog so far. It is this segment that is the highlight of this century post.

The screen article referred above says that the singer had recorded six private songs in Delhi itself before he came to Mumbai. In fact the author goes ahead and names the six songs in the article. This obviously was known to me ever since I had the article in my possession but I was under the false impression that they were not available for hearing or released in any mode. When I came across one of the songs, the search led to another three and I decided that the songs very much deserved to be put up on the blog.

Some web-sites say that these private songs were recorded secretly by Mukesh. It’s quite a possibility because of the taboo of being associated with films and singing in those days.

What makes the six songs unique is that they pre-date the Nirdosh (1941) songs. So when one of the songs is taken up it becomes the oldest song of Mukesh to appear on the blog.

The table below enlists the very rare songs and their respective 78 rpm record numbers. All six songs are believed to have been recorded by Mukesh in Delhi in the year 1940 just before he came to Mumbai. Needless to say these details and the confirmation of the songs were accorded to me by Shri Harish Raghuwanshi ji, with whom I interacted a lot through mails. I thank him profusely for his help and guidance in presenting this post.

Of the above 6 songs, the first two bearing the record number N 14504 are difficult to find. However the remaining 4 are available. But I am sure that there are music enthusiasts out there possessing all the songs. If anyone has the songs from record number N 14504, I make an appeal for sharing them on the blog. Also, more knowledge readers can please extend additional information of all these 6 songs as the details are very sketchy.
I have taken up the 5th song for this post. On hearing the first few words of the song, the mind instantly recalls this iconic vintage era song by Pankaj Mullick from Kapal Kundala (1939). The sort of hurried rendering at the fag end of the original song is emulated in this version by Mukesh too.

Similarly the 4th song very much resembles yet another famous and timeless classic song of K L Saigal from Dushman (1939). It is interesting to note that these songs were sung by Mukesh in 1940 with both the films being released a year earlier.

I am not sure if there have been discussions in any of the past posts or comments regarding these six songs sung by Mukesh. However as I have said earlier, this song is the first among the six to be posted here. Authentic information regarding the composers and lyricists of the songs is not known. The only reliable information available is from Mukesh Geetkosh wherein the lyric writer of the present song is mentioned as L.A.Naazish Rizvi.

Irrespective of the sequence in which we take up the songs, what matters is the quality of the voice in the songs and the circumstances under which they were recorded by the famed singer. A voice which had no clue where it was headed and what popularity, recognition and legendary status it would attain over the next three and a half decades. Mukesh was no doubt groomed and encouraged by Anil Biswas, Naushad and other composers in his initial phase. However, years before he sang their songs, one can detect a promise and a legend in the making. Sincerity, sanctity, purity and total devotion to singing, the virtues of which made Mukesh a household name with millions of fans all over the world, is very much evident in the rendering.

So here is the young singer, all of 17 years of age, with his most primeval voice on the blog so far.

Song-Gokul nagri jaana (Mukesh NFS)(1940) Singer-Mukesh, Lyrics-L A Naazish Rizvi

Lyrics

gokul nagri jaana
haan aaaa aaa
gokul nagri jaana
shyaam bina sab hai ??
shyaam bina sab hai ??
maan ko hai behlaana
gokul nagari jaana
haan aaaa aaa
gokul nagri jaana

aankhen bichhaataa chaloon
neer bahaata chaloon oon
aankhen bichhaataa chaloon
neer bahaata chaloon oon
prem ka chamatkaar
prem ka chamatkaar
kuch to hai dikhaana aa aa
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

man kyun udaas hai
man kyun udaas hai
kaahe niraash hai
man kyun udaas hai
aisa vichaar kyun hai tujhe
aisa vichaar kyun hai tujhe
aaya sama suhaana aa aa
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

aasha ke phool khile
shyaam piya aan miley
aasha ke phool khiley
shyaam piya aan miley
kat gayi dukh ki raat
kat gayi dukh ki raat
geet aanand ke gaana
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

jaana mathura nagari jaana
jaana nand graam ko jaana
gokul nagri jaana
haan aaaa aaa
gokul nagri jaana

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 co-singers – 2
—————————————-
Talat Mahmood and Mukesh remained the best of friends till the latter departed for another world in August 1976. It gives me immense pleasure to present this second post in the series Mukesh and his co-singers featuring another of my all-time favourite singer.

Factually the combination does not ring a bell as there are no duets of them in films. There is one triad also featuring Khan Mastana from Pagle (1950) and the present song from Biwi aur Makaan (1966) which again features a very rare combination of singers namely Manna Dey, Jogindar and Hemant Kumar with them.

And then there are three glorious ghazals, one of which has been posted by Shri Sadanand Kamath ji with a very detailed post on the making of the ghazal.

Thus there are only two film songs and three non-film ghazals of the combo. So are we done discussing about Mukesh and Talat Mahmood.? Well, certainly not.

It’s not without reason, that I started the post with the first line about their friendship. Both of them had some same experiences, dreams, setbacks, favourite composers etc. To begin with, both wanted to be successful actor-singers. Whereas Mukesh failed miserably to be an actor, Talat saab lost the race for play-back singing while trying to concentrate on his acting and foreign concerts. Composers like Anil Biswas and Salil Chowdary swore by their golden voices. Both sang for Naushad but for reasons best known, the numbers are too less.

Coming to the films where their opportunities crossed and met, we have to discuss about Yahudi, Madhumati, Anari and Sujatha. Yahudi’s most memorable song Ye mera deewaanapan hai was composed by Shankar keeping Mukesh in mind whereas Dilip Kumar wanted it in the voice of Talat Mahmood. There was a toss of coin which went in favour of Mukesh. Rest as they say is history. Same was the contention of Dilip Kumar during the making of Madhumati. It was 1958 and Mukesh was not much in vogue because of his self imposed exile of giving playback which I have referred at many occasions. He was financially in a very bad condition. Talat Mahmood voluntarily backed off in favour of his friend Mukesh. Here is an article in this regard. These two films of 1958 along with Phir Subah Hogi contributed immensely thereafter to the singing career of Mukesh.

The very next year, both friends were in contention of filmfare’s best playback singer. Mukesh for Anari and Talat Mahmood for Sujatha. Talat saab ended without a filmfare award. Ever. Music lovers however know the quality of the silken voice of Talat Mahmood and he dwells in our hearts as one of the most glorious voices of the golden era. There may few exclusive Talat saab fans, but then all music lovers know that what he left behind will forever remain pure gold.

It was a period devoid of cut-throat competition and most of the artists were known to help each other. The friendship of Mukesh and Talat Mahmood may not be found in any articles. So how does one authenticate the events discussed above and the various anecdotes we come across often on the artists.

Well, there have been many books written and some authors have in fact done extensive research and interviewed the right persons in getting the acts together. And then there are film historians. But it’s also amusing about some historians who talk as if they were present in every single event that took place. This subject is a matter of great debate and I would not like to prolong it any further.

For this particular post and the case in hand, I happened to stumble upon a program of Talat saab on Vividh Bharti Service. Fortunately for us there are many such interviews/programs available which Talat saab has given. In this particular interview, Talat saab talks very affectionately about Mukesh and goes to the extent of saying that he could write a book on Mukesh. Since the Jaimala program of Talat Mehmood is just over half an hour and he had to talk as well as play songs, he seems to rush in. It’s from 18:35 to 19:25 in the link below. In less than a minute we hear about the close relationship they had.

Before we discuss about today’s song, as usual, here is the list of two filmi and three non-filmi ghazals. One each from each section has been discussed. The details were confirmed to me by Shri Harish Raghuwanshi ji and I thank him for the same.

In this post I had discussed in the 6th para that I had more to talk about some unique songs sung by Mukesh.
1. Saawan (1959) with Lata Mangeshkar
2. Poonam Ki Raat (1965) with Lata and Usha Mangeshkar
3. This present song from Biwi aur Makaan (1966)

In all these three songs Mukesh is in a self-suppressed slow rhythm mode while his co-singers are singing in a fast pace. Each of the three songs has the same characteristic feature and Mukesh comes out winning in his rendering on all occasions.
The present comic song is unique with a very rare combination of singers and actors lip-singing. The story of the movie is available on the net and coming from Hrishikesh Mukherjee it seems to be laughter-riot. The song in fact warrants a detailed description and the roles executed by each of the actors. But I am concentrating more on the statistics in these posts and would request readers to provide additional information regarding the movie and the circumstances in which the song appears in the film. A short synopsis of the movie can be found here. The list of actors in the song and the singers giving playback to them is as follows.

Song-Mujhko mohabbat ho gayi hai (Biwi Aur Makaan)(1966) Singers-Mukesh, Manna Dey, Talat Mehmood, Hemant Kumar, Joginder, Lyrics-Gulzar, MD-Hemant Kumar
All

Lyrics

mujhko mohabbat ho gayi hai
bas mujhko mohabbat ho gayi hai
le le
le thhanda peele
mede ki garmi hai
dil pe chadhh gayi hai re
arre kuchh nahin hai
dhad see tere dil ki dhadkan badh gayi hai re
ab kya hoga
yaaron kya hoga
bhaai dil ke jal jaane se
koi sar ki nas bhi
jal gayi hai re
dil jalta hai to jalne de
ab hamko mohabbat ho gayi hai
ab hamko mohabbat ho gayi hai
abe hosh mein aa
kuchh hosh mein aa
ghar waalon ko maaloom hua
to ek museebat hogi
aur uspe wahaan wo noonjahaan bhi
jaan gayi to khair nahin
tab aur kayaamat hogi
eeee eeee

wo chaal kayaamat ki chal kar
jab aankh ke saamne aate hain
do haathh kaleje par uthh kar
ek dil ko thhaamne aate hain
unki wo chaal qayaamat hai
har baat mein ek nazaakat hai
har baat mein ek nazaakat hai
aur aap ke haal pe laanat hai
har baat mein ek himaakat hai
is yaar ka yaaron kya hoga
naadan ka yaaron kya hoga
arre naadaan pagle tu
kya karne laga hai tu
zara se dil ki khaatir
khaamkhaaan marne laga hai tu
ye dil sabko banaata hai
tujhe bhi bargalaayegaa
hamen baahar nikaalega
tujhe andar karaayega
aa aa aa

main us ke dar pe sar rakh kar
ghar ke baahar mar jaaunga
main us ke dar pe sar rakh kar
ghar ke baahar mar jaaunga
ki mujhko mohabbat ho gayi hai
ki mujhko mohabbat ho gayi hai

shekhar bhaiya yoon nahin karte
itni oonchi aah nahin bharte
shekhar bhaiya yoon nahin karte

jhoothh moothh ki shaadi karlo
sachchi sachchi ishq nahin karte
shekhar bhaiya yoon nahin karte
marna ho to ispe mar lo
aur kisi pe yoon nahin marte

main us par poora marta hoon
wo kuchh kuchh mujh par marti hai
main usko sahi samajhta hoon
wo mujhko galat samajhti hai
chup rah
ye haalat kaisi ho gayi hai
aisi ki taisi ho gayi hai
shekhar ko mohabbat ho gayi hai
aur hamko museebat ho gayi hai
shekhar ko mohabbat ho gayi hai
aisi ki taisi ho gayi hai
aur hamko museebat ho gayi hai
anhoni baat thhi
ho gayi hai

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 – 13
——————————–

What is common to Anil Biswas, C Ramchandra, Hemant Kumar, Usha Khanna etc ? Well, apart from being successful composers, they were also good playback singers. There are many other names in this category such as SD Burman, Chitragupt, and Ravi etc.

These composer-singers also engaged other playback singers more often than they sang their own songs. So what compels the composer for getting songs sung by others ? There could be many reasons as enlisted below or maybe other factors too.

1. Financial and/or friendship issues amongst artists.
2. The playback singer’s voice may be more suited for the actor on the screen.
3. Insistence of the producers, director or even the actor.
4. The composer may assign the song and singer for rehearsals to his assistant while he concentrates on other works in the making of the movie such as other songs, background score etc.

Here are a couple of anecdotes which we have read on the blog in the past.

1. Anil Biswas overheard or heard from someone about Mukesh complaining that if music directors sang their own songs, then what is the future for playback singers.

2. Manna Dey who has composed for a few films engaged Mukesh for this song from Chamkee 1952 whereas from hindsight we know he himself could have rendered it quite easily.

Coming to the next post in this series, we today take up the case of Hemant Kumar engaging Mukesh for his compositions. Arguably, Hemant Kumar was the most successful amongst composer-singer artists. He however engaged a lot of playback singers too. The list of Mukesh singing for him is quite short and also there are no popular hits, if I may say so.

* Version Songs

#1 and #2 are only version songs and were not included in the movie.
I have no hesitation to say that song number #1 sung in the movie by Hemant Kumar is more popular in comparison to the Mukesh version. It also the most familiar in the list I suppose. #2 is a solo and is again sung by Hemant Kumar in the film version. #3 is a romantic duet with Lata featuring Manoj Kumar and Ameeta.
#4 was discussed by self a few days back. #5 is a similar comic song with Manna Dey and Hemant Kumar.

There are also two Bengali songs that Mukesh sang for Hemant Kumar and I am not including them here for obvious reasons. Shri Harish Raghuwanshi ji advised me to add the information of non-hindi songs in the post as it will be useful for the knowledge of music lovers. I also thank him for going through details of the above table that I sent and confirming the same.

For this particular post, I have picked up the last song in the table above. It’s a nice romantic duet with Asha Bhosale picturised on Sailesh Kumar and Tanuja. I am particularly fond of Mukesh-Asha duets. Most of them are not so popular unlike the ones with Lata, but there is certain freshness and a different tone in the duets when Asha joined with Mukesh. This particular song is also one of them. Enjoy.

Song-Bahut achche lago to(Us Raat Ke Baad)(1970) Singers-Mukesh, Asha Bhonsle, Lyrics-Gulzar, MD-Hemant Kumar

Lyrics

bahut achche lago to
bahut achche lago to
jaan keh loon
izaazat do o o
izaazat do o o
izaazat do
tumhen imaan keh loon
bahut achche lago to jaan keh loon
izazat do tumhen imaan keh loon
bahut achche lago ho

akele mein aen
tum kabhi
khud se sharmaate to hoge
akele mein kabhi tum
khud se sharmaate to hoge
mujhi ko soch kar tum muskura dete to hoge
tumhaari muskuraahat ko agar ehsaan keh loon
bahut achche lago to
bahut achche lago to jaan keh loon
izaazat do tumhen imaan keh loon
bahut achche lago to

nigaahon mein aen
yeh nazar
jab tumhen aadaab kehti hai
nigaahon mein tumhe jab yeh nazar aadaab kehti hai
mujhe maaloom hai
kya aarzoo betaab rehti hai
tumhaari aarzoo ko main agar be-imaan keh loon
bahut achche lago to
bahut achche lago to jaan keh loon
izaazat do tumhen imaan keh loon
bahut achche lago to

kareeb aakar
tum suno
saansen kiska naam leti hain
kareeb aakar suno to
saansen kiska naam leti hain
labon se jab gire aahen
to saansen thhaam leti hain
sureeli saans ko apni agar pehchaan keh loon
bahut achche lago to
bahut achche lago to jaan keh loon
izaazat do tumhen imaan keh loon
bahut achche lago to

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.

In Hindi movies, we have had titles like “Maa Baap”, in 1944, 1960 and 1979. Then there was one film maker who decided to be “different” and he came out with a title called “Mummy Daddy”.

“Mummy Daddy”(1963) was directed by Narendra Dave for Golden Movies, Bombay. This movie had Ameeta, Sudesh Kumar, Lalita Pawar, Tiwari, Maruti, Manorama, Niranjan Sharma, Jagdeesh Kanwal, Rajendra Singh, Jamal, Satish, Shamlal, Rajnath, R P Sharma, Nadir, Mansaram, Amrit, Baby Chand, Ravikant, Nazir Kashmiri, Narbada Shankar, Ratan Gaurang, Madhumati, Meena Parel, Rajni, Burhan, Bihari, R P Kapoor, Hari Sharma, Chanda etc in it.

The movie had six songs in it.

Here is the first song from “Mummy Daddy”(1963) to appear in the blog. This song is a duet sung by Lata and Mukesh. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

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.

With this rare song, “Mummy Daddy”(1963) makes its debut in the blog.

Song-Tumse nazar kuchh aisi mili (Mummy Daddy)(1963) Singers-Lata, Mukesh, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

tumse nazar kuchh aisi mili
hum dil ko kahin kho baithhe hain
apna bhi hai kuchh haal yahi
hum jab se tere ho baithhe hain
tumse nazar kuchh aisi mili
hum dil ko kahin kho baithhe hain
tumse nazar

jaane kaise dil ye deewaana ho gaya
tum se mila begaana ho gaya
nazren milaana to bahaana ho gaya
hona thha ise nishaana ho gaya
ye bahaane tuhi jaane
main na jaanoon sajna
tumse nazar kuchh aisi mili
hum dil ko kahin kho baithhe hain
tumse nazar

thhandi thhandi aahen hum bharte nahin
tumpe kabhi jo marte nahin
dil waale dil de ke darte nahin
marne ka gham wo karte nahin
chalo maana
hoon deewaana
hamen samjho ji apna
tumse nazar kuchh aisi mili
hum dil ko kahin kho baithhe hain
tumse nazar

dekho mere sapnon mein aaya na karo
aa ke hum ko jagaaya na karo
aisa hai to nazren milaaya na karo
sapnon mein yoon bulaaya na karo
jo ishaare hain tumhaare
main bhi jaanoon sajna
tumse nazar kuchh aisi mili
hum dil ko kahin kho baithhe hain
apna bhi hai kuchh haal yahi
hum jab se tere ho baithhe hain
tumse nazar

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.

“Madaari”(1959) was produced by Ratan Kumar and directed by Babubhai Mistry for Ratan Pictures, Bombay. This movie had Ranjan, Chitra, Manhar Desai, Sundar, Kavita, Sheila Vaz, Kanchan, Jayshree Gadkar, Dalpat, Pal Sharma, Uma Dutt, Raj Adeeb, Shree Bhagwan, Sinha, R S Dubey, Murari, Vasantrao Pahalwan, Korega, Julian, Yadav, Vitthal, Indira Bansal, Nilu, Geeta, Paro, Rehana etc in it.

The movie had eight songs in it. Six songs from the movie have been discussed in the past.

It turns out that the remaining two songs of the movie are basically two versions of the same song. HFGK mentions that part I of the song is a solo by Mukesh. Part II of the song begins from the words zameen pe chaand ka noor dekho ye basre ki hoor dekho.

The picturisation of the supposedly two parts is seamless, but while part I is in blac and white, part II is in colour. In those days of black and white movies, movies that were partially colour ere big craze with movie goers. There were people who would turn up fr movies just because it was in colour.

The song is picturised as a stage performance song where Ranjan plays the madaari and Sundar is his assistant. Lots of eager wathers watch the performance. The audience include Chitra and Indira Bansal in disguise as males. The female dancer who lip syncs in Lata Mangeshkar’s voice goes on to sing and dance is a widerange genre of songs, viz Arabian dance, Rajasthani dance, “Chinese” dance, Punjabi dance etc, which must be paisa wasool entertainment for the kind of moviegoers who were attracted to watch this genre of movies. The female dancer could be
Priyadarshini, the lady who famously dances in “laaga Chunri mein Daag” (Dil Hi To Hai), but Prakashchandra, who sent me the lyrics of this song as well as other details, is not sure about the identification of the female dancer.

Pt Madhur is the lyricist. Music is composed by Kalyanji Aanndji. it is mentioned that Laxmikant was the assistant music director whereas Pyarelal was the arranger in this movie.

With this multiple version song, “Madaari” (1959) joins the list of movies that have all their songs covered in the blog.

Audio version

Video version

Lyrics(Provided by Prakashchandra)

——————————
Audio version
——————————

main hoon mast madaari
main hoon mast madaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
o main hoon mast madaari
o main hoon mast madaari

khel khel mein mel ho dil ka
aisaa khel dikhaaoon
nazron ki main
dor phenk kar
tera dil uljhaaoon
khel khel mein mel ho dil ka
aisaa khel dikhaaoon
nazron ki main
dor phenk kar
tera dil uljhaaoon
paagal ko paagal pehchaaney
jaaney nahin anaadi
o main hoon mast madaari
main hoon mast madaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
o main hoon mast madaari
main hoon mast madaari

chhupne waaley
chhup kar aatey
chhup kar kare ishaara
lekin dard chupaaye kaisey
teer-e-nazar ka maaraa
chhupne waaley
chhup kar aatey
chupp kar kare ishaara
lekin dard chupaaye kaisey
teer-e-nazar ka maaraa
ek adaa pe hum karte
qurbaan ye duniya saari
o main hoon mast madaari
main hoon mast madaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
main hoon mast madaari
main hoon mast madaari

zameen pe chaand ka noor dekho
ye basre ki hoor dekho

aaaaaa…aaaa….aaaa…aaa
aaaa….aaa….aaaa
aaa…aaa….aaa…aaa
aayaa aayaa
salaam mere yaar kaa
aayaa aayaa
salaam mere yaar ka
ab nahin gham
shab-e-intezaar ka
ab nahin gham
shab-e-intezaar ka
yaa habeebi ee ee
yaa habeebi..ee
yaa…aaaaa..aaa habeebi

main hoon mast madaari
o main hoon mast madaari
dekho Rajasthaani paani
chhamm chhamm karti
aayee jawaani

aaj mhaane
aaj mhaane
aaj mhaane
devar lene aayo rey
saawaniyon mann bhaayo rey ae
bhaayo rey ae
saasariye jaaoon
odhoon peehariye ki aawe rey
saa sariye jaaoon
odhoon peehariye ki aawe rey
o o o o o o o oo
o o o o o o o o o o
o o o o o o o oo
o o o o o o o o o o
o o o o o o o oo
o o o o o o o o o o

main hoon mast madaari
o main hoon mast madaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
o main hoon mast madaari
o main hoon mast madaari

————————
Video version
————————

main hoon mast madaari
main hoon mast madaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
o main hoon mast madaari
o main hoon mast madaari
khel khel mein mel ho dil ka
aisaa khel dikhaaoon
nazron ki main dor phenk kar
tera dil uljhaaoon

main hoon mast madaari
bina teer dil ghaayal kar doon
aisaa main hoon shikaari
o main hoon mast madaari
main hoon mast madaari

zameen pe chaand ka noor dekho
ye basre ki hoor dekho

aaaaaa…aaaa….aaaa…aaa
aaaa….aaa….aaaa
aaaa…aaaa….aaaa
aayaa aayaa
salaam mere
yaar kaa
aayaa aayaa
salaam mere
yaar ka
ab nahin gham
shab-e-intezaar kaa
ab nahin gham
shab-e-intezaar ka
yaa habeebi ee ee
yaa habeebi ee
yaa aaa aa habeebi

main hoon mast madaari
o main hoon mast madaari
dekho Rajasthaani paani
chhamm chhamm karti
aayee jawaani…eee

aaj mhaaney
aaj mhaaney
aaj mhaaney
devar lene aayo rey ae
saawaniyon mann bhaayo rey ae
bhaayo rey ae ae
saasariye jaaoon
odhoon peehariye ki aawe rey
saasariye jaaoon
odhoon peehariye ki aawe rey
o o o o
o o o oo
o o o o
o o o o
o o o o
o o o o
o o o o o
o o o o o
o o o o o o o oo
o o o o o o o o o o

main hoon mast madaari
o main hoon mast madaari
ye dekho tum Cheeni gudiyaa
zehreeli aafat ki pudiyaa

yoon na chinn chinn choon
mujh se chhupnaa kyun
milna mujhse yoon oon
main to teri hoon
yoon naa ching ching choon
mujh se chhup naa yoon
milna na mujh se yoon
chinn choon
chinn choon
milna mujh se yoon
main to teri hoon
hmmm….hmmmmm….hmmmm
hmmm….hmmmmm….hmmmm
hmmm….hmmmmm….hmmmm
hmmm….hmmmmm….hmmmm
chinn chinn chinn choon
chinn chinn chinn choon
chinn chinn chinn choon
chinn chinn chinn choon

main hoon mast madaari
o main hoon mast madaari
ye punjaab ka zindaa jaadoo
sab ka dil karta beqaabu

main jatti punjaab dee tey
meri moraa vargee chaal
main jatti punjaab dee tey
meri moraa vargee chaal
jaande raahi vekhte ae ae
ae ae ae ae ae ae ae
ae ae ae ae ae ae ae
ae ae ae ae ae ae ae
ae beliyaa
rakh de seene naal
sohniyaa
rakh de..

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.

Atul ji’s 10K Song Milestone Celebrations – 8
——————————————————————–

Mukesh and His Co-Singers – 3
—————————————-

The thought had crossed my mind a few months back. To calculate the sum of all the posts of contributors and subtract it from the grand total which would have given the obvious number. A number big enough to just admire, thank and congratulate with high gratitude. Thankfully, the pen and paper (and well a calculator) did not meet and so we had Sudhir ji planning his modus-operandi.

Else who knows, I would have written a common mail to both which I usually do and spoiled all the fun.

I got to know of Sudhir ji’s plans which he told me in person when I met him for a short visit to his house. Now wait. Isn’t our meeting a celebration to write a post? Yes indeed, but that shall wait for another day.

This post is for Atul ji. To thank him for this wonderful platform that has brought so many like-minded people together. As I write this statement, I have the proof of this togetherness and oneness even when we may not have met each other. When I met Sudhir ji for the first time it was as if we knew each other for decades. The talks directly shifted to songs and we were both in our comfort zone.

I have been fond of old Hindi songs of 40’s and 50’s for a long time. Before the internet era, it was collection of articles, audio cassettes etc. With the advent of internet, all of us were exposed to a wide range of information. This blog was not exactly the first of its kind that I came across. I had downloaded many mp3 songs from different sites. They are in hundreds. However further search and surfing inevitably led me to this blog and there has been no looking back. I first started interacting by making comments, corrections etc. Then there was an urge to send lyrics and finally to qualify as a post contributor. The final step did take me quite a while. My first write-up was not up to the mark as it was some absurd story. I later realised that writing on artists anniversaries and special articles related to the song make more sense. Sudhir ji’s series on Mukesh opened a whole lot of possibilities and thus, I started two series of Mukesh which I hope to continue as long as his songs are available to be posted.

This blog will, in all probability, remain the only reliable source of correct info of HFM songs in such huge numbers and of almost all artists. I am very much certain of it. We have some of the best contributors with very vast knowledge and experience of this hobby. After reading their posts, we imagine ourselves in the midst of our favourite artists. Such is the effect of this blog on our lives.

Among the many selfless deeds of Atul ji, is the fact that contributor’s names are prominently displayed and acknowledged on his blog. That we can write so freely and put our thoughts on the blog is really a wonderful experience. I have sent quite a few posts at the eleventh hour. I am even embarrassed to write that a couple of posts were sent without the lyrics etc. But his large heartedness ensures that the post is complete in all respects. I can’t imagine doing even 1% of what he does day in and day out.

For this post, I have taken the liberty of introducing a new film on the blog. It’s a 1973 released film called ‘Aangan’. Here are the details of the film.

The present song is the ONLY duet featuring Sulakshana Pandit with Mukesh. Sonik-Omi are the composers and the lyrics are by Omkar Verma.  Mukesh Geetkosh attributes the lyrics to Indeewar, but then as always, I sought the help of Shri Harish Raghuvanshi ji, who himself revealed the correction.

I wrote a mail at 8:15 pm to him seeking his help in confirming the uniqueness of the duet and in some two hours we had exchanged quite a few mails regarding the song, lyric writer etc. His passion for correct information and continuous help till the doubts are cleared is something to be admired. I will always remain hugely indebted to him.

On behalf of Shri Harish Raghuvanshi ji and myself, I once again congratulate and thank Atul ji for attaining this monumental 10k feat and making us come closer to so many friends with a common wavelength.

One last thing before I close the post. What is the message that we want to convey to Atul ji as far as our support, help and gratitude for this hobby is concerned? Well listen to the first few lines of the song. And agree with me.

Song – Jab Talak Aasmaan Pe Sitaare Rahenge (Aangan) (1973) Singer – Mukesh, Sulakashna Pandit, Lyrics – Omkar Verma, MD – Sonik Omi
Mukesh + Sulakshana Pandit

Lyrics

jab talak aasmaan pe sitaare rahenge
jab talak aasmaan pe sitaare rahenge
hum tumhaare
hum tumhaare liye hain
hum tumhaare rahenge
jee hum tumhaare liye hain
hum tumhaare rahenge 
jaan se bhi hamein aap pyaare rahenge
jaan se bhi hamein aap pyaare rahenge 
hum tumhaare
hum tumhaare liye hain
hum tumaaree rahenge 
jee hum tumhaare liye hain
hum tumaaree rahenge 
jee hum tumhaare liye hain

chanda hai tu main chakori
ho saath apna puraana
ooo baahon mein aa jaa tu gori
ho main hoon tera deewaana  
dil machal gaya
kya jaadoo chal gaya
ab kunwaare na aramaan hamaare rahenge 
ab kunwaare na aramaan hamaare rahenge 
hum tumhaare
hum tumhaare liye hain
hum tumhaare rahenge 
jee hum tumhaare liye hain

mehka hai tujhse hi gulshan 
ho tu hai kaliyon ki rani
tu jo kahe to luṭa doon
ho tujhpe main zindagani
kya nikhaar hai
haseen bahaar hai
hamase mehke sadaa yeh nazaare rahenge 
hamase mehke sadaa yeh nazaare rahenge 
hum tumaare
hum tumhaare liye hain
hum tumhaare rahenge 
jee hum tumhaare liye hain
hum tumhaare rahenge 

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

जब तलक आसमान पे सितारे रहेंगे
जब तलक आसमान पे सितारे रहेंगे
हम तुम्हारे
हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे
जी हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे
जान से भी हमें आप प्यारे रहेंगे
जान से भी हमें आप प्यारे रहेंगे
हम तुम्हारे
हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे
जी हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे
जी हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे

चंदा है तू मैं चकोरी
हो साथ अपना पुराना
ओ बाहों में आ जा तू गोरी
हो मैं हूँ तेरा दीवाना
दिल मचल गया
क्या जादू चल गया
अब कुँवारे ना अरमान हमारे रहेंगे
अब कुँवारे ना अरमान हमारे रहेंगे
हम तुम्हारे
हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे
जी हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे

महका है तुझसे ही गुलशन
हो तू है कलियों की रानी
तू जो कहे तो लूटा दूँ
तुझपे मैं ज़िंदगानी
क्या निखार है
हसीं बहार है
हमसे महके सदा ये नज़ारे रहेंगे
हमसे महके सदा ये नज़ारे रहेंगे
हम तुम्हारे
हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे
जी हम तुम्हारे लिए हैं
हम तुम्हारे रहेंगे

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.

Several years ago, I read a tale that made my blood boil. It was about a 96 year old lady, whose palatial house was snatched away forcibly from her by greedy land grabbers and she was forced to stay in the servant quarters of her own prime property. She was no ordinary lady either. she was the first female IAS officer of India.

When media got wind of this fact, the people who had usurped her property hurriedly brought her back to the mansion to “prove” to the media that she was very much the “owner” of her property.

Law abiding people earn some amount for their living and then try to live within them. Then there are some ambitious people who work hard and improve their earning and rise in economic status. They still live within their earning.

Then there are people who do not have the capability to earn more from honest means but they would still want to get rich. The easiest way to get rich for them is to befriend a rich person and rob him/ her of her property once he/she gets weak due to age/ retirement/ sickness etc. That is what happened with Isha Basant Joshi.

This happens not only with individuals but can happen with organisations too. Take the current case of BCCI vis a vis ICC and other cricket boards.

BCCI (board of control for cricket in India), which was one of the junior partner of ICC before the liberalisation of Indian economy , is now the biggest contributor of revenue to ICC. One of the major sources of earning for ICC is by organising international tournament. Selling TV broadcast rights for these tournaments is the major source of earning for ICC.

TV broadcast company buys right to organise these tournaments hoping to earn good amount by selling ad space during telecast time. India, because of its vast population (a few times bigger than all other cricket playing and watching nations combined), is easily the biggest chunk of target audience for companies that want to buy ad space during the telecast of matches of these tournaments. It is estimated that TV broadcasters earn 70 % of their entire ad revenue for Indian TV audience.

And this Indian TV audience eagerly watches these matches because Indian team participates in these tournaments and more often than not still survives in the tournament there till the final few matches in the tournaments.

One can say that TV company bids for these telecast rights mainly because they have the assurance that this vast Indian cricket viewing public would watch the tournament matches and will bring them the bulk of their ad revenue.

Now suppose India decides not to participate in the tornament. Then what ! The TV broadcast right owner becomes jittery because they know that their revenue from that tournament would reduce drastically. Indian TV audiences would lose interest in watching cricket matches if Indian team is not participating in that tournament.

Put in simple terms, Indian cricket watching public contributes about 70 % of the entire revenue that ICC gets from TV rights. So if ICC were an organisation and its constituent bodies as its employees then BCCI is the employee that helps earn the highest percentage of revenue for its employee.

ICC then shares a part of this money received from the broadcaster among its constituent boards.

In the original “big three ” arrangement in 2014, BCCI, ECB and CA got higher share of the revenue while other board members got lower amount. The figures were based on what the respective board helped earn to the ICC, mainly through the TV rights.

Now, in the recent ICC meet in april 2017, BCCI were dealt an unexpected blow. The big three model was dismantled. Other two members of big three did not lose any amount, and the remaining boards got more money, while BCCI’s share was drastically reduced. From $ 440 millions in the 8 years cycle, their share was reduced drastically to $ 287 millions. Every one else profited at the cost of BCCI so others happily voted in favour of the proposal, with BCCI being the only one voting against it. In effect, everyone ganged up and robbed the one member that helped bring the maximum revenue to ICC.

When it comes to ICC sharing its ad revenue, one would expect the teams to share them in more or less in the same proportion in which they contribute in generating it. But no, not at all. Boards that do not contributeeven 1 % of total ad revenue want to get 4 % each from ICC. All these non performing boards ganged up together and voted to enhance their revenue and voted to reduce BCCI’s share. Boards that do not contribute even 1 % will get 4 %, whereas BCCI that helps contribute 70 % and which was assured of 22 % revenue just three years ago, had now been voted down 8-1 to receive just 11 %. In others words, eight boards ganged up to vote themselvs higher amount than what they were getting three years ago, while they voted down BCCI’s share to half. They also preached that it was BCCI’s reponsibility to help globalisation of cricket so the hefty $ 280 millions share of BCCI has been chopped off. But none of these boards themselves are prepared to take a cut of even one penny to help globalise cricket. So in effect, they are behaving like the land grabbers who want to rob a rich land owner of his property and make him their slave who would them be required to work hard so that these parasites could live off his labour. It is like that hapless lady whose estate was usurped by crooks.

It is like East India company. Not just England, even the likes of Zimbabwe, West Indies and Bangladesh become India’s rulers and start to live off India the way Brish Empire did for two centuries. India got free from them, and Britain ceased to be the most influential nation in the world.

How do we know which country’s market brings how much ad revenue to the TV rights holder (and therrefore to ICC) ? ICC should have commissioned a firm to carry out this study the way most countries commission some firms to carry out these studies. But then ICC are the last organisation that can be expected of operating in a transparant manner in a matter dealing with money.

I have thought of a way to assess the relative size of ad revenue accruing to the TV broadcaster. One can take the amount of advertisement money that the advertisers of a country spend in one year. I have taken the annual figures of ad spend of the four test playing south Asian countries, viz India, Pakistan, Bangladesh and Sri Lanka. Since all four countries are similar in culture, cricket craze etc, I havbe assumed that a good portion of this ad spend goes to the coffers of the cricket broadcaster.

star sports are the cricket broadcaster of ICC for 18 ICC tournaments from 2015 to 2023. They have won this right for an amount of $ 2000 million. So they are required to pay ICC an amount of $ 2000 millions during this 8 year period. This amount will then be distributed among the test playing board members and associates.

ICC and other nine boards ganged up to rob a big chunk of money that BCCI was helping bring to ICC. We now know who is getting how much, but ICC is silent about how much each board is bringing to the table, so that one can find out whether there is any correlation between their pay and their contribution in ICC’s earning through them.

Since ICC would not do it, I have tried to find about the approximate amount of ad money that various cricket playing nations would bring to star sports for Champions trophy 2017.

First I have found out how much ad money the advertisers of various cricket playing countries of Indian sub continent as well as West Indies and Zimbabwe are spending this year.

Following are the figures:

I have excluded other countries because I feel that they are more or less getting what they deserve.

So, the relative market share of these countries as far as advertisers are concerned is

Note: The above figures are what I gleaned from various sources online. Figures are indicative and there may be some inaccuracies, though the overall picture is unlikely to change much despite any corrections that may get noticed/ get pointed out.
I have excluded the figures of other boards that I feel are getting what they contribute.

Let us assume that all these markets are cricket crazy markets and a good portion of their ad spend this year will go to pay star network, during their TV coverage of Chmapions Trophy.

Let us assume that an uniform portion of total ad spend of the year will be spent by advertisers during champions Trophy in all these countries. Let us assume it to be 10 % of total ad spend for the year.

So, following is what Star network will get from these countries

Star TV is required to give $ 2000 millions to ICC in eight years (2015 to 2017). They will earn half of that amount in this champions trophy itself, if only BCCI could be persuaded to sent its team. If BCCI backs out, Star sports will earn an ad revenue of less than $ 150 millions and at this rate it will never be able to see any profit. Mind you, Star have already staged one tournament, T20 world cup in 2016 after it earned the broadcast rights and it has already made a hefty profit because BCCI participated in that tournament. With BCCI participation in this tournament, Star would have already earned the amount of $ 2000 millions that it was supposed to have paid to ICC. These are still six years left and lots of more tournaments left where BCCI participation would have seen star network rolling in mind boggling profits.

So now, we know why Star network is worried at the prospects of BCCI contemplating to back out. All the looters (ICC and the other non BCCI boards) are now worried and are trying all the tricks in their books. Star network made some ex cricketers to speak in favour of BCCI participation. Most of these ex cricketers are employed as expert commentators with star as most of us are well aware. So they are serving their masters and indirectly serving the cause of the gang of looters rather than the cause of BCCI and Indian cricket fans who are their real paymasters. Gavaskar and Shashtri did not speak in that voice and so their opinions were very conveniently blacked out.

Then there are some “responsible” people who are talking about Indian cricketers missing out and Indian cricket dying out. They are either talking out of ignorance or they are in the employs of anti BCCI parties to utter such inanities. BCCI are well within their rights to back out. Clause 6.4 of Members Participation Agreement (MPA), a legally binding document between the ICC and its member boards gives BCCI this right.

If CoA is asking BCCI not to back out and participate, then it means that CoA are not aware of Clause 6.4 of Members Participation Agreement (MPA), which speaks very poorly of their knowledge of the subject on which they are administrating.

They are also not aware that BCCI is only backing out of ICC tournaments. It does not mean that they are walking out of ICC. They will continue to play bilateral series as before which include tests, ODIs and T20s. They will continue to organise IPLs as well. So, the people saying that all these will be in jeoparty need to first understand the subject before giving their opinion on the topic.

In other words, BCCI is only taking recourse to a remedy that its agreement with BCCI allows them to have.

Those who are telling us that BCCI will be a loser and that ICC should expel them, or that BCCI will find itself expelled are talking out of ignorance as pointed out earlier.

In this case, it is not BCCI but ICC that is on sticky grounds. It is ICC’s credibility and existence that is at stake. BCCI is helping them earn bulk of $ 2000 millions that they are to get from TV broadcaster. In addition BCCI is helping earn Star network many times more by participating in these tournaments. Such a valuable partner must be treated with respect and dignity. Here we find that ICC has ganged up with other boards to deprive BCCI of the money that BCCI is allowing ICC and other board members to gain.

It would be better for BCCI to organise international tournaments on its own without involving ICC. such precedents are there. the 1985 WCC tournament, where Ravi Shashti became Champions of Champion was one such example. Even at present, BCCI is dealing with star sports directly in organising TV coverage of domestic tournaments. BCCI is also organising TV coverage of IPL without involving ICC, and the profits of IPL are in billions. So, BCCI backing out of this ICC is not the end of the road for BCCI. Rather it is the end of the road for ICC. Even if ICC finally agrees to give BCCI a higher share that will still be a big deal less than what BCCI deserves. And the humiliating manner in which BCCI has been treated by ICC and other board members is something that most Indian cricket fans will never be able to forget and forgive.

I am as much a stake holder in Indian cricket as BCCI, CoA and others. I have been following Indian cricket from 1974 and I feel that it is high time BCCI asserts its right the way other assertive organisations in other parts of the world do. BCCI should form a rival organisation to ICC and invite other boards to join them. If some boards (there will be none) decide to stick with ICC, let them do that. ICC should cease to exist in near future. As Indians, let us learn to be assertive and ruthless in dealing with people who harm us and who seek to humiliate us. In this case, it is ICC. Let us finish ICC off once and for all.

I have not been able to concentrate on blogging for the last few days because of this matter. I hope to get this lead out of my chest by writing on this topic that I have been feeling very strongly about.

I, as well as many cricket loving Indians are feeling the way our forefathers felt when they were slaves of foreigners. Foreigners would loot us of our resources and get rich at our cost, whereas we would be subjected to humiliation, indignity, famine, death etc. That is what happened to Indians during British Rule. This is what also happened in Goa which remained under Potruguese rule till 1960s !

Here is a song from “Johar Mehmood in Goa”(1965) which expresses my strong feeling on the subject of BCCI and Indian cricket lovers suffering indignities at the hands of foreigners out to subjugate us. This song is sung by Mukesh and Usha Khanna. Qamar Jalalbadi is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised on I S Johar and Sonia Sahni (I guess).

With this song, “Johar Mehmood in Goa”(1965) joins the list of movies that have all their songs covered in the blog.

Song-Sikandar bhi aaye kalandar bhi aaye (Johar Mehmood in Goa)(1965) Singers-Mukesh, Usha Khanna, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji

Lyrics

Sikandar bhi aaye
Kalandar bhi aaye
na koi raha hai
na koi rahegaaa

na koi raha hai
na koi rahega
na koi raha hai
na koi raha hai
na koi rahega
na koi raha hai
hai tere jaane ki baari videshi
hai tere jaane ki
hai tere jaane ki baari videshi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
hai tere jaane ki baari videshi
hai tere jaane ki
hai tere jaane ki baari videshi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai

Sikandar ko Porus ki taaqat ne roka aa
Ghauri ko Prithvi ki himmat ne toka aa
jab khooni Naadar ne chhedi ladaai ee
ho o o
o o o o
jab khooni Naadar ne chhedi ladaai
to Dilli ki galiyon se aavaaz aayi ee
laga le tu kitna bhi zor ai sitamgar
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

Prataap ne jaan de di watan pe ae
Shivaaji ne bhagva udaaya gagan pe ae
mardon ne khaayi aazaadi ki kasmen aen
ho o o
o o o
mardon ne khaayi aazaadi ki kasmein
adaa auraton ne ki jauhar ki rasmen
kafan baandh kar raani Jhaansi pukaari
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

Siraaj aur Tipu
Zafar aur Nana aa
thha har ek inmein qaumi deevaana
yahaan le ke aaye bagaavat ki aandhi ee
Tilak, Nehru, Aazaad, Netaaji, Gaandhi ee
Bhagat Singh ki raakh ne ye pukaara
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

Halaaku raha hai na Hitler raha hai ae
Musolini kaa naa vo lashkar raha hai ae
nahin jab raha rus kaa Tzaar baaki ee
ho o o o
nahin jab raha roos kaa Tzaar baaki
to kaise rahega Saalaazaar baaki ee
Goa ka har bachcha bachcha pukaara
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

kal ko agar aaye Chaao yaa Maao o
laga denge ham zindagi kaa daanv
hamaara hai Kashmir
NEFA hamaara aa
o o o
o o o
hamaara hai Kashmir
NEFA hamaara
kabhi jhuk sakega na jhanda hamaara aa
zara desh ke dushmanon se ye keh do
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
hai tere jaane ki baari videshi
hai tere jaane ki
hai tere jaane ki baari videshi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha 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.

“Janam Janam Ke Saathi”(1965) was directed by Nand Kishore for M B Brothers, Bombay. The movie had Kamini Kaushal, Premnath, Lalita Pawar, Mubarak, Sheila Kashmiri, Durga Khote, Umakant, Maruti, Yakoob etc in it.

This by now forgotten movie had eight songs in it. Details of only four of these songs are avilable in HFGK. The songs of this movie are rare songs.

Here is the first song from “Janam Janam Ke Saathi”(1965) to appear in the blog. The song is sung by Suman Kalyanpur and Mukesh. D N Madhok is the lyricist. Music is composed by Gyan Dutt.

The song may be obscure, but what a lovely and magical song it is.

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.

Gyan Dutt, who made his debut as a music director as far back as in 1937 with “Toofaani Toli” composed some 600 songs in 59 movies. This movie
“Janam Janam Ke Saathi”(1965) was Gyan Dutt’s last movie as a music director. I have a feeling that this movie could well be on the last few movies of D N Madhok (as a lyricist) as well.

Gyan Dutt bowed out of HFM scene with this beautiful composition in his last movie. Enjoy this forgotten gem !

With this song, “Janam Janam Ke Saathi”(1965) makes its debut in the blog.

Song-De de de de mera dil (Janam Janam Ke Saathi)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

de de de de mera dil
phir hamse mil na mil saajanwaa
de de de de mera dil
phir hamse mil na mil saajanwaa

chhoti chhoti baat pe naa
rooth rooth jaya karo
ham jo bulaayen to chale aaya karo
chhoti chhoti baat pe naa
rooth rooth jaaya karo
ham jo bulaayen to chale aaya karo
paapi pet jo na ho na jaaun chhod tujhko
bolo bolo ri sajaniya karoon main kya
de de de de mera dil

o o
din khoye khoye
raat roye roye
teri kasam kate meri
tere pyaar ka sabr pade jo na ho
saans saans mein yaad teri
yaad teri
in jhoothi jhoothi baaton se
bane na kuchh mera
maine teri kasam
sach sach kaha
de de de de mera dil

o chanda gagan ke waasi
mujhe aasraa tera
o chanda gagan ke waasi
mujhe aasraa tera
paani ke relon se khelen
nisdin saajan mera aa
palchhin saajan mera
chali piya ji ki naav
chali piya ji ki naav
chanda saath saath jaao
mere man mein bharam sa uthhne laga
chali piya ji ki naav

This article is written by Raja, 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 (22 july 2017) is the birth anniversary of our beloved  singer, Mukesh Chand Mathur, better known to one and all as Mukesh (22 july 1923-27 august 1976).

I don’t recall if I have written a tribute to him yet on this blog – I think I might have. But even so, there are no rules here saying I cannot write another one.   And since I have several fond memories of listening to Mukesh songs in my life, I am happy to use this occasion to remember him and pay my humble tribute to him.

Many regulars here know that I am a big fan of Rafi Saab. And I am a fan of Kishore Kumar also. But that’s the thing – it doesn’t mean I do not like other singers’ songs. I am fond of them all – and I listen to them all. At heart, I am a music lover – and unless  any music is particularly cacophonic or jarring to the ears, I have no problem listening to it.

And let’s be fair – every singer has sung memorable songs, every composer has composed good music, every lyricist has written good lyrics. Yes, not every song or composition or lyrics is memorable – but none of them would have reached where they did in their careers if there was nothing of quality in their work.

At least that’s my thinking. This is also why I tend not to get into “Rafi Saab vs Kishore” or “Lata vs Asha” discussions unless they’re respectful to all concerned and and the discussion is held in the best of spirit. I dislike bashing of any artiste.

Anyway, back to Mukesh. Long before I became a huge fan of Rafi Saab, Mukesh was a big part of my music experience. Kishore was of course the ruling superstar singer of my childhood. He was everywhere.

But Mukesh, with his distinctive voice, always made me notice him. And sit up. There would be ten non-stop Kishore songs, and there’d be one Mukesh song – say, “Kahin Door Jab Din Dhal Jaaye”. Or “Jaane Kahaan Gaye Wo Din”. And that ONE song would go straight to my heart – and linger in my mind for a long, long time. I remember what effect “Kisi Ki Muskuraahaton” would have on me.

That was Mukesh. Mukesh always had that special quality – maybe it was that nasal tone of his, maybe it was the ease and simplicity with which he seemed to deliver his songs.  But he always made an impact on me.

I know he’s not considered quite in the league of Rafi Saab, in terms of range. Many consider Mukesh besuraa – he himself felt that way at times. Yes, you wouldn’t expect him to go all classical like a Manna Dey or even a Rafi Saab with “Naache Mann Mora Magan”. And yes, for most of his career, inspite of several hit songs, he was not considered THE no.1 singer of the time, unlike Rafi Saab or Kishore Kumar (or even Talat Mahmood early on). He was probably No.2 all along.

And yet, he held his own throughout his career. Whatever other singers did – and practically all of them had their ups and downs – Mukesh’s career was largely steady.

Mukesh didn’t sing several thousand songs – according to our blog stats, he has sung just 932 Hindi film songs.  And yet, a very large number of these songs are memorable, hummable – and easily relate-able.  You listen to a Mukesh song for the first time – and there’s a very good chance it will appeal to you right away. Soon you might be humming it. And that’s because his songs went straight to your heart.

It is often said that Mukesh specialized in sad songs. To some extent this is true – he was slotted into this category in the industry. So often if there was a sad song to be sung, his would be the voice called for. For example, one of my favourite songs “Zubaan Pe Dard Bhari Dastaan Chali Aayi”.

But I happen to think, even this is a bit misleading. When I listen to a Mukesh “sad song”, it doesn’t make me one bit sad. It actually goes right to my heart and acts like a balm, it soothes me. I feel better after listening to the song. Might seem odd – and maybe it’s only my personal experience. Maybe it has to do with empathy with the situation of the song. Am not sure what it is.

But Mukesh has also sung many happy songs – and not just for Raj Kapoor. His “Ibtadaa-e-Ishq Mein” and “Bol Meri Taqdeer Mein Kya Hai” from Hariyali Aur Raasta (1962) come readily to mind. And , the quintessential “Ye Mausam Rangeen Samaa”  from Modern Girl (1961).

Although I remember several Mukesh songs from early on in my childhood, the first time he made a huge impact on me was when we’d gone to the town, 25 km away, to see ‘Mera Naam Joker’ (1970). It was the first film I ever saw in a cinema hall as such – my dad took the whole family because he thought it was a children’s film (joker et al :-))  My dad himself didn’t know Hindi and didn’t know any Hindi songs at all, except for one line of one song – “Awaara Hoon”   That gave me an idea that this song must have been massively popular in its time.

Anyway, while I enjoyed “Ae Bhai Zara Dekh Ke Chalo” immensely – and didn’t understand all the details of the story at that time – I was also much impressed by “Jaane Kahaan Gaye Wo Din” and “Jeena Yahaan Marna Yahaan”. I liked “Kehta Hai Joker Saara Zamaana” as well.

When we got a 2-in-1 at home for the first time, we had just 2 or 3 cassettes, which we would play non-stop. We had songs of ‘Guddi’, ‘Abhiman’, ‘Yaadon Ki Baaraat’ and ‘Zanjeer’.  And we had a Mukesh cassette.

I treasured it – and listened to it SO many times. I remember every song on it, starting with “Mera Naam Raju” to “Chhalia Mera Naam” to “Aa Laut Ke Aaja Mere Meet” to “Sab Kuchh Seekha Hum Ne” (my favourite at the time) to “Dum Dum Diga Diga” to “Aansoo Bhari Hain” to “Chal Ri Sajni Ab Kya Soche” to “Hum Ne Tum Ko Pyaar” to “Chaandi Ki Deewar Na Todi” to “Hum Chhod Chale Hain” (another all-time favourite).

Mukesh songs would regularly figure on radio too – even his “current” songs, like “Kahin Door Jab Din Dhal Jaaye”or “Jis Gali Mein Tera Ghar Na Ho Baalma” or “Jo Tumko Ho Pasand” or “Koi Jab Tumhara Hriday Tod De” or “Ek Pyaar Ka Nagma Hai” would be regulars in farmaishes.

And that’s the thing – many think that Mukesh’s career was primarily for Raj Kapoor, and maybe Manoj Kumar. And most of it was anyway 1950s/60s. But, though his output might have been less in the 70s, he had several memorable songs in this decade too  – right till his death. And  for other actors. Like I said at the start, unlike other singers, Mukesh did not seem to have ups-and-downs in his career, it was largely steady.

Just to give examples of some 1970s songs (non-Raj Kapoor/Manoj Kumar)

“Duniya Se Jaane Waale” from Pushpanjali (1970).

“Tere Honthon Ke Do Phool” from Paras (1971).

“Kahin Door Jab Din Dhal Jaaye” from Anand (1971).

“Ae Baadal Jhoomke Chal” from Nadaan (1971), a song I very fondly remember.

“Main To Har Mod Par” from Chetna (1970).

“Kai Sadiyon Se, Kai Janmon Se” from Milap (1972).

“Zindagi Aur Bataa Teraa Iraadaa Kyaa Hai” from Zindagi Aur Toofaan (1973)

“Kai Baar Yun Bhi Dekha Hai” from Rajnigandha (1973).

“Barkha Rani Zara Jamke Barso” from Sabak (1973).

“Main Dhoondhta Hoon Jinko” from Thokar (1974).

“Sansaar hai ek nadiya” from Raftaar (1975).

“Phool Aahista Phenko” from Prem Kahani (1975).

“Kabhi Kabhi Mere Dil Mein” from Kabhie Kabhie (1976)

“Main Pal Do Pal Ka Shaayar Hoon” from Kabhie Kabhie (1976)

“Suhani Chandni Raatein” from Mukti (1977)

The reason I mention this decade specifically is to just stress that Mukesh held his own throughout his last few years, inspite of Kishore Kumar’s dominance in that decade. I have not mentioned songs like “Ik Din Bik Jaayega” (Raj Kapoor), “Do Jasoos Karen Mehsoos” (Raj Kapoor) and “Ek Pyaar Ka Nagma Hai” (Manoj Kumar) – they were all very popular too.

So as a young boy growing up, listening to these “current” songs not to mention the fantastic Mukesh songs of earlier decades, I became a Mukesh fan too. So much so that, after Mukesh’s death, one of my friends gifted me a book full of Mukesh songs. It was my prized possession for a long time. It had a whole lot of “new” Mukesh songs for me. I remember I would wait for a Mukesh song on radio – and then quickly rush to check the song in the book, matching the lyrics in the book with the song. I’d be thrilled if the song was in the book – obviously not all songs were.  And till I heard the song, I didn’t know the tune of course.  The song was just words to me, till then. Those were pre-internet days – and I didn’t have access to music shops either.

Some songs I remember “matching “ like this were “Dil Jalta Hai To Jalne De”,  “Zinda Hoon Is Tarah”, “Mujhe Raat Din Ye Khayaal Hai”  (one of my favourite songs) and “Dil Lootne Waale Jaadugar”. It was thanks to this book that I first heard of names like Husnlal Bhagatram and Iqbal Qureshi. Very fond memories of those times. And many of them associated with Mukesh.

Now moving on to the song for today. This is from film ‘Darinda’ (1977). This film has not made its entry on the blog yet – so with this song, it makes its debut. I remember seeing this film when it was released.  But, given my memory, I had forgotten the story completely – the only thing I remembered from that time was this Mukesh song “Chaahe Aaj Mujhe”. I remember liking it even then.

So now, when I wanted to write a post on Mukesh, this song came to mind. I checked the blog – and was a bit surprised to see it missing. I don’t think the film did well – but this song did ok, from what I remember. Since I prefer to post songs of films that I have seen – so that I have some context – I decided to watch this film again.

Briefly, the story is how Sunil Dutt, separated as a poor young boy from his rich childhood friend, Parveen Babi, grows up as a yogi, supposedly to do good deeds. But he has just one goal in mind – to find Parveen, and win her over. He searches everywhere for her – becoming a  monster (Darinda) in the process, even killing women in his pursuit. And when he finally does find her, she is engaged to be married to Feroze Khan. How he then reacts, what is Parveen’s reaction, what happens to Feroze – see the film if you want to find out There’s a bit of a hint in this song too.

As I close, I want to say “Thank you, Mukesh ji, for giving us so many wonderful songs. We will always remember you and be thankful to you.”

Song – Chaahe Aaj Mujhe Napasand Karo. . . Aakhir Mein Tumhen Mera Hi Hona Hoga (Darinda) (1977) Singer – Mukesh, Lyrics – Indeewar, MD – Kalyanji Anandji

Lyrics

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

bachpan ke pyaar ki mit-ti nahin nishaani
bachpan ke pyaar ki mit-ti nahin nishaani
jitna hi mitaana chaahe isey jawaani
jahaan yaad teri soyi ho
jahaan yaad teri soyi ho
dooja na aur koi ho
koi dil ka tumhaare aisa bhi konaa hoga
aakhir mein tumhe mera hi hona hoga

main kya se kya ban gaya tumhaare kaaran
main kya se kya ban gaya tumhaare kaaran
auron ki tarah mera pyaar nahin sadhaaran
na samjho isey dikhaava
na samjho isey dikhaava
hai ye mere pyaar ka daawaa
mere hansne pe hansna, roney pe ronaa hoga
aakhir mein tumhe mera hi hona hoga

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा

चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा

बचपन के प्यार की मिटती नहीं निशानी
बचपन के प्यार की मिटती नहीं निशानी
जितना ही मिटाना चाहे इसे जवानी
जहां याद तेरी सोई हो
जहां याद तेरी सोई हो
दूजा ना और कोई हो
आखिर में तुम्हें मेरा ही होना होगा

मैं क्या से क्या बन गया तुम्हारे कारण
मैं क्या से क्या बन गया तुम्हारे कारण
औरों की तरह मेरा प्यार नहीं साधारण
ना समझो इसे दिखावा
ना समझो इसे दिखावा
है ये मेरे प्यार का दावा
मेरे हंसने पे हँसना
रोने पे रोना होगा
आखिर में तुम्हें मेरा ही होना होगा

चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा