954. Rafi's Peppy Songs: gore haathoN par naa zulm karo...

Movie:  PYAAR KIYE JAA (1966)
Music:  Laxmikant-Pyarelal
Lyrics:  Rajinder Krishan

Peppy Song of Mohammed Rafi: gore haathoN par naa zulm karo…
Roman Transliteration/English Translation of the Urdu-Hindi Lyrics. 


OY HOY…

gore haa-thoN  par naa zulm karo, 
DON’T BE HARSH TO THOSE FAIR HANDS,

haazir hai yeh bandaa hukm karo, 
HERE I’M AT YOUR COMMAND!

gore haa-thoN  par naa zulm karo, 
DON’T BE HARSH TO THOSE FAIR HANDS,

Haazir,  hai yeh bandaa hukm karo, 
HERE I’M AT YOUR COMMAND!

O gore haa-thoN  par naa zulm karo, 
DON’T BE HARSH TO THOSE FAIR HANDS,

Haazir,   hai yeh bandaa hukm karo, 
HERE I’M AT YOUR COMMAND!

tumhaaree,  kaNvaaree,  kalaayee ko daaG naa lage, 
LEST YOUR VIRGIN WRISTS GET STAINED!

gore haa-thoN  par naa zulm karo, 
DON’T BE HARSH TO THOSE FAIR HANDS,

Haazir,   hai yeh bandaa hukm karo…
HERE I’M AT YOUR COMMAND!

Jaaneman,  inn haathoN meN toh mehandee kaa rang lagnaa hai, 
SWEETHEART, THESE HANDS ARE MEANT FOR HENNA’S COLOUR, 

Haay pyaar kee,  rangat se teraa naazuk ang ang sajnaa hai, 
YOUR DELICATE BODY-PARTS ARE TO BE ADORNED WITH LOVE’S COLOUR!

hai kaun see aisee majbooree, 
WHAT’S THAT COMPULSION

jo husn kare yeh mazdooree, 
THAT INDUCES THE BEAUTY TO DO MANUAL LABOUR!

tumhaaree,  kaNvaaree,  kalaayee ko daaG naa lage, 
LEST YOUR VIRGIN WRISTS GET STAINED!

gore haa-thoN  par naa zulm karo,
DON’T BE HARSH TO THOSE FAIR HANDS,

haazir hai yeh bandaa hukm karo… 
HERE I’M AT YOUR COMMAND!

mehloN  kee,  tum raanee ho maiN preet nagar kaa shehzaadaa, 
YOU’RE THE PALACE QUEEN; I’M THE PRINCE OF CITY OF LOVE,

baaNT leN hamm,  kyooN naa donoN, dhan apnaa aadhaa aadhaa, 
THEN WHY NOT DIVIDE OUR COMBINED WEALTH INTO EQUAL HALVES!

hamm kaam kareN tum raaj karo, 
WHILE I DO THE CHORES, YOU RULE!

manzoor,  toh haath pe haath dharo, 
IF YOU AGREE, THEN GIVE YOUR ASSENT!

tumhaaree kaNvaaree kalaayee ko daaG naa lage, 
LEST YOUR VIRGIN WRISTS GET STAINED!

gore haa-thoN  par naa zulm karo, 
DON’T BE HARSH TO THOSE FAIR HANDS, 

Haazir,  hai yeh bandaa hukm karo….
HERE I’M AT YOUR COMMAND!

Gusse meN jo,  uljhee hai Aao toh woh laT maiN suljhaa dooN, 
COME, LET ME DISENTANGLE THE HAIR THAT’S TANGLED WITH ANGER!

haay chheRe jo,  zulfeN teree,  uss shoKh hawaa ko rukvaa dooN,
I’LL STOP THE IMPUDENT BREEZE MESSING WITH YOUR TRESSES!

dekho naa yooN aankheN mal mal ke, 
DON’T RUB YOUR EYES IN DISBELIEF, 

paR jaayenge dhabbe kaajal ke,  
THEY’LL GET STAINED WITH THE COLLYRIUM!

tumhaaree,  kaNvaaree,  kalaayee ko daaG naa lage, 
LEST YOUR VIRGIN WRISTS GET STAINED!

gore haa-thoN  par naa zulm karo, 
DON’T BE HARSH TO THOSE FAIR HANDS,

Haazir,  hai yeh bandaa hukm karo,
HERE I’M AT YOUR COMMAND!

O gore haa-thoN  par naa zulm karo, 
DON’T BE HARSH TO THOSE FAIR HANDS,

haazir hai yeh bandaa hukm karo.
HERE I’M AT YOUR COMMAND!


NASIR

760. Philosophical Song of Rafi: Apne haathon ko pehchaan...

Movie: APNA HAATH JAGANNATH (1960)
Music: S.D. Burman
Lyrics: Kaifi Azmi


Philosophical/Didactic Song of Rafi: Apne haatho.n ko pehchaan...
Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


Ho o~o~o~~~ho o o o o


apne haatho.n ko pehchaan,
RECOGNISE YOUR HANDS,


apne haatho.n ko pehchaan,
RECOGNISE YOUR HANDS,



moorakh in me.n hai bhagwaan,
FOOL, GOD RESIDES IN THEM!


mujh par tujh par sab hee par
ON ME, ON YOU, AND EVEN ON ALL


in doh haatho.n kaa ehsaan,
THESE TWO HANDS HAVE CONFERRED A FAVOUR!


apne, haatho.n ko pehchaan...
RECOGNISE YOUR HANDS!


haath uThaate hai.n jo kudaal,
THE HANDS THAT PICK UP THE HOE


parbat kaaT giraate hai.n,
CUT THE HILLS DOWN,


ba.Dhte cha.Dhte paanee me.n,
IN THE SWELLING AND RISING WATER


baa.ndh ke bandh dikhaate hai.n,
THEY BUILD THE DAMS,


jangal se kheto.n kee taraf
FROM THE JUNGLES TOWARDS THE FIELDS


mo.d ke dariyaa laate hai.n
THEY DIVERT THE RIVER,


apne, haatho.n ko pehchaan...
RECOGNISE YOUR HANDS!


chuTkee bhar daanaa lekar,
TAKING A PINCH OF GRAINS


yeh jo zamee.n me.n bikhraaye.n,
THEY SCATTER THEM IN THE EARTH,


jitne taare chamakte hai.n,
AS MANY STARS THERE ARE THAT SHINE


utne hee paude ug aaye.n,
THAT MANY PLANTS SPROUT UP,


bhook jahaa.n tak dekh sake
AS FAR AS THE HUNGER CAN SEE,


khet wahaa.n tak lehraaye.n,
THE FIELDS WAVE THAT FAR!


apne, haatho.n ko pehchaan...
RECOGNISE YOUR HANDS!


choone gaa.Dhe eeTo.n se,
WITH SLAKED LIME, KNEADED MUD, AND BRICKS


haatho.n kaa hai yaaraanaa,
THE HANDS ARE FRIENDLY,


rakkhe.n neev yeh dhartee me.n,
THEY LAY FOUNDATION IN THE EARTH,


chhat ko gagan de nazraanaa,
THE SKY BESTOWS GIFT TO THE ROOF,


bastaa jaaye shahar nayaa
NEW TOWNS KEEP ON GROWING,


sajtaa jaaye, veeraanaa,
ADORNING THE DESOLATE PLACE!

apne, haatho.n ko pehchaan...
RECOGNISE YOUR HANDS!


cheenee aur hatho.Dee ka,
OF THE CHIESEL AND HAMMER,


khel agar yeh dikhlaaye.n,
IF THEY EXHIBIT THE GAME,


ubhre chehre patthar me.n,
FACES APPEAR IN THE STONES,


devi-devtaa muskaaye.n,
FEMALE AND MALE DEITIES SMILE,


chamke damke taj mahal,
THE TAJ MAHAL SHINES AND SHIMMERS,


taj mahal,
THE TAJ MAHAL,


taj mahal,
THE TAJ MAHAL,


chaand sitaare sharmaaye.n
THE MOON AND THE STARS BLUSH,


apne haatho.n ko pehchaan...
RECOGNISE YOUR HANDS!


chaak chale in haatho.n se,
IN THESE HANDS, THE WHEEL REVOLVES


pahiyaa jaise jeevan kaa,
LIKE THE CIRCLE OF LIFE,


aa.nkh jhapakte lag jaaye,
IN THE TWINKLING OF AN EYE, GATHERS


melaa kore bartan kaa,
THE ASSEMBLAGE OF NEW VESSELS,


haatho.n ke choo lene se,
WITH THE TOUCH OF THE HANDS


sonaa bantaa hai zewar,
THE GOLD TURNS INTO AN ORNAMENT,


roop ko chamkaa dete hai.n,
THESE BURNISH THE BEAUTY:


kangan, jhumke aur jhoomar,
BRACELETS, EAR-RINGS AND TASSEL,


been sarangee tablaa Dhol,
THE ‘BEENS’ THE ‘SAARANGIS’ THE ‘TABLAS’, THE ‘DHOLS’


sab kuchh haath banaate hai.n,
ALL ARE MADE BY THE HANDS,


taaro.n me.n aawaaz kahaa.n,
THERE IS NO SOUND IN THE STRINGS,


haath hamaare gaate hai.n,
‘TIS OUR HANDS THAT SING!


oh~o o~o~oh~o~ o~ o~~oh~~o~ o~ o ~o~ o


NASIR
“Where the spirit does not work with the hand there is no art”

Leonardo da Vinci

lyrics

translation

759. Philosophical Song of Rafi: Apna hai phir bhee apna...

Movie: BHAI BHAI (1956)

Music: Madan Mohan
Lyrics: Rajinder Krishan


Main Movie-Hall where first released in Bombay: Roxy Cinema


Philosophical/Didactic Song of Rafi: Apnaa hai phir bhee apnaa....
Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


O~~~~


apnaa hai phir bhee apnaa,
THE KIN IS AFTER ALL YOUR OWN,


ba.Dh kar gale lagaa le,
COME FORWARD AND EMBRACE HIM,


achchhaa hai yaa buraa hai,
WHETHER HE’S GOOD OR BAD,


apnaa usse banaa le,
MAKE HIM YOUR OWN,


apnaa hai phir bhee apnaa…
THE KIN IS AFTER ALL YOUR OWN!


mat soch tere dil me.n,
IN YOUR HEART, DON’T PONDER


kaisee yeh kashmakash hai,
WHAT KIND OF DILEMMA IS THIS


jo khe.nchtee hai tujh ko,
THAT’ WHICH IS PULLING YOU


voh Khoon kee kashish hai,
IS THE TUGGING OF THE BLOOD!


pardaa pa.Daa huwaa hai,
THE VEIL THAT LIES


jo darmiyaa.n uThaa le,
IN BETWEEN, LIFT IT!


apnaa hai phir bhee apnaa,
THE KIN IS AFTER ALL YOUR OWN,


ba.Dh kar gale lagaa le,
COME FORWARD AND EMBRACE HIM,


achchhaa hai yaa buraa hai,
WHETHER HE’S GOOD OR BAD,


apnaa usse banaa le,
MAKE HIM YOUR OWN,


apnaa hai phir bhee apnaa…
THE KIN IS AFTER ALL YOUR OWN!


O~~~~


chup hai zubaan phir bhee,
THOUGH THE TONGUE IS SILENT


apnaa lahuu pukaare,
YOUR OWN BLOOD CALLS,


tum ek aasmaa.n ke,
OF THE SINGLE SKY YOU ARE


TooTe huwe ho taare,
THE FALLEN STARS,


nazre.n toh mil gayee.n hai.n,
THE EYES HAVE INDEED MET,


dil se bhee dil milaa le,
GET ALSO THE HEARTS TOGETHER!


apnaa hai phir bhee apnaa,
THE KIN IS AFTER ALL YOUR OWN,


ba.Dh kar gale lagaa le,
COME FORWARD AND EMBRACE HIM,


achchhaa hai yaa buraa hai,
WHETHER HE’S GOOD OR BAD,


apnaa usse banaa le,
MAKE HIM YOUR OWN,


apnaa hai phir bhee apnaa…
THE KIN IS AFTER ALL YOUR OWN!


NASIR


You can't very well live in a castle while your kin is on the poor side of town and barely have enough food. Some want you to get to the top and rely on you making it for them, too. Martha Reeves

lyrics

translation

728. Philosophical Song of Rafi: Pehle paisa phir bhagwaan...

Movie: Miss Mary (1957)

Music: Hemant Kumar
Lyrics: Rajinder Krishan


Main Movie-Hall where first released in Bombay: Roxy Cinema


Philosophical/Didactic Song of Rafi: Pehle paisa phir bhagwaan...

Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


TikaT swarg kee bech rahaa hai yeh andhee aa.nkho.n waalaa,
THIS BLIND MAN IS SELLING A TICKET TO PARADISE,


TikaT swarg kee bech rahaa hai yeh andhee aa.nkho.n waalaa,
THIS BLIND MAN IS SELLING A TICKET TO PARADISE,


Arre tho.Dee see hai.n seeTe.n baaqee jaldee karnaa laalaa
ONLY A FEW SEATS REMAINING, HURRY UP SIR,


arre tuu doh din kaa mehmaan
HEY, YOU’RE A GUEST FOR TWO DAYS,


apnee ma.nzil ko pehchaan
RECOGNIZE YOUR DESTINATION,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


janam-janam kaa paap daan ke saabun se dhul jaaye
THE SINS OF MANY BIRTHS GET WASHED AWAY BY THE SOAP OF CHARITY,


janam janam ka paap daan ke, daan ke,
WITH ALMS, WITH ALMS, THE SINS OF MANY BIRTHS


daan ke saabun se dhul jaaye,
GET WASHED AWAY BY THE SOAP OF CHARITY,


yahaa.n jo deve ek la.ngoTee
IF YOU GIVE A WAIST-CLOTH HERE,


vahaa.n pe bistar paaye,
THERE YOU WILL FIND A BEDDING,


arre kyaa soch rahaa naadaan
HEY, WHAT ARE YOU THINKING SILLY!


yeh saudaa kitnaa hai aasaan
HOW EASY IS THIS TRADE!


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


vaah re mere bhole maalik nyaaree teree leelaa,
EXCELLENT, MY INNOCENT LORD! YOUR PASTIME IS ODD!


vaah re mere bhole maalik nyaaree teree leelaa,
EXCELLENT, MY INNOCENT LORD! YOUR PASTIME IS ODD!


arre tuu bhee darshan usee ko deve kare jo kheesaa Dheelaa,
YOU PUT IN AN APPEARANCE ONLY FOR HIM WHO EMPTIES HIS POCKETS,


arre mai.n maalik kaa darbaan kar lo muktee kaa saamaan
YOU PUT IN AN APPEARANCE ONLY FOR HIM WHO EMPTIES HIS POCKETS,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE.


NASIR


God gave me my money. I believe the power to make money is a gift from God . . . to be developed & used to the best of our ability for the good of mankind. Having been endowed with the gift I possess, I believe it is my duty to make money & still more money & to use the money I make for the good of my fellow man according to the dictates of my conscience. John D. Rockefeller, 1905
alyrics

translation

722. Philosophical Song of Rafi: Aji kyaa rakkha hai gyaanam me.n....

Movie: AKALMAND ( 1966)

Music: O.P. Nayyar
Lyrics: P.L. Santoshi


Philosophical/Didactic Song of Rafi: Aji kyaa rakkha hai gyaanam me.n...

Roman Transliteration/
English Translation of the original Urdu-Hindi Lyrics:



aji kyaa rakkha hai gyaanam me.n,
HEY WHAT’S THERE IS IN KNOWLEDGE!


aur kyaa rakkha hai dhyaanam me.n,
AND WHAT’S THERE IN MEDITATION!


aji kyaa rakkha hai gyaanam me.n,
HEY WHAT’S THERE IS IN KNOWLEDGE!


aur kyaa rakkha hai dhyaanam me.n,
AND WHAT’S THERE IN MEDITATION!


dholo apne paap sabhee tum ganga ke ashnaanam me.n,
WASH AWAY ALL YOUR SINS BY BATHING IN THE GANGA,


aji kyaa rakkha hai, gyaanam me.n,
HEY WHAT’S THERE IS IN KNOWLEDGE!


aur kyaa rakkha hai dhyaanam me.n,
AND WHAT’S THERE IN MEDITATION!


dholo apne paap sabhee tum ganga ke ashnaanam me.n,
WASH AWAY ALL YOUR SINS BY BATHING IN THE GANGA,


har gange, abe haT nange…
HAIL O GANGA! GET OUT OF THE WAY NAKED ONE!


bhed bhaav naa jaane ganga,
GANGA KNOWS NO DISTINCTION


kyaa ba.De kyaa chhoTe me.n,
BETWEEN THE HIGH AND THE LOWLY,


bhed bhaav naa jaane ganga,
GANGA KNOWS NO DISTINCTION


kyaa ba.De kyaa chhoTe me.n,
BETWEEN THE HIGH AND THE LOWLY,


gangaji me.n aaye loTaa,
THE METAL POT COMES INTO THE GANGA,


ganga jaaye loTe me.n,
THE GANGA GOES INTO THE METAL POT,


anandam aanam jaanam me.n,
HAPPINESS IS IN COMING AND GOING!


aji kyaa rakkha hai dhyaanam me.n,
HEY WHAT’S THERE IN MEDITATION!


dholo apne paap sabhee tum ganga ke ashnaanam me.n,
WASH AWAY ALL YOUR SINS BY BATHING IN THE GANGA!


har gange, harihar gange….
HAIL GANGA, SAY HARI WHILE BATHING IN GANGA!


gangaa maiya Khud behtee hai,
MOTHER-GANGA FLOWS BY ITSELF


saadhu me.n sanyasi me.n,
IN HOLY MAN AND ASCETIC,


gangaa maiya Khud behtee hai,
MOTHER-GANGA FLOWS BY ITSELF


saadhu me.n sanyasi me.n,
IN HOLY MAN AND ASCETIC,


hari-dwaar me.n Dubkee maaro
TAKE A DIP AT HARI-DWAAR,


niklo jaakar kaashi me.n,
COME OUT AT KASHI


shiv shambhu ke asthaanam me.n,
AT THE PLACE OF SIVA!


aji kyaa rakkha hai dhyaanam me.n,
HEY WHAT’S THERE IN MEDITATION!


dholo apne paap sabhee tum ganga ke ashnaanam me.n,
WASH AWAY ALL YOUR SINS BY BATHING IN THE GANGA!


(chorus:
aji kyaa rakkha hai gyaanam me.n,
HEY WHAT’S THERE IS IN KNOWLEDGE!


aur kyaa rakkha hai dhyaanam me.n,
AND WHAT’S THERE IN MEDITATION!


dholo apne paap sabhee tum ganga ke ashnaanam me.n,
WASH AWAY ALL YOUR SINS BY BATHING IN THE GANGA,


aji kyaa rakkha hai gyaanam me.n,
HEY WHAT’S THERE IS IN KNOWLEDGE!


aur kyaa rakkha hai dhyaanam me.n,
AND WHAT’S THERE IN MEDITATION!


dholo apne paap sabhee tum ganga ke ashnaanam me.n,
WASH AWAY ALL YOUR SINS BY BATHING IN THE GANGA,


har gange, harihar gange
HAIL GANGA, SAY HARI WHILE BATHING IN THE GANGA!


har gange, harihar gange
HAIL GANGA, SAY HARI WHILE BATHING IN THE GANGA!)


NASIR.


"Imagination is more important than knowledge." Einstein.

lyrics

translation

606. Philosophical Song of Rafi: Yeh mard bade dil-sard bade...

Movie: MISS MARY (1957)

Lyrics: Rajinder Krishan

Music: Hemant Kumar

Main Movie-Hall where first released in Bombay: Roxy Cinema.


Popular Philosophical/Didactic Song of Rafi: Yeh mard ba.de dil sard ba.de....

Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:

duniyaa ke saath chalo, nayaa zamaanaa hai yeh,
MOVE WITH THE WORLD, ‘TIS A NEW ERA,


mardo.n ko dosh denaa raag puraanaa hai yeh,
TO BLAME MEN, IS A TIME-WORN SONG!


duniyaa ke saath chalo, nayaa zamaanaa hai yeh,
MOVE WITH THE WORLD, ‘TIS A NEW ERA,


mardo.n ko dosh denaa, raag puraanaa hai yeh
TO BLAME MEN, IS A TIME-WORN SONG!


jhooThee inkee zaat kaho yaa kaho inhe.n deewaanaa,
CALL THEM A CASTE OF LIARS, OR CALL THEM CRAZY,


mardo.n kaa phir bhee Ghulaam hai zamaanaa,
EVEN THEN, THE WORLD IS A SLAVE TO MEN!


yeh mard ba.De dil sard ba.De bedard chalo jee maanaa,
COME ONE, AGREED THAT THESE MEN ARE VERY COLD-HEARTED AND CALLOUS!


mardo.n kaa phir bhee Ghulaam hai zamaanaa...
EVEN THEN, THE WORLD IS A SLAVE TO MEN!


Ghussaa Ghuruur la.Dnaa, naaree kee bhool hai yeh,
BEING ANGRY, ARROGANT, CONTENTIOUS, ARE THE FAULTS OF WOMEN,


Tha.nDaa mizaaj rakhnaa pehlaa asool hai yeh,
TO KEEP A COOL TEMPERAMENT IS THE FIRST PRINCIPLE,


Ghussaa Ghuruur la.Dnaa, naaree kee bhool hai yeh,
BEING ANGRY, ARROGANT, CONTENTIOUS, ARE THE FAULTS OF WOMEN,


Tha.nDaa mizaaj rakhnaa, pehlaa asool hai yeh
TO KEEP A COOL TEMPERAMENT IS THE FIRST PRINCIPLE,

baat pate kee kehtaa hoo.n mai.n chaahe kaho deewaanaa,

CALL ME CRAZY IF YOU WISH,  BUT I SPEAK THE FACT,

mardo.n kaa phir bhee Ghulaam hai zamaanaa,

EVEN THEN, THE WORLD IS A SLAVE TO MEN!

yeh mard ba.De dil sard ba.De bedard chalo jee maanaa,

COME ONE, AGREED THAT THESE MEN ARE VERY COLD-HEARTED AND CALLOUS!

mardo.n kaa phir bhee Ghulaam hai zamaanaa,

EVEN THEN, THE WORLD IS A SLAVE TO MEN!

yeh mard ba.De dil sard ba.De bedard chalo jee maanaa,

COME ONE, AGREED THAT THESE MEN ARE VERY COLD-HEARTED AND CALLOUS!

mardo.n kaa phir bhee Ghulaam hai zamaanaa.

EVEN THEN, THE WORLD IS A SLAVE TO MEN!

NASIR

It is better to dwell in the wilderness than with a contentious and an angry woman. The Bible

lyrics

translation

578. Rafi's Philosophical Song: Ajab hai dastaan teri ay zindagi...

Movie: SHARARAT (1959).

Music:  Shankar-Jaikishen
Lyrics:  Shailendra.
Main Movie-Hall where first released in Bombay: Lamington Cinema.


When the heartless world views innocent relationships with suspicion the result can only be torturous for the innocents. Rafi Sahaab conveying the emotions in his spell-binding voice that would render the heart in twain: Ajab Hai Daastaa.n Teri Aye Zindagi....Here, Rafi Sahaab’s playback for the renowned actor-singer, Kishore Kumar, looks and sounds so natural and becoming.


Roman Transliteration/English Translation of the original Hindi-Urdu lyrics:


ajab hai daastaa.n teree aye zindagee,
STRANGE IS THY TALE O LIFE,


ajab hai daastaa.n teree aye zindagee,
STRANGE IS THY TALE O LIFE,


kabhee ha.nsaa diyaa rulaa diyaa kabhee,
YOU MAKES US LAUGH SOMETIMES; AND AT TIMES, WEEP,


ajab hai daastaa.n teree aye zindagee,
STRANGE IS THY TALE O LIFE,


kabhee ha.nsaa diyaa rulaa diyaa kabhee,
YOU MAKES US LAUGH SOMETIMES; AND AT TIMES, WEEP,


ajab hai daastaa.n teree aye zindagee....
STRANGE IS THY TALE O LIFE.....


kalee khilne naa paayee theeh ke shaaKh hee uja.D gayee
HARDLY THE BUD HAD BLOSSOMED WHEN THE BOUGH WAS LAID WASTE,


abhee zaraa se theh ke hamse pyaaree maa bichha.D gayee,
EVEN AS WE WERE LITTLE WE LOST OUR DEAR MOTHER


o aasmaa.n bataa,
O HEAVEN TELL US,


o aasmaa.n bataa kiyaa hamne thaah kyaa,
O HEAVEN TELL US WHAT WE’D DONE


jo milee yeh sazaa,
THAT WE GOT THIS PUNISHMENT,


jo milee yeh sazaa,
THAT WE GOT THIS PUNISHMENT,


la.Dakpan me.n hee yeh duniyaa luTee,
IN CHILDHOOD ITSELF THIS WORLD GOT LOOTED.


ajab hai daastaa.n teree aye zindagee
STRANGE IS THY TALE O LIFE,


kabhee ha.nsaa diyaa rulaa diyaa kabhee,
YOU MAKES US LAUGH SOMETIMES; AND AT TIMES, WEEP,


ajab hai daastaa.n teree aye zindagee..
STRANGE IS THY TALE O LIFE....


tum aayee.n maa kee maamtaa liye toh muskuraaye hamm,
AS YOU CAME WITH MOTHERLY LOVE, WE SMILED,


ke jaise phirse apne bachpan me.n lauT aaye hamm,
AS IF BACK TO OUR CHILDHOOD WE’D RETURNED,


tumhaare pyaar ke,
YOUR LOVE’S .....,


tumhaare pyaar ke isee aa.nchal talay,
UNDER THIS SHELTER OF YOUR LOVE


phir se deepak jale,
THE LAMPS LIGHTED AGAIN!


phir se deepak jale,
THE LAMPS LIGHTED AGAIN!


Dhala andheraa jagee raushanee,
THE DARKNESS DECLINED; THE BRIGHTNESS DAWNED!


ajab hai daastaa.n teree aye zindagee
STRANGE IS THY TALE O LIFE,


kabhee ha.nsaa diyaa rulaa diyaa kabhee,
YOU MAKES US LAUGH SOMETIMES; AND AT TIMES, WEEP,


ajab hai daastaa.n teree aye zindagee..
STRANGE IS THY TALE O LIFE....


magar ba. Daa hee sangdil hai yeh maalik teraa jahaa.n,
BUT VERY STONE-HEARTED IS THIS WORLD OF YOURS O LORD,


yahaa.n maa-beTo.n pe bhee log uThaate hai.n ungliyaa.n,
HERE PEOPLE VIEW EVEN MOTHERS AND SONS WITH SUSPICION,


kalee yeh pyaar kee....,
THIS LOVE BUD...


kalee yeh pyaar kee, jhulas ke reh gayee,
THIS LOVE BUD GOT SCORCHED,


har taraf aag theeh,
ALL AROUND WAS THE FIRE,


har taraf aag theeh,
ALL AROUND WAS THE FIRE,


ha.nsaane aayee theeh rulaakar chalee,
SHE’D COME TO CHEER US UP; SHE WENT AWAY MAKING US WEEP,


ajab hai daastaa.n teree aye zindagee,
STRANGE IS THY TALE O LIFE,


kabhee ha.nsaa diyaa rulaa diyaa kabhee
YOU MAKES US LAUGH SOMETIMES; AND AT TIMES, WEEP,


ajab hai daastaa.n teree aye zindagee.
STRANGE IS THY TALE O LIFE.


NASIR.


When you're a mother and you have a son, you hide your feminine side. It's the fear of incest, Oedipus. Jeanne Moreau


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574. Rafi's Philosophical Song: Hai bahaar-e-baagh-e-duniya chand roz...

Movie: Bombay Ka Chor (1962)
Music: Ravi
Lyrics: Rajinder Krishan


Philosophical/Didactic Song of Rafi on Life's fleeting moments:  Hai bahaar-e-baagh-e-duniyaa chand roz...
Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:

hai bahaar-e-baagh-e-duniyaa chand roz chand roz,
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS, A FEW DAYS,


hai bahaar-e-baagh-e-duniyaa chand roz,
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS,


dekh lo is kaa tamaashaa chand roz chand roz,
WATCH ITS SPECTACLE FOR A FEW DAYS, A FEW DAYS,


(with chorus): hai bahaar-e-baagh-e-duniyaa chand roz chand roz,
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS, A FEW DAYS,


(with chorus): hai bahaar-e-baagh-e-duniyaa chand roz..
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS,


laakh daaraa aur sikandar ho gaye,
MANY AN ALEXANDER AND DARIUS HAVE PASSED BY,


aaj bolo voh kahaa.n sab kho gaye,
SAY, WHERE HAVE THEY ALL DISAPPEARED TODAY!


aayee hichkee maut kee aur so gaye
A HICCUP OF DEATH, AND THEY WENT INTO THE OBLIVION OF SLEEP,


aayee hichkee, maut kee aur so gaye,
A HICCUP OF DEATH, AND THEY WENT INTO THE OBLIVION OF SLEEP,


har kisee ka hai baseraa chand roz chand roz,
EVERY ONE HAS HIS SOJOURN FOR A FEW DAYS, A FEW DAYS,


(with chorus): hai bahaar-e-baagh-e-duniyaa chand roz chand roz,
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS, A FEW DAYS,


(with chorus): hai bahaar-e-baagh-e-duniyaa chand roz,
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS...


kal talak rangee.n bahaare.n thee.n yahaa.n,
TILL YESTERDAY THE FLORID BLOOMS ABOUNDED HERE,


aaj qabro.n ke wahaa.n dekhe nishaa.n,
TODAY, THE SIGNS OF GRAVES ARE SEEN THERE,


rangg badle har gha.dee yeh aasmaa.n
THIS SKY CHANGES COLOURS EVERY MOMENT,


rangg badle, har gha.dee yeh aasmaa.n,
THIS SKY CHANGES COLOURS EVERY MOMENT,


aisho gham jo kuchh bhee dekhaa chand roz chand roz,
PLEASURES OR SORROWS, WHATEVER, LAST FOR A FEW DAYS, A FEW DAYS,


(with chorus): hai bahaar-e-baagh-e-duniyaa chand roz chand roz,
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS, A FEW DAYS,


(with chorus): hai bahaar-e-baagh-e-duniyaa chand roz..
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS...


kyaa milegaa dil kisee ka to.D ke,
WHAT WILL YOU ACHIEVE BY BREAKING SOMEONE'S HEART?


le dua TooTe dilo.n ko jo.D ke,
TAKE THE BLESSING BY MENDING THE BROKEN HEARTS,


jaa magar kuchh yaad apnee chho.D ke
LEAVE BEHIND SOME MEMORIES, AS YOU DEPART,


jaa magar, kuchh yaad apnee chho.D ke,
LEAVE BEHIND SOME MEMORIES, AS YOU DEPART,


ho teraa duniyaa me.n charchaa chand roz chand roz,
SO THE WORLD MAY TALK ABOUT YOU FOR A FEW DAYS, A FEW DAYS,


(with chorus):hai bahaar-e-baagh-e-duniyaa chand roz chand roz,
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS, A FEW DAYS,


(with chorus): hai bahaar-e-baagh-e-duniyaa chand roz.
THE SPRING OF THE WORLD OF GARDEN IS FOR A FEW DAYS.


Nasir.


Abu Bakr Al-Siddiq (R): Our abode in this world is transitory, our life therein is but a loan ..


lyrics

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PART 14: MOHAMMED RAFI & THE NINETEEN FORTIES.

A Humble Tribute to the Greatest Playback Singer of all times – by Nasir.

Rafi Sahaab used to work very hard on each and every song he was asked to sing. To surmarise, during the years 1944-1949, Rafi Sahaab worked with the following lyricists and music directors:

Some of the lyricists who worked with Rafi Sahaab in the Forties:

Majrooh Sultanpuri, Tanvir Naqvi, Pandit Mukhram Sharma, Mahipal, D.N. Madhok, Gopal Singh Nepali, Wali Sahaab, Rupbani, Pandit Indra, Pt.Fani,
Gaafil Harnalvi, Hanuman Prasad, Raja Mehdi Ali Khan, Moti, Qamar Jalalabadi, M. Ibrahim, Ram Murti, Shakeel Badayuni, Wahshi Jaunpuri, Amar Verma, Avtar Visharad, Asghar Sarhadi, Mohan Mishra, J.Naqshab, P.L. Santoshi, Manohar Khanna, Pilibheeti, Deobandi, Fiza Kausari, Surjit Sethi, Sevak, Rajinder Krishan, Ramesh Gupta, Shevan Rizvi, Habeeb Sarhadi, B.D. Mishra, B.R. Sharma, Mulk Raj Bhakri, Bahzad, I.C. Kapoor, Mohan Misra, Kaifi Irfani, Kedar Sharma, Sudarshan Faqir, Aziz Kashmiri, Bharat Vyas, M.G. Adeeb, Sarshar, Nazim Panipati, Alam Siyahposh, S.K. Deepak, S.H. Bihari, Arzoo Lucknowi, Swami Ramanand, Hazrat Lakh, M.K. Chibbar, P.L. Santoshi, Shameen, Shikarpuri, Hamid Khumar, Hasrat Jaipuri, Meeraji, Gulshan Bawra, and Khumar Barabankavi


Some of the Music Directors who worked with Mohammed Rafi in the ‘Forties:

Naushad, Shyam Sunder, Pandit Govindram, Chitragupt, A.R. Qureshi, Datta Devjekar,Premnath, S.D. Burman, Naresh Bhattacharya, B.S. Thakur, Mohammed Shafi, Azim Khan, Sudhir Phadke, Prakash Sharma, Firoze Nizami, Datta Thakar, Gyan Datta, Amirbai Karnataki, Hansraj Behl, Husnlal-Bhagatram, Shankar Rao Vyas, S. Purshottam, Shaukat Hussain, Dhumi Khan, S.N. Tripathi, Ghulam Mohammed, Shankar Rao Vyas, Ram Ganguli, Master Ghulam Haider, Datta Thakur, Vinod, Khemchand Prakash, Bulo C. Rani, Sharma ji, Basheer Khan, H.P. Das, Krishna Dayal, S. Mohinder, Shankar-Jaikishan, Sardar Mallik, Rashid Atre, Tufail Farooqi and Khan Mastana.

Music Director Roshan, who made his debut in 1949 with Neki Badi a Madhubala starrer, used Firoze Dastoor for the duets with female singers. But beginning 1950, Rafi Sahaab would be singing the largest number of his songs, both solos and duets, in maximum number of his movies.

As we noted before, by 1947 especially after Jugnu, Rafi Sahaab’s name became a household name and that his songs had become a run-away hit with the masses. Rafi Sahaab’s voice had laid the foundation in the forties to make the business of musical recording songs more exciting. He had proven his magic in the ‘Forties and the Nineteen-Fifties was beckoning him with open arms. Of course, in the next decade he was going to astonish his music directors and the lovers of music by his wonderful feat of powerful singing and versatility that had not been attempted before with such success. In the process he would ‘liberate’ the music directors from their beaten path of low octaves and limited range and scope within which they composed their songs.

The presence of senior male singers such as G.M. Durrani, Surendra, Khan Mastana, Shyam and others could not suppress the rising star. But then, they too were gentle souls. As Rafi Sahaab recounted: ”’Unki Khoobi yeh thi janaab ke’ instead of considering me as yet another competitor they encouraged me to give my best….” And this is what Rafi Sahaab himself did along the way. Later, not only he used to recommend to music directors those playback singers who were once a force to reckon with, but he also made it a point to encourage the new talents to give their best without considering them as his competition – which brings me to Mahendra Kapoor since his story unfolds in Nineteen Forties.



As we all know, Mahendra Kapoor was a huge fan of Mohammed Rafi whose voice and songs had enchanted him since his early age and he would sing in the style of his icon at Amritsar. He once purchased a record of Jugnu but to his dismay found that the record did not have the male singer’s name. After lots of enquiries he learnt that the name of the singer was Mohammed Rafi.

Even when the family shifted to Bombay, his craze increased all the more so that even at school he would scribble “Rafi, Rafi, Rafi” in his class note-book. Seeing the litany, we are told, that his class-teacher scolded him. One of his more knowledgeable class-mates then gave him the address of Mohammed Rafi who was still at Bhendi Bazaar – indicating that it was the earliest phase of the singer then. Mahendra then went there all alone to meet his icon with the sole wish “Bin Guru Gyan Kahaan Se Paaoon.” Seeing his love and devotion, Mohammed Rafi accepted him as his disciple, teaching him how to play the Harmonium and even taking him along with him to his shows and recordings. The teacher would then treat him to a glass of Lassi. Such details were known before but they were repeated by Mahendra Kapoor’s son, Rohan Kapoor while accepting the award on behalf of his father at the Tribute to a Legend show at the Indian Museum Auditorium, Kolkata, on 30th November 2008. Rohan Kapoor, the actor-singer son narrated the earliest phase of his father’s brush with the Legendary Mohammed Rafi. The audience was naturally spellbound and moved to tears. The student also took the advice of his teacher seriously and began learning the Hindustani classical music under Pandit Husnlal (of the musical duo Husnlal-Bhagatram) and Tulsiram Sharma.

Rest of the story of Mahendra Kapoor belongs to the late ‘Fifties, and I would have left it at that if it were not for certain comments of Raju Bharatan: “Kapoor may not have matched Rafi but he was so committed to his craft that he always kept Rafi on his toes.”  The craft lies in this statement. Note how a damaging idea is interwoven along with a seeming praise in a single sentence which does service neither to Mohammed Rafi nor to Mahendra Kapoor. At the outset I may state that there was never any question of matching Mahendra Kapoor with Mohammed Rafi, least of all keeping Mohammed Rafi on toes!   If the case of Mahendra Kapoor was like any other normal competition, then there would have been some semblance of sanity in Raju’s statement with all respects to him.  Besides, this was not the sibling rivalry of some noted playback singers. Nor was it the story of “Abhimaan” of a wife’s or husband’s one upmanship. For Mahendra Kapoor, Mohammed Rafi was a father figure. Nay, he was more: He was his Guru, his idol!  A father is always proud of his obedient and successful son. A guru is always proud of his chela even if he exceeds him in wealth and fame, which of course was not the case here any way. The pages of history is replete with such examples. The clinching evidence for rebuttal of Raju’s statement has its roots in the Nineteen Forties, which we have noted above. Therefore, Raju’s statement should have read: “Kapoor may not have matched Rafi but he was so committed to his craft that he made Rafi proud of him.” Nothing more needs to be said. More rebuttals would require an article by itself.

To state briefly, how much Mahendra Kapoor loved and respected Rafi Sahaab was exhibited by him unabashedly after doing a show at the Royal Albert Hall in Lodon. When Rafi Sahaab’s sons went to pay their respects to “uncle” Mahendra Kapoor backstage the latter astounded them by touching their feet in a humble obeisance instead. At that time Mahendra Kapoor made a very significant statement:
“I’m only paying respects to my Guru with whose blessings, grooming and guidance I’m here and a packed audience has come to hear me.”




We’ve to remember always: Mahendra Kapoor was not a competition for Rafi Sahaab who had taught him the rudiments of songs and music and after his lessons had recommended him to many film personalities, including B.R. Chopra. The best period of Mahendra Kapoor's creativity was during the lifetime of Rafi Sahaab. Mahendra Kapoor’s success must have surely delighted Rafi Sahaab, just as the miserable conditions of some of the yesteryear singers used to cause him pain so that he would quietly recommend them also to music directors of the day. Sometimes he helped them monetarily. Not only such singers but also the music directors who had fallen on bad times used to receive regular checks for a number of years without their knowing who was their benefactor. It was only decades later one day when the cheques stopped coming that they realised that Mohammed Rafi Sahaab had been their benefactor all along.

Mahendra Kapoor was the torch-bearer of the Mohammed Rafi School. This torch came to be later passed on to Anwar, Shabbir Kumar, Mohammed Aziz, Udit Narayan and Sonu Nigam and others about whom the world will soon know. At the same time, the name and fame of Mohammed Rafi is growing by leaps and bound even after nearly 30 years of his demise.




Let’s hark back to the Forties! In his early career in the Forties, Rafi Sahaab never faced the kind of rejections, say, as Lata Mangeshkar did. The young Rafi was lapped up wherever he went. It’s true that in the Forties we have no Rafi songs for Anil Biswas according to whom Rafi was not quite fit for his compositions. He was no O.P. Nayyar who never used Lata Mangeshkar all his life. Anil Biswas did use Rafi only in the Fifities but that was not out of condescension. That was the time when Mohammed Rafi was rising and rising, and Anil Biswas was sliding and sliding, especially after 1958 whereafter he could do just about ten films – the last being Chhoti Chhoti Baaten (1965) – the time when Rafi Sahaab was at the zenith of his singing career.

But the gentleman that he was Rafi Sahaab did not mind singing for him. He sang for him in Beqasoor (1950): KHABAR KISEE KO NAHEEN VOH KIDHAR DEKHTE HAIN sung by Rafi, Durrani and Mukesh; in Paisa Hi Paise (1956): PYAAR KIYA JHAK MAARI which was a solo comedy song; a duet with Asha: UFF NAA KARNA KE MERI MOHABBAT BADNAAM HO; and ULFAT MEIN HAR EK which was sung by Rafi-Kishore and Asha (Kishore Kumar was the hero) and a duet with Kishore Kumar: LELO SONE KA LADDU; in Heer (1956): two solos: ALLAH TERI KHAIR KARE and LE JAA USKI DUWAAYEN; and a duet with Asha: O KHAAMOSH ZAMAANA HAI; in Abhimaan (1957): CHALI JAWAANI THOKAR KHAANE which is a didactic duet with Asha Bhonsle; and a solo in Sanskar: WAAH RE TIKDAMBAAZI.

With all respects for him, I’m constrained to quote one Anonymous in his review of “How the Golden Age of Bollywood should have sounded:”

“Bollywood productions during the career of Mohammed Rafi (1946-1980) unfortunately employed some of the worst recording techniques ever - thanks to a certain Anil Biswas, who although revered for his music abilities obviously knew very little about how to use a music recording studio. ... “

Even decades later, Anil Biswas targeted Mohammed Rafi, and then Kishore Kumar himself did not take it kindly and put a poser to him: “How could Rafi then remain on the top for two decades?” Anil Biswas, of course, had no answers.   After Rajesh Khanna attained super-stardom with Aradhna (1969),  he wanted only Kishore Kumar but was compelled to take Rafi Sahaab for the song NAFRAT KI DUNIYA in Haathi Mere Saathi (1971).  Kishore Kumar knew that this song was not his cup of tea and so Rafi Sahaab was called to sing it. And he did sing it in one take.  However, it is said that the producers had to shell out a huge sum for this song.  Of course, it did happen later too when Kishore Kumar himself felt that the song belonged to Rafi Sahaab but the Music Directors Laxmikant-Pyarelal could do nothing because of the insistence of Rajesh Khanna.  This song was from DUSHMAN (1973): SACHCHAI CHHUP NAHEEN SAKTI BANAVAT KE USOOLON SE...    It was not for nothing that Kishore Kumar had a huge portrait of Mohammed Rafi fixed on the wall of the drawing-room of his home at Juhu, Mumbai. He had frankly told one of his loyal fans that he himself was the fan of Rafi Sahaab. “If you insult him, you insult me!”

Similarly Anil Biswas praised Manna Dey no ends saying that he was the only singer who took down notations of every song and did the song in one take. He told him that he could sing whatever Rafi, or Kishore or Mukesh or Talat Mehmood could sing but that they couldn’t what he sang. Manna Dey had this to say:

“That’s very generous of him. He was very fond of me, but I don’t think there is anyone to touch Mohammed Rafi.”
But whatever his predilections might have been, Anil Biswas could not escape the touching impact of Rafi Sahaab’s good nature and humility, as he himself confessed, for the latter had no grudges despite being ignored by him. We can only say that it was not the loss of Rafi Sahaab who has by his songs immortalised even the lesser-known musicians whose names might have sunk into oblivion if it were not for the songs that he sang for them. But as Rafi Sahaab used to say: “Yeh sab Khuda ki dain hai.”

NASIR

To be concluded....