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.
I can imagine in my mind’s eye. Atul ji getting interviewed on some online forum. The interviewer asks about what he does. Atul ji tells him that he is managing this Atul Song A Day blog. The interviewer asks Atul ji to describe this blog, what prompted him to set this up and tell about its specialties. Atul ji starts telling about the blog, its origins and its features. Near the end of the interview, the interviewer asks so tell what is new on the blog today. Atul ji raises one hand to cover a yawn, then remarks – “nothing much, the usual stuff, we just clocked another 100 songs today.” :D :D
Pardon the xtra-lite intro. I am sure the day we hit a century milestone, Atul ji is anything but yawning. The day is usually too busy with specific target to be reached, songs to be posted, tables to be updated, and of course, waiting for the century guest post to come, from someone who is usually not on time. ;)
Welcome, it the season to be ten thousand three hundred today. Chugging along, regular like the morning sun and the daily newspaper, every day. Well, yes, almost ;) Sometimes I just wonder, just wonder at the intrinsic influence of this phenomena. Scores of people from various corners of this planet, working together. It is simply marvelous.
The collection is getting richer and more varied. With the effort of such wonderful team, this repository is now taking shape of something unique, something that does not exist anywhere on this planet. The team is scouring and scouting for the known and the unknown, for the popular and obscure, for the famous hits and one of a kind wonders. Such a collection with such an astounding depth of information and breadth of selection, possibly does not exist anywhere else.
To put a context to the above, let me narrate an experience from just yesterday. In a tele-conversation, Bakhshish ji informed me about a program at the India International Center in Delhi. Pankaj Raag ji, famous for his seminal work ‘Dhunon Ki Yatra’, was giving a presentation on ‘Lesser Known Music Directors of Hindi Films’. We attended that program together. Pankaj Raag has been the director of NFAI at Pune, in one of his past assignments. Plus he has a deep passion for this music. The program was interesting. Later, when Bakhshish ji and I were discussing, I expressed that the directors that were discussed by Pankaj ji in the program, were not all that ‘lesser known’. Rather I could reel out names of even more obscure composers whose music is simply astounding.
The presenter touched upon names like Lachhiram, Dada Chandekar, Robin Bannerji, Daan Singh and Lala Asar Sattar. During the program, and after it, I was thinking – these are not lesser known. These are people who have a significance attached to their names, and hence are rather well known. To talk about ‘lesser known’ music directors, we will have to walk the side lanes where one finds names like BS Thakur, BN Bali, Hoogan, Hari Prasanna Das, Vedpal, Jagdish Khanna, Anupam Ghatak etc. I felt I could reel out more obscure names than the ones being discussed. And then I realized – I am talking from my experience of working with this blog. Most others in the audience would be quite satisfied with getting to know about the names discussed, as ‘Lesser Known’. Not me. I would categorize them as familiar, and then go on to list many more that would be real ‘lesser known’. That is the familiarity and experience I have on account of working with the data and the content of this blog. And that – is getting to be a wonder, day by day.
So, congratulations, to all team members, and to dear readers and friends. Another milestone passed today. And we are going to go “. . Jahaan Tak Ghataa Chale” .
The special song for this special post turns out be really a special specialty, that was waiting for this special post to come about. Two singing stalwarts also celebrate century milestones today. Quite interestingly coincidental that it comes about this way. Two singers, almost contemporaries. The younger of the two coming on the scene when the elder was an established name. The younger adored and idolized the elder as his idol and guru. Quickly, in a matter of three or four years, the younger one overtook his idol, in terms of the singing proficiency, in terms of popular appeal, in the eyes of the producers and distributors as the more profitable option. All of this happened, probably because of the illustrious personality and human being the younger one turned out to be. The stature of the younger one so vastly overshadowed the elder, that there came a time when the elder is on the screen, performing a song that has been playback sung by the younger.
I am sure many in the reader audience would have by now guessed the identities of this pair of artists. Yes, I am talking about GM Durrani and Mohammed Rafi. GM Durrani, who ruled the Hindi film music as a singer in the 1940s – was in fact instrumental in getting some significant breaks for his then protégé, young Rafi. Before he came into films, GM Durrani was a successful singer on radio and in non-film arena. His first outing as a singer in films is in Sohrab Modi’s film ‘Saeed e Hawas’ in 1936. He sang the ghazal “Maston Ka Aen Farz Hai Peena Sharaab Ka”, under the baton of Buniyaad Hussain Khan. He had performed it on screen also. The film, and its music, did not make any impressions. Then, as per records, the next we hear of GM Durrani in a film is when Naushad brought him into his 1941 film ‘Darshan’. This was followed by ‘Nai Duniya’ and ‘Sharda’ in 1942, both under the music direction of Naushad. And then in 1943, Shyam Sunder called for him for his film ‘Nai Kahaani’ and got him to sing “Neend Hamaari Khwaab Tumhaare, Kitne Meethe Kitne Pyaare” . The success of this song made GM Durrani the much sought after singer, and his popularity rose.
Rafi Sb started his career in films in 1944, albeit not in Bombay. His debut was with the Punjabi film ‘Gul Baloch’ in 1944 in which music director Shyam Sunder got him to sing a duet with Zeenat Begum. The attraction of this voice reached Bombay before Rafi Sb himself. He sang his first song in Hindi films, under the music direction of Shyam Sunder, in the film ‘Village Girl’ (1944). The song is a duet – “Aji Dil Ho Qaaboo Mein To Dildaar Ki Aisi Taisi” . And his debut companion – GM Durrani. In fact, it was GM Durrani who insisted that the young Rafi should join him in this song, which was originally conceptualized as a solo to be sung by GM Durrani himself. And in the next year, for the film ‘Anmol Ghadi’, he convinced Naushad Sb to have Rafi sing in his place, the now famous solo – “Tera Khilona Toota Baalak”.
The range of voice of the protégé Rafi turned out to be immense. GM Durrani could not sing higher notes. With the coming of Rafi on the Hindi film music scene, this need was addressed. By the time the 1950s got going, the crop of new singers, namely Rafi Sb, Mukesh, Talat and Manna Dey started to make significant inroads into the arena of the erstwhile established singers. And the demand for GM Durrani’s voice quickly got eclipsed.
The significant thing about this song is the singer combination. As per the records, the two have sung only three songs together. The first one is the song from ‘Village Girl’ mentioned above. The second is the duet from ‘Hum Sab Chor Hai’ in 1956, under the music direction of OP Nayyar – “Hamko Hanste Dekh Zamaana Jalta Hai” . And the third is this song under discussion.
Both Rafi Sb and GM Durrani are completing century milestones today. For the latter, it is his hundredth song on the blog, whereas Rafi Sb completes 2300 songs. And for the occasion, we present this eminently important third and the final duet of the two singers together. The film is ‘Anand Bhavan’ from 1953. Music is composed by Vasant Desai and the lyrics are from the pen of Raja Mehdi Ali Khan. The song is about two friends discussing the immensely important topic of selecting a bride. It appears that a proposal has come for one of them. The song starts with the speculation of what kind of a person this proposed alliance will bring. It moves on to the expression of what is the type of life companion required. The song progresses through a series of hilarious exchanges between the two friends, on this topic.
There is one more important aspect of this song. It is recorded on two sides of a 78 rpm record, making this a song of a little more than 6 minutes. That should make this song one if its kind. An eminent song for an occasion that is so eminent, and so very unique from more than one considerations.
Listen and enjoy.
Song-Bharat na sahi England hi sahi usey dhoondh hi lenge kahin na kahin(Anand Bhawan)(1953) Singers-Rafi, G M Durrani, Lyrics-Raja Mehdi Ali Khan, MD-Vasant Desai
Unknown voice
Rafi + G M Durrani
Lyrics
wo jo aa rahi hai. .ai ghar mein
naa jaane wo kaisi hai ae ae
kya wo hai ikdum ganvariyaa aa aa aa aa aa
ya wo apne jaisi hai
khair
bhaarat na sahi ee ee
england hi sahi ee ee ee ee
ho usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin
bhaarat chhod ke tum saahab ji
england mein kyun jaate ho
is kitaab mein sab kuchh hai
kaahe ko shor machaate ho
aji safaa ek naa sahi ee
safaa do hi sahi ee
o usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin
aisi biwi ek aankh bhi hamko nahin bhaaye
harmonium aur piano chhod ke.. ..ae..ae ae
jo mandir mein gaaye
raama
jo mandir mein gaaye
pati ko bhool jaaye
aur bhagwaan ko sataaye
hamko to fashion–able aur
chanchal naari bhaaye
mandir na sahi ee ee
cenima hi sahi ee ee ee ee
ho usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin
waah pati ki pooja karne waali
hindi naari sabse pyaari
hai teri
shauhar ki
khushaamad karne waali
lugaai
tu kabhi hamen naa bhaai
hum to maange aisi biwi
hamen jo baandhe tie
hum baahar jaayen to boley
ta ta
ta ta
bye bye
saahab ji
aisi joru kahaan milegi
saahab ji
aisi joru kahaan milegi
arre
juhu na sahi.. ..ee..ee
chowpatty sahi.. ..ee..ee..ee..ee
o usey dhoondh hi lenge kahin na kahin
usey dhoondh hi lenge kahin na kahin
achhaa ji
to miss laajwanti ke darshan kijiye aa..aa..aap
arrr rrrr
miss laajwanti teri laaj ne
kar diya apna takhtaa
eeeshq ki estudent bhaaga
baandh ke dil ka bastaa
sharmilee aurat duniya mein
ek museebat hai
kahaan chhupi hai wo o o o o
kahaan chhupi hai wo
mere dil ko jiski zaroorat hai
aji kholi naa sahi ee
banglaa hi sahi ee
he he he
arre waah beta
oye usey dhoondh hi lenge kahin na kahin
o usey dhoondh hi lenge kahin na kahin
achhaa ji ab dekhiye
ye nakhron bhari bandook
wo to thi miss laajwanti
(aaye aaye haaye)
aur ye hai miss behayaa
(o ho ho)
jo inke palle padaa
wo to kaam se gayaa
o baandho boriya bistar
o baandho boriya bistar
arrr rrrr
aji kyun
kyun
kyun
arre munna
UP na sahi ee ee
punjab sahi ee ee ee ee ee
o hum dono chalenge kahin na kahin
o hum dono chalenge kahin na kahin
mil gayi mujhko
mil gayi apne sapnon ki rani
aa haa
mil gayi re
mil gayi re
tadap rahi thi jiske liye
meri nazren deewaani
aa haa
mil gayi re
mil gayi re
kahaan ho tum
kis des ki ho
zaraa apna pataa likhwaa do
shaadi huyi hai yaa nahin
haaye haaye
bas
haaye
itna hamen bataa do
saahab ji
ye jahaan miley
baahon ke haar pehna do
aji saahab ji
ye jahaan miley
baahon ke haar pehna do
hunh
arre chaacha meri bhi sun le
haan bhatija sunaao
bhaarat na sahi
england hi sahi.. ..ee..ee
isey dhoondh hi lenge kahin na kahin
o isey dhoondh hi lenge kahin na kahin
o isey dhoondh hi lenge kahin na kahin
———————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————–
वो जो आ रही है॰॰ ॰॰ऐ घर में
ना जाने वो कैसी है ऐ ऐ
क्या वो है इकदम गवारिया॰॰ ॰॰आ॰॰आ
या वो अपने जैसी है
खैर
भारत न सही॰॰ ॰॰ई॰॰ई
इंग्लैंड ही सही॰॰ ॰॰ई॰॰ई
हो उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं
भारत छोड़ के तुम साहब जी
इंग्लैंड में क्यूँ जाते हो
इस किताब में सब कुछ है
काहे को शोर मचाते हो
अजी सफा एक ना सही
सफा दो ही सही
ओ उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं
ऐसी बीवी एक आँख भी हमको नहीं भाए
हारमोनिउम और पियानो छोड़ के॰॰ ॰॰ए॰॰ए
जो मंदिर में जाये
रामा
जो मंदिर में जाये
पति को भूल जाये
और भगवान को सताये
हमको तो फ़ैशन—एबल और
चंचल नारी भाए
मंदिर न सही
सेनीमा ही सही
हो उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं
वाह पति की पूजा करने वाली
हिन्दी नारी सबसे प्यारी
है तेरी
शौहर की
खुशामद करने वाली
लुगाई
तू हमें कभी ना भाई
हम तो मांगे ऐसी बीवी
हमें जो बांधे टाइ
हम बाहर जाएँ तो बोले
टा टा
टा टा
बाइ बाइ
साहब जी
ऐसी जोरू कहाँ मिलेगी
साहब जी
ऐसी जोरू कहाँ मिलेगी
अरे
जुहू ना सही॰॰ ॰॰ई॰॰ई
चौपाटी सही॰॰ ॰॰ई॰॰ई॰॰ई
ओ उसे ढूंढ ही लेंगे कहीं ना कहीं
उसे ढूंढ ही लेंगे कहीं ना कहीं
अच्छा जी
तो मिस लाजवंती के दर्शन कीजिये आ॰॰आ॰॰आप
अररर्र ररर्र
मिस लाजवंती तेरी लाज ने
कर दिया अपना तख़्ता
ई॰॰इश्क़ का इस्टूडेंट भागा
बांध के दिल का बस्ता
शर्मीली औरत दुनिया में
एक मुसीबत है
कहाँ छुपी है वो॰॰ओ॰॰ओ॰॰ओ
कहाँ छुपी है वो
मेरे दिल को जिसकी ज़रूरत है
अजी खोली ना सही
बंगला ही सही
अररे वाह बेटा
ओए उसे ढूंढ ही लेंगे कहीं ना कहीं
ओ उसे ढूंढ ही लेंगे कहीं ना कहीं
अच्छा जी अब देखिये
ये नखरों भरी बंदूक
वो तो थी मिस लाजवंती
(आए हाए हाए)
और ये है मिस बेहया
(ओ हो हो)
जो इनके पल्ले पड़ा
वो तो काम से गया
ओ बांधो बोरिया बिस्तर
ओ बांधो बोरिया बिस्तर
अररर्र ररर्र
अजी क्यों
क्यों
क्यों
अररे मुन्ना
यूपी न सही
पंजाब सही
ओ हम दोनों चलेंगे कहीं ना कहीं
ओ हम दोनों चलेंगे कहीं ना कहीं
मिल गयी मुझको
मिल गयी अपने सपनों की रानी
आ हा
मिल गई रे
मिल गई रे
तड़प रहीं थी जिसके लिए
मेरी नज़रें दीवानी
आ हा
मिल गई रे
मिल गई रे
कहाँ हो तुम
किस देस की हो
ज़रा अपना पता लिखवा दो
शादी हुई है या नहीं
हाए हाए
बस
हाए
इतना हमें बता दो
साहब जी
ये जहां मिले
बाहों के हार पहना दो
अजी साहब जी
ये जहां मिले
बाहों के हार पहना दो
हन्ह
अररे चाचा मेरी भी सुन ले
हाँ भतीजा सुनाओ
भारत न सही॰॰ई
इंग्लैंड ही सही॰॰ ॰॰ई॰॰ई
इसे ढूंढ ही लेंगे कहीं ना कहीं
ओ इसे ढूंढ ही लेंगे कहीं ना कहीं
ओ इसे ढूंढ ही लेंगे कहीं ना कहीं
