1966 to 1971 – Those Anecdotal Five Years …. – The First Year -1 – Dazzling . . ..!?

At the very outset, I would like to submit that I have planned to include a wider view of the experience of studying the engineering degree course, by inviting views of some friends who were senior to us at LD – even though they happened to be in the ‘old’ course of three-year studies for earning an engineering degree. As such, these memoirs will be not simply recounting our memories but also will be retrospectively reflective as well – with that proverbial a pinch of salt that would make the nostalgia a bit tasteful, and meaningful, as well!

When I started recollecting the memories of the First Year of our five-year graduate engineering course @ LD College of Engineering, I thought that looking at it from so far-off (time) reference point, I should be able to see it in a clearer perspective than I indeed did see it then, from the very-close reference point of the present that we were actually living in. But as I try to put down more and more memories of that year here, do I see such a difference? When I started putting down my memories of events of the first year, I perceive that some events ought to have dazzled us or confused us or frightened us. Some of those events certainly were pleasantly interesting, whether direction-orienting or direction-determining or not, at least, then.

As such, I plan to organize these reminiscences of our first year in the three-part posts. Grouping them under the titles of these experiences that living those events that we felt or should have felt.

Dazzling . . ..!?

The very first thing that was ‘new’ to us was the semester system. However, our initial understanding that instead of five annual examinations, to be conducted by (Gujarat) University, we will now have ten examinations. I think we all accepted that ‘fact’ ‘as is’, since we did not have any reasons to think beyond that.

We also knew that we have entered a new field of studies. So, the titles of subjects, in our first semester timetable like Engineering drawing -1 or Workshops or Strength of materials – 1 etc. also we accepted ‘as is’, perhaps subconsciously knowing that we will have to cross many such ‘new’ bridges, so be it.  However, seeing the familiar nouns like Mathematics, Chemistry, with the prefix ‘Engineering’ also did not cause any crease of curiosity on almost anyone of us.  Possibly because, we, all, have been trained well to learn new ‘what’ and ‘how’. without ever thinking why we need to learn that ‘what’ and ‘how’. [In fact, I was to understand and appreciate the importance of ‘why’ almost two decades later, when I had to address the mechanism to assess the effectiveness of the training as part of the portfolio of ISO 9001 related activities.]

In the retrospect, it seems to me that in the natural course of development, a child gets conditioned to learn ‘what’ and ‘how of new things without questioning the ‘why’. However, during the schooling phase, if our education system had instilled the faculty of ‘why’ things are they were and then learn ‘what’ and how’ of it, then perhaps the questions that these issues would have raised in our mind or the answers that we may have got should have been of the dazzling magnitude.

I do not remember whether there were any discussions on such issues among the then first-year batchmates, primarily perhaps because getting to know ‘new’ mates had occupied all the space of our collective minds.

I will correlate this abstract looking thought with my personal example. At my personal level, I had had serial experiences of dealing with (totally) new environments that perhaps had conditioned my auto-adjustment system to get activated to adapt to any new situation. My first major face-off with ‘new’ environment was when I entered Virani Highschool, midway during an academic year in the 5th standard. Landing into Rajkot from Bhuj itself was a major change, both in terms of the first ever exposure to the ‘outside’ world and in terms of a totally new social culture. Then two and half years later, we again shifted to Ahmedabad, again leading to getting acquainted to life in a major city, that too in a new social milieu. Two more years later, we shifted the residence from a government colony located in a predominantly blue-collared working-class area in East Ahmedabad to a government colony in a middle-upper middle class solely residential area in West Ahmedabad. And then, I was required to study my Pre-Science course by staying at a hostel in Vallabh Vidyanagar, Anand. On the whole each of the change certainly had helped my overall development, one of which my auto-conditioning to adapt to a change. Of course, its should be certainly noted here that all these changes were because of factors beyond our control, and hence we had no reason, to ask ‘why’.

However, the entire batch of first year would not have had similar conditioning. By and large, everyone had as normal upbringing that every child gets through the adolescence. Therefore, more logically, lack of feeling any major surprise at the new academic environment can better be attributed to the possibility that we were (unconsciously) ready to tread a new path that would lead us to the engineering degree now that we had finally made it to the course. [The basic role of the first few days of first year was to induct us to the course that we become aware of what was in the store in the future and how does the course design is going to help us meet those challenges, and how the first year was going to provide that base. However, whether we did expect that we should have known such aspects or whether we were given to understand these issues or whether we could appreciate such issues is not relevant to the context of the present memoirs.]

Apart from the academics, one aspect that surprisingly did not apparently did not seem to have made significant impact on my (and so with most of the other students) was the vast, sparsely populated, but very-well laid out, campus of LD with imposing buildings, as it was then.

It seems it would be good idea to look at what feelings the students who had joined old – a three-year duration – course where one joined the engineering degree course after completing F.Y. B. Sc (or inter-science as it was known earlier. And see if they had had any other types of experiences in the first year that still remain fresh in their memories now.

Please permit me to take a pause at this juncture and regroup my recollections……Till such time that we meet again next month, I would request my LDCE71M batch-mates to share their recollection on the subject.

Continued till the next episode ….

The Eponymous Principles of Management

The Eponymous Principles of Management : The Murphy’s Law and Its Variants – Murphy’s Law – An Overview

We keep hearing, ‘why this thing has to always happen with me?’. Or every time you go to refill your favorite dish from buffet spread, you will find that the source vessel itself requires a refill. Or when you are in hurry to reach somewhere, you will face all signals just turn ‘red’ as you approach traffic junction. The most striking phenomenon is the third wave of Covid-19, which everyone expected it will, and indeed is now rampant globally.

In the management parlance such inevitable (looking or real) events are known to be governed by what is very widely known epigram Murphy’s Law, which states that “Anything that can go wrong will go wrong.”

K.anh.eya.191, CC BY-SA 4.0
<; via Wikimedia Commons

As it happens with most of the epigrams, the real source of origin always remains hidden behind several anecdotal stories. One such, widely accepted, story of origin of Murphy’s Law is -:

‘Murphy’s Law (“If anything can go wrong, it will”) was born at (American) Edwards Air Force Base in 1949 at North Base.

‘It was named after Capt. Edward A. Murphy, an engineer working on Air Force Project MX981, (a project) designed to see how much sudden deceleration a person can stand in a crash.

One day, after finding that a transducer was wired wrong, he cursed the technician responsible and said, “If there is any way to do it wrong, he’ll find it.”

The contractor’s project manager kept a list of “laws” and added this one, which he called Murphy’s Law.

‘Actually, what he did was take an old law that had been around for years in a more basic form and give it a name.

‘Shortly afterwards, the Air Force doctor (Dr. John Paul Stapp[1]) who rode a sled on the deceleration track to a stop, pulling 40 Gs, gave a press conference. He said that their good safety record on the project was due to a firm belief in Murphy’s Law and in the necessity to try and circumvent it.

‘Aerospace manufacturers picked it up and used it widely in their ads during the next few months, and soon it was being quoted in many news and magazine articles. THE Murphy’s Law was born.[2]

It is also noted that the correct, original Murphy’s Law reads: “If there are two or more ways to do something, and one of those ways can result in a catastrophe, then someone will do it.” The law seems to have so universal appeal that before too many years had gone by, all kinds of variants had passed into the popular imagination, changing or adding a phrase here a phrase there. as they went. Most of these are variants on “Anything that can go wrong, will” which is a shortened version of Finagle’s Law[3].

And here is another interesting twist to the tale: “It’s supposed to be, ‘If it can happen, it will,’” a former Edwards engineer told Spark. “Not ‘Whatever can go wrong, will go wrong.’” In a radio interview in the early 1980s[4], Murphy insisted he had in fact meant it in the former, more motivating sense.[5]

The memetic drift apparent in these mutants clearly demonstrates Murphy’s Law acting on itself! Author Arthur Bloch has compiled several books full of corollaries to Murphy’s law and variations thereof. The first of these was Murphy’s law and other reasons why things go wrong!

The academic and scientific community have had their say on the law –

According to Richard Dawkins, so-called laws like Murphy’s law and Sod’s law are nonsense because they require inanimate objects to have desires of their own, or else to react according to one’s own desires. Dawkins points out that a certain class of events may occur all the time but are only noticed when they become a nuisance. He gives as an example aircraft noise interfering with filming. Aircraft are in the sky all the time but are only taken note of when they cause a problem. This is a form of confirmation bias whereby the investigator seeks out evidence to confirm his already formed ideas, but does not look for evidence that contradicts them

Similarly, David Hand, emeritus professor of mathematics and senior research investigator at Imperial College London, points out that the law of truly large numbers should lead one to expect the kind of events predicted by Murphy’s law to occur occasionally. Selection bias will ensure that those ones are remembered, and the many times Murphy’s law was not true are forgotten.

There have been persistent references to Murphy’s law associating it with the laws of thermodynamics from early on. In particular, Murphy’s law is often cited as a form of the second law of thermodynamics (the law of entropy) because both are predicting a tendency to a more disorganised state. Atanu Chatterjee investigated this idea by formally stating Murphy’s law in mathematical terms. Chatterjee found that Murphy’s law so stated could be disproved using the principle of least action.[6]

An amateur mathematician from the UK, Phillip Obayda, has another explanation. He drew up an equation combining the factors that influence the performance of a task – urgency, complexity, and importance, as well as skill (or lack thereof). He calculated the likelihood of a few familiar scenarios. He observed that to change the odds, all you have to do is alter one element of the equation. For instance, try to avoid doing anything complex or important when you’re in a rush, particularly if it requires skills you don’t have. But in general, the math proves that the universe really does hate you.[7]

So, whether Murphy’s Law is just a epigram, or some unfathomable probable event or a mathematically possible situation, it seems quite certain that by trying to understand all such possibilities and taking all known possible actions to prevent does have real value. The safety that present day aircraft cockpit has so reliably been proven is a direct credit to the strong belief in Murphy’s Law.

As such, we would also try to see what other variations to this Lawa re, why they came in to being and what are their significance in the next few episodes.


[1] Dr. John Stapp was an inveterate collector of aphorisms and adages, kept a logbook of such, and the practice spread to his entire working group. He published a collection of these in 1992 – a witty and humorous book – For Your Moments of Inertia: From Levity to Gravity: A Treatise Celebrating your Right to Laugh. He is also credited with an eponymous law Stapp’s Ironic Paradox.

[2] Murphy’s law’s origin

[3] Finagle’s law of dynamic negatives – “Anything that can go wrong, will—at the worst possible moment.”

[4] Comedian Robin Ince explores Laws that are not laws- Murphy’s Law

[5] Murphy’s Law is totally misunderstood and is in fact a call to excellence

[6] Murphy’s Law

[7] The Mathematics of Murphy’s Law

Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs :January 2022

Jaidev: Brilliant, But Underrated, Composer1974 -1975

The career of Jaidev (Varma)B: 3 August 1919 – D : 6 January 1987 – right from his first foray in 1933 till his own death in 1987 has been a sad tale of fate’s cruel treatment to such a gifted music director. It is so difficult to imagine that someone who had composed so melodious, and hugely popular as well, album was consigned to the ‘art-film music director’ tag by the turn of the decade. The popularity of his songs of 60s could not fetch a Filmfare award for him, but the art film yielded three national awards – a record for Hindi films that that remains unsurpassed in so far as music directors of his generation.

Perhaps the very specific limited ‘class’ audience that the art films sough to cater to, his music too had meet the basic demands of the film. So, one may argue, that that music was never meant to be popular at the mass level. And even when it could have been, the lack of strong marketing push to the film itself, to expect that songs would get that kind of support is probably wishful thinking.

The core creative artist of Jaidev used the constraints of art-film music composition into an opportunity to freely experiment with a wide variety of singers to create songs that could pride any music industry.

Till now, we have covered, the years

In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.

In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970,

in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971, and

In 2021, we recalled the songs that have faded out because the films flopped in 1972-1973

in the form of our commemorative annual series in the month of Jaidev’s remembrance anniversary month.

Presently, we will cover Jaidev’s compositions from what is popularly termed as ‘parallel cinema’ films Aaligan, Faslah and Parinay (all of 1974) and Ek Hans Ka Joda and Aandolan (of 1975). By recalling the songs of these films gives us clear opportunity to see the freshness of his compositions and the charm of his experimentation.

Aalingan (1974)

Hamaare Dil Ko Tumne Dil Bana Diya – Mohammad Rafi, Asha Bhosle – Lyrics :Jaan Nisaar Akhtar

The prelude song creates the feeling of speed that the couple riding motor-bike would expectedly feel that they would bring to their singing. The song is set to faster waltz rhythm. Jaidev has also used Mohammad Rafi and Asha Bhosle’s creativity of singing to the hilt.

Pyaas Thi Phir Bhi Taqaazaa Na Kiya – Manna Dey – Lyrics: Jaan Nisaar Akhtar

Manna Dey begins softly in the first line and then gradually goes onto higher scale exemplifying the increasing intensity of feelings that such intimate environment induces. Use of saxophone further adds to the escalation of the intensity of the feeling.

Faslah (1974)

Aa Utha Le Apna Jaam Kya Tujhe Kisi Se Kaam – Ranu Mukherjee – Lyrics: Kaifi Azmi

Jaidev experiments with Ranu Mukherjee’s heavy tonal qualities to set up the enchanting atmosphere of a club song.

Zindagi Cigarete Ka Dhuan, Ye Dhuan Jaata Hai Kahan Ya KahiN Jaata NahiN Ye Socho, Na Socho Meri Jaan – Bhupinder – Lyrics: Kaifi Azmi

Jaidev, Kaifi Azmi and Bhupinder team up to create a motivational song that does its assigned role in the lighter mood.

Parinay (1974)

Jaise Suraj Ki Garmi Se Jalte Huye Tan Ko – Deen Bandhu Sharma, Ramananad Sharma, chorus – Lyrics: Ramanand Sharma

The measure of this devotional composition in Raag Jaunpuri can be gauged by the fact that this one song has become the identity of the Sharma Brothers quartet who were otherwise also well known in the devotional program circuit.

Mitwa Mitwa Morey Man Mitwa – Manna Dey, Vani Jayram – Lyrics: Naqsh Llayalpuri

Jaidev recreates a 50s period melody in this duet. As can be expected, the duet was well received by the Manna Dey fans and other discerning film music fans.


Parinay won the 1974 Nargis Dutt Award for Best Feature Film on National Integration (known as the “Rajat Kamal Special Award for the Best Feature Film on National Integration” at that time).

The film was directed by Kantilal Rathod, who also has another award winning (Gujarati) feature film Kanku (1969) and a children’s documentary film Cloven Horizon (1965)

Ek Hans Ka Joda (1975)

Saathi Milte Hain Badi Mushqil Se Kisika Sath Na Chhodana – Kishore Kumar –Lyrics: Indeewar

Jaidev has very rarely used Kishore Kumar as playback even during second innings of both. In this soft piano song, he has Kishore Kumar signing equally soft lower scale or slightly elevated scale at the end of lines.

Ek Hans Ka Joda Jisne Pyar Mein Har Bandhan Toda – Ajit Singh – Lyrics: Gauhar Kanpuri

Jaidev’s experimental streak with his melodious core could not have been more manifested than in this credit title song, where in he has used pope singer Ajit Singh to sing a pop-style song with soft strings of guitar and wind instruments to the rhythm of drums.

Mere Dil Mein Teri Tasweer Sada Rehti Hai – Bhupinder Singh, Asha Bhosle –  Lyrics: Indeewar

In this asymmetric duet, Bhupinder chips in with a saakhi that would take the heroine into retrospective pensive mood.

Andolan (1975)

Dar-o-Divaar Pe Hasarat-e-Nazar Karte Hai Khush Raho Ahal-e-Vatan Ham To Safar Karte Hai – Bhupinder – Lyrics: Ramprasad ‘Bismil’

From the very brief information available, it is gathered that Andolan is a film based on the freedom struggle period. Directed by a highly talented, and successful commercial film director, Lekh Tandon, the film, has been consigned to the status of ‘parallel cinema’ probably because,, except Nitu Singh, all other major actors belong to the ‘art cinema’ stream.

The ‘saakhi, first two lines, is taken from a Nawab Wazjd Ali Shah’s poignant poem which he seems to have composed when he was exiled from Lucknow to a faraway Calcutta dungeon.

Mazloom Kisi Kaum Ke Jab Khwaab Jaagte Hain – Manna Dey – Lyrics :Verma Malik

Jaidev has chosen Manna Dey’s strong tonal quality to capture the brave mindset of the freedom fighters maintain their spirit in the face of brutal physical torture.

Panch Rupaiya Arre Panch Rupiaya De De Balamva Mela Dekhan Jaungi – Minu Purushottam, Krishna Kalle – Lyrics: Jan Nisar Akhtar

The street ‘tamasha’ song genre has one oft-intended use of a red-herring, as is the case of the present song.

Aside trivia:

The bespectacled person with beard siting on the ‘charpoy’, as can be seen clearly @3.41 is none other than vintage era front-line male playback singer, G M Durrani

Piya Ko Milan Kaise Hoye Ri MaiN Janu Nahi – Asha Bhosle – Lyrics: Meerabai

Here we have a musically very rich, but somehow lacking the easy melody of similar difficult and equally melodious songs like, Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar) – both from Reshma Aur Shera, 1971) or Yeh Dil Aur Unki NaigahoN Ke Saaye (Lyrics: Jan Nissar Akhtar) and  Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai (Lyrics: Prema Sachdev) (Prem Parabt, 1973) that we normally associate Jaidev with.

We rest here with one more very interesting page of Jaidev’s music direction career before moving on to the next phase, in our next episode.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Centenary Celebrations

Sahir’s Songs of Romance – Eight Films Association

The poet in Sahir Ludhianvi never allowed his lyricist exterior to compromise with the poetry not being given status equal to music. Lyrics for film song normally require very easy words and the meaning for the lay listener to easily align with song. Sahir’s lyrics invariably had perianised urdu touch., That would be just the first hurdle. His poetry was always steeped in the bitter reality of world. The combination ought to be too formidable for lyricist to even stay put in the commercial world of Hindi film music. However, Sahir Laudhianvi could always get a music director who was able to give the structure of his poetical lyrics the wings of music. The end result was Sahir Ludhianvi’s highly successful journey as a Hindi film lyricist during the era which had stiff competition from lyricist of all hues with almost comparable literary competence.

Roshan (Lal Nagrath) -14 July 1917 – 16 November 1967 – was one such music director who had inherent command over the melody. Roshan’s career took off with success of his second film, Malhar (1950). He scored several popular and lasting scores during the ‘50s, and as such, was indeed recognised as a music director with lot of potential. Bu that latent energy had still not reached the stage of escape velocity that could take his career into the orbit of meritorious, versatile and commercially successful as well, music was at that of his career that he was associated with Sahir Ludhianvi in 1960, with Babar and Barsaat Ki Raat. One was a period film, and the other was a sheer romance social. Sahir Ludhianvi also had seen break off with S D Burman after a hugely successful run in the ‘50s till Pyaasa (9157). The association with Roshan in 1960 also proved to be a booster dose to the till now successful run of his career. In the span of seven consecutive years, they did eight films together, with the exception of one (Chitralekha, 1964) all being, more or less, Muslim culture theme ones.

For Sahir, this may have been natural ground for his poetry to Persianized Urdu poetry to flourish, but that also unleashed the Roshan’s potential in the form of composing ghazals, mujhras and qawwalis. The bond had been mutually so strong that when pure Hindu culture-based songs were to be composed for Chitralekha, Sahir brilliantly came up with chaste Hindi lyrics, including for the run-of-the-mill comedy song,  to Roshan’s classical raag based tunes.

Presently, we take up just a few representative romantic songs from this extremely rich treasure of Sahir Ludhianvi’s Eight Films Association with Roshan.

Maine Shayad Pahle Bhi KahiN Tumhein Dekha Hai – Barsat Ki Raat (1960) – Mohammad Rafi

ajnabi si ho magar gair nahiN lagti ho
vaham se bhi jo ho naazuk vo yakiN lagti ho
haay ye phul sa chehra ye ghaneri zulfein
mere sheroN se bhi tum mujhko hasiN lagti ho

dekhkar tumko kisi raat ki yaad aati hai
ek khaamosh mulaaqaat ki yaad aati hai
jahan me husn ki thandak kaa asar jagataa hai
aanch deti hui barasaat ki yaad aati hai

jiski palkein meri aankhoN pe jhuki rahti hai
tum vahi mere khayaaloN ki pari ho ki nahiN
kahiN pahale ki tarah phir to na kho jaaogi
jo hameshaN ke liye ho vo khushi ho ki nahiN

Salam-e-Hasrat Qubul Kar Lo, Meri Mohabbat Qubul Kar Lo – Babar (1960) – Sudha Malhotra

udas najrein tadap tadap kar, tumhare jalwoN ko dhundhti hai
jo kwab ki tarah kho gaye, un hasin lamhoN ko dhundhti hai
…..    …….   …….  …… …..
agar naa ho nagwar tumko toh yeh shikayat qubul kar lo

tumhiN nigahoN ki justju ho, tumhiN khayaloN kaa muddaa ho
tumhiN mere waste-sanam ho, tumhi mere waste-khuda ho
….. ……     …….   …….   …. . 
meri parastish ki laj rakh lo, meri ibadat qubul kar lo

tumhari jhukti najar se jab tak na koyi paigam mil sakega
naa ruh taskin pa sakegi, naa dil ko aaram mil sakega
….  ……     ……     …..   ……
gam-e-judayi hai jan leva, yeh ik haqiqat qubul kar lo

Tum Ek Baar Muhabbat Ka Imtahaan To Lo, Mere Jhunun Meri Vahshat Ka Imtahaan To Lo – Babar (1960) – Mohammad Rafi

salaam-e-shauq pe ranjish bhara payaam na do
mere khaloos ko hiras-o-havas ka naam na do
meri vafa ki haqikat ka imtahaan to lo

na takht-o-taz na laal-o-guhar ki hasarat hai
tumhare pyar tumhari nazar ki hasarat hai
tum apne husn ki azmat ka imtihaan to lo

maiN apni jaan bhi de duN to aitbaar nahiN
ke tum se badhke mujhe zindagi se pyar nahiN
yuN hi sahi meri chahat ka imtihaan to lo

Tumhari Mast Nazar Gar Idhar NahNi Hoti, Nashe Mein Chur Fiza Is Qadar NahiN Hoti – Dil Hi To Hai ((1963) – Mukesh, Lata Mangeshkar

tumhi ko dekhne ki dil mein aarzuein haiN
…..  …..   ……   …. .   .
tumhare aage hi oonchi, nazar nahiN hoti

khafa na hona agar badh ke tham luN daaman
….   ……   …….   …  ….
ye dil fareb khata, jaan kar nahiN hoti

tumhare aane talak ham ko hosh rahta hai
….   ……   ….  ……. ….
phir us ke baad hamein kuchh khabar nahiN hoti

Churaa Le Naa Yumko Ye Mausam Suhaana Khuli VaadiyoN Mein Akeli Na Jaana, Lubhaataa Hai Mujhko Ye Mausam Suhaana Main Jaaungi Tum Mere Pichhe Na Aana – Dil Hi To Hai (1963) – Mukesh, Suman Kalyanpur

lipat jaayega koi bebaak jhokaa
javaani ki rau mein naa aanchal udana

mere vaaste tum pareshaN Na Hona
Mujhe Khub Aata Hai Daman Bachana

ghata bhi kabhi chum leti hai chehara
samajh soch kar rukh se zulfein hatana

ghata mere nazdik aakar to dekhe
in aankhoN ne sikha hai bijli girana

PaoN Choo Lene Do PhuloN Ko Inaayat Hogi, Varana Hamko NahuN Inko Bhi Shikayat Hogi – Taj Mahal (1963) – Mohammad Rafi, Lata Mangeshkar

aap jo phul bichhaaye unhe ham thukraaye
 ….. …..  ……   ……
hamko dar hai ke ye tauhin-e-muhabbat hogi

dil ki bechain umangoN pe karam farmaao
…..   …..   …….   ……  …..
itna ruk ruk ke chaloge to qayaamat hogi

sharm roke hai idhar, shauk udhar khichein hai
….   ……   ……. ….. 
kya khabar thi kabhi is dil ki ye halat hogi

sharm gairoN se hua karti hai apnoN se nahi
…..   …..   …..  ….
sharm ham se bhi karoge to musibat hogi

Chand Takata Hai Idhar Aao KahiN Chhup Jaayein, KahiN Laage Na Najhar, Aao KahiN Chhup Jaayein – Dooj Ka Chand (1964) – Mohammad Rafi, Suman Kalyanpur

phul sakhoN se jhuke jaate hothoN ki taraf
jhoke bal khaake mude aatein hai
ho mude aate haiN julfoN ki taraf
…..    …..   …..   …..
chhod kar inki dagar aao kahiN chhup jayein

maiN hi dekhuN sajan duja na dekhe tohe
kya khabar kaun sautaniya tora
ho sautaniya tora man mohe
….   …..   ……   …….
dil pe dalo na asar aao kahiN chhup jayein

sari najroN se pare sare najaaroN se pare
aasmanoN pe chamakte hue
ho chamakte hue taroN se pare
…   …..   …..    …..   …
odh kar lal chunar aao kahiN chhup jayein

Sun Aye Mahjabin Mujhe Tujhse Ishq NahiN, – Dooj Ka Chand (1964) – Mohammad Rafi

yuN maiN tera Qayal huN, Qayal huN
naaz-o-adaa par mayal huN, mayal huN
….. …… ……
jalwoN ka dam bharta huN
chhup-chhup dekha karta huN
par aye pardanashNi mujhe tujhse ishq nahiN

tu wo dilkash hasti hai, hasti hai
jo kwaboN mein basti hai, basti hai
….  …… …..
tu kah de to jaan de duN
jaan to kya imaan de duN
par aye khaslagi mujhe tujhse ishq nahiN

Chhaa Gaye Badal Nil Gagan Par, Khul Gaya Kajhara Saanj Dhale – Chitralekha (1964) – Mohaamd Rafi, Asha Bhosle

dekh ke mera mann bechain
rain se pehle ho gayee rain
aaj hriday ke swapna phale
ghul gaya kajara sanjh dhale

rup kee sangat aur ekant
aaj bhatakta mann hai shant
keh do samay se tham ke chale
ghul gaya kajara sanjh dhale

andhiyaro kee chadar taan
ek honge do vyakul pran
aaj naa koyee dip jale
ghul gaya kajara sanjh dhale

Aise To Na Dekho Ke Bahak Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN hum, Haaye Aise Na Kaho Baat Ke Mar Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN Hum – Bheegi Raat (1965) -Mohammad Rafi, Suman Kalyanpur

angdaai si leti hai jo khushboo bhari zulfein
girti hai tere surkh laboN par teri zulfein
zulfein na teri chum le ae mahjabiN hum
aakhir koik insaN hai farishta to nahiN hum

sun sun ke teri baat nasha chhaane laga hai
khud apne pe bhi pyar sa kuchh aane laga hai
rakhna hai kahNi paanv to rakhte haiN kahiN hum
aakhir koik insaN hai farishta to nahiN hum

bheega sa jo hai naaz ye halka sa pasina
haaye ye naachti aankhoN ke bhaNvar dil ka safina
socha hai ke ab dub ke reh jayein yahiN hum
aakhir koik insaN hai farishta to nahiN hum

Log Kahete Hai Ke Tum Se Kinaraa Kar Lein, Tum Jo Keh Do To Sitam GaNvaaraa Kar Lein – Bahu Begam (1967) – Mohammad Rafi

tumne jis haal-ae-pareshaN se nikala tha hamein
aasra de ke mohabbat ka sambhala tha hamein
sochte hai ke wahi… …… ….. haal dobara kar lein

yuN bhi ab tumse mulakat nahiN hone ki
mil bhi jao …  ….  …. ..  to koi baat nahiN hone ki
aakhri baar bas ab …. ….  jikr tumhara kar lein

aakhri baar khayalo mein bula le tumko
aakhri baar kaleje se laga lein tumko
aur phir apne tadapne …. …. …. ….  . ka najara kar lein

Saahir Ludhianvi’s Eight Films Association with Roshan can best be explored in more than one article, may be at next opportune occasion(s) in the future. For the present, we ready up for Sahir Ludhianvi’s 18 films dream-like association with S D Burman in the next episode.

Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – December 2021

Welcome to December 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We straight away move on to other tributes and memories this month.

Mehfil Mein Meri continues with Lata – Non-film songs with  Part 4, covering period of late 90s,after having presented songs from 1954 till 1965 in Part 1, for the years 1966 to 1975 in Part 2 and those for 1975 till 1995 in Part III

Awara, Shree 420: The films that made Raj Kapoor the ‘showman of Indian cinema’Sampada Sharma – On Raj Kapoor’s 97th birth anniversary, looking back at the decade that established him as the ‘showman of Indian cinema’.

Raj Kapoor and Nargis in Awara. (Photo: Express Archives)

Way before OTTs, Hrishikesh Mukherjee’s Musafir starring Dilip Kumar was the gold standard of anthologiesSampada Sharma  – The three stories in Musafir are centred around these themes and are all set inside one house. As each family comes to live in this house, they bring in their sorrows and leave with joy as they end up crediting the house for taking their pain away.

Dilip Kumar: A look at his initial years from 1944-1948 – Sharda Iyer takes looks back at the nine films that Dilip Kumar had acted during 1944-1948 period.

Rajendra Krishna with Chitragupta and Ravi: Reaching for the skies – in continuation to his in-depth study of Rajendra Krishna’s career as lyricist, after C Ramchandra and Madan Mohan, Hans Jakhar delves into the musical relationships of Rajendra Krishna with Chitragupta and Ravi.

Shaayar-e-Aazam : S.H.Bihari (a.k.a Shamshul Huda Bihari) born in 1922 wrote around 400 songs for 90 films. The present article covers his songs with 10 music directors, other than O P Nayyar.

In documentary on Mumbai film critic Rashid Irani, fond nostalgia and creeping lossNandini Ramnath –  If Memory Serves Me Right is a 56-minute documentary about a 74-year-old film critic, for the Times of India and Hindustan Times, Rashid Irani, who died on July 30th , for whom cinema was a 24×7 obsession. Rafeeq Ellias’s film explores Irani’s lifelong Cinemania, his relationship with his neighbourhood in downtown Mumbai, and the loneliness and anxieties that gripped him during the coronavirus-induced lockdowns.

Also Watch: Critic Rashid Irani (1947-2021) speaks on his lifelong passion for cinema

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

In the series of articles on Sahir’s Songs of Romance, commemorating Sahir Ludhianvi’s birth centenary,  we now take up Sahir Ludhianvi’s Seven-film associations with Laxmikant Pyarelal and Khayyam.

December 2021 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Duet Song With The Music Director: 1947-1948, the second part of his career’s First Five-Year Period of 1944 to 1948.

SoY has also published yours faithfully’s tribute to Mohammad Rafi on his 97th birthday, in the form of Mohammad Rafi’s Non-film Hindi Geets and Ghazals

Here is a vintage photograph, Producer-Director Sriramulu Naidu actor Raj Mehra, Om Prakash, Dilip Kumar, Badri Prasad, Meena Kumari, Shammi, and Achla Sachdev on the sets of Azaad (1955) posted on BollywooDirect:

We now move on to posts on other subjects –

Why movie villains are as interesting as the heroes is an excerpt from Balaji Vitta’s book Pure Evil – The Bad Men of Bollywood, publisher: HarperCollins India.

It’s Time To Clap! are the songs with clapping as a key element.

Kathak and Tap Dance: Similarities, Connections in Classic Films, and – Finally – Duets and Quartets! –  The article may appear  to be technical to a lay reader, but as always, by the choice of video clips that Richard puts in the article, the article remains an interesting read.

Book review: ‘Yesterday’s Melodies Today’s Memories’ – Manek Premchand’s book is “essentially about the many creative individuals whose genius produced unforgettable Hindi film songs from 1931 to 1970, and specifically between the years 1947 and 1970”.

Boat songs, part IV lists songs that have boats in a group.

Film Memorabilia Transitions from a Collector’s Passion to an Investor’s EyeSMM Ausaja takes a look at this new emerging market of as the memorabilia craze gets ready to move into NFTs- The Non Fungible Tokens.

Similar Tune, Two Different Songs picks five pairs of the songs where one Hindi film song appears to have been inspired by another from a different movie.

Book Review: Conversations With Waheeda RehmanRanjan Das crisply reviews Nasreen Munni Kabir’s interview-based book – Conversations With Waheeda Rehman, published in 2015 by Penguin.

Ten of my favourite Hindi film double roles, some of these are people portraying twins; some have other ties of blood (parent and child, for instance). Some aren’t related at all but are uncannily alike anyway.

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

In continuation to our tradition of ending the post with a few songs of Mohammad we take a slight detour to take up Vinod Dua, a noted TV journalist, who passed away on 5-12-2021, talking about Mohammad Rafi:

Radio Ceylon also has paid tribute on 24-12-2021 in their prgram ‘Purani Filmon Ka Sangeet – In memory of Rafi Sahab’


I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

Carnival of Blogs on Golden Era of Hindi Film Music wishes all a melodiously happy and rhythmically fruitful 2022.


The episodes of January 2021 to December 2021 have been compiled as one file @ Carnival of Blogs on Golden Era of Hindi Film Music, 2021 and can be read / downloaded by clicking on the hyperlink

Remembering Mohammad Rafi

Mohammad Rafi’s Non-film Hindi Geets and Ghazals – Kya Yaad Tumhein Hum Aayenge

A tribute to Mohammad Rafi on his 97th Birthday

In the 30s and 40s, it was a normal practice for the recording companies to contract the singers with exclusive rights. That would require other companies to launch non-film songs with other singers to make their presence felt in the market. That probably laid the foundation of the practice of publishing the records of non-filmi songs. By the turn of 40s, the singers turned freelancers, hence the major recording companies took up to buying the rights of all songs for majority of the films. That again led the smaller players to approach the singers for recording the non-film songs. In decades of 50s, 60s and thereafter, the market forces kept changing the rules, but non-film songs had created such a niche for itself that the genre has survived and thrived.

Even when considered to be playing the second fiddle to the more known film-songs genre, non-film songs have been pursued quite sincerely by almost all the playback singers. For many of the frontline singers of film-song school of 50s, the changing pattern of film compositions in the early 60s created a situation where the film songs ceased to yield inner satisfaction. In that situation, it was non-film songs that helped them to go back to their basic creative core.  Many of such songs remain enshrined as the iconic renditions in the overall portfolio of a singer.

Mohammad Rafi (b. December 24, 1924 – d.  July 31, 1980) was one such singer. Mohammad Rafi is credited to have rendered over 4,500 songs during his active career spanning almost four decades. The estimate of his non-film songs varies from as low as around 300 to as high as over 700. We also often get to read in well-publicised articles that around 70 to at best 100 (only) of his non-film songs are available easily.

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I seriously started listening to the (Hindi) film music in the second half of ‘60s. Radio Ceylon, Vividh Bharati and a few programmes on the local AIR stations were the only sources to whet that newfound interest. That pursuit took more serious roots when I had purchased a basic (HMV) record player and four records from my first salary in July 1973. Not before long, I was to land upon the then fast-selling, for more than a decade, vinyl LP, record ‘This is Mohammad Rafi’ that contained non-film geets and ghazals on one side and devotional songs on the other side. Each of the song was composed by Khayyam with his exquisite magic touch. It is said that, in the melee of fast-paced run-of-the-mill songs at the advent of 60s, Mohammad Rafi was seriously concerned that he is losing the natural melody in his voice. He approached Khayyam to help him overcome his cause of concern. The joint efforts of these two resulted in the form of this LP album.  One can find many versions of what (may have) happened around this theme. To make different stories associated with this theme short for the purpose of the present article, I will note here that it was that record that opened my ears to the genre of non-film songs in real earnest. I had purchased a few more of Khayyam-Rafi non-film songs records and cassettes as well as those of Manna Dey, Talat Mahmood, Suman Kalyanpur etc. Of course, I did not pursue the matter of collecting the records of Mohammad Rafi’s NFSes as a serious curator.  But that was my inertia as an amateur fan, and hence my loss. That inertia may also be reflected in the selection of the songs in the present article too.

Since my source for the songs presented herein is presently limited to only YT and few other songs sites, I have not been able to ascertain the year of release / publication of these songs. As such, it would be apt for to begin with one representative song from the LP record ‘This is Mohammad Rafi’:-  

Poochh Na Mujhse Dil Ke Fasane, Ishq Ki Baatein Ishq Hi Jaane – Lyrics; Jan Nissar Akhtar – Music: Khayyam

With such easy-to-understand, and yet thoroughly literary lyrics and the matching soothing composition, Mohammad Rafi soulfully renders the feelings of someone who has totally been immersed into the ocean of love.

No wonder, this record not only remained on the top-selling list for almost a decade of its release, but it also reset the pride of place to the non-film songs genre in what was considered to be decade of growth of new generation listeners who had marked preference for easy, fast-paced film songs.

Before we explore more of different lyricist-music director combinations who have also recorded equally absorbing non-film songs with Mohammad Rafi, one more of representative non-film compositions by Khayyam would be in order:

Tum Aao Rumjhum Karati Payal Ki Zankar Liye, Nain Bichhaye Baitha Koi Phulo Bhari Bahar Liye – Lyrics: Madhukar Rajasthani – Music: Khayyam

Here Mohammad Rafi creates that intimate romantic touch to this Madhukar Rajasthani’s sentimental geet.

Before we dwell deeper into lyricist-music director combinations, it would be opportune to take note of extremely rare example of a non-film song wherein all the creative stakeholders – the lyricist, the music director, and the singer – are well known names of Hindi films.

Is Dil Se Teri Yaad Bhulai Nahi Jaati, Ye Pyar Ki Daulat Hai Lutai Nahi Jaati – Lyrics: Rajinder Krishna – Music: Hansraj Behl

Hansraj Behl – Mohammad Rafi have given us some of the most memorable Hindi film songs. They team up with Rajinder Krishan here to come up with this NFS gem. Rafi plays with ‘yaad’ in the mukhada and ascends-descends the scales in each stanza in what is now his familiar style to us. His ‘taan’ at ‘ye pyar ki dualat….. hai’ can also be categorised as his oft-used vocal ‘harkat’. However, and in spite of these, the song retains the charm of an NFS.

One interesting feature of Mohammad Rafi’s non-film songs is that most of the compositions have come from what can at best be classified as unknown-to-average-listener music directors. These songs may have either been drawn from the published works of known ghazal and poetry writers or from the unknown-to-average-listener poets. Taj Ahmed Khan and his Mohammad Rafi’s non-film songs fall in this category. Even as one can find many Taj Ahmed Khan’s composition on internet, next-to-no information is available about this music director.

Dil Ki Baat Kahi Nahi Jaati…. Chupake Rahena Thana Hai, Haal Agar Hai Aisa Hi To … Jee Se Jaanah Jaana Hai – Lyrics: Mir Taqi Mir – Music: Taj Ahmed Khan

Here we have a ghazal from an 18th century Urdu poet, Mir Taqi Mir, who commands respect almost equal to Mirza Ghalib.

Just to get an idea of how different music directors extracted best of Mohammad Rafi for the non-film songs genre, we should listen to another famous rendering of this ghazal by Begum Akhtar.

Please note this not an exercise of comparison between the two renderings but is simply an illustration of how differently Mohammad Rafi NFSes have been carved out.

We will now take up Mohammad Rafi’s NFSes created by less (or practically not known) lyricist or music director or both. Here, too, there are enough songs available on internet to enable a separate study or listening pleasure. I have picked representative songs for the purpose of present article.

Kya Yaad Tumhein Hum Aayenge Itni Si Baat Bataaenge – Lyrics: Madhukar Rajashthani – Music: Vinod Chatterji  

The song also begins with a precise strokes of sitar in the prelude to pave the way for Mohammad Rafi to come up with a very brief alaap picking up the initial lyrics ‘Kya Yaad Humein Bhi…’ . Harkats of very fondly playing with ‘yaad’ and then ‘aayenge’ are the simple master strokes of the composition. As the song proceeds we get several such glimpses on the way, with an extended ‘s…..ab….’ @2.25 as an icing on the cake! Music director and singer have done great justice to the lyrics of the song.

This is one of those Mohammad Rafi NFS you yearn to listen again and again.

Note: I had sought the help of several knowledgeable friends @SoY to conclusively locate names of lyricist and music director of this song. Shri Arun Kumar Deshmukhji has provided this information with the help of his friend Shri Dipak Chuadhari, who has the record (#N88276) of this song in his possession (WOW!!). My most sincere thanks to both..

Hansa Beech Gagan Roye, Komal PankhoN Par Ye Murakh Dekho Parbat Dhoye – Lyrics: Shyam Sharma – Music: Shyam Sharma

Shyam Sharma was the regular employee of HMV. HMV and some of the older record companies then headquartered in Calcutta had very strong music departments of their own. This in-house resource also has contributed to score of non-film song records.

Kash KhwaboN Mein Hi Aa Jao, Bahut Tanha HuN – Lyrics: Saba Afghani – Music: Iqbal

How earnestly Mohammad Rafi puts through the request to the beloved to appear in the dreams and break the spell of loneliness! With extra soft beginning of the first line of the stanza, where the feelings are more intense, the entire song is rendered more as a soliloquy with one’s own self!

Jeenay Ka Raaz Maine Muhabbat Mein Paa Liya, Jiska Bhi Gam Hua Use Apna Bana Liya – Lyrics: Muzaffar Shahjahanpuri – Music: Iqbal Quershi

Deep alaap and soft rendering of Jeeney Ka Raaz Maine……sets the tone for pensive mood of the song.

Main To Rahon Mein Pada Paththar Hun Sab Mujhe Chupchap Raundhake Chale Jaate Hai – Lyrics: ? – Music: Kamal Rajasthani

Right from the first note, we find a very close resemblance to the song Main tooti hui ek naiya hun (Aadmi, 1968; Lyrics: Shakil Badayuni- Music: Naushad). Of course, I have no authentic information of year of publication on the present non-film song, so would not hazard any guess whether either one is the inspired version.

Be that as it may, the song is composed to Mohammad Rafi’s deep tonal chords, except in the last stanza when the lyrics take the shape of sharp pain. Mohammad Rafi raises his scale to the top, before coming down to the original scale.

With a candid the disclaimer that sequencing of the following song is not intended after the above song, I conclude the present article, in full concurrence to what Naushad has to say for Mohammad Rafi before the start of the song in the following clip –

Beete Dino Ki Yaad Satati Hai Aaj Bhi.. Kya Jhamane Wapas Kabhi Na Aayenge, Kya Ham Tamaam Umr Yoonhi Roye Jaayenge – Lyrics: Shakil Badayuni – Music: Naushad

Mohammad Rafi does not sound loud even when he sings at a high scale all through the song.

I plan to continue the series on all other future anniversaries of Mohammad Rafi. As such, I have reformatted and shortened up the article which is published on Songs of Yore on December 24, 2021.

I hereby record my sincere thanks to Songs of Yore for publishing the article, Mohammad Rafi’s Non-film Hindi Geets and Ghazals.

Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – December 2021

Welcome to December 2021 edition of the IXth volume of Carnival of Quality Management Articles and Blogs.

We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.

Our topic for the discussion for the month is – The Future Sustainability – with a view to present a broader picture of the issue that has been gaining higher priority everywhere.

It is now well accepted that:  Sustainability is meeting our own (present) needs without compromising the ability of future generations to meet their own needs. It is also well accepted that sustainability is not just environmental-ism. Sustainability rests on dynamic balance of three dimensions economic development, social equity, and environment conservation, not necessarily in that order.

The UN’s adoption of Sustainable Development Goals (SDGs), in the year 2015, has laid the concrete foundation for the roadmap for a sustainable future.

The UN’s aspirational SDGs were “a great gift to humanity” when they were adopted, but much work is still needed to develop science-based pathways to show how they can be effectively and equitably implemented, said Nebojsa “Naki” Nakicenovic, professor emeritus at the Vienna University of Technology and former deputy director general of the International Institute for Applied Systems Analysis (IIASA). The World in 2050 (TWI2050) seeks to make the aspirational SDGs more practical and equitable.

The Science of Sustainability is a science-based view that provides cross-sector collaboration between environment conservation and growing human needs across traditionally disconnected sectors, and on a near unprecedented scale.

Six emerging sustainability trends are identified for the present decade[1]:

  1. Sustainability as a way of doing business
  2. Embracing accountability and importance of being transparent
  3. Education is the key in building awareness
  4. Collaboration between the public and private
  5. Innovation is imperative
  6. Rise of the circular economy.

Further readings:

  1. Our Common Future: The Brundtland Commission report
  2. The SDGs explained for business
  3. The World in 2050 Pursues Paths to a Sustainable Future
  4. The Science of Sustainability

I plan to devote the entire next year’s Xth volume of Carnival of Quality Management Articles and Blogs to this subject of Sustainability.

We now watch ASQ TV episode on–

  • SR Offers Opportunities for Quality Professionals – “Sustainability is the goal,” says Andrea Hoffmeier in this ASQTV interview. Hoffmeier, explains how quality professionals can play a role in helping their organizations and clients reach the goal of sustainability through social responsibility. She also discusses how DMAIC can be adapted for the SR audiences.

We have taken up one article from Jim L. Smith’s Jim’s Gems :

  • The Future – A single action, taken now, can have significant consequences far into the future…..Time has a way of magnifying whatever we do. So even in the smallest matters, we should strive to do what is the right thing to do. The direction and purpose of each effort we take are much more important than the size of the effort….. We need to point all our actions, large and small, important, and seemingly insignificant, in the direction we wish to see our life move. ,,,,, We are shaped by our thoughts, and we become what we think.

‘From the Editor’ (of Quality Magazine) – by Darryl Sealand, we have –

  • Assessing the Quality Situation: The Importance of Knowing Your Surroundings – Knowing the environment, or being aware of your surroundings, is key to many a task. It’s at least one of the ways we express the importance of having all the information we need in order to reach a goal…. The importance of knowing our surroundings also extends to less controllable environments….. Here is what was very widely told incident during the space race between the United States and the Soviet Union. Careful consideration of the environment of outer space and its effect on the technology and tools of a mission to space led the U.S. to invest substantially in developing a pen that would write in the zero-gravity of space. And the punchline…the Russian cosmonauts used a pencil.

I look forward to your views / comments / inputs to further enrich the theme of The Sustainability during 2022..

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.


Carnival of Quality Management Articles and Blogs wishes everyone the year 2022 to provide the most powerful springboard to sustained success and happiness.



Please click the hyper link to read /download January 2021 to December 2021 articles of IXth Volume of Carnival of Quality Management Articles and Blogs

[1] What is the future of sustainability as we welcome the next decade?

Fading Memories….Unforgettable Songs Remembering Mohammad Rafi

Fading Memories…. Unforgettable Songs: December 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1947-1948


The Google Doodle by Mumbai-based illustrator Sajid Shaikh, on Mohammad Rafi’s 93rd birthday [B: 24-12-1924 | D: 31-7-1980] depicted Mohammad Rafi as the king of playback singing in Bollywood. It shows the journeys of famous Rafi songs as they progressed from the studio, onto the silver screen and into the hearts of fans forever.

The second part of the First Five-Year Period of Mohammad Rafi’s career, covering the years 1947 and1948, that we presently take up for our series Mohammad Rafi’s First Duet Song with Music Director can be said to be period when he was still in the music recording rooms. As we have seen in the first part covering years 1944 to 1946, Mohammad Rafi was at the initial phase of ‘being under test’. More and more music directors were giving him a solo here or a duet there.

As we shall presently see, the definite trend of Mohammad Rafi trying to create his own space by discovering his own style to the confident delivery of his lines against more experienced female singers of vintage era under the batons of wider range of music directors has started emerging by the end of First- Five Year Period.


Six more music directors have offered Mohammad Rafi diets with as many as eight different singers – three of which are the male singers – in the year 1947.

In so far as Mohammad Rafi’s career is concerned, the year 1947 had opened the door – in the form of the solo, Duniya Mein Meri Aaj Andhera Hi Andhera (Do Bhai- Music: S D Burman – Lyrics: Raja Mahendi Ali Khan) – that led to a strong association with S D Burman.. 1947 had also Mohammad Rafi singing his first, and the only duet with Noor Jehan – YahaN Badala Wafa Ka Bewafai Ke Siwa Kya Hai (Jugnu – Music Firoz Nizami – Lyrics: Azhar Sarhadi). This also was Mohammad Rafi’s first ever playback for Dilip Kumar.

Datta Davjekar, (15-11-1917 | 19-9-2007) a fairly known name in the then Marathi films, debuts with Aap Ki Sewan Mein in Hindi Films. He composed music for 5 Hindi films, 51 Marathi and around 500 documentary films. The film, Aap Ki Sewa Mein, has other record, in the form of. Lata Mangeshkar’s maiden songs as a playback singer with the song Paa Laagoon Kar Joree Re, to its account.

Desh Mein Sankat Aaya Hai, Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein – with G M Sajan – Lyrics: Mahipal

The song reflects the mood of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” hinting  ‘Azaadi chheen lo”. Otherwise, the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal, that rampaged India in that period..

There is a male-female duet son too.

Main Teri Tu Mera Dono Ka Sang Sang Basera – Aap Ki Sewa Mein – with Mohantara – Lyrics: Mahipal

Mohammad Rafi has handled the eagerness of a longing lover on his way to meet his beloved in a controlled high-octave scale rendition. The beauty of the composition is in its vibrant freshness after so many years.

Aside Trivia:

Datta Dawjekar worked as an assistant to C Ramchandra from 1952 to 1961. As such, the source of inspiration for C Ramchandra’s popular song Eenaa Meena Deekaa. . . (Aasha, 1957) is originally created for the Marathi song “Ina Mina Mona Baass” from a children’s play for Marathi stage, by Datta Dawjekar, who also wrote the lyrics for the Marathi song.

Source Credit: Shishir Krishna Shrama’s post on Datta Dawjekar

Prakash Nath Sharma does not seem to be a known name as a music director. The only film for which he seems to have composed music, Ek Kadam, does have one Mohammad Rafi – Shamshad Begum duet. Tu Bhi Rah Main Bhi (Lyrics: Avtar Visharad), that does not seem to have a digital presence on net.

C(hitalkar Narhar) Ramchandra (12 January 1918 – 5 January 1982), is another music director who went on to have a strong presence in the subsequent period of Golden Era.

Kisko SunauN Hal-e-Dil. Ham ko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – with Lalita Deulkar – Lyrics: Moti B A

The duet, and Mohammad Rafi’s solo version, were immensely popular and the both has the future imprint of Mohammad Rafi’s singing style that was later identified as his unique style during his post vintage-era career of ‘50s..

The film has one more duet Main HuN Jaipur Ki Banajaran, Chanchal Mera Naam, with Lalita Deulkar (Lyrics: Qamar Jalalabadi) and two triads, Hum Banjare Sang Hamare Dhoom Macha Le Duniya (Lyrics: Moti B A) and Sambhal Sambhal Ke Jaiyo Banjare, Dilli Door Hai (Lyrics: Ram Murti Chaturvedi) with Lalita Deulkar and Geeta Dutt (Roy).

Khemchand Prakash, a doyen of ‘40s, made two most significant contributions for which the Golden Era remains indebted. One was introduction of Kishore Kumar in Ziddi (1948) – Jeene Ki Tamanna Kaun Karein …….  Marne Ki Duaein KyoN Maangein  . and gave Lata Mangeshkar a defining identity in Aayega Anewala (Mahal, 1949).

Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli – Samaj Ko Badal Dalo – with Arunkumar and Manna Dey – Lyrics: ?

We have only audio clips here, but the knowledgeable bloggers note that Mohammad Rafi has sung his own lines on the screen.

Part 1:

Part 2

Pt. Ramakant Paingankar-Karnad, one more of those unknown names., except that Ramakant Paigankar was known to be a part of C Ramchandra orchestra team.

Chalo Ho Gayi Taiyyar.. Thehro Jee…. – Shaadi Se Pehle – with Lata Mangeshakar – Lyrics: Pt. Mukhram Sharma

This is a simple fun song that shows the lady making a big shopping list that her beloved readily agrees to buy for her with all the strapping. The song has the distinction of being the first ever Rafi Lata duet.

K(oregaonkar) Datta is said to have given Lata Mangeshkar and Asha Bhosle a chance to sing with the then reigning queen Noor Jehan. He scored music for 17 Hindi films

Nainon Se Naina Milaake Sota Prem Jagaate – Shahkar – with Rajkumari – Lyrics: Arzoo Lakhanavi

HFGK does not mention singers for the song. The song seems to be composed as a tong-song. The singing by both the singers rhymes exactly with rhythm of the song.

Ye Duniya Sab Prem Ki Tu Prem Kiye Jaa – Shahkar – with Shamshad Begum – Lyrics: Arzoo Lakhanavi

HFGK mentions the song as Parody song (record no. GE 3729 /31), though I must confess that I could not make it why it was so. However, the song has experimented with one singer overlapping the main singer on a different scale  in the mukhada, which must have called for some very innovative recording skills on the part of the sound recordist as well the music arranger.


In 1948, on the first anniversary of Indian Independence, he was awarded a Silver Medal by Jawaharlal Nehru for his, a marathon 4-part, song on Mahatma Gandhi, Suno Suno Ae Duniyawaalon Bapu Ki Amar Kahani (Music: Husnlal Bhagatram – Lyrics: Rajinder Krishna)

1948 has once again a very rich crop in so far as our present subject goes, with eight music directors and as many as ten co-singers, Except for Shamshad Begum and Ameerbai Karnataki, in the female singer section, GM Durrani in the male singer section, and Geeta Dutt and Beenapani Mukherjee one triad earlier, all other singers have partnered Mohammad Rafi first time.

Ram Ganguly (1928-1983) was part of Prithvi Theatre team. His choice of music director for Raj Kapoor’s maiden film Aag was thus a natural choice. However, because of some misunderstanding during the days when Barsaat was being planned, Aag remained the only film RK and Ram Ganguly di together,

Solah Baras Ki Bhayee Umariya – Aag – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Mohammad Rafi gets his chance in the maiden Raj Kapoor film Aag,. Since then, even if he has not been a main singer for RK films, he has always got a song or two in almost every film, some of which have become most notable songs of Rafi’s entire career.

The visuals of the song can be seen with a typical Raj Kapoor touch.

Hans Raj Behl has used Mohmmad Rafi for duets in two films in 1948 – Chunariya and Satyanarayan.

Phool Ko Bhul Le Ke Baitha Khar, Tera Kaanto Se Hai Pyar – Chunariya – with Geeta Dutt – Lyrics: Mulk Raj Bhakhari

The song seems to be some type of beggar or a fakir song.

Dilliwale Sahab Gajhab Kar Daala Re – Satyanarayana – with Beenapani Mukherjee – Lyrics: Pt. Indra

This is a thoroughly enjoyable fun song.

The film had two more duets of Mohammad Rafi and Beenpani Mukherjee – Kya Yaad Hai Tumko Wo Din Ji (Lyrics: Sewak) and Mera Dil Ghayal Karke Bairi Jag Se Dar Ke (Lyrics: Surjeet Sethi).

Ghulam Mohammad has paired Mohammad Rafi to sing with Suraiya, one of the top actress-singing star of that time. The pair then went on to sing 24 duets, some of which remain the most memorable duets, which can be a subject for a separate article in the future.

TaaroN Bhari Raat Hai Par Tu Nahi – Kajal – with Suraiya – Lyrics: D N Madhok

On the face of it the lyrics seem to express pain of the two being away from each other. However, the song runs on a fast pace, normally used for happy songs. In the absence of this dichotomy remains unresolved. However, listening to Mohammad Rafi as if he were singing a song almost after half a decade later in the time in the style of ‘40s and matching Suraiya’s exhortations for clearly expressing the love is such a pleasant surprise.

Gyan Dutt is also a very respected ‘40s name in music direction arena. We have two duets here. Of the two, Chalo Jamuna Ke Paar  … Dil Ki Dukanein Lagi JahaN Par NainoN Ke Bajar (Lal Dupatta – with Shamshad Begum, Sulochana Kadam, Chorus- Lyrics: Shewan Rzvi (?))being a very sweet-to-listen-to triad with chorus, Rafi does no get much exposure. So, I have opted for the other one for the present article.

Ari O Albeli Naar Kyon Chhupakar Kare Vaar – Lal Dupatta – with Shamshad Begum, Chorus – Manohar Khanna

This is a chhed-chhad-cum-appeasement light mood duet, the first line of the mukhada and each interlude representing chhed chhad. Mohammad Rafi seems to enjoy seriously matching Shamshad begum’s mischievous tone

Dhumi Khan, is one more of an unknown music director, even though he is shown as ‘supporting actor, music director’. YT has an interesting video clip on Dhumi Khan, that gives some more vital pieces of information. The famous duet song Ambuwa Ki Daali Daali Jhoom Rahi Hai Ali (Vidyapati, 1937- Music: R C Boral) has Dhaumi Khan as co-singer with Kanan Devi. Hopefully, the Dhumi Khan is same person.

Ek Abr-e-Siyah Chhaya Aaja Mere Saathi – Rahnuma – with Shamashad Begum- Lyrics: Dhumi Khan

The song is a simple love song, Mohammad Rafi expressing the sincere intent of the lover for his loved one.

Ek Aisa MahaL Banayenge (with Rekharani- – Lyrics: Habib Sarhadi) from the same film is not traceable on net.

Ameerbai Karnataki, a renowned playback singer, has composed songs for ‘Shahnaz’,  wherein Mohammad Rafi had two solos and three duets in the film.

Mujhe Tumse Mohabbat Hai, Ye Meri Chak Damani – Lyrics: Fiza Kausari Banaglori

Mohammad Rafi very deftly handles a medium spaced composition.

Nazaaron Se Kheloon Bahaaron Se KhelooN, Mera Bas Chale To Chand TaaroN Se KhelooN, Yahi Chahta Hai BaharoN Se KhelooN Machalatae Hue AabsaaroN Se KhelooN – Lyrics: Akhtar Pilibhiti

In response to Amirbai’s high scale singing, Mohammad Rafi comes up with a lower scale this very small clip that is available.

Tere Nazdeek Jaate Hein Na Tujhse Door Hote Hain, Mohabbat Karanewale.. Is Tarah Mazboor Hote HaiN – with Ameerbai Karnataki – Lyrics: Akhtar Pilibhiti

Mohammad Rafi gets to sing a qawwali composition early in his career.

Rasheed Attre was one of the music directors who went on to hit immense popularity even after migrating Pakistan. His composition of Faiz Mohamamd Faiz’s ghazal Mujh Se Pahale Si Muhabbat Mere Maheboob Na Mang remains the hallmark of Noor Jehan’s career.

Koltaar Mein Rang De Piya Mori Chundariya – Shikayat – Khan Mastana, G M Durrani, Aslam, Chorus – Lyrics: Ibrahim Khan ‘Momin’

Mohammad Rafi is a minor partner in this MM triad.

Statically speaking, the first Five-year-period of 1944-48 has seen Mohammad Rafi working with 26 music directors for first time for a duet song.  Each of the song has given Mohammad Rafi a different experience of singing. That perspective apart, the fact remains that the journey had taken off well and was gaining the required velocity.

We will end 1944-48 five-year-period with what I consider as Mohammad Rafi’s most iconic song, which also happens to be my most favorite among Mohammad Rafi’s songs…

Vatan Ki Raah Mein Vatan Ke Naujawan Shaheed Ho – Shaheed – with Khan Mastana, chorus – Music: Ghulam Haider – Lyrics: Raja Mahendi Ali Khan

Mohammad Rafi’s finely controlled delivery of so high passion would be hallmark of his sing style in the future.

Our journey of Mohammad Rafi’s first duet with a music director continues……

Both episodes of the 1st Five-Year Period of Mohammad Rafi’s First Duet with a Music director – 1944-1948 can be downloaded as one file by clicking on the link.

All 12 episodes from January to December 2021 of the series Fading Memories, Unfading Songs-2021 can be read /downloaded by clicking on the hyperlink.


We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

The Eponymous Principles of Management

The Eponymous Principles of Management : The Peter Prescription

How To Make Things Go Right

During his research for the groundwork that led to establishment of Peter Principle, Dr, Laurence J Peter observed that every advancement that human being made during the growth of civilization ultimately caused some unhappiness of classifying the mankind into some or other kind of classes, which he calls as hierarchy.

His understanding of the adverse effect that universal existence of Peter Principle has created, led him to work on developing a set of prescriptions that “will lead to great personal fulfilment and the joy of real accomplishment”. He sincerely claims that purpose of these prescriptions was “achievement of happiness in all aspects of life. This is accomplished …  through fulfilling your best potential while avoiding the pitfalls of incompetence”. He also submits that true progress is achieved through moving forward, not through moving upward.

The copy of a summary page from the book, The Peter Prescription: How To Be Creative, Confident and Competent (as first published in 1972) is shows that book is presented in three parts.

Each chapter in these parts is arranged as:

1. Incompetence treadmill
Onward and upward
Sex and society
Hierarchal regression
The mediocracy
2. Protect your competence
Know thyself
Know thy hierarchy
Know thy direction
Know thy defences
3. Manage for competence
The competence objective
The rational process
The gift of prophecy
The compensation miracle
Au Revoir.

This new book is much more serious; it goes further, but also deeper than “The Peter Principle”. Yet it provides as much humour as one could wish for, and a practical program for anyone who wants to avoid incompetence, find happiness and work towards a better world.

The humour part of the book can best be appreciated and enjoyed if one reads the book itself.

The Part 2 of the book present 25 of Peter Prescriptions to help protect the competence.  The author quite affirmatively submits that the prescriptions are simple rules of life that one ought to apply in the life so as to attain maximum fulfilment of joy and peace of mind and life on his own terms, within given circumstances. Each of the prescription is well explained by appropriate case studies and speaking quotations. The prescriptions no. 23 to 25 are recommended to be used when the job or competence in jeopardy. However, the author, in the normal flow of his writing, very quietly states that The Law of Perversity of Nature should always be remembered.

The Part 3 presents ways in which to improve the management skills so that assistance to others also can be provided to avoid incompetence. These are also presented in the form of next set of 36 prescriptions. Again, the prescriptions appear more to be day-to-day common-sense issues. However, the fact that everyone tends to rise to one’s level of incompetence sometime in the life, we must be failing to use some of these common-sense prescriptions unconsciously. The book, therefore, is an alert to keep these on our conscious mind every time.

The book ends with The Peter Plan which looks at the Peter Prescriptions as the first step in reversing escalatory entrapment.

Ultimately it is means to the end to begin the reconstructive planning of the whole society.

The author, Dr. Laurence J Peter is motivated by the ‘modest’ ambition to save the mankind.

Every ‘common man’ may not have such ambitions. But it still makes lot of sense to know what one’s own (core) competence is, at a given level of hierarchy, in the given circumstances. That, in turn requires a person to be a life-long learner. (After all), Man cannot live by the incompetence alone.

I believe our journey into the awareness of The Peter Principle and the Related Eponymous Laws will kindle that spark in the reader to be the life-long learner.


+                        +                      +

Note: The sketch and quotes used in the article are taken form the book “The Peter Prescription’.

The individually published article of ‘The Peter Principle and the related other eponymous principles of management’ can be read / downloaded as one file by clicking the hyperlink.

Centenary Celebrations

Sahir’s Songs of Romance – Seven-films Associations

Sahir Laudhianvi’s poems of romance differed with those of that weave the soft, caring feelings of love. Sahir’s basic core being that of a rebel and humanist, his romanticism naturally reflected the shades of his basic nature and concerns.

Somewhere, his love for individual would transcend to the whole humanity.

Zindagi sirf mohabbat nahin kuch aur bhi hai
Zulf rukhsar ki jannat nahin kuch aur bhi hai…
Maine tum se hi nahin sab se mohabbat ki hai

Somewhere else his love would be tinged with deep pathos or unconcernedness: This is best reflected in his ghazal, Kabhi Kabhi Mere Dil Mein Khayal Aata Hai, published in his first anthology, TalkhiyaN.

The ghazal can be read Devanagari script here or heard here

Sahir easily transformed this poem of pathos to complteley romantic mood for the film Kabhi Kabhi. It was this range of his passions, as captured in his poetry as well as the lyrics of Hindi film songs that played critical role in Sahir Ludhianvi’s transition to the changing pattern of Hindi film music during ‘70s, which also happens to be the subject matter of the present episode.

Laxmikant Pyarelal and Khayyam (2.0) are the two music directors with whom Sahir Ludhianvi had long 7 Films Associations...

Laxmikant (Shantaram Khudalkar | 1937-1998) –Pyarelal (Ramprasad Sharma |1940) combination can be said to be a rare instance of excellent instrumentalists rising to become one of the most successful music directors of their time. They easily filled up the vacuum that Jaikishan’s death had created. However, their music had gradually shifted to  predominance of rhythm, may be in tune with the trend of the times. The 3,000-odd songs they composed in about 500 films sent several producers laughing to the bank.

Sahir and Laxmikant-Pyarelal teamed for the first time in Izzat (1968 – the only film which Jaylalitha has done in Hindi – then worked together for some big films like Dastan (1972) – a BR banner film and Daag (1973), the first ever film by Yash Chopra as independent director under his banner Yash Raj. Jaagriti (1977) does not have any song that can be classified as romantic.

Ye Dil Tum Bin KahiN Lagta NahiN Ham Kya Karein, Tassawur Mein Koi Basta NahiN Ham Kya Karein, Tum Hi Kah Do Ab Aaye Jan-e-Wafa Ham Kya Karein, Lute Dil Mein Diya Jalta Nahin Ham Kya Karein – Izzat (1968) – Lata Mangeshkar, Mohammad Rafi

kisi ke dil mein bas ke dil ko tadpana nahiN achha
nigahoN ko jalak de de kar chhup jana nahiN achha
ummiNdoN ke khile gulshan ko jhulsana nahNi achha
hamein tum bin koi jachata nahiN, ham kya karein

mohabbat kar to leN lekin, mohabbat ras aaye bhi
diloN ko bojh lagte haNi kabhi julfoN ke saye bhi
hajaroN gam hai is dunia mein apne bhi paraye bhi
mohabbat hi ka gam tanha nahiN, ham kya karein

bujha do aag dil ki ya ise khulkar hawa de do
jo iss ka mol de paye, use apni wafa de do
tumhare dil mein kya hai bas hamein itna pata de do
ke ab tanaha safar katta nahNi, ham kya karein

Kya Tum Wahi Ho, Kya Tum Wahi Ho, Jo NindoN Mein Chori Se Aata Raha Hai,  Jo SansoN Mein Chhup Chhup Ke Gata Raha Hai, Mere Anchuae Jism Ko Jis Ka Saya Bade Pyar Se Chhu Ke Jata Raha Hai, Kya Tum Wahi Ho, Kya Tum Wahi Ho – Man Ki Aankhen (1970) – Suman Kalyanpur, Mohammad Rafi

main jiske liye phul chunti rahi huN
tammanaaoN ke har bunti rahi huN
dhadakte hue dil se shehnaiyoN mein
sada jis ke kadmoN ki sunti rahi huN
kya tum wahi ho……

vo surat jo dil mein machalti rahi hai
nigahoN mein karwat badalti rahi hai
vo tarasha hua jism parchhaiN jiski
sada mere humrah chalti rahi hai
kya tum wahi ho ….

Woh Koi Aaya Lachak Uthi Kaya Ki Dil Mera Bas Mine NahiN, SharamauN Lakh Bal KhauN, Ki Jaise Par Bina MaiN Udti JauN …….  Ki Dil Mera Bas Mein NahiN – Dastaan (1972) – Asha Bhosle

jiske liye jindgi phul chunti thi
jiske liye maiN sada khwab bunti thi
ratoN ko maiN dhadkanein jiski sunti thi
aaya woh murade liye jadu bhare wade liye
nachuN machal kar gauN ki dil mera bas me nahiN

moti bharuN aaj main apne balo mein
taroN ke lau jag uthe naram galo mein
aaya hai din aaj ka kitne saloN mein
sochuN to lahak uthuN phuloN si mahak uthuN
nachuN machal kar gauN ke dil mera bas me nahiN

Hum Aur Tum Tum Aur Hum, Khush Hai YuN Aaj Milke  Jaise Kisi Sangam Par Mil Jayein Do NadiyaN Tanha Bahte Bahte  – Daag (1973) – Kishore Kumar, Lata Mangeshkar

mudke kyun dekhein pichhe chahe kuchh bhi ho
chalte hi jayein nayi manziloN ko
raste aasan hai nahiN aaj hum do
tu meri baahoN mein main teri baahoN mein
lehraye raahoN mein chale jhumte
hum aur tum hum aur tum …..

zulfoN ko khilne do saansoN ko ghulne do
dil se dil tulne do
deewane ho jaye kohre mein kho jayein
milke yuN so jayein
jaise kisi parwat par mil gaye do baadal tanha udte udte
hum aur tum hum aur tum …..

Tumako Dekha Toh Samajh Mein Aaya, Log Kyun But Ko Khuda, Maanate HaiN – Deedar-e-Yaar (1982) – Lata Mangeshkar

but mein butgar ki jhalak hoti hai
isko chhukar use pehchaanate hai
pehale anjaan the ab jaanate hai
tumako dekha toh samajh mein aaya

taaj chhode gaye aur takht lute
aiso farhaad ke afsaane bane
pehale anjaan the ab jaanate hai

jinaki angadaayiyaN par tolati hai
jinake shaadaab badan bolate hai
pehale anjaan the abb jaanate hai

dil-e-ulfat mein yahi rasm chali aayi hai
log ise kufrr bhi kehate ho toh kya hota hai
pehale anjaan the abb jaanate hai

Hathapai Na Karo Umra Abhi Kacchi Hai, Jhuth Kahti NahiN Main Baat Meri Sacchi Hai, Sirf Dekho Humein ….. Chhune Ki ……..Tamanna Na Karo – Jiyo Aur Jeene Do (1982) – Asha Bhosle

phul ke rang se khushbu se taluk rakho
phul ki pattiyaN bikhra ke, bikhra ke tamasha na karo

husn ke naaz uthane ki bhi aadat daalo
sirf apni tamannaoN ka charcha na karo

ye badan aankhoN ki garmi se pighal jayega
isko baahoN mein jakadne ka, jakadne ka irada na karo

Mohammed Zayur ‘Khayyam’ Hashmi (1927- 2019) was one of the rare music directors who never agreed to compromise his art at the alter of commerce. He was from that rare breed who was as much steeped in the literature as in his music. Khayyam’s leaning towards poetry connected him with many lyricists like Majrooh Sultanpuri, Prem Dhawan. He had read Sahir’s poetic works too and had had occasions to hear him personally in some of the special meets. The like-mindedness of both the persons had brought them s0 much near that when Ramesh Saigal offered Phir Subah Hogi (1958) to Sahir, Sahir suggested, almost to the level of insistence, to take Khayyam as music director. Critically acclaimed music of Phir Subah Hogi also put Khayyam into the then big league of music directors.

It is said that when Yash Chopra took up Kabhi Kabhi (1976), his second film under his own YashRaj banner, Sahir again suggested that music for a film based on life of poet be entrusted to none other than Khayyam. Khayyam had done a few, unsuccessful, films earlier in his second innings. Thus it must have been only Sahir’s word that must have tilted the Yash Chopra to take up Khayyam in place of Laxmikant Pyrelal who already had scored a successful score for Daag (1973).

That Kabhi Kabhi went on to become a big hit is matter of historical lore. It also gave Khayyam a new spark to score some of his most memorable work in the second innings.

We have remembered Sahir’s romantic songs composed by Khayyam in pre-1970 years in the earlier episode Two Films Association. We now take up five films they did together post 1970. Of the five, two films (Chetan Anand’s) Kaafir and Pyasi Dharti were not released.  

Kabhi Kabhi Mere Dil Me Khayal Aata Hai Ke Jaise Tujhko Banaya Gaya Hai Mere Lliye, Tu Ab Se Pahle SitaroN Mein Bas Rahi Thi KahiN, Tujhe ZamiN Pe Bulaya Gaya Hai Mere Liye – Kabhi Kabhi (1976) – Mukesh

kabhi kabhi mere dil mein, khayal aata hai
ke ye badan ye nigahein meri amanat hai
……    ……  …..   ….   …..  …  .
ye gesuoN ki ghani chhaoN hai meri khatir
ye hoth aur ye bahein meri amanat hai

kabhi kabhi mere dil mein, khayal aata hai
ke jaise bajati hai shahnaiyaN si rahoN mein
……    ……  …..   ….   …..  …  .
suhag rat hai ghunghat utha raha hu main
……    ……  …..   ….   …..  …  .
simat rahi hai tu sharama ke apni bahoN mein

kabhi kabhi mere dil mein, khayal aata hai
ke jaise tu mujhe chahegi umar bhar yuN hi
uthegi meri taraf pyar ki nazar yuN hi
main janata huN ke tu gair hai magar yuhiN
……    ……  …..   ….   …..  …  .
kabhi kabhi mere dil mein, khayal aata hai

The song went on to beg Filmfare awards for Best Music Director, Best Lyricist and Best Male singer.

The (Mukesh) Lata Mangeshkar version has same lyrics that of Mukesh version.

The version which Amitabh Bachchan recites in the film is part of the original ghazal written by Sahir Ludhianvi.

Aside Trivia: The song was originally created by Khayyam for an unreleased film, Kaafir, made in 1950 by Chetan Anand. The song was recorded by Geeta Dutt and Sudha Malhotra. However, this song was never released. The tune was nearly the same as the one that was released later.[1]

Aapki Mehki Huyi Zulf Ko Kahtein Hai Ghata, Aapki Madbhari AaNkhoM Ko KaNval Kahtein Hai, Main To Kuchh Bhi NahiN Tumko HasiN Lagati HuN, Isko Chahat Bhari NajhroN Ka Amal Kahtein Hai ………– Trishul (1978) – Yesudas, Lata Mangeshkar

ek ham hi nahiN sab dekhanewale tumko
….  ……   …. ..
sang-e-marmar pe likhi sokh gajal kahte haiN
….  ……   …. ..   ….  ……   …. ..

aisi batein na karo jinka yakin muskil ho
….  ……   …. ..
aisi tarif ko niyat ka khalal kahte haiN

meri taqdir ke tumane mujhe apna samjha
….  ……   …. .. ….  ……   …. ..
….  ……   …. ..
isko sadiyo ki tamnaoN ka fal kahte hai

Simati Huyi Ye Ghadiyaan Phir Se Na Bikhar Jaayein …  …. Is Raat Mein Ji Le Ham Is Raat Mein Mar Jaayein – Chambal Ki Kasam (1980) – Mohammad Rafi, Lata Mangeshkar

ab subahaa na aa paaye
aao ye duaa maangein
is raat ke har pal se
raatein hi ubhar jaayein

duniyaa ki nigaahein ab
ham tak na pahunch paayein
…….   ……..   …..   .  …  …
taaroN mein base chalakar
dharati pe utar jaayein

haalaat ke tiroN se
chhalani hai badan apane
…….   ……..
…….   ……..   …..   .  …  …
paas aao ke sinoN ke
kuchh zakhm to bhar jaayein

aage bhi andheraa hai
pichhe bhi andheraa hai
apani hai wohi saansein
jo saath guzar jaayein

bichhadi huyi ruhoN kaa
ye mel suhaanaa hai
…….   ……..   …..   .  …  …
is mel kaa kuchh ahasaan
jisamoN pe bhi kar jaayein

tarase huye jazaboN ko
ab aur na tarasaao
…….   ……..   …..   .  …  …
tum shaane pe sar rakh do
ham baanhoN mein bhar jaayein

We will take up Sahir’s Romantic Songs composed by Roshan in their Eight Films Association in our next episode.

[1]Feel privileged to have sung his beautiful lyrics’