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

Today’s song is from the film Kashmir-1951.

In Hindi films, there were quite a few films made on the background of Kashmir. The first such film was Kashmir ki Kali-1940, in which the lead pair was handsome Master Vithal and petite,lovely Kavita Devi. Next was Kashmir hamara hai-1950′( original name was ‘Bapoo ne kaha tha’) with lead pair of Paresh Bannerjee and Meera Mishra. This was also the first Hindi film of Bombay in which Jagmohan Sursagar sang a song, ‘rang de kesariya’. The third film was ‘Kashmir’-51, where the lead pair was beautiful, Regal Veena and handsome Al Nasir. This film was actually filmed in Kashmir ghati.

Next film was ‘Kashmir ki kali’-64, by far the most successful of all Kashmir films so far. The lead pair was Debonair Shammi Kapoor and a Debutante Sharmila Tagore. There was also a documentary “Kashmir hamara hai” made by Films Division of Indian Government in 1948 which was shown in all theatres in India in the wake of Tribal attacks by Pakistan on Kashmir. Later on some more films on Kashmir were-

Johar in Kashmir-66

Shayar-E-Kashmir-72

Love in Kashmir-76

Mission Kashmir-2000

Kashmir Hamara Hai-2001 ( Unreleased, though Censored on 17-10-2001)

Border Kashmir-2002.

Film ‘Kashmir’-1 was not a very popular film. The reason was, after the Partition and independence, people were looking for a respite from all that patriotic fervor, which they had more than enough of for the last few years. They were tired. Now they got what they wanted and some peace of mind was sought, perhaps. Additionally,the Hindi film music was going through its Golden Period and so many films with excellent music were enjoyed by people, may be that was the reason why serious films like on Kashmir issue got side-tracked. Though a film buff myself, even I had not seen this film.

Today’s song is sung by Mohd. Rafi, Geeta Roy and Pramodini Desai- a very uncommon name for the regulars and a blank for the others. Who was this Pramodini Desai ? To know this, we have to go back in Time machine….

There were 3 Major Centres for Hindi Film Production in India in the early days, viz. Calcutta, Lahore and Bombay.

From the period of Talkie films, all the 3 centres became very active and many films with lot of songs were produced there. Initially, in the Talkie films, even the Dialogues were in poetry type, so it was difficult to demarcate Dialogues and songs separately. Films like Indrasabha-1932 had 71(or 69) songs. Similarly films from that era had anything between 10-50 songs each.

In the Calcutta centre, film music had a distinct influence of Robindra Sangeet. In the Lahore films, it was Punjabi and folk tunes whereas in the western Bombay centre music was influenced by Marathi stage, Gujarati Dramas and Parsi Theatre. Out of this Marathi stage music had a pronounced effect on films as many classical Drama artists joined Film industry. As such this music was well developed and its acceptability was taken for granted.

When more films and songs were made in Bombay, there was a need for more singers. The composers were constantly on the lookout for fresh singers.

Prabhat Film Company shifted from Kolhapur to Poona, but there were many connections still left in Kolhapur area. When Prabhat started making the film ” SANT SAKHU ” in 1941, the Music Director Keshav Rao Bhole needed new singers. His assistant at that time was a young man from Kolhapur area, named VASANT DESAI. He was entrusted the task of getting new singers.

There is a book “The Desai Trio and the movie industry in India” by shri Nilu Gavankar. He describes this episode thus-

Vasant Desai had lot of connections in Kolhapur and Konkan. He had learnt about two Desai Sisters of Kolhapur who were very good singers, but he did not know them. He went to Kolhapur and met Mrs. Susheelabai Gavankar, the author’s wife and his family friend. He enquired if she knew these girls. She said,”Yes.Their mother Sharadini Desai is my friend.”

They both went to Desai house. Vasant Desai was introduced. There were 2 sisters VINODINI AND PROMODINI. Vinodini was about 15 yr.old. Vasant Desai proposed that Vinodini sings for a Hindi film. There was a flat refusal “as girls from good homes do not sing in films”. After a great convincing and a promise of personal protection,it was agreed.

Accordingly. VINODINI sang for her first Hindi film Sant Sakhu in 1941. Later she was given many opportunities to sing in Marathi films, Bhavgeets etc. In 2 years’ time Vinodini got married to Music Director PANDURANG DIKSHIT and became Vinodini Dikshit. She was actually more into classical singing and devoted time in that so she sang in few Hindi films like Sant Sakhu, Gwalan, Lakhon mein ek, Anjali and Kinare Kinare. She gave stage shows for classical singing and was actively involved in Kalyan Gayan Vidyalaya near Bombay.

Her younger sister Pramodini Desai followed suit and started singing in Hindi films, starting with Khush Raho-49. She sang in more films than her sister, Vinodini. Her films include Shokhiyan, Char chand, Fariyadi, Raaz, One two Three, Kashmir, Nand Kishore, Sazaa, Gunah, Pehli Tarikh, Naulakha Haar, Dilruba etc. Later she got married to Ashok Patkar and settled in Bombay as a Housewife.

The film ‘Kashmir’-51 was made by Rajdeep Pictures. and the producer and Director was Rajendranath Jolly. Music was by one of the talented but not so lucky Music Director Hansraj Behl. The cast of the film was Veena, Al Nasir, Kuldeep Kaur, Achala Sachdev, Arun Ahuja, Tiwari etc etc.

For the actress Achala Sachdev ( 3-5-1920 to 30-4-2012), this was her Debut Hindi film ( though another film Dilruba-50 featuring her was released prior to this film, but she considered this film as her Debut film). Achala Sachdev’s-original name Rajinder- name is permanently associated with mother’s roles. She did a mother’s role when she was hardly a 20 year old and since then-more than a heroine- she has been seen either as a sister or Mother in films. In her earliest film ‘Dilruba’-50 she was Dev Anand’s sister and later in many films she was a fixed mother of Dev Anand.

She worked in All India Radio, Lahore. She came to Delhi after Partition and continued her job in All India Radio till her first film. She acted in 181 Hindi films, 3 Punjabi films and 1 Gujarati film, in addition to one uncompleted Bangla film. She acted in a few television serials and Fims Division documentaries too.

During her early years she had got married to Gyan Sachdeva. She had one son and one daughter. Her son settled in US and Daughter in Bombay. When she could not pull on, she divorced her husband. After 12 years of loneliness she fell in love and married an American Clifford Douglas Peters, who was an Engineer and ran an Electronics factory in Poona. She stopped accepting new films after 1976 and then shifted to Poona.

After her second husband died, she shifted from her Bungalow in Bhosari,near Poona to a specious flat in Hadapsar area of Poona. She had completed all films on hand ,but due to insistence of family friend Yash Chopra, she acted in some of his films- notably ‘Dilwale dulhaniya le jaayenge’-95. Though her last film was ‘ Dahak ‘-98, her last released film was Suno sasur ji-2003.

During her heydays, she was very friendly with Sunil Dutt and Nargis, Mona Dev Anand ( Kalpana Kartik), Meena Kumari, Saira Bano and her mother Naseem Bano. She was very punctual during her shootings. Once while working in a Rajesh Khanna film, she had to wait for him for 4 hours, with all make up done. When this continued for the next 10 days, she left the film and went back to Poona. Rajesh Khanna wrote an apology letter to her and then only she came back to complete the film.

Once she was in Poona, she was all alone. No one from film industry ever contacted her in her last 40 years. She was very generous. She had donated Rs 25 lakhs to an NGO, Janseva Foundation to start “Achala Sachdev Institute of Education”. She also gave 15 Lakhs to Dr. H.V.Desai Eye Hospital for construction of a ward. In her last days, she even donated her flat to the NGO Janseva Foundation.

She was sick for the last 6 months of her life and she was looked after by the NGO. She was admitted to Poona Hospital ICU, she got Paralysis, lost her vision and then lost her life on 30-4-2012. A highly successful film star with lots of money, she was neglected by her own son and daughter. Above all, in the last 40 years in Poona, not one soul from the film world met her. What was pathetic was, when she was admitted in I.C.U., her attending doctor Dr. Mehta sent messages to Yash Chopra and others in Film industry, but none came or even inquired and she died a lonely death.

( Based on Cine Blitz, Madhuri,Times of India, Indian Express, Wikipedia and info kindly given by shri Harish Raghuwanshi ji ).

This underlines one fact. The film industry has not changed from the days of master Nissar, Rattanbai, Parshuram, G.M.Durani, Wasti, Vatsala Kumthekar, Sajjad Husain or many more artistes, who died in penury, neglect and loneliness. The situation has not changed even today.

Film Kashmir-51 had 9 songs sung by 10 singers- Rafi, Geeta, Asha, Shamshad,Zohrabai, Devendra,Balbir, Master Sonik, Pramodini and T. Kapoor (Trilok Kapoor ?) . Today’s song is second song from this film to be posted here. It is penned by Sarshar Sailani.

Song-Uthh ae watan ke naujawaan (Kashmir)(1951) Singers-Rafi, Geeta Dutt, Pramodini Desai, Lyrics-Sarshar Sailaani, MD-Hansraj Bahl

Lyrics

uthh ae watan ke naujawaan
naujawaan
uthh ae watan ke naujawaan
aaya hai waqt imtihaan
tere watan ke darmiyaan
ik zaalimon ka karwaan
kaarwaan
tere watan ke darmiyaan
ik zaalimon ka karwaan
ae maile jango jadal
maidaan mein chal,
maidaan mein chal,
maidaan mein chal
maidaan mein chal,
maidaan mein chal,
maidaan mein chal

uthh aur khuda ka naam le
naujawaan
uthh aur khuda ka naam le
joshe amal se kaam le
segon(?) tale aaraam le
dushman kaleja thhaam le,
thhaam le
segon(?) tale aaraam le
dushman kaleja thhaam le
tu shaan se rann mein nikal
maidaan mein chal,
maidaan mein chal,
maidaan mein chal
maidaan mein chal,
maidaan mein chal,
maidaan mein chal

uthh jald ae mehfil nasheen
naujawaan
uthh jald ae mehfil nasheen
ye waqt baaton ka nahin
tere watan ki sarzameen
dozakh na ban jaye kahin
naujawaan
tere watan ki sarzameen
dozakh na ban jaaye kahin
chal sarkashon ke sar kuchal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal

majloom muhaahi(?) ke liye
naujawaan
majlum muhaai(?) ke liye
mushkil unchai ke liye
aakashnaai ke liye
?? ke liye
ke liye
aakashnaai ke liye
? ke liye
ke liye
chalna hai tujhko sar ke bal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal

shaane to jaat dekh kar naujawaan
shaane to jaat dekh kar
andaaz e himmat dekh kar
rang-e-qayaamat dekh kar
haan teri jurrat dekh kar,
naujawaan
rang-e-qayaamat dekh kar
haan teri jurrat dekh kar
dil chhod de dushman ka dal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal

maana ke dushman kam nahin
naujawaan
maana ke dushman kam nahin
lekin kisi mein dam nahin
ho bhi to koi gham nahin
ya wo nahin ya ham nahin
wo nahin
ho bhi to koi gham nahin
ya wo nahin ya ham nahin
sar par kafan baandhe nikal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal

shiqwa na kar taqdeer se
naujawaan
shiqwa na kar taqdeer se
haan kaam le tadbeer se
shamsheer se ya teer se
dushman hata kashmeer se
kashmeer se
shamsheer se ya teer se
dushman hata kashmeer se
kashmeer se
mushqil nahin mushqil ka hal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal

jaamo saboo?? ko tod kar
naujawaan
jaamo saboo?? ko tod kar
munh maikade se mod kar
rishta watan se jod kar
?? ko chhod kar
chhod kar
rishta watan se jod kar
?? ko chhod kar
tanha sare maidaan nikal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal

uthh ae watan ke naujawaan naujawaan
uthh ae watan ke naujawaan
aaya hai waqt imtihaan
tere watan ke darmiyaan
ik zaalimon ka karwaan
kaarwaan
tere watan ke darmiyaan ik zaalimon ka karwaan
ae mailo jango jadal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal
maidaan mein chal, maidaan mein chal, maidaan mein chal (Naujawaan)
maidaan mein chal, maidaan mein chal, maidaan mein chal (Naujawaan)
maidaan mein chal, maidaan mein chal, maidaan mein chal (Naujawaan)
maidaan mein chal, maidaan mein chal, maidaan mein chal (Naujawaan)

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

When I retired from my active service in 1998,computers were very much in great use and all my staff was using them. There was a desk top in my cabin, very much on my table, but not knowing anything about it, I never touched it and it remained only as a show piece for the visitors. Occasionally, my deputies would come in and show me some data on the computer.

I learnt how to operate computers only towards the end of 2011, after I had retired from active service. The credit for inducing and teaching me to use computers go to my grandchildren. This new generation of today is really savvy at using gadgets of modern technology with great ease. With their help, I learnt the basics of computer operating and I started surfing the net looking for old songs. One fine day, I bumped into this Blog and I felt that I had got what I was looking for. The rest of my journey till today is filled with joy, satisfaction and contentment. This Blog has given me an opportunity of sharing the knowledge and information that I had gained since 1940s and which were kept stored in my early notes made from the 1940s onwards till about the late 1960s.

Many of my notebooks and diaries with valuable firsthand information about the old films and songs etc got lost or were destroyed by white ants during my several transfers. Carrying all that material-without ever using them and on the face of stiff opposition from my wife and kids- it was truly a Herculean task. But it paid me rich dividends once I started writing articles from October 2012 onwards. In the last three and half years, I gained further knowledge through books and by meeting people.

In my journey of this writing, I met several like minded people online as well as personally. As I became very active on Facebook and on various sites, Blogs and in several groups on Internet, many people came calling to meet me in Mumbai and I too made efforts to move out and and meet some of them. Despite my wishes and efforts, there was one person whom I had not yet met so far. He was Harish Raghuwanshi ji from Surat.

Actually, Surat is hardly 4 to 5 hours’ drive from Mombai, but everytime I planned to visit Surat, some unforeseen happening would disturb my plans.

Harish ji is a living Legend. A great copiler,writer,author, book collector and above all, an excellent Human being. He has been a constant source of information to me, whenever I was stuck for some hard to get information. It was through him that I came to know quite a few experts from Gujarat like shri Biren Kothari ji, Urvish kothari ji, Chandrashekhar Vaidya ji, Rajnikumar Pandya ji, Prof. Yogendra yadav ji, Narendra Shrimali ji, Sunil Trivedi ji and many more. Many of them gifted me their books too.

Harish ji has been a constant help to me, whenever I needed some exclusive information. Like a Magician, he would produce a heap of information about the subject from his books, magazies, cuttings, articles stc. I was extremely lucky to know him. However the wish of meeting him in person had remained unfulfilled till now.

This too was achieved, when a plan to visit Surat on the 23rd of April materialised- thanks to my daughter and Son-in-Law, who had some official work there. So, we decided to drive down to Surat. Thus finally I could meet Harish ji. I felt as if I had achieved Nirvana.

It was great talking to him and going through some of his collection of books in Marathi, Hindi English and Gujarati. He has two rooms fully stacked with old and new books ,Magazines, paper cuttings and such other reference materials. He has also made alphabetical files personwise and subjectwise for quick retrieval of information. It was impossible to go through even one fourth of his collection, within the time that I had with him there. Harish ji has hundreds of memorable photographs too, neatly labled at the rear of each photo, mentioning dates and tagging the people. He has arranged these materials so systematically that he can retrieve the desired material in quick time.

Having achieved this long cherished goal of meeting Harish Ji, now my next destination is Delhi, where I want to meet Sudhir ji and his team of Music lovers and collectors, also AK ji and if possible Madhulika Liddle ji of Dustedoff. Having gone so near, I wish to visit Atul ji also. If I am able to do this, I would be very satisfied. Let us see how my age, health and my daughters permit me to undertake this tour ! Jaipur, Ahmedabad and Baroda are also on my radar someday. Writing on old films and music has this advantage that you get to know and meet people who are more well-equipped than you in this field !

Coming to today’s song, it is from film Chhote Babu-57. The cast of the film was Shekhar, Nimmi,Abhi Bhattacharya, Umakant desai, Agha, Kanhaiyalal, Shammi, Helen etc.In the cast you have seen the name UMAKANT DESAI. I am sure most people would not know anything about him.

People remember Dilip Kumar for his double role in ‘Ram aur Shyam’ and Triple role in ‘Bairaag’,you also remember Sanjeev kumar for his 9 roles in ‘ Naya Din nayi Raat’ or Kamal Hassan for his 10 roles in Dashavtar,but hardly anyone knows that Umakant Desai was the FIRST actor to do 3 Roles in film ” Hukum ka Ikka “-1939( Rajkumar,madari and common man).

Umakant Desai was born in Sankheda,near Vadodara (Baroda),Gujarat on 13-6-1908. After matriculation,he came to Bombay and did a job in B.B. & C. I . Railways (Bombay,Baroda and Central India Railway,a private Railway company of pre Independence period). He used to do roles in local dramas.One day Director Chimanlal Desai saw him in a drama called ” Jaya and Jayant”. He was so impressed with him,that he took him to act in Gujarat’s First Talkie ” Narsi Mehta”-1932. In this film Umakant did the role of Krishna.

So,the son of a landlord Himmatbhai Jagubhai Desai became a film actor. He joined Prakash Pictures on a salary of Rs.150/- pm,but when he left Prakash,he was drawing Rs.3000/- p.m.. In 1934,he worked in Gujarati film ‘Sansar Leela’.He sang 2 duets with Rajkumari in this film. The film was a Hit and was remade in Hindi as “Nai Duniya”. He worked in Bharat Milap-42. His best remembered role was as LAXMAN in film ” RAMRAJYA”-1943,which created several records,including that it was the first and the only film mahatma Gandhi ever saw in his lifetime !

Umakant worked in 59 Hindi films and 15 Gujarati films. Anmol Moti-48 was his last film as a Hero. Then he shifted to doing character roles. He had worked with Durga Khote,Shobhana Samarth,Pramila,Ratnamala,Ranjana,Sitara,Snehprabha Pradhan,meena Kumari,Amita,Vyjayanti mala,nalini jaywant,kamini kaushal etc. For fluency in Hindi and Urdu,he had appointed a Teacher also.

He worked in 26 films of Prakash,in which 8 films were directed by Vijay Bhatt. He mostly worked in mythological and social films. Some of his films were,Miss mala,Chhote Babu,Station master, Amar Asha,poornima,Anmol Moti,kavita,hamara Ghar etc .

Umakant’s son and daughter in law died a tragic death in the Snow Blizzard in USA in 1975. His wife kaumudiben died in 2006 and Umakant died on 25-1-2007.

He was awarded Dadasaheb Phalke Academy Award in 2004.
( My thanks to Shri Harish Raghuvanshi ji, famous film historian,compiler and writer, for his Gujarati article on Umakant).

CHHOTE BABU-1957 was an average film with the usual saga of sacrifice and friendship.The Director was Harsukh bhai Jagneshwar Bhatt,who was a distant relative of Vijay Bhatt the famous director. Harsukh worked as Vijay Bhatt’s assistant in the famous film,Baiju Banwra-1952. From 1953 onwards he started independently as a director and till 1977 he directed 14 films and also Produced ’Gayatri Mahima’ in 1977.

Gopal(Shekhar) and Shankar(Abhi Bhatta.) are fast friends living in a hill station-Neelam Ghat. Shankar is a poet and always remains sick. He is afraid that one day he may just die without even getting married. Gopal always tries to encourage him. Gopal is in love with Sandhya (Nimmi), who works in a local Hospital as a Nurse.They decide to get married. Gopal is an assitant station master in the Railways. When Gopal goes to Shanker to inform him about his decision to marry Sandhya,he finds that Shankar is missing since few days.

In fact Shankar is very sick and admitted in the Hospital as Kailash. Sandhya is attending Kailash. Kailash falls in her love and proposes her,but Sandhya refuses. Here,Gopal finds out that Shankar is in Hospital as Kailash and wants to get married to Sandhya.

For the sake of friendship,he pleads Sandhya to forget him and get married to Shankar.Sandhya refuses again.This talk is heard by Shankar. Next day Shankar is found dead in the Hospital. He makes the biggest sacrifice for his friend Gopal.

Today’s song, sung by Lata Mangeshkar was quite popular in those days and it was invariably played by Radio Ceylon on every Children’s day. It is a melodious tune composed by Madan Mohan, who used 6 singers for the 7 songs the film had. This will be the fifth song from this film to be discussed here. Almost all songs of this movie are good to listen to.

Song-Aane waale kal ki tum tasweer ho (Chhote Baabu)(1957) Singer-Lata, Lyrics-Indeewar, MD-Madan Mohan

Lyrics

aane waale kal ki tum tasweer ho o
naaz karegi duniya tum par
duniya ki taqdeer ho
aane waale kal ki tum tasweer ho o
naaz karegi duniya tum par
duniya ki taqdeer ho

tum ho kisi kutiya ke deepak
jag mein ujaala kar doge
bholi bhaali muskaanon se sabki jholi bhar doge
hanste chalo zamaane mein
tum chalta hua ek teer ho
naaz karegi duniya tum par
duniya ki taqdeer ho
aane waale kal ki tum tasweer ho o
naaz karegi duniya tum par
duniya ki taqdeer ho

naam na lena rone ka
roton ko hansaane aaye ho
nahin roothhna kabhi ke tum
roothhon ko manaane aaye ho
naam na lena rone ka
roton ko hansaane aaye ho
nahin roothhna kabhi ke tum
roothhon ko manaane aaye ho
jo roothi taqdqqr badal de
tum aisi tabdeer ho
naaz karegi duniya tum par
duniya ki taqdeer ho
aane waale kal ki tum tasweer ho o
naaz karegi duniya tum par
duniya ki taqdeer ho

ek din honge zameen aasmaan chaand sitaare haathon mein
hogi ek din baagdor bhaarat ki tumhaare haathon mein
ek din honge zameen aasmaan chaand sitaare haathon mein
hogi ek din baagdor bhaarat ki tumhaare haathon mein
tod sake na dushman jisko
tum aisi zanjeer ho
naaz karegi duniya tum par
duniya ki taqdeer ho
aane waale kal ki tum tasweer ho o
naaz karegi duniya tum par
duniya ki taqdeer ho

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.

When I was a kid, I lived in a small township where we had a medical centre as part of the facilities within the township. It was manned by a fine doctor, Dr. Sinha. He was from Bihar, never spoke much, but his diagnosis was excellent. He never over-dosed patients – I remember he would often send me back home without prescribing any medicines at all. To my disappointment! I’d get well on my own, within a day or so.

One day, the centre was closed – my mom said it was because the doctor wasn’t well. I was puzzled. I said “How is that possible? He is the doctor, he makes others ok, how can he himself not be well?” It was something I could not imagine.

Come on, I was just a very young boy then.

Today I am remembering this incident because it has something to do with this post.

On this blog, Atul has a page for birthdays of various Hindi film artistes. He has meticulously kept track of these dates and makes it a point, as much as possible, to post a song honouring the artiste on the concerned date. That is like Dr. Sinha treating his patients.

And, just like Dr. Sinha having his own turn at being unwell, today it is Atul’s turn to have his own birthday celebrated, instead of celebrating others. And it is our turn to do the celebration!

It gives me great pleasure to write this post on this occasion. I had an eye on the date for the last few days anyway, but today morning I also got a request from Arunji that I write a post. Of course, I said yes. I wouldn’t miss the chance!

Atul, where do I start?

Am not sure you realize what a HUGE difference you have made – and are continuing to make – for HFM lovers around the world. Sure, there were sites on HFM before this blog. But it is only after this blog started, that we have ONE place where HFM lovers can congregate, listen to songs, check out the lyrics, read an intro on the song, discuss it amongst themselves. All of this, with the full confidence that all the information being provided is as accurate as (and more actually than) any available anywhere else. And a LOT of it not available anywhere else.

And the daily updates of a few songs adds to it all. HFM lovers flock here everyday to see what’s new – and to listen and discuss. They discover long-forgotten songs, they are often taken back to those times and get nostalgic.

An entire community has been created in the process.

And all this is due to you.

Am sure you will say that it is a team effort and a lot of us have also helped in the process (and it is true, no doubt) but the bottom line is that without you, there wouldn’t have been a blog to start with.

I recently said in a post that if old Hindi films and music have survived at all till now, it is probably only due to sheer love and passion of a (sadly dwindling) few, who are doing their bit in keeping it going. Almost entirely voluntarily. Some are uploading old films and music to youtube/dailymotion etc, some have blogs, some (like our Arunji) are actively sharing all information at their disposal (researched and compiled from various sources) on various platforms to reach as many interested people as possible. Institutionally, India has not been great at archiving its past – it’s efforts of individuals that we depend on more and more. An interview here, an interview there.

I am not worried about the Awaaras and Pyaasas. They will survive. It is the lesser-known film that is most at risk. A lot of films are probably already lost to us. Imagine the work, the music.

It is in this context that we need to see the value of this blog. It records the most obscure of songs with as much detail as possible. Already some songs, considered otherwise lost, have got a new lease of life here. So in every sense, this is becoming a comprehensive repository for posterity. One day we will all be gone, but hopefully this blog will be around for a very long time – with all the treasures and richness of music and information that future generations can dig into. At least we can do this much for them.

And this is all because of you.

It probably wasn’t what you had in mind when you started on 19th July 2008 (at least not the scale) – but see what you’ve built, what you have given all of us.

How can we ever thank you enough for this?

I have absolutely no doubt that the only reason this was possible at all is your sheer dedication. Anybody can start a blog (many have!) but most of them are just languishing. *cough cough *

It is your dedication, your discipline, your focus that has kept this blog going, day after day, all these years. Spending hours on it every day, despite having a full-time job and family (pets included:-) ). Despite various constraints like internet availability, power cuts, frequent job transfers. You brave them all, even joke about them (with your usual Atulisms:-) ), and keep the blog going. I don’t know what to say – can only say “hats off to you!”. If I were in your position, I can assure you the blog wouldn’t have gone into its second week!

Thanks to this blog, we regulars have come much closer to each other and become good friends. Some of us have been able to meet face-to-face – it has been a wonderful experience. Music binds us all together – and this blog is the biggest enabler of them all.

And it is all due to you.

I have very fond memories of the one time the two of us managed to meet – in Nagpur. It was just a few hours that evening – but they were just wonderful. I remember those handwritten scorecards of 1970s cricket matches you showed me!

I thought I would discuss, for everyone’s benefit, how we first “met” in 2005 on the internet, but this post is already getting very long now and I haven’t even got to the song part. So that’s for another day (and post).

For now, let me just wish you, Atul, a very very happy birthday and many, many happy returns of the day! I speak not just on behalf of myself but on behalf of all those whose lives have been enriched by you.

Now for the song.

Yesterday I began searching for an appropriate song for your birthday. I did the usual searches – on “birthday”, “janam din”, “saalgirah”. I did manage to find just the odd unposted one but somehow I wasn’t satisfied. By the way, “saalgirah” returned some Pakistani film songs that I happened to listen to, in the process.

Then I decided to take a different route. I thought I’d look for “gaana”, “geet” to find a song about singing. I came across “Geet Gaata Chal” – and that held my attention for a bit.

Now I know, being of the same generation as you, that there is a certain type of song of the mid-late 70s/early 80s, that you are fond of. I was fond of them too. Those were the days when Amitabh Bachchan ruled. Yet there were these “alternative” films, as if in a parallel universe.

The masala big-budget films, often multi-starrers, usually starred Amitabh, Dharam, Shashi, Vinod Khanna, Jeetendra and other stars. Music would often be by RD Burman, Laxmikant Pyarelal or Kalyanji Anandji, with the popular singers like Lata, Asha Bhosle, Kishore. The heroines were also big names like Hema Malini, Zeenat Aman, Parveen Babi, Rekha, Raakhee. Directors were usually Manmohan Desai, Prakash Mehra, Yash Chopra and other big names.

For these “alternative” films, usually low-budget , we usually had heroes like Amol Palekar, Vijayendra Ghatge, Sachin, Arun Govil. Heroines like Zarina Wahab, Ranjeeta Kaur, Rameshwari. Music by Ravindra Jain (he was king of this parallel universe). Songs by Yesudas and Hemlata. These films were often made by the Barjatyas under the Rajshri banner.

They were like two worlds apart. And yet, both were enjoyable in their own way. These “alternative” films often became big hits, thanks to excellent music and a reasonably good storyline. Not everybody liked the masala and loud music – they had the option of listening to Yesudas, and Ravindra Jain’s soft music.

Geet Gaata Chal (1975) was one such film. Starring Sachin and Sarika, it was hugely popular in its time. Its title song “geet gaata chal, o saathi, gungunaata chal” was massively popular – and ended the year at 4th in the Binaca Geet Mala list of 1976 (ahead of it were “kabhi kabhi mere dil mein” “ik din bik jaayega maati ke mol” and “main to aarti utaaroon re”).

I absolutely loved this song at that time. In those days, I’d have a favourite song for a few days – I’d sing it non-stop, till another song took over. I remember singing this non-stop, to the extreme annoyance of everyone around me. The voice might not be to everyone’s taste but I quite liked it. It was a different voice altogether, compared to Kishore’s baritone voice, which was then the reigning male voice of the day.

So I decided to listen to the song – for old times’ sake. I also thought I’d check the blog to see if Geet Gaata Chal had been YIPPEEED, and if not, which songs of the film were available for posting.

I was in for a big surprise.

I found that this title song hadn’t been posted yet. I checked again. I couldn’t believe it. I sent Atul a mail this morning just to confirm that this hadn’t been posted. He confirmed it – and I immediately decided that this was then going to be Atul’s birthday post song (though I didn’t tell him that. )

So here it is. A song that is one of the most positive uplifting songs out there.

Exhorting people to sing and hum along in life.

A song that talks about nature in all its glory. Open skies. Green fields. Flowing water. The wind blowing, birds chirping.
A song that talks about philosophy. Smile while amongst thorns. There’s no life without water. Don’t worry about where you’ve come from and where you’re going, just be happy.

Very simple, but wonderful lyrics, by Ravindra Jain. And a very pleasant composition too. No wonder this song did so well that year. It would play at every “loudspeaker function” at the time.

I am happy that I got to post this here, that too on this special day.

One line in this song has a great message:

Hanste hansaate beete, har ghadi har pal.

May you laugh and make others laugh, every moment of your life. What a positive thought that is!

I leave you with that thought.

And once again, wish Atul a very happy birthday – and thanks for this wonderful blog!

Part I

Part II

Song-Geet Gaata Chal o saathi gungunaata chal (Geet Gaata Chal)(1975) Singer-Jaspal Singh, Lyrics-Ravindra Jain, MD-Ravindra Jain
Chorus

Lyrics

—————————–
Part-1
—————————–
Geet gaata chal o saathi gungunaata chal
Geet gaata chal o saathi gungunaata chal
O bandhu re ae ae ae ae
Hanste hansaate beete har ghadi har pal
Geet gaata chal o saathi gungunaata chal
O saathi
Geet gaata chal o saathi gungunaata chal

Khula khula gagan ye
hari bhari dharti
Jitna bhi dekho
tabeeyat nahin bharti
O o o o
Ho o o
Sundar se sundar har ek rachna aaa
Phool kahe kaanton mein bhi seekho hansna
O saathi seekho hansna
O raahi re ae ae
aa aa aa
ae ae
Kumhala na jaaye kahin mann tera komal
Geet gaata chal o saathi gungunaata chal
O o saathi
Geet gaata chal o saathi gungunaata chal

Hai ho
Hai ho
Haiya ho ho
O ho ho
O ho ho
O o o
o o o o

Chaandi sa chamakta ye nadiya ka paani ee
Paani ki har ik boond deti zindagaani
O o o o
Ho o o o o
Ambar se barse
zameen se miley ae
Neer ke bina to bhaiya kaam na chaley
O bhaiya kaam na chaley
O megha re ae
aa aaa aa
ae ae
Jal jo na hota to ye jag jaata jal
Geet gaata
chal o saathi
gungunaata
Chal re chal
Geet gaata chal o saathi gungunaata chal
Geet gaata chal o saathi gungunaata chal
Geet gaata chal o saathi gungunaata chal
——————————————–
Part-2
——————————————–
Kahaan se tu aaya aur kahaan tujhe jaana hai
Khush hai wahi jo is baat se begaana hai
O o o o o
Ho o o o
Chal chal chalke hawaayen karein shor
Udte pakheru kheenche manwa ki dor
O kheenche manwa ki dor
O panchhi re ae ae ae ae
aa aa aa
Panchhiyon ke pankh leke ho ja tu ojhal
Geet gaata chal o saathi gungunaata chal
O saathi
Geet gaata
Chal o saathi
Gungaata
Chal re chal
Geet gaata
Chal o saathi
Gungaata
Chal re chal
Geet gaata chal o saathi gungunaata chal

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.

“Zabak” (1961), a quintessential B grade movie was a Basant Pictures production. It was produced and directed by Homi Wadia. The movie had Mahipal, Shyama, Manhar Desai, W. M. Khan, B. M. Vyas, Babu Raje, Achla Sachdev, Uma Dutt, Krishna Kumari, Sahira, Adeeb etc in it.

Six songs from this movie have been discussed in the past. Here is the seventh song from ‘Zabak”(1961) to appear in the blog. this song is sung by Mahendra Kapoor. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

Only a small snippet of this song seems to be available. I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable in the lyrics.

Note:
uqdah = knot, puzzle, enigma, problem
waa = open, solve

Song-Himmat kare insaan to kya ho nahin sakta(Zabak)(1961) Singer-Mahendra Kapoor, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

himmat kare insaan to kya ho nahin sakta
wo kaun sa uqdah hai jo waa ho nahin sakta
tadbeer agar chaahe to taqdeer badal jaaye
bigde huye haalaat ki tasweer badal jaaye
insaan hai wahi jo kisi kaam aa sake
khud mitke bhi kisi ki zindagi bacha sake

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

Greetings to Atulites and all the readers of the Blog on the occasion of India’s 69th Independent Day.

I glanced through almost all the 92 patriotic songs covered so far in the Blog. These songs can be broadly divided into two categories – those written for the films released before India’s independence and those written for the films released after independence. It was the first categories of patriotic songs which was challenging for film fraternity to get them to slip through the strict film censorship during the British rule. In this ‘game’, the film lyricists played a very important role.

The main theme of the patriotic songs during the British rule was the unity among the diverse religious groups and to ward off the evil eyes on India. In such songs a line or two is often found about the need for the unity of Hindu, Muslim and Sikh. The evil eyes could be any group or the country but the message was clear to most of the Indians that in the song, it was covertly meant to be the British rule.

During the Second World War (1939-45), the film censorship became more stringent. But the song writers devised a new method to hoodwink the Censor Board by the use of double entendre in the patriotic songs. The best example of the use of double entendre is door hato ae duniyaawaalon hindustan hamaara hai, written by Kavi Pradeep for ‘Kismat’ (1943). Here the world’ duniyaawaalon’ in the context of Second World War could mean any country supportive of German, Italy and Japanese expansionism. But for most Indians, it was apparent that Kavi Pradeep meant it to be the British Rule.. To make the song pass through the Censor Board, Kavi Pradeep wrote one of the verses in the song ‘tum na kisi ke aage jhuknaa German ho ya Jaapaani’ And the song inspired our freedom fighters.

On the occasion of India’s 69th Independence Day, I present a rare patriotic song ‘Bharat ke rahnewaalon jaago huwaa savera’ from the film BHAI (1944). The major part of the song is rendered in chorus with Zeenat Begum singing a few lines. The song was penned by Shatir Ghaznavi and it was set to music by Ghulam Haider.

The couplet

Hindu muslim sikh isaai
aapas mein hain bhai bhai

preceding the main song seems to give an impression to the Censor Board that the song was about creating communal harmony and not about inspiring the freedom fighters. But the covert intention becomes clear when the main song starts with ‘Bharat ke rahnewaalon jaago huwaa savera’. ‘Let the darkness of slavery be over with the sunrise in the morning’ is the intended message in ‘suraj ne aankh kholi aur jag gaya andhera’. The lyricist has cleverly used the message of communal harmony with that of fighting with the enemies creating the communal rift. And at that time the ‘enemy’ was none other than the British rulers.

I have not been able to decipher lyrics in a few places especially when the song is sung in a chorus. I hope Atul ji and other readers with keener ears would get the words right.

This is a rare patriotic song in the sense that the song was not available on YT until I made a video from a mp3 clip and uploaded the same on YT about a month back.

The message in the song written more than 70 years back is still valid today with change in the profiles of enemies – both within and outside the country.

Song-Hindu Muslim Sikh Isaai aapas mein hain bhaai bhaai (Bhai)(1944) Singer-Zeenat Begam, Lyrics-Shatir Ghaznavi, MD-Ghulam Haider
Chorus

Lyrics

Hindu Muslim Sikh Isaai
aapas mein hain bhai bhai
Bharat maa ki god ke paale
aazaadi ke sab shaidaai(?)

jaago
jaago
Bhaarat ke rehne waalon
jaago
huwa savera
Bhaarat ke rahne waalon
jaago
huwa savera
sooraj ne aankh kholi
wo jag gaya andhera..aa
Bhaarat ke rahne waalon
jaago
huwa savera
Bhaarat ke rehne waalon
jaago
huwa savera

Bharat ke dushmanon ko
thokar se tum udaa do
matti ke hain khilaune
matti mein hi mila do
duniya ko ye bataa do
lalkaar kar suna do
ham pees denge jisne
Hindustan ko teraa aa
jaago
jaago
Bhaarat ke rehne waalon
jaago
huwa savera
Bhaarat ke rehne waalon
jaago
huwa savera

jo haath badhe hind ki jaanib
wo tod do
jo aankh uthhe mulk pe
wo aankh phod do
toote huye dilon ko tum aapas mein jod do
jhagde tamaam waqt ki nadi(?) mein chhod do
jaago
jaago
jaago
Bhaarat ke rehne waalon
jaago
huwa savera
Bhaarat ke rehne waalon
jaago
huwa savera
?? ?? ?? ??
janta ?? hamaara
karte jo hindu muslim
aapas mein bhaai chaara
?? se aa milegi
gango jaman ki dhaara
uthh jaayega watan se
barbaadiyon ka dera
jaago
jaago
Bhaarat ke rehne waalon
jaago
huwa savera
Bhaarat ke rehne waalon
jaago huwa savera

This article is written by Sudhir, 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.

All numbers are unique unto themselves – inasmuch as each number has its own claim to fame just by being what it is. And but for the imagination and fancies applied by our minds, which at times picks on certain characteristics and binds some special stature to some of them, all these numbers would be as interesting, or for that matter disinteresting, as any other number. Let me quote the instance of a number that has now become famous as the ‘Hardy – Ramanujan Number’. This anecdote is attributed to a conversation in or about 1919 (wow, ninety seven years ago), that happened in London. Indian mathematician Srinivas Ramanujan, who was based in London for some time, was ill and confined to his bed at his residence. His friend, Godfrey Hardy, another mathematician (who had invited and arranged for Ramanujan’s travel etc. to London), came visiting him. The initial conversation was about Hardy’s journey to see Ramanujan. He mentioned off hand that the number of the taxicab in which he had travelled, was 1729 – for all intents a most uninteresting and boring number. To this comment, Ramanujan replied that ‘1729’ was a very special number. In fact it is the smallest number that can be represented as the sum of two cubes, in two different ways. (I am avoiding the calculation details; interested readers can google this for more details).

So the point I am trying to make is that a number is a number is a number. We humans try to discover interesting aspects, and attach interesting characteristics, to make the discussion interesting. Now coming to our blog. We too have a fancy for numbers, as is evident by the amount of discussion and mental calisthenics applied to certain categories. Always, a century milestone has been a matter of big celebration. But I am sensing a drift now in the enthusiasm associated with it. Maybe, after celebrating one hundred and twenty three (123 for short) century milestones, the glitter of this theme is kind of wearing thin. Quoting Peevesie’s Mom ji, from one of her recent comments – she says she is no longer so enamored by the century breaks; she now looks forward more to the thousandth milestones. In fact, we all do remember how big an affair the ten thousandth milestone was.  After that, the century events look somewhat timid and also ran. In recent memory, the bigger affairs have been the eleven thousandth and the twelve thousandth campsites.

And yes, in between, do pop up, some special patterns which do warrant a special hullabaloo. The previous one in memory was the five aces number – ‘11111’, which was eventually adorned by the iconic song from the film ‘Amar Akbar Anthony’ (1977) – “Hum Ko Tum Se Ho Gaya Hai Pyaar Kya Karen”. I do remember emails popping in from some gang members before we arrived at that number, goading Atul ji and myself to plan something special. And once we ran past the twelve thousandth barrier, there were more than one comments and messages about the arrival of the next peculiar signboard – the number of today’s post – twelve thousand three hundred and forty five, or 12345 for short. In the past couple of weeks, yes, there have been a couple of reminders, requesting us not to miss this opportunity to celebrate this most interesting pattern in five digit numbers – all digits in a perfect ascending sequence. And I did assure Mahesh ji, whose reminders were consistent, that yes, we are seized of this eventuality and will be planning something special.

But to tell you people the real truth – this time around, me and Atul ji were quite at sea, grappling with various combinations and probabilities, and for a longest possible time, we were not able to come up with an interesting combination of milestones or targets or situations that would do justice to this sequential 5 digit number, and also be ensconced inside a song, such that a post may be created out of it. The communications that Atul ji and I have been having, tell of the zaniness of ideas we were bouncing around and the near despair that we were facing in coming up with a deserving tie up. The story goes something like this, in short.

The first and the obvious thing to do is to go for a song that goes with the line “Ek Do Teen Chaar. . .”. Now coming to think of it, this is not at all a difficult thing to do. There is any number of such songs in the realm of Hindi film music. Actually, Atul ji had even selected the one from the film ‘Tezaab’ (1988) – “Ek Do Teen, Chaar Paanch Chhe Saat Aath Nau, Das Gyaarah, Baarah Teraah”. Well, not a bad idea at all – this song was one of the greatest hits of 1988 and the starting bars – “Ding Dong Ding, Ding Dong Ding Dang Dong Dong. . .” was quite a rage with the kids. In the absence of any other good (great??) ideas, I was kind of leaning towards this option. But then I recanted and wrote back to Atul ji, and I would not want to do this song for this post for two reasons. The first being that looking at a number like  ‘12345’, the most simplistic thing we could think of is “Ek Do Teen. . .”, and so selecting this song for the milestone post does not sound too convincing. And the second reason that wrote to him that this song is seemingly so special that I would rather save it for the ‘12345678910111213^th ’ post on our blog. Hmmm.. . that would translate to, well, ‘बारह पद्म, चौंतीस नील, छप्पन खरब, अट्ठत्तर अरब, इक्यानवे करोड़, एक लाख, ग्यारह हज़ार दो सौ तेरहवां’ song on our blog. Goodness, I don’t think there are going to be that many songs in Hindi films, even if we add all the NFS songs to the mix. But friends, what a thought – gives us all a wonderful reason to live for a very very very long time.

So, with this ‘ab initio’ option out of the way, then we started looking for the next best drum roll. Now we started to focus on getting to a combination of artists who are close to century marks in their respective counts. Meaning, we started looking for combinations where one artist would be at 100, another artist at 200, a third artist at 300 and so on. Goodness, I and Atul ji spent a few sleepless night, poring through the stat pages, as well as our personal compilations of blog songs, that would help to bring in the actor stats also. We got to some imperfect combinations, but frustratingly, for those combinations shortlisted, were not able to find the one song that would bring together the identified artists. After some sleepless nights, we decided this path would lead us nowhere.

Then I had a brainwave. I wrote to Atul ji that let us celebrate this milestone as a set of 5 songs. These would be the posts 12341 to 12345. Each one of the songs in these posts would progressively have something special relating to the numbers 1, 2, 3 and so on. Each song would celebrate something about an artist or a movie, related it to the numbers 1 thru 5. We could do 5 artists who are not yet on the blog; and present one each of their really rare performances. Alternatively, we could do  5 artists who are on the blog; but to post extremely unheard, unknown songs of these artists. One more thought that we considered was artists with post no. 1, 12, 123, 1234 and so on. This seemed promising, but we could not locate enough collateral for this. ‘1’ and ’12’ was easy, but the nearest to 123 was still eight posts behind. And no one even reasonably close to 1234. And then in desperation, I suggested that we shall do five songs with artists for whom it would be the 1st post, the 2nd post, the 3rd post, and so on. Of course, after putting it on paper, even this idea appeared very flimsy and simplistic. And so after a couple of back and forth iterations, Atul ji responded half heartedly, in a manner that jammed this brainwave in its infancy, saying that milestone is a milestone; can’t have it spread over five posts.

We continued to bandy more ideas back and forth. I did some analysis of the posts at numbers 1, 12, 123, 1234, hoping to find some interesting pattern that could be extrapolated to the 12345^th post. I was driven by my experience with the 11111^th post. Regulars would remember the discovery that I had made. The four singers that are featured in our 11111^th post, all individually figure solo in the post nos. 1 (Rafi Sb), 11 (Kishore Kumar), 111 (Mukesh) and the 1111 (Lata Mageshkar). No luck this time around. I dug in and went on to explore other such combinations. I tried all kind of zany combinations – post nos. 12, 23, 34, 45, post nos. 123, 234, 345, post nos. 1234 and 2345. It was not leading anywhere. I was panicking now.

Then Atul ji suggested a variation. He said let us check for song categories instead of artists, and try to build combinations of occurrences of songs in a category. Once again, we made a dive into our stat sheets and excel files. And yet once again, the prize combination eluded us. And here I was thinking, that I had responded to Mahesh ji that Atul ji and I are seized of this eventuality, but we are not likely going to have something to show for it. The proverbial ‘pudding’ will just not be there for ‘eating’, so what to prove about it.

Atul ji seemingly gave up. He sent me a message saying that Rafi Sb is close to his 26^th century mark, and the number of songs in the year 1957 is standing at 399. So let us just select a good song by Rafi Sb from the year 1957 and be done with the milestone. He then followed it up with a short list of possible candidates, as his suggestion for this idea. I was quite bankrupt myself, in my ideas account by this time, and was getting inclined to go with his suggestion. However, I continued to have this nagging feeling in the back of my mind that we are letting pass a significant event, and do not have anything to show for it. Going by the song of Rafi Sb from 1957, would in no way link the song to the peculiarity of the post number. That would be quite a memorable post – we would celebrate a milestone without really celebrating the milestone.

Then, in the depths of such despairing thoughts, there came another flash of an idea. Atul ji had set 21^st as the target to publish this post, and we were already behind the schedule. And in the midst of this came this flash. I shared this with Atul ji, and he too became excited about it. I asked for some more time (sic) to do the research, but I had this feeling that the idea would work. What finally transpired, i.e. this song, actually goes beyond even my own expectations with this idea as it first came to me.

So the idea came as I was poring over pages of Geet Kosh trying to strike something for this post. It suddenly dawned on me – well there are songs which are solo, duets or trios. There are music directors that are duo, and even trio. So how about pulling together a combination that would bring together a solo, a duo and a trio. I sent this idea to Atul ji, and then started another long search, through the Geet Kosh listings this time, to search for movies of duo music directors and trio music directors. After some time of searching through the S-Js and L-Ps and Suresh-Talwars, I finally was able to locate songs compliant to this idea, for music directors Sonik-Omi and Lala-Asar-Sattaar. Atul ji reminded me again to look for Rafi Sb song, so that we can bring up his 2600^th song on our blog. I was able to locate one song each with both these music director teams, that has Rafi Sb singing, and also complying with the 1..2..3..4 structure of the post no. We were close, but at this point, I did not realize how close we really were.

The two songs I selected – one is a duet in the voice of Rafi Sb and Kamal Barot from the 1965 film ‘Sangraam’. Music is by Lala-Asar-Sattaar and lyrics by Madhukar Rajasthani. So I am able to get 3 of the 5 conditions met – One Lyricist, Two Singers, and Three Music Directors. The second song is from the 1976 film ‘Yaari Zindabad’, with music by Sonik Omi. This song, which makes it to the podium today, is sung by 3 singers – Rafi Sb, Manna Dey and Minu Purushottam. So once again, 3 conditions met – One Lyricist (MG Hashmat), Two Music Directors and Three Singers. So I now had a choice to make. I went in and listened to these songs carefully, and something about the ‘Yaari Zindabad’ song struck a chord within (I will come to it little later in write up), and I decided to go with this one. And friends, this was the providence helping me make the choice, for till that time, I was not aware what more good luck was in store for me.

As I checked the YouTube, I could not locate this full song as a standalone video clip. Either just the audio was available, which does not carry the voice of Minu Purushottam. The LP/EP version of this song does not contain the antaraa with her voice. Or the video was either not complete, or was available only inside a complete selection of the songs of this film. So I decided to make a new video clip for this song, from the film on the disc. And in making and editing this clip, I made two wonderful discoveries, that completed the run for all the numbers. That surely is providence working for us.

I discovered that on screen, 4 actors are lip syncing the voices of playback singers. AND. This song appears in 5 parts in the film. And voila – I had the complete set of 12345 done and packaged for publishing. So here is the rundown of numbers.

I simply could not believe myself, how these numbers finally rolled together. And ‘sonay pe suhaaga’ – the 2600^th song of Rafi Sb on the blog. I could not have done any better, and in fact, I could not have done even this without the providence stepping in.

And that, my friends, is the story of ‘12345’.

Now, coming to the emotional connect with this song. I have written about this before, in some of my earlier writings also. The songs about friendship, move me. There is a premise of synthesis, when two minds, two beings come together in understanding and camaraderie. It is this synthesis, this convergence of emotions that means the world to me. Such emotions have the power to move me to tears. This song, it brings in this feeling so strongly, that I had no second thoughts about picking this as the song for today.

In this song, this emotional thread of amity and alliance works through at two levels. One is a very personal level, wherein one being connects with and interacts with another being. Most times, there is no specific reason that can be attributed to this attraction. It simply is. We call it by many names – resonance, frequency matching, meeting of minds, etc. But what it specifically is, is hard to put into words. In friendship, we learn that we share the joys, as well as we share the sorrows. We learn that we like to care, we learn that we like to help, we learn to support, and we learn to share the burdens when travelling together. We learn of companionship, and we learn about togetherness. And I always like to share my feelings about this personal liking, sharing and togetherness, especially with reference to our musical bandwagon. As I was listening to this song and seeing the visuals, some of the words and some of the deeds struck that chord within that connects with the love of music, and the togetherness that is shared within our circle. And I am moved. And when that happens, I want to share this emotion with all.

kabhi tootegi na yaari
yaari zindabad

And then, there is one more level of this sharing and togetherness that moves my heart with an equal compulsion. This is the level of the community, and the social fabric that we all are a part of. Many events of the recent past, and even of longer memories, bring an anguish to the heart, as to how the vested political interests exploit the naturally occurring variations in the society, to sow seeds of differentiation, and pit a brother against his own brother. Be it the unrest in the Kashmir valley, or the maltreatment of one human being by another, simply based on the social standings within the society; be it the exploitation and depravement of the people in their natural habitation or be it simply the manipulative abuse and physical violation of personal propriety on account of religion or caste or gender. This widespread malaise, is a frightening agony for the mind, as one continues to hear about such events and incidents, day in and day out. None of this happens spontaneously. All of it is motivated and orchestrated, by vested interests who desire to have limitless power over other human beings. It is a mindless obsession that eventually results only in suffering, even for the perpetrators. But who would want to put their minds to this thought.

The problem of the social divide in our society, based on religion and caste, is the worst legacy from the days of oppression by the British rule, that we have refused to give up, even at the cost of substantially destroying the social fabric and the normal tolerant existence, that is the bulwark of this land. Maybe it is a utopian expectation, but my heart continues to want to believe in the innate goodness of a human being – the goodness that would deter any person to inflict any grief or injury upon another human being, simply based on the reasons of variation and differences between human beings. It is the law of nature that no two beings, no two minds are created alike. And in addition, every mind is also instilled with the intelligence to appreciate and respect these differences. It is a long and futile debate to deliberate why and how this intelligence gets suppressed and the wilder instincts of greed and power take over and prevail. The end result of this conflict is only misery, and more misery.

On such an unsightful canvas, when one encounters a streak of even just the words, as are contained within this song, there is a moment of relief that descends upon the troubled mind. It is just a poet’s vision, just a hopeful aspiration, saying how this world should be, as opposed to how this world is, as we actually see and perceive it. And the heart is elated, just to know that there is / are other such minds that crave for this amiable tolerance and understanding, to overcome the mindless divisive rage that is cutting through the fabric of our society. That is the relief that moves my heart to tears, when one encounters expressions such as the one in this song

ek hindu ek musalmaan hai
gaadi ke hain do pahiye

And the heart cries for hope, hope for amity, and hope for a friendly brotherly love that I want to share with all.

Yes, glory be to friendship, glory be to peace and love.

Yaari Zindabad.

Song – Jaan Se Bhi Pyaari Hai Dosti Hamaari (Yaari Zindabad) (1976) Singer – Mohammed Rafi, Manna Dey, Minu Puroshottam, Lyrics – MG Hasmat, MD – Sonik Omi
Rafi + Manna Dey

Lyrics

Part 1
——–
jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad
jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..

Part 2
——–
hum raahi hain raahon mein
dhoom machaate jaayenge
toofaan ban ke har mushkil se
hum dono takraa’enge
kabhi chhotega na saath tera
o jiye pyaar tera
tu hai yaar mera
haan yaar mera
rooh mein teri rooh basi hai
jaan mein jaan tumhaari
rooh mein teri rooh basi hai
jaan mein jaan tumhaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 3
——–
ek hindu ek musalmaann hai
gaadi ke hain do pahiye
jaldi manzil par pahunchenge
gar mil kar chalte rahiye
hum geeta quraan mila denge
aur pyaar ko deen banaa lenge
haan banaa lenge
sab ki aankhon mein basey ye
roshni hamaari
sab ki aankhon mein basey ye
roshni hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 4
——–
rasta roka sar kuchlenge
khoon ki holi khelenge
oye haste haste desh ki aafat
apne sar par jhelenge
hathiyaar banaa kar baahon ko
o angaar banaa kar aahon ko
haan aahon ko
kaam aayegi watan ke
zindagi hamaari
kaam aayegi watan ke
zindagi hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad ho.. oo..
yaari zindabaad

Part 5 (sad)
——–
jaan se bhi pyaari hai
dosti hamaari
jaan se bhi pyaari hai
dosti hamaari
kabhi tootegi na yaari
yaari zindabaad
ho.. oo..
yaari zindabaad
ho.. oo..
yaari zindabaad

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

भाग १
——–
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰

भाग २
——–
हम राही हैं राहों में
धूम मचाते जाएँगे
तूफां बन के हर मुश्किल से
हम दोनों टकराएँगे
कभी छूटेगा ना साथ तेरा
ओ जिये प्यार तेरा
तू है यार मेरा
हाँ यार मेरा
रूह में तेरी रूह बसी है
जान में जान तुम्हारी
रूह में तेरी रूह बसी है
जान में जान तुम्हारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ३
——–
एक हिन्दू एक मुसलमान
गाड़ी के हैं दो पहिये
जल्दी मंज़िल पर पहुंचेंगे
गर मिल कर चलते रहिए
हम गीता कुरान मिला देंगे’
और प्यार को दीन बना देंगे
हाँ बना देंगे
सबकी आँखों में बसे ये
रोशनी हमारी
सबकी आँखों में बसे ये
रोशनी हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ४
——–
रस्ता रोका सर कुचलेंगे
खून की होली खेलेंगे
ओए हसते हसते देश की आफत
अपने सर पे झेलेंगे
हथियार बना कर बाहों को
ओ अंगार बना कर आहों को
हाँ आहों को
काम आएगी वतन के
ज़िंदगी हमारी
काम आएगी वतन के
ज़िंदगी हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद हो॰॰ ओ॰॰
यारी ज़िंदाबाद

भाग ५ (शोक)
——–
जान से भी प्यारी है
दोस्ती हमारी
जान से भी प्यारी है
दोस्ती हमारी
कभी टूटेगी ना यारी
यारी ज़िंदाबाद
हो॰॰ ओ॰॰
यारी ज़िंदाबाद
हो॰॰ ओ॰॰
यारी ज़िंदाबाद

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.

“Grihlaxmi”(1959) was produced and directed by Raman V Desai for Bombay Movietone, Bombay. The movie had Shahu Modak, Pandhari Bai, Lalita Pawar, Kumari Nazar, Rooplaxmi, Miss Kala, Indira Bansal, Ramavtaar, Raj, Umakant, Pravin Paul, Devendra, Suryakant shukla, Polson, Bhairav, Vipin Gupta etc in it.

This obscure movie had nine songs in it. Here is the first song from “Grihlaxmi”(1959) to appear in the blog. This song is sung by Rafi. Bharat Vyas is the lyricist. Music is composed by avinash Vyas.

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

Song-Marnewaale zindagi se pyaar kar (Grihlaxmi)(1959) Singer-Rafi, Lyrics-Bharat Vyas, MD-Avinash Vyas

marnewaale
ae ae ae ae ae ae
zindagi se ae ae pyaar kar

ja raha kahaan tu baazi haar kar
ja raha kahaan tu baazi haar kar
marnewaale
zindagi se pyaar kar
ja raha kahaan tu baazi haar kar
marnewaale
zindagi se pyaar kar

jahaan mein yahi to imtihaan hai ae
gham sahe jo hans ke wo insaan hai
aansuon pe muskuraa ke waar kar
aansuon pe muskuraa ke waar kar
marnewaale
zindagi se pyaar kar

buzdilon ke honthon pe fariyaad hai
har ghadi ro ro ke dil barbaad hai
kis ko kya mila hai yoon pukaar kar
kis ko kya mila hai yoon pukaar kar
marnewaale
zindagi se pyaar kar
pyaar kar
pyaar kar
zindagi se pyaar kar
zindagi se pyaar

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.

The 25th of October is a date that is etched in the minds of some HFM lovers. Especially those with an appreciation for lyrics and poetry.

For it is the death anniversary of one of the greatest, if not THE greatest, poet-cum-lyricists that Hindi cinema has known.

I am talking about Sahir Ludhianvi, of course.

I remember that date in 1980 – when Sahir’s death was reported in the newspaper and magazines. To be very honest, at that time, I had no clue about how great a poet/lyricist he had been. I had heard his name many times, of course, on Vividh Bharati, as the song lyricist. While watching films, I had seen his name flashed on the screen as lyricist.

Yet the extent of his contribution to Hindi cinema, the emotional depth of his writing had completely escaped me. I was just a teenager at the time, enjoying music more for its catchiness than getting too caught up in the lyrics. That too, Sahir-type lyrics.

And of course, I knew NOTHING about his background.

Readers of today might be surprised at the ignorance of people like me. They might think “how it is even possible to know so little of something that should be commonplace information?” The answer is two-fold: the internet, and non-metro India.

Much of our awareness today is possible only due to the availability of the internet. It has not only spawned a number of online repositories of knowledge (not all reliable, I must add), it has also enabled the distribution of information across the world. Those cricket statistics that I used to hunt for and cherish, noting each detail down on sheets of paper, in my schooldays are now so easily available on the net, that there’s no need to hunt anymore.

The other aspect is metro / non-metro availability of information. Even in pre-internet days, those living in metros like Bombay and Delhi were much more aware, and had much more access to, sources of information, libraries, music shops and so on. They had TV and various newspapers and lots of magazines they could count on.

I had none of these. Where I grew up, the nearest metro, Calcutta, was over 400 km away. That I managed to see films at all (one a week) was something I was thrilled about. We used to get The Statesman newspaper (2 days’ old news), and a few magazines – that was it. Whatever I knew, was due to voracious reading of whatever material I could lay my hands on. My dad, thankfully was a voracious reader himself (though not of film magazines) – so there was plenty to read at home.

So yes, I was ignorant of many details then. And no, I’m not ashamed to admit it.

Coming back to Sahir.

It was only when I read his obituary in the Illustrated Weekly on his death, that I began to get a sense of the giant that he had been in the world of poetry and lyrics. That obituary (probably written by Raju Bharatan, I’m not sure), described his career – listing his songs along the way.

And I was caught with gaping mouth.

The songs! I hadn’t heard them all before – but there were so many that I had not just heard, but which were absolutely memorable, evergreen songs. I remember going through the list and saying to myself “Wow! This one also?”

Each one of them has stood the test of time even today. Most of them are over 50 years old, but even today when you listen to a Sahir song, it hits you with its power of language, beautifully crafted and deliberately meant to shake you up. For Sahir, clearly the aspect of lyrics of a song was not to be taken lightly – it was as important, if not more important, than the music itself.

Maybe that’s why he insisted on getting the lyricist being part of the announcement on All India Radio during their song programmes. Today this is the norm – but there was a time when it was all about the composer and the singers. How unfair was that! Am very glad Sahir set that right!

Maybe that’s also why Sahir insisted he wouldn’t fit his lyrics into a composition, as was the practice at the time. He wrote his lyrics – usually poetry – from his heart and would not want to compromise them to fit a tune. According to him, it was the composer’s job to take Sahir’s lyrics and give it a musical shape.

This fierce pride and belief in his writing, unfortunately did not always go down very well with composers, especially the big-name ones. He had problems with SD Burman after Pyaasa, with OP Nayyar after Naya Daur. In fact, after one song for Tumsa Nahin Dekha (1957) – the title song – he was replaced by Majrooh.

Undeterred, Sahir chose to work with the relatively less-famous composers. With them, not only could he have a less troublesome relationship, his lyrics could also shine more.

And they did.

A quick look at some of these.

With Khayyam, he partnered for Phir Subah Hogi, Kabhi Kabhi and Trishul. Songs like “wo subah kabhi to aayegi”, “cheen-o-arab hamara”, “main pal do pal ka shaayar hoon”.

With N.Datta, Sahir had a very fruitful partnership writing lyrics for at least 10 films of this composer. (Milap, Marine Drive, Chandrakant, Sadhna, Light House, Didi, Dhool Ka Phool, Dharamputra, Chandi ki Deewar, Naya Raasta). Songs like “aurat ne janam diya mardon ko”, “tu Hindu banega na Musalmaan banega”, “ponchh kar ashq apni aankhon se”.

With Jaidev, he partnered in Hum Dono, Mujhe Jeene Do, and for Laila Majnu (after Madan Mohan passed away before all the songs of the film could be composed). Songs like “abhi na jao chhod kar”, “main zindagi ka saath nibhaata chala gaya”, “raat bhi hai kuchh bheegi bheegi”.

With Roshan, Sahir’s lyrics took Roshan’s music to a new height with lyrics of songs of Barsaat Ki Raat, Taj Mahal, Chitralekha, Bahu Begum being much-appreciated. The wonderful qawwalis of Barsaat Ki Raat are unforgettable as are songs like “paanv chhoo lene do”, “khuda e bartar” and “jurm e ulfat” from Taj Mahal. Then they had “mann ri tu kaahe na dheer dhare”, “sansaar se bhaage phirte ho” and “kaahe tarsaaye” for Chitralekha and “hum intezaar karenge” and “duniya kare sawaal” for Bahu Begum. An embarrassment of riches.

With Ravi, then still considered to be a few notches lower than the Naushad/S-J/ SD/OP lot, Sahir wrote some of the masterpieces of his career. Including the songs of Gumraah and Humraaz. The Sahir-Ravi partnership was extremely successful, and a big reason for the success of the BR/Yash Chopra banner.

What struck me most about Sahir’s lyrics is not just his clever construction of words and his Urdu, but the sheer passion that was an integral part of his poetry and writing. Anything when done with passion, takes it to a different level – and writing, more than most.

When Sahir wrote lyrics, you could identify completely with them. That’s because you could breathe the fire and passion in the words – and there was usually a lot of meaning in them.

When he wrote cynical lyrics (“ye duniya agar mil bhi jaaye to kya hai”, “Cheen-o-Arab hamara”) you felt angry at the state of affairs.

When he wrote hopeful lyrics (“wo subah kabhi to aayegi”), you felt hopeful too, however desperate the situation.

When he talked about communal amity instead of divisiveness (“tu Hindu banega na Musalmaan banega”), you felt a sense of togetherness with all communities.

When he talked about fighting injustice and standing up for yourself (“ponchh kar ashq apni aankhon se” or “na munh chhupa ke jiyo”), you felt like doing the same.

And, in a totally different vein, when he talked about wooing and romance (“tum agar saath dene ka waada karo”, “ye parbaton ke daayre”), you could just so easily fall in love.

Sahir had a strong communist bent of mind – which was not uncommon at all in the time. The Progressive Writers’ Association, formed in the 1930s, was primarily anti-imperialism, anti-establishment, with many leading poets and writers of the time (Saadat Hasan Manto, Ismat Chughtai, Faiz Ahmed Faiz, Kaifi Azmi and many more) part of it.

As a result, Sahir’s writing often spoke for the oppressed, the labour class, the deprived. In fact it was his anti-establishment thinking that got him into trouble early on his life – in fact, in college itself.

I must say, those were different times. Poets and writers used to speak out against oppression. Nowadays, one can’t help feeling that, as India has got more “aspirational” – and Indians have got more “aspirational” , even our films and writing has got more “aspirational”. After all, films and writing reflect society.

It is no longer fashionable, or even possibly commercially viable, to talk about society’s grassroot problems. Of poverty, discrimination, injustice. All of these still exist in India – just as they did in Sahir’s time.

Yes, the scale of poverty might be less now (as you’d expect), but I’m not sure there is any more justice today than there was in Sahir’s time. Even today, despite our wonderful Constitution, might is often right. Undertrials spend years in jail, without even so much as a trial. If you have money or influence (and let’s face it, one begets the other), you can still get away with anything.

But since everyone’s aspirational today, talking about these issues is almost infra-dig. How often does the media actually report from the ground in rural India? Their excuse probably is, who cares? And maybe, just maybe, they have a point. We’ve reached a stage of callousness, where the worst of atrocities can happen – and unless it happens to “one of us” (i.e somebody like us), we look the other way, or don’t bat an eyelid. Or, at the most, pay some lip-sympathy. Have we become so self-obsessed? Or is everyone just too busy to care about problems that don’t directly affect me, myself and I?

What would a Sahir write if he were alive today and writing about today’s society? Would he be any less scathing of it than he was, all those years ago?

Do we have a Sahir in our midst today? Ok, I don’t mean a poet or lyricist necessarily of Sahir’s calibre of writing, but somebody who shows a mirror to society, somebody who routinely and fearlessly calls it out on its injustice and oppression.

Or am I exaggerating? Is there really not as much injustice as I am painting. I’d really like to be wrong – but I’m not sure I am.

All these thoughts come to me, on Sahir’s death anniversary.

He might be gone, but his spirit of challenging the system, of calling out its failings, of not being afraid to call a spade a spade, needs to live on.

We need this, so that society continues to evolve. We know we are far from perfect – and there is absolutely no shame in admitting it. Who are we fooling anyway?

One last thing, before I get misunderstood. This isn’t about a particular political party or government in power. It’s about a society and its failings. Even Sahir’s anti-establishment rants were not because the party in power was the Congress Party at the time. He would have been just as scathing if it had been any other party in power. It’s about society. So let’s get this partisan mindset out of the way.

In fact, I think the best tribute we could give Sahir is to continue to work on those issues that he held close to his heart. For, he was more than just a poet or a lyricist. So being a fan of his poetry alone, is missing a big part of who Sahir was.

Sahir’s fight was not without reason. He yearned for an egalitarian society, without communal violence, without religious, class and caste discrimination, where people lived in peace with each other.

On his death anniversary today, this is what the song for this post is all about. It might seem a bit idealistic, but if you at least have dreams and hope for something, there’s some chance of working towards it. But you have to have a dream.

The lyrics for this post were sent to me by Avinash Scrapwalla. He is also a big Sahir fan – and wanted me to write this post on this occasion, using this song.

The song is from the film Bahurani (1963).

I hope you like the song. Please do listen to every line carefully. Isn’t it vintage Sahir? But this time a song of hope, not cynicism.

Song-Bane aisa samaaj (Bahuraani)(1963) Singers-Asha Bhonsle, Lata, Manna Dey, Lyrics-Sahir Ludhianvi, MD-C Ramchandra
Lata+ Asha Bhonsle
Chorus

Lyrics(Provided by Avinash Scrapwala)

Ho o o o ae

Bane aisa samaaj
Kaisa aa
Mile sabko anaaj
Waah waah
Bane aisa samaaj
Milo sabko anaaj
Na ho loot
Na ho phoot
Na ho jhoot to ji
Kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho

Jaage sabka naseeb
Na ho koyi gareeb
Mite rog
Bhoole sog
Sabhi log
To ji kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho

Na ho mehnat se dhan ka ijaara
Na ho mehnat se dhan ka ijaara
Sab karen apne bal par guzaara
Sab karen apne bal par guzaara
Bhed aur bhaav mit jaaye saara
Bhed aur bhaav mit jaaye saara
Aadmi aadmi ko ho pyaara
Aadmi aadmi ko ho pyaara
Aadmi aadmi ko ho pyaara
Koyi oonch aur neech
Na ho duniya ke beech
Na ho jaat
Na ho paat
Rahe saath
To ji kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho o o
Kaisa ho

Deen aur dharm
Maange na chande
Ho ho ho ho
Ek ho jaayen dharti ke bande
Ho ho ho ho
Toot jaaye riwaazon ke phande
Ho ho ho ho
Band ho jaaye chori ke dhandhe
Band ho jaaye chori ke dhandhe
Band ho jaaye chori ke dhandhe
Mite kaala bazaar
Pade jhoothe ko maar
Khule pol
Phate dhol
Ghate mol
To ji kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho

Saare jag mein ho
Sukh ka saweraa
Saare jag mein ho
Sukh ka saweraa
Jaaye jug jug ka bojhal andheraa
Jaaye jug jug ka bojhal andheraa
Koi jhagdaa na ho tera mera
Koi jhagdaa na ho tera mera
Lehar le shaanti ka pharera
Lehar le shaanti ka pharera
Lehar le shaanti ka pharera
Na ho deshon mein jung
Rahe sab ek sang
Bujhe aag
Mite raag (?)
Chhide raag to ji
Kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho
Kaisa ho

Bane aisa samaaj
Mile sabko anaaj
Na ho loot
Na ho phoot
Na ho jhoot to ji
Kaisa ho
Kaisa ho o o
Kaisa ho
Kaisa ho
Kaisa ho

————————————————-
Devnagri script Lyrics(Provided by Avinash Scrapwala)
————————————————–

हो ओ ओ ओ ए

बने ऐसा समाज
कैसा आ
मिले सबको अनाज
वाह वाह
बने ऐसा समाज
मिले सबको अनाज
ना हो लूट
ना हो फूट
ना हो झूठ तो जी
कैसा हो
कैसा हो
कैसा हो
कैसा हो
कैसा हो

जागे सबका नसीब
न हो कोई गरीब
मिटे रोग
भूले सोग
तो जी कैसा हो
कैसा हो
कैसा हो
कैसा हो
कैसा हो

ना हो मेहनत से धन का इजारा
ना हो मेहनत से धन का इजारा
सब करे अपने बल पर गुज़ारा
सब करे अपने बल पर गुज़ारा
भेद और भाव मिट जाए सारा
भेद और भाव मिट जाए सारा
आदमी आदमी को हो प्यारा
आदमी आदमी को हो प्यारा
आदमी आदमी को हो प्यारा
कोई उंच और नीच
ना हो दुनिया के बीच
ना हो जात
ना हो पात
रहे साथ
तो जी कैसा हो
कैसा हो
कैसा हो
कैसा हो ओ ओ
कैसा हो

दिन और धर्म
मांगे न चंदे
हो हो हो हो
एक हो जाए धरती के बन्दे
हो हो हो हो
टूट जाए रिवाजों के फंदे
हो हो हो हो
बंद हो जाए चोरी के धंदे
बंद हो जाए चोरी के धंदे
बंद हो जाए चोरी के धंदे
मिटे काला बाज़ार
पड़े झूठे को मार
खुले पोल
फटे ढोल
घटे मोल
तो जी कैसा हो
कैसा हो
कैसा हो
कैसा हो
कैसा हो

सारे जग में हो
सुख का सवेरा
सारे जग में हो
सुख का सवेरा
जाए जूग जूग का बोझल अन्धेरा
जाए जूग जूग का बोझल अन्धेरा
कोई झगडा ना हो तेरा मेरा
कोई झगडा ना हो तेरा मेरा
लहर ले शान्ति का फरेरा
लहर ले शान्ति का फरेरा
लहर ले शान्ति का फरेरा
ना हो देशों में जंग
रहे सब एक संग
बुझे आग
मिटे राग (?)
छिड़े राग तो जी
कैसा हो
कैसा हो
कैसा हो
कैसा हो
कैसा हो
कैसा हो

बने ऐसा समाज
मिले सबको अनाज
ना हो लूट
ना हो फूट
ना हो झूठ तो जी
कैसा हो
कैसा हो ओ ओ
कैसा हो
कैसा हो
कैसा हो

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 Shekhar Gupta, 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.

Fareed Tonki’s “Raste Alag-Alag Hain Thikaana To Ek Hai” is my all-time favourite lyrical message of religious tolerance, harmony and mutual respect. It drives home the poignant truism for the faithful that God, by whichever name, is after all One.

This message finds expression no better than in Ram Kumar Shankar’s vocals in the above qawwali, which is a part of the Sa Re Gam Ma album Paighaam-e-Huq (Naat, Manqabaat, Nasihat). Some YouTube postings attribute this number to the famed Shakar-Shambhu duo but it indeed is Ram Kumar Shankar.

I could not find out who tuned this soulful number, and request knowledgeable Atulites to fill-in this information gap.

The message in Fareed Tonki’s lyrics is so profound and simple that it needs no commentary to explain or embellish it.

Song-Raste alag alag hain thhikaana to ek hai(Ram Kumar Shankar NFS)(1986) Singer-Ram Kumar Shankar, Lyrics-Fareed Tonki
Chorus

Lyrics

Aa aa-aa aa
aa-aa aa aa aa
haye haye haye ae ae ae
ae ae ae ae ae ae
haaye ae ae

Raste alag-alag hain
thhikaana to ek hai ae
Raste alag-alag hain
thhikaana to ek hai ae
Raste alag-alag hain
thhikaana to ek hai
Raste alag-alag hain
thhikaana to ek hai
Manzil har ek shakhs ko paana to ek hai ae
Manzil har ek shakhs ko paana to ek hai ae
Manzil har ek shakhs ko paana to ek hai ae
Raste alag-alag hain thhikaana to ek hai ae

Koi kehta hai ke kaashi mein hai
Koi kehta hai ke kaashi mein hai
Koi kehta hai ke kaabe mein hai
Koi kehta hai ke kaabe mein hai
Koi kehta hai ke girija mein hai
Koi kehta hai ke gurudwaare mein hai
Koi kehta hai ke gurudwaare mein hai
Numaaya zarre-zarre mein wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana aaa hai
Wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana hai
Zamaana kuchh bhi samjhe inko
Humne to yeh jaana hai
aji Humne to yeh jaana hai
Raste alag-alag hain thikaana to ek hai
Manzil har ek shakhs ko paana to ek hai ae
Manzil har ek shakhs ko paana to ek hai
Raste alag-alag hain thhikaana to ek hai

Aa aa-aa aa aa-aa
aa aa aa aa aa aa

Hindu ka yeh kehna hai ke mandir mein aa
Hindu ka yeh kehna hai ke mandir mein aa
Muslim ka takaaza hai ke masjid mein aa
Muslim ka takaaza hai ke masjid mein aa
Kehte hain isaa’ii ke kaleesa men aa
Sikkhon ka yeh kehna hai ke gurudwaare mein aa
Sikkhon ka yeh kehna hai ke gurudwaare mein aa
Haaye haaye haaye haye ae ae
Aayi awaaz ke ganga jamuna kashi ka’aba tujhe in jhagdon se kya matlab hai
Tujhe sajde se matlab hai
Jahaan chaahe wahaan kar le
Numaaya zarre-zarre mein wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana aa hai
Wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana hai
Zamaana kuchh bhi samjhe inko
Humne to yeh jaana hai
Aji humne yeh jaana hai
Raste alag-alag hain thhikaana to ek hai
Manzil har ek shakhs ko paana to ek hai ae
Manzil har ek shakhs ko paana to ek hai ae
Raste alag-alag hain thhikaana to ek hai ae

Aa-aa aa-aa aa-aa
aa aa aa aa aa aa aa

Yahi mohan ki murli ne sada humko sunaaya hai
Sada humko sunaaya hai
Guru nanak se, gautam se, yahi updesh paaya hai
Yahi updesh paaya hai
Yahi raaz-e-aqeedat gandhiji ne bhi bataaya hai
Yahi aawaaz aayi hai jahaan par sar jhukaaya hai
Jahaan par sar jhukaaya hai
Numaaya zarre-zarre mein wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana aa hai
Wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana hai
Zamaana kuchh bhi samjhe inko
Humne to yeh jaana hai
Aji humne ye jaana hai
Raste alag-alag hain thhikaana to ek hai
Manzil har ek shakhs ko paana to ek hai ae
Manzil har ek shakhs ko paana to ek hai ae
Raste alag-alag hain thhikaana to ek hai

Ho o o-o
o o-o o o-o
Awwal allah noor paaya
Kudrat ke sab bande
Awwal allah noor paaya
Kudrat ke sab bande
Awwal allah noor paaya
Kudrat ke sab bande
Ek noor te sab jag upja
Kaun bhale kau mande
Numaaya zarre-zarre mein wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana aaa hai
Wohi tasveer-e-jaana hai
Wohi tasveer-e-jaana hai
Zamaana kuchh bhi samjhe
inko humne to yeh jaana hai
Aji humne yeh jaana hai
Raste alag-alag hain thhikaana to ek hai
Manzil har ek shakhs ko paana to ek hai ae
Manzil har ek shakhs ko paana to ek hai ae
Raste alag-alag hain thhikaana to ek hai

Aa aa aa aa aa
Ye zazba-e-aqeedat hai
keh daala fareed humne
Ye zazba-e-aqeedat hai
keh daala fareed humne
Koi ise kuchh samjhe jaana hai yahi humne
Raste alag-alag, alag-alag hain thhikaana to ek hai
Raste alag-alag hain
thhikaana to ek hai
Manzil har ek shakhs ko paana to ek hai
Manzil har ek shakhs ko paana to ek hai
Raste alag-alag hain thhikaana to ek hai
Raste alag-alag hain thhikaana to ek hai ae
Raste alag-alag hain thhikaana to ek hai ae
Raste alag-alag hain thhikaana to ek hai ae

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.

“Hamjoli”(1946) was directed by Ismail Memon and Lukman Ahmad for K Abdulla Productions, Bombay. The movie had Noorjahaan, Jairaj, Ghulam Mohammad (actor), Jillobai, Mukri, Jeenat, Shabnam Hussain, Majid, Agha Jaan etc in it.

There were ten songs in the movie. as many as seven of these songs have been covered in the blog.

Here is the eighth song from “Hamjoli”(1946) to appear in the blog. This rare song is sung by Mehboob according to HFGK, Our own Mr Bahrat Upadhyay opines (while discussing the previous song from this movie) that this was Mehboob Khan, the famous director. I request our knowledgeable readers to tell us whether this Mehboob is indeed that director or some other person. In any case, this singer makes his debut in the blog with this song.

Anjum Pilibhiti is the lyricist. Music is composed by Hafiz Khan.

Song-Jag ki sewa kar le bande (Hamjoli)(1946) Singer-Mahboob, Lyrics-Anjum Pilibhiti, MD-Hafiz Khan

Lyrics

jag ki sewa kar le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae

do din ka hai yahaan basera
na kuchh tera na kuchh mera aa aa
do din ka hai yahaan basera
na kuchh tera na kuchh mera
marna jeena laga hua hai
marna jeena laga hua hai
baaqi man ko har le bande
baaqi man ko har le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae

chalne ko hai fana(??) ki aandhi
kaisa sona kaisi chaandi
chalne ko hai fana(??) ki aandhi
kaisa sona kaisi chaandi
moh lobh ko chhod ke moorakh
moh lobh ko chhod ke moorakh
ishwar se kuchh dar le bande
ishwar se kuchh dar le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae

oonch neech ko jag se mitaa ke ae ae
sukh sampat ke deep jalaa ke ae
oonch neech ko jag se mitaa ke ae ae
sukh sampat ke deep jalaa ke ae
jhoothhe dhan se haath uthha ke
jhoothhe dhan se haath uthha ke
man ki jholi bhar le bande
man ki jholi bhar le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae
jag ki sewa kar le bande
jag ki sewa kar le ae

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.

“Beeswin Sadi”(1945) is an obscure movie which was produced and directed by M Bhawnani for Bhawnani Productions, Bombay. This movie had Motilal, Mazhar Khan, Nargis, Ashalata, Gope, Majumdar, Navin etc in it.

According to HFGK, there were fifteen songs in it. Singers are known only for two of these songs.

Here is the first song from “Beeswin Sadi”(1945) to appear in the blog. The singer for this rare song is not given in HFGK, but listening to this song leaves one in no doubt that this song is sung by Manna Dey. One also wonders how a song like this managed to remain obscure for this long.

Lyricist of this song (and for all the songs of the movie) is not known. Pannalal Ghosh was the music director. HFGK quoting Anil Biswas mentions that Anil Biswas had done most music related work in this movie.

With this rare gem, “Beeswin Sadi”(1945) makes its debut in the blog. This movie becomes the 600th movie from the decade of 1940s (1941 to 1950) to find representation in the blog. To put things in perspective, 1189 movies were released in this decade.

Song-Aansoo na bahaana kabhi aansoo na bahaana (Beeswin Sadi)(1945) Singer-Manna Dey, MD-Pannalal Ghosh

Lyrics

har ek qadam
soch ke
ae ae ae
is raah pe uthhaana
har ek qadam soch ke
is raah pe uthhaana
dhokhon se hai bharpoor
ye bedard zamaana
bedard zamaana

Aansoo na bahaana
kabhi aansoo na bahaana
Aansoo na bahaana
kabhi aansoo na bahaana
dhokhon se hai bharpoor
ye bedard zamaana
dhokhon se hai bharpoor
ye bedard zamaana
Aansoo na bahaana
kabhi aansoo na bahaana
Aansoo na bahaana
kabhi aansoo na bahaana

rone se tere kisko taras
aayegaa naadaa aa aan
is zulm bhari duniya mein aen
jeena nahin aasaa aa aan
is zulm bhari duniya mein aen
jeena nahin aasaan
dastoor hai duniya ka
gareebon ko rulaana
gareebon ko rulaana
dastoor hai duniya ka
gareebon ko rulaana
gareebon ko rulaana
dhokhon se hai bharpoor
ye bedard zamaana
dhokhon se hai bharpoor
ye bedard zamaana
Aansoo na bahaana
kabhi aansoo na bahaana
Aansoo na bahaana
kabhi aansoo na bahaana
Aansoo oo oon oon

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.

“Naya Taraana”(1943) was directed by Najam Naqvi for Navyug Chitrapat Limited, Poona. The movie had Snehprabha Pradhan, P Jairaj, David, Mishra, Dar Kashmiri, Girdhari, Kulbhushan, Saukar, Raja Paranjpe, Pratima Devi, Sharda, Chandrika etc in it.

This forgotten “social” movie had nine songs in it.

Here is the first song from “Naya Taraana”(1943) to appear in the blog. This song is sung by Khan Mastana. Wali Sahab is the lyricist. Music is composed by Amir Ali.

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 a message.

With this song, “Naya Taraana'(1943) makes its debut in the blog.

Song-O insaan bade insaan (Naya Taraana)(1943) Singer-Khan Mastana, Lyrics-Wali Sahab, MD-Amir Ali

Lyrics

o insaan bade insaan
o inahan bade insaan
aa tujhe sheesha dikhlaaoon
apne ko pehchaan aan
apne ko pehchaan
bade insaan
o insaan bade insaan

saanjh sakhaare dharti ko tu
kahe hai maata maata
saanjh sakhaare dharti ko tu
kahe hai maata maata
samay pade par maata ko bhi
bech ke hai kha jaata
aa aa
dekh zara pedon ko gyaani
dekh zara pedon ko gyaani
janam jahaan wo paate hain
us dharti ko chhaanv de kar
dhoop mein khud jal jaate hain
dhoop mein khud jal jaate hain
ye hai ma kaa maa aan
ye hai maa ka maan
bade insaan
o insaan bade insaan
o insaan

tujhse to balwaan hai chidiya
tujhse to balwaan hai chidiya
jo chaahe keh jaati hai
jinki baat tere honthon par
aane se sharmaati hai ae ae
duniya bhar ke jaanwaron ki
duniya bhar ke jaanwaron ki
ek hi jaisi bhaasha hai
tu urdu aur hindi ke
jhagdon mein samay ganwaata hai
jhagdon mein samay ganwaata hai
waah mere vidwaan aan
waah mere vidwaan
bade insaan
o insaan bade insaan
o insaan

maan liya is dharti par aapas mein takraate hain
maan liya jungle ke panchchi
aapas mein lad jate hain
unke rain basere ka
unke rain basere ka
sar tinka hil nahin paata hai
aur tu raam rahim se ladkar
ghar ko aag lagaata hai
ghar ko aag lagaata hai
waah bharat ki shaan aan
waah bharat ki shaan
bade insaan
o insaan bade insaan
o insaan bade insaan

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

Today’s song will take us back to the earliest decade of Hindi Films. This famous song is from the film Bandhan-1940, made by Bombay Talkies. The song is in 3 parts. It is composed by Ramchandra Pal, who was the joint MD with Saraswati Devi for this film. All the songs of this film were written by Kavi Pradeep.

There is an interesting story behind the making of this song. Kavi Pradeep wrote this song and gave it to Ramchandra Pal. He sat at the Piano, holding the song paper and thinking how to compose the tune. He was not getting anywhere. Meanwhile Ashok Kumar came there. He took the song, himself sat at the Piano and tried to make a tune. He did make a tune , but only for the Mukhda. Beyond that he too got stuck. Finally the song was sent to Ashok Kumar’s sister ( wife of Shashdhar Mukherjee) Sati Devi. Within no time she composed the complete tune for Mukhda and the Antaras and gave it to Ramchandra Pal. He furhter composed the orchestra, prelude, interlude etc and then recorded the song.

This song comes 3 times in the film. First it is sung by Child actor Suresh ( doing the role of Heroine’s brother). Second time it is sung by Ashok kumar and Leela Chitnis as a duet and lastly it is a chorus song. Hard to believe,but in this chorus, the voices of Kishore Kumar and Madan Mohan are also there. Madan was the son of Raibahadur Chunilal and Kishore was the brother of Ashok Kumar. They used to play with young Madhubala in the courtyard of Bombay Talkies in their childhood.
PS-According to HFGK, this song had four parts.

This song “Chal chal re Naujawan” became very popular. So much so that when the film opened in Delhi, the audience wanted the song to be shown again and were adamant on it. So, it was played again after the film was over ,once more. It was sort of an inspirational and marching song for children. For this reason, it was included in the Hindi school books of those times. Thus, it became the First ever Hindi film song included in the school books. ( Earlier a Marathi song “aha Bharat Viraje’ from film Kunku ( Duniya na Mane in Hindi) was included in Marathi Text books.). Later on , the prayer song “aye Malik tere bande hum” from film Do Aankhen barah haath’ – 57 was included as a Prayer song in schools of Pakistan and it remained there till the 1965 Indo-Pak war, when it was removed !

The impact of the song Chal chal re Naujawan was so much that when a group of people-Sawak Vachha,S.Mukherjee, Ashok Kumar, Kavi Pradeep, Raibahadur Chunilal etc left Bombay Talkies and established their own Filmistan Studios, their first film in 1944 was titled, “Chal chal re Naujawan” !

The child star Suresh who actually sung this song was one rare case when a Male child star became a successful Hero in his adulthood. Actor Suresh may not be known much to new generation. The famous song of Rafi, “Suhani raat dhal chuki” was filmed on Suresh in the film Dulari-49. His real name was Nazim Ahmed. He was born on 13-11-1928 at Gurdaspur in Punjab. He was a very handsome person. He started his filmi career as a child artist in Nishaan e Jung-37, Gangavataran-37, Baazigar-38, Thokar-39 and then he came to Bombay. He did Meri Aankhen-39, Diwali-40, Bandhan-40 Anjaan-41,Naya Sansar-41 Anjaan-41 and Basant -42.

Later he became a leading actor. His first film as an adult Hero was Sona Chandi-46. He was one of those rare cases where a child actor became a successful adult actor. Producer director A R Kardar patronised him and like a doting father,he allowed Suresh to select his Heroines.Geeta Bali/Madhubala in Dulari, Suraiya/Sumitra devi in Deewana, Nalini Jaywant in Jaadoo, Vaijayantimala in Yasmin etc. He worked with all top heroines of this day and also with Azra, Padmini, Vijaya Chaudhari, Shashikala, Nanda etc.

In 1950 he went to Pakistan and did two films there. He returned back to Indiaas he felt that he had no future there. In the mid 1950s, he started doing B and C grade films as well as character roles. His last film as an actor was Parde ke peechhe-71. In 1970, he produced a film “Ganga aur Sooraj”. The main villain of the film Anwar Hussain got Paralysis, the film was stalled and delayed. It was finally released in 1980. He was deep in financial crisis and he died penniless on 14-7-1979 before his film was released. He acted in 55 films in all.

Recently, I was reading the Marathi Autobiography of Leela Chitnis, titled ” चंदेरी दुनियेत ” ( In the world of Silver Screen). Leela Chitnis ( 9-9-1909 to 14-7-2003 ) had a very eventful life. She was one of the few stars who had the opportunity to work in most of the famous and prestigious banners of her times like, Prabhat, Huns Pictures of Master Vinayak,Ranjit, Sagar and Bombay Talkies, in addition to her work in Calcutta, Kolhapur and Madras.

In her book, she describes in details about her days and the pattern of working in all these companies and their owners. She seems to have had a special love for Bombay Talkies. From the beginning, she was the favourite of both Himanshu Roy and Devika Rani, who gave her special treatment.She was provided a big furnished house,a car and many servants. There used to be a doctor on call to look after her health. She was considered a good Omen for the company as all her films Kangan,Bandhan and Jhoola were Jubilee films.

In her book, she writes about the making of film Bandhan in details. I am giving herewith an edited synopsis of what she wrote about film Bandhan-40.(The original,anyway, is more interesting). “just before starting work on Bandhan, Himanshu Roy was admitted in Hospital for a serious mental disorder treatment. He also suffered from Pneumonia and was kept in I.C.U. Doctors had predicted his death shortly. In view of this, the company was reorganized by its Directors and two Production teams were made, under the stewardship of S. Mukherjee and Amiya Chakravarty. Bandhan was under S. Mukherjee. It was planned to finish shooting in three months flat. Within a short period, Himanshu Roy died while in Coma.

Unfortunately, even on the day of Roy’s death, the shooting of Bandhan had to be done-under compulsion of circumstances. A scene of school building construction was being shot those days and the shooting was done on a real building construction. The work of cementing the bricks could not be stopped, so it became a must to do shooting on that day itself to maintain continuity and reality. So, while Roy’s body was being brought to the studio, the shooting of Bandhan was going on, on the site. ( what a committment in those days! )

Another matter was song rehearsals. As long as Roy was around, actors did not dare voice their dissent, but S.Mukherjee was very friendly. Both Leela and Ashok Kumar requested Mukherjee to remove them from the burden of singing, as singing was not their strength. They pleaded to take some playback singers, but Mukherjee flatly refused saying that their songs in Kangan were so popular and they must sing now also. They sang and these songs also became popular ! ”

Trivia- Ashok Kumar acted in all 3 films titled Bandhan, which came during his career-1940, 1956 and 1969. One more Bandhan was made in 1998, but Ashok kumar had retired by then.

Ramchandra Pal who coposed music for Bandhan, was a medical Graduate, but joined the film line. He worked as an actor in Manmohan-36, Deccan Queen-36 and also in Azaad-40. He sang 15 songs in 7 films. As a music director, he gave music in 20 films, composing 153 songs. After retirement he settled in Bombay and started his practice till he died.

Let us now enjoy all the parts of the song “Chal chal re Naujawan”. The trend of multi version songs ( different singers but one song) probably started with this song.

PS-With this song, “Bandhan”(1940) joins the list of movies that have all their songs covered in the blog.

Part I (Video) Singer-Suresh

Part II & III (Audio-full)

Part II (Video) Leela Chitnis, Ashok Kumar

Song-Chal Chal re naujawaan (Bandhan)(1940) Singers-Suresh/ Leela Chitnis, Ashok Kumar, Lyrics-Kavi Pradeep, MD-Ramchandra Pal
Leela Chitnis + Ashok Kumar
Chorus

———————————————
Part I
———————————————
chal chal re naujawaan
chal chal re naujawaan

kehna mera maan maan
chal re naujawan
kehna mera maan maan
chal re naujawaan
chal chal re naujawaan

door tera gaaon aur thhake paanv
door tera gaaon aur thhake paanv
phir bhi tu hardum
aage badha kadam
phir bhi tu hardum
aage badha kadam
rukna tera kaam nahin
chalna teri shaan
rukna tera kaam nahin
chalna teri shaan
chal chal re naujawaan

tu aage badhe ja
aafat se lade ja
aandhi ho ya toofaan
barsaa ho aasmaan
tu aage badhe ja
aafat se lade ja
aandhi ho ya toofaan
barsaa ho aasmaan
rukna tera kaam nahin
chalna teri shaan
chal chal re naujawaan
chal chal re naujawaan
———————————————-
Part II
———————————————–
chal chal re naujawaan
chalo sang chalen ham
chal chal re naujawaan
chalo sang chalen ham
door tera gaaon
aur thhake paaon
phir bhi raahgeer
tum kyon nahin aage
tum ho mere sang
aasha hai mere sang
tum ho mere sang
himmat hai mere sang
mere saath saath raho
tum qadam qadam
mere saath saath raho
tum qadam qadam
chalo sang chalen ham
chalo sang chalen ham

kisne
kisne kiya mujhko ishaara
door ki manzil se mujhe kisne pukaara
kisne kiya mujhko ishaara
door ki manzil se mujhe kisne pukaara
mamta ne pukaara
bandhan ne pukaara
tum hi sikha rahe ho mujhe geet ye hardam
chalo sang chalen ham
chalo sang chalen ham

kuhu kuhu bolo meri koyaliya
man mein mithhaas gholo meri koyaliya
kuhu kuhu bolo meri koyaliya
man mein mithhaas gholo meri koyaliya
kaun taan sunoge
zara ye to bata do
kaun taan sunoge
zara ye to bata do
veena ke bikhre huye taar saja do
veena ke bikhre huye taar saja do
aaj donon gaate huye jeewan sargam
aaj donon gaate huye jeewan sargam
chalo sang chalen ham
chalo sang chalen ham
chal chal re naujawaan
chalo sang chalen ham
———————————————————
Part III
———————————————————
chal chal re naujawaan
chal chal re naujawaan
kehna mera maan maan
chal re naujawaan
chal chal re naujawaan

door tera gaaon aur thake paanv
phir bhi tu hardum aage badha kadam
rukna tera kaam nahin
chalna teri shaan
chal chal re naujawan
chal chal re naujawaan

tu aage badhe ja
aafat se lade ja
aandhi ho ya toofaan
phatka ho aasmaan
rukna tera kaam nahin
chalna teri shaan
chal chal re naujawaan
chal chal re naujawaan
——————————————-
Part IV
——————————————-
ye hai zindagi ka kaarwaan
aaj yahaan aur kal wahaan
phir kyon tera dil hua adheer
phir kyon tere nainon mein neer eer
phir kyon tera dil hua adheer
phir kyon tere nainon mein neer
phir kyon tere praanon mein peer
tu na suna man ki baat
kaun sunega
kaun sunega
band kar zabaan
band kar zabaan
rukna tera kaam nahin
chalna teri shaan
chal chal re naujawaan
chal chal re naujawaan

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.

“Chaalis Karod”(1945) was directed by Nanabhai Bhatt for Chandra Art Productions, Bombay. This by now obscure movie had Nirmala, Arun, Agha, Shantarin, Gope, Gulab, S Nazeer, Sunetra, Murli, M Elizer, Vijay, Madhurika, Yaakoob etc in it.

There were nine songs in this “social” movie which are extremely rare.

Here is the first song from “Chaalis Karod”(1945) to appear in the blog. HFGK mentions this song as sung by Zohrabai Ambalewaali, Khan Mastana and chorus. Pt Indra Chandra is the lyricist. Music is composed by Pt Govindram.

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.

The audio is not very clear. I feel I have got most words in the lyrics right but there may still be errors. I request our readers with keener ears to fill in the blanks/ suggest corrections in the lyrics as applicable.

With this song, “Chaalis Karod”(1945) makes its debut in the blog.

Jaago jaago saavdhaan ho(Chaalis Karod)(1945) Singers-Zohrabai Ambalewaale, Khan Mastana, Lyrics-Pt Indra Chandra, MD- Pt Govindram

Lyrics

jaago
jaago
jaago
jaago

jaago jaago saavdhaan ho
navyug hamen banaana hai
jaago jaago saavdhaan ho
navyug hamen banaana hai
?? bichhde bhaayion ko
phir se gale milaana hai
?? bichhde bhaayion ko
phir se gale milaana hai
jaago jaago saavdhaan ho
navyug hamen banaana hai

kahin nahin hai apna basera
chaaron oar hai chhaaya andhera
kahin nahin hai apna basera
chaaron oar hai chhaaya andhera
bachche boodhe nar aur naari
kahen pukaar pukaar
kahen pukaar pukaar
bachche boodhe nar aur naari
kahen pukaar pukaar
kahen pukaar pukaar
chhodo sab aapas ke jhagde
band karo taqraar
band karo taqraar
chhodo sab aapas ke jhagde
band karo taqraar
band karo taqraar
ladte ladte sadiyaan guzri
ab to waapas aana hai
ladte ladte sadiyaan guzri
ab to waapas aana hai
jaago jaago saavdhaan ho
manzil hamen banaana hai
jaago jaago saavdhaan ho
manzil hamen banaana hai

ek baap ke sab hain bete
mazhab juda juda hai
ek zameen aur ek aasmaan
sabka ek khuda hai
sabka ek khuda hai
ek zameen aur ek aasmaan
sabka ek khuda hai
sabka ek khuda hai
guzri baaten bhool jaao
ab naya zamaana aana hain
guzri baaten bhool jaao
ab naya zamaana aana hai
jaago jaago saavdhaan ho
manzil hamen banaana hai
jaago jaago saavdhaan ho
manzil hamen banaana hai
jaago o o
jaago o o
jaago o
jaago

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.

“Matwaala”(1958) was directed by M A Thirumugam for Saraswati Pictures. The movie had Ranjan, Baliah, Anjali Devi, E. V. Saroja, P. S. Verappan, M. K. Radha etc in it.

This obscure movie had seven obscure songs in it.

Here is the first song from “Matwaala”(1958) to appear in the blog. This song is sung by Rafi. Hargovind is the lyricist. Music is composed by R Sudarshanam.

Only the audio of this song is avaialable. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. The word “Matwaala” figures a few times in the song and that makes this song the theme cum title song of the movie.

With this song, “Matwaala”(1958) makes its debut in the blog.

Song-Sach ki hogi jeet sadaa (Matwaala)(1958) Singer-Rafi, Lyrics-Hargovind, MD-R Sudarshanam

Lyrics

sach ki hogi jeet sada
aur jhooth ki hogi haar
kaaghaj ke phulo pe kaise
aa sakti hai bahaar

jis dil mein lagan manzil ki ho
jis dil mein lagan manzil ki ho
wo manzil ko pa hi lega
raste ke har kaante ko wo
phool bana hi lega aa aa
phool bana hi lega

baadal garje bijli kadke
toofaan shor machaaye
manzil ka matwaala raahi
aage badhta jaaye
hanste hanste har mushqil
aasaan bana hi lega aa aa
aasaan bana hi lega
jis dil mein lagan manzil ki ho
wo manzil ko pa hi lega
raste ke har kaante ko wo
phool bana hi lega

door ho kinaara bhale door ho
kitna wo thhaka haara majboor ho
de de jaan par na dare matwaala
de de jaan par na dare matwaala
ismein hi jeet maane jeet dilwaala
jis dil mein lagan manzil ki ho
wo manzil ko pa hi lega
raste ke har kaante ko wo
phool bana hi lega aa aa
phool bana hi lega

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.

Erich Segal’s immortal novel “Love Story” has inspired quite a few movies. The first such movie was a Hollywood movie of the same name that was released in 1970, a few months after this novel was released on 14 february 1970.

Hindi movies have also joined the bandwagon. “Ankhiyon ke Jharokhon se” (1978) was based on “Love Story”. A Rajshree Productions release, this movie was produced by Tarachand Barjatya and directed by Hiren Nag. Vrajendra Gaur as the writer had adapted this story, Indianising the movie as much as he could.

Putting songs is one of the obvious ways of Indianising a foreign story. And it must be said that the songs of this movie served to create just the right ambiance for the story to move.

Like the novel, the end is revealed in the very beginning of the movie. If “Ankhiyon Ke Jharokhon Se” (1978) still did well at the bo office then one of the major reasons for that were its songs that were superbly created and integrated with the story.

The fact that this story was adapted from “Love Story” the novel was not known to me when I bunked my afternoon practical class to watch this movie in matinee show one evening in 1978. I did not like the movie much because of its tragic end (revealed right at the beginning) and also because of the story line that I felt were quite contrived and artificial. The reason for that was of course the foreign nature of the source material, as one can see.

If people still lapped up the movie, it was because of its music. What superbly created songs by Ravindra Jain ! He used Hemlata as his femmale playback singer and I found her voice quite high quality honey like in these songs. Surprisingly, no other music director would use her voice and her career faded just as Ravindra Jain’s did.

Coming to “Ankhiyon Ke Jharokhon Se”(1978), this movie had six songs in it. Three of them have been discussed in the past. Here is the fourth song from the movie to appear in the blog. This song is a collection of “dohas” that we used to study in our Hindi textbooks those days. These “dohas” of poets like Rahim, Kabeer, Tulsidas etc contain invaluable lessons of life, delivered tersely and succinctly.

I am quite surprised that these “dohas” did not find places in too many movie songs. This song was one of the very few such songs.

Students of later generations do not get exposed to such poems I feel. As a result many of the words in these poems have ended up becoming alien to them. Lyrics of this song is available online and each one copies from each other, but the lyrics are noted down by later generation music enthusiasts who are not familiar with these poms as as a result the lyrics of this song available online contain serious inaccuracies.

The song is sung by Hemalata and Jaspal Singh. The song is picturised on Ranjeeta and Sachin who are shown contesting in a “poetry contest” in their college.

Ravindra Jain is the lyricist as well as the music director.

Here is this nice collection of Hindi “Dohas” in this song.

I have not been able to get one word right (may be more). I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable in the lyrics.

Song-Bade badaai na karen bade na bolen bol (Ankhiyon Ke Jharokhon Se)(1978) Hemlata, Jaspal Singh, Ravindra Jain Ravindra Jain

bade badaayi na karen
bade na bolen bol
bade badaayi na karen
bade na bolen bol
rahiman heera kab kahe
laakh taka mero mol
rahima
laakh taka mero mol

jo baden ko laghu kahen
nahin rahim ghati jaayen
jo baden ko laghu kahen
nahin rahim ghati jaayen
girdhar murlidhar kahe
kachhu dukh maanat naahin
rahima
kachhu dukh maanat naahin

gyaani se kahiye kaha
kahat kabir lajaaye
gyaani se kahiye kaha
kahat kabir lajaaye
andhe aage naachte
kala akaarath jaaye
kabira
kala akaarath jaaye

aisi baani boliye
mann ka aapa khoye
aisi baani boliye
mann ka aapa khoye
auran ko sheetal kare
aaphu sheetal hoye
kabira
aap hu sheetal hoye

aawat hi harse nahin
nainan nahin saneh
aawat hi harse nahin
nainan nahin saneh
tulsi kahaa na jaayiye
chaahe kanchan barse meh
re tulsi
kanchan barse meh

bura jo dekhan main chala
bura na milya koye
bura jo dekhan main chala
bura na milya koye
jo dil khoja aapna
mujhse bura na koye
kabeera
mujhse bura na koye

bigdi baat bane nahin
laakh karo kin koy
bigdi baat bane nahin
laakh karo kin koy
rahiman bigde doodh ko
mathe na maakhan hoy
rahima
mathe na maakhan hoy

rahiman dhaaga prem ka
mat todo chatkaay
rahiman dhaaga prem ka
mat todo chatkaay
toote se phir na jude
jude gaanthh pad jaaye
rahima
jude gaanthh pad jaaye

This article is written by Peevesie’s mom, 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.

To keep up our New Year resolution of one movie getting Yippeeeed per day I found that the 1982 Manmohan Desai produced & directed “Desh Premee” falls short by a song to achieve YIPPEEHOOD.

The movie had six songs (referred myswar.com for this information) of which the blog has 5 songs. The songs were penned by Anand Bakshi and Laxmi -Pyare were the music directors. The movie had one song by Mohd. Rafi- his last in a Manmohan Desai movie (that is the left over song). Manmohan Desai with Laxmi-Pyare and Mohd. Rafi had created a magical era of Bollywood music. This movie had Shammi Kapoor in a supporting role with the Bengali superstar of that era- Uttam Kumar; but both didn’t have any song to lip-sync. The movie payed tribute to Mehmood’s Hydrabadi- character from “Gumnaam” and we had Amitabh Bachchan dressing up; as Mehmood had done in Gumnaam and singing “Khatoon Ki Khidmat Me” in a Hyderabadi lingo in Kishore Kumar’s voice. Laxmikant’s voice was used for both Prem Chopra and Amitabh in the song “Gore Nahin Hum Kaale Sahi”; the only time he sang in movies (credits of the movie shows his name as Laxmikant Karpe.) This was one movie where Parveen Babi didn’t sing a song. Though it was an “Average” movie everywhere else it was a “Golden Jubilee” at Hyderabad’s Ramakrishna (I remember that as the movie hall where I saw Sholay for the first time in my life). The film paid tribute to Mohd. Rafi and Uttam Kumar both of whom died two years before the movie released. It’s censor certificate has the date 6-3-1982 and it was released on 23-04-1982.

So here is the last song. It is filmed in a Basti- Bharat Nagar; trust Manji (thats how Amitabh refers to Manmohan Desai in his interviews) to make things very clear to the public. It is shown to be a refugee camp of sorts and has Premnath playing a Nair- South Indian, Shammi Kapoor a Sardar- North Indian of course, Uttam Kumar a Bengali- Indian from east, and Parikshit Sahni representing western India and a muslim for added effect; things cannot be more explicit than this- right? The song preaches to love our fellow Indians and respect the ideals of the nation.
Foot Note: just saw the title sequence of the movie and I recommend it for the thought behind how Amitabh’s blood is shown dripping from his leg and “Inquilaab Zindabad” is formed. Hatsoff to MANJI.

Song-Nafrat ki laathhi todo laalach ka khanzar phenko (Deshpremi)(1982) Singer-Rafi, Lyrics-Anand Bakshi, MD-Lamikant Pyarelal
Chorus

nafrat ki laathi todo
laalach kaa khanjar phenko
zid ke peechhe mat daudo
tum prem ke panchhi ho
desh premiyon
desh premiyon
aapas mein prem karo desh premiyon
mere desh premiyon
aapas mein prem karo desh premiyon
nafrat ki laathi todo
laalach kaa khanjar phenko
zid ke peechhe mat daudo
tum prem ke panchhi ho
desh premiyon
aapas mein prem karo desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon

meethe paani mein
ye zahar na tum gholo o o
jab bhi
kuchh bolo o
ye soch ke tum bolo
bhar jaataa hai gahraa ghaav
jo bantaa hai goli se
par vo ghaav nahin bhartaa
jo banaa ho kadvi boli se
do meethe bol kaho o
mere desh premiyon
aapas mein prem karo
desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon
aa aa aa aa aa
aa aa aa aa aa

dekho
ye dharti ee ee
ham sab ki maataa hai ae ae
socho o
aapas mein aen
kyaa apnaa naataa hai
ham aapas mein lad baithhe
to desh ko kaun sambhaalegaa
koi baahar waalaa
apne ghar se
hamen nikaalegaa
deewaanon hosh karo o o
mere desh premiyon
aapas mein prem karo
desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon

todo
deevaaren
ye chaar dishaaon ki ee ee
roko
mat raahen
in mast hawaaon ki
poorab pashchim uttar dakkhan waalon
meraa matlab hai
is maati se poochho
kyaa bhaashhaa
kyaa iskaa mazhab hai
phir mujhse baat karo o o
mere desh premiyon
aapas mein prem karo
desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon
desh premiyon
aapas mein prem karo
desh premiyon
mere desh premiyon
aapas mein prem karo
desh premiyon

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 (23 january 2017) is the 120th birth anniversary of Netaji Subhash Chandra Bose (Dob-23 january 1897).

Lots and lots have been written and said about Netaji Subhash Chandra Bose over the decades. We in this blog have also written about him. In fact, I too have written about him in this blog durng his earlier birth anniversaries.

In one of these articles, I had mentioned the fact that British rulers had established a system of rulers who would think like them and act like them.

Though India got political independence from the British in 1947, India continued to be ruled by Brisish trained (brainwashed) Indian rulers in the same way in which British used to rule. Some cosmetic changes were made, viz. Indian Civil Service (ICS) was renamed as Indian Administrative Service (IAS) but not much changed. The policing system did not even change. The same IPC (Indian Penal code) established in 1860 is still mindlessly followed in India. British themselves do not follow anything like IPC in their own country.

British wrote history as suited them, which meant that true facts were replaced by fiction in order to show them in favourable light. The act of killing Indians by starving them, which should have received the same infamy as the treatment of Jews by Nazis, was euphemistically described as “the great famine” in the history books. Brainwashed Indians parrot the same facts as written by the British.

We are told that the British left India because of the movement of Mahatma Gandhi and his followers and that those who did not follow Mahatma Gandhi somehow did not contribute to Indian Independence movement.

This kind of selective amnesia to suit the ruling class of a nation is not unique to Indians. The country (countries) that got independence with India also write their own history where facts are replaced by fiction. Bangladeshi history books mention that the valiant Mukti bahini fighters defeated Pakistani military and won a famous victory. The fact that Indian military defeated Pakistan army finds no mention in Bangladeshi history. Likewise the history that is taught in Pakistan mentions that they have won every war against India but somehow their politicians lost the gains of their war victories.

If non violent methods won India their independence then what are the explanation for the mass scale violence that broke out during partition ? This and many other facts cannot be explained by the history that we have been taught just as the history books of our neighbours cannot explain many well known facts that happened to them.

Subhash Chandra Bose is not a mainstream figure as far as Indian ruling elite are concerned. Still, public fascination with Netaji Subhash Chandra Bose is such that his memory cannot be wished away. We do have colleges, airports, stadiums etc names after him. We have had movies produced on his life in many Indian languages.

The true and full facts about Netaji Subhash Chandra Bose have been kept out of public purview for some reasons, but all that cannot obscure the fact that he was one of the leading freedom fighters of India. His contribution in seeing the back of the British rulers may be greater than what we have been taught in our history books.

In my growing up years, most Indian households had photographs of national leaders in their walls. Even though Netaji Subhash Chandra Bose was not a government projected hero, but public held him in the highest esteem and his photograph formed part of every Indian household. Some five decades or so later, I would say that Netaji is still held in the same high esteem by public as he was all these decades ago.

“Netaji Subhash Chandra Bose”(1966) was one of several Hindi movies that deals with his life. This movie was directed by Hemen Gupta for Adarshlik, Bombay. This movie had Abhi Bahattacharya, Jaimala, Bipin Gupta, Ulhas, Maxworth, Padma Devi, Niranjan Sharma, N R Madholkar, Leela Mishra, Rajeshwar Dayal, Sudarshan Sethi, Moni Cahtterji, Kant Kumar, Paresh Kumar, Munshi Niyamatullah, Kishan Raj, Mohan Kaul, Jaisingh, Sawant, Kamal Kapoor, Moore, Volga, Supariwala, Panna kapoor, Harry, Kelly etc in it.

This movie had five songs in it. Two of these songs have been discussed during the past birth anniversaries of Netaji Subhash Chandra Bose. Here is the third song from the movie to appear in the blog. This song is sung by Hemant Kumar, Sabita Bannerji and chorus. Kavi Pradeep is the lyricist. Music is composed by Salil Chaudhary.

Lyrics of this song were sent to me byAvinash Scrapwala.

Song-Jhankaaro jhankaaro jhankaaro (Netaji Subhash Chandra Bose)(1966) Singers-Hemant Kumar, Sabita Bannerji, Lyrics-Pradeep, MD-Salil Chaudhary
All Chorus
Male chorus,
Female chorus

Lyrics(Provided by Avinash Scrapwala)
——————————————————–
Jhankaaro jhankaaro jhananana
Jhan jhan
Jhankaaro agniveena
Aazaad hoke bandhuon jiyo
Ye jeena kya jeena
Ye jeena aa
Kya jeena

Jhananana jhan jhan
Jhankaaro agniveena
Aazaad hoke bandhuon jiyo
Ye jeena
Kya jeena
Ye jeena aa
Kya jeena aa

Baj gaya bigul deewaanon o
Chalte chalo
Baj gaya bigul deewaanon o
Chalte chalo
Manzil ki taraf mastaano o o
Chalte chalo
Manzil ki taraf mastaano o o
Chalte chalo
Aazaadi hai apna haq
Jab tak naa mile tab tak
Aazaadi ke parwaano o chalte chalo o
Aazaadi hai apna haq
Aa
Jab tak naa mile tab tak
Aa aa
Aazaadi ke parwaanon o chalte chalo o
Aa aa aa

Jhankaaro jhankaaro jhananana
Jhan jhan
Jhankaaro agniveena
Aazaad hoke bandhuon jiyo
Ye jeena
Kya jeena
Ye jeena aa
Kya jeena aa

O sir katwaanewaalon aage badho
O sar katwaanewaalon aage badho
Phaansi pe lataknewaalon aage badho
Phaansi pe lataknewaalon aage badho
Bandhan mein hain apni Maa
Zanjeer mein apni Maa
O khoon bahaanewaalon
aage badho
Bandhan mein hain apni Maa
Aa
Zanjeer mein apni Maa
Aa aa
O khoon bahaanewaalon aage badho
Aa aa aa

Jhankaaro jhankaaro jhananana
Jhan jhan
Jhankaaro agniveena
Aazaad hoke bandhuon jiyo
Ye jeena
kya jeena
Ye jeena kya jeena aa

Tum ho sheron ki toli ee
Tum naa daro
Tum ho sheron ki toil ee
Tum naa daro
Chaahe laathi chale ya goli
Tum naa daro
Chaahe laathi chale ya goli
Tum naa daro
Shamsheer ho desh ki tum
Taqdeer ho desh ki tum
Bolo inqalaab ki boli ee
Tum naa daro
Shamsheer ho desh ki tum
Aa
Taqdeer ho desh ki tum
Aa aa
Bolo inqalaab ki boli
Tum naa daro
Aa aa aa

Jhankaaro jhankaaro jhananana
Jhan jhan
Jhankaaro agniveena
Aazaad hoke bandhuon jiyo
Ye jeena
Kya jeena
Ye jeena aa
Kya jeena aa
——————————————————–
Devngri script lyrics (Provided by Avinash Scrapwala)
——————————————————–

झंकारो झंकारो झननन
झन झन
झंकारो अग्निवीणा
आज़ाद होके बंधुओ जियो
ये जीना
क्या जीना
ये जीना आ
क्या जीना
झंकारो झंकारो झननन
झन झन
झंकारो अग्निवीणा
आज़ाद होके बंधुओ जियो
ये जीना क्या जीना
ये जीना आ
क्या जीना आ

बज गया बिगुल दीवानों ओ
चलते चलो
बज गया बिगुल दीवानों ओ
चलते चलो
मंजिल की तरफ मस्तानों चलते चलो ओ ओ
मंजिल की तरफ मस्तानों चलते चलो ओ ओ
आज़ादी हैं अपना हक
जब तक ना मिले तब तक
आज़ादी के परवानों चलते चलो ओ
आज़ादी हैं अपना हक
आ
जब तक ना मिले तब तक
आ आ
आज़ादी के परवानों चलते चलो ओ
आ आ आ
झंकारो झंकारो झननन
झन झन
झंकारो अग्निवीणा
आज़ाद होके बंधुओ जियो
ये जीना
क्या जीना
ये जीना आ
क्या जीना आ

ओ सिर कटवानेवालो आगे बढ़ो
ओ सिर कटवानेवालो आगे बढ़ो
फांसी पे लटकनेवालों आगे बढ़ो
फांसी पे लटकनेवालों आगे बढ़ो
बंधन में हैं अपनी माँ
ज़ंजीर में अपनी माँ
ओ खून बहानेवालों आगे बढ़ो
बंधन में हैं अपनी माँ
आ
ज़ंजीर में अपनी माँ
आ आ
ओ खून बहानेवालों आगे बढ़ो
आ आ आ
झंकारो झंकारो झननन
झन झन
झंकारो अग्निवीणा
आज़ाद होके बंधुओ जियो
ये जीना
क्या जीना
ये जीना आ
क्या जीना आ

तुम हो शेरों की टोली ई
तुम ना डरो
तुम हो शेरों की टोली ई
तुम ना डरो
चाहे लाठी चले या गोली
तुम ना डरो
चाहे लाठी चले या गोली
तुम ना डरो
शमशीर हो देश की तुम
तकदीर हो देश की तुम
बोलो इंक़लाब की बोली ई
तुम ना डरो
शमशीर हो देश की तुम
आ
तकदीर हो देश की तुम
आ आ
बोलो इंक़लाब की बोली
तुम ना डरो
आ आ आ
झंकारो झंकारो झननन
झन झन
झंकारो अग्निवीणा
आज़ाद होके बंधुओ जियो
ये जीना
क्या जीना
ये जीना आ
क्या जीना आ

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.

“Subah Shaam”(1944) was directed by P C Barua for Indrapuri Studio, Calcutta. This by now forgotten movie had Jamuna, Poornima, Indu Mukherji, Pramathesh Barua, Devbala, Ramesh Sinha, Munir, Tulsi Chakravarti, Ravikant, Belarani, Ashalata etc in it.

This move had seven songs in it according to HFGK. The seventh song is described as having two parts. I feel that they should be treated as two separate songs. That way, this movie can be said to have eight songs in it and they are all obscure songs.

Here is the first song from “Subah Shaam”(1944) to appear in the blog. This song is sung by Anima Sengupta and an unknown male voice. Faiyyaz Hashmi is the lyricist. Music is composed by Subal Dasgupta.

Only the audio of this ong is available. I request our knowledgeable readers to throw light on the movie as well as on the identity of the male voice and picturiastion of the song.

With this rare song, “Subah Shaam”(1944) makes its debut in the blog.

Song-Bhatke huye musaafiron aage badhe chalo (Subah Shaam)(1944) Singers-Anima Sengupta, Male voice, Lyrics-Faiyyaz Hashmi, MD-Subal Dasgupta
Both

Lyrics

bhatke huye musaafiron
aage badhe chalo
aage badhe chalo
bhatke huye musaafiron
aage badhe chalo
aage badhe chalo

bhatke huye musaafiron
aage badhe chalo
aage badhe chalo
bhatke huye musaafiron
aage badhe chalo
aage badhe chalo
parbat ke peechhe ek niraala jahaan hai
parbat ke peechhe ek niraala jahaan hai
dharti nayi hai
uske naya aasmaan hai
dharti nayi hai
uske naya aasmaan hai
peechhe na ye kadam hato
aage badhe chalo
peechhe na ye kadam hato
aage badhe chalo
bhatke huye musaafiron
aage badhe chalo
aage badhe chalo

aapas mein wahaan pyaar hai
taqraar nahin hai
haathhon mein wahaan phool hai
talwaar nahin hai
aapas mein wahaan pyaar hai
taqraar nahin hai
haathhon mein wahaan phool hai
talwaar nahin hai
phoolon se khelna hai to
aage badhe chalo
phoolon se khelna hai to
aage badhe chalo
bhatke huye musaafiron
aage badhe chalo
aage badhe chalo

insaan ka dushman wahaan insaan nahin hai
insaan ka dushman wahaan insaan nahin hai
hansta hua gulshan hai
wah shamshaan nahin hai
hansta hua gulshan hai
wah shamshaan nahin hai
sab bandhanon ko tod do
sab bandhanon ko tod do
aage badhe chalo
aage badhe chalo
bhatke huye musaafiron
aage badhe chalo
aage badhe chalo