Rajinder Krishan — Hum Kuchh Nahi Kehte (Part 2)

Continued from Rajinder Krishan — Hum Kuchh Nahi Kehte (Part 1)

Exploring 25 years of Rajinder Krishan’s career from 1948-1973

Chitragupt and Rajinder Krishan (Pic: Rajesh Duggal)

Composers Who Worked More with Rajinder Krishan

In an interview available on YouTube, Rajesh Duggal, Rajinder Krishan’s son, admits that his father couldn’t hold a tune. The fact that he wasn’t musically inclined did not stop him from becoming a favourite lyricist of some composers, though. It was sufficient for them that RK completely understood the mood, the rhythm and the feel of the lyrics he was asked to write.

In another interview that he gave Vividh Bharati (date unknown) uploaded on YouTube by Asheesh Pandey, Rajinder Krishan says this of his own writing, “Har rang ki koshish ki hai maine…deshbhakti, samaajvaadi, dharmic, chaahe vo Islamic ho ya Hindu.” (I have tried to incorporate all colours in my writings – patriotism, socialism, religion, whether it be Islam or Hinduism.) So please watch out for glimpses of these colours in the songs mentioned below.

Here are seven composers (alphabetically mentioned) with whom RK has a major chunk of work. An attempt has been made to share a little more of the work he did with each of these composers. This is neither an exhaustive list of composers nor of the work they did together. Rather it is a slightly wider angled lens held to the diary in which Rajinder Krishan must have penned his thoughts in the shape of lyrics. And a sincere attempt has been made to throw light on some pages of this diary which, though not popular, hold fascinating thoughts.

Chitragupt

Almost a decade after his first release, Rajinder Krishan paired up with Chitragupt to bring a turning point to the composer’s life with what they created in Bhabhi (1957) which became Chitragupt’s most popular score since his career began, also in the mid-40s. It probably didn’t hurt Rajinder Krishan either! Chal ud ja re panchhi ke ab ye desh hua begaana is still regarded as one of the duo’s best-ever songs. Chali-chali re patang meri chali re (Rafi), Tie laga ke maana ban gaye janaab hero (Lata), Kaare-kaare badra ja re ja re badra (Lata), and the Rafi-Lata duet, Chhupaa kar meri aankhon ko wo poochhen kaun hain ji hum – if you haven’t heard them do check them out!

Rajinder Krishan and Sunil Dutt (Pic: Rajesh Duggal)

The 60s saw a few more movies from this pair, but none could rival the popularity of their first venture together, even though each of their movies together had some memorable songs, especially the 1960-released Patang and the 1962-released Main Chup Rahungi.
Consider the varying emotions in the following lyrics from their work together:

A loving wife’s concern:
Muskuraao ke jee nahi lagta, paas aao ke jee nahi lagta…
Paas ho tum hai phir bhi tanhaai
Kya nahi pyar ki ye ruswaai
Kuchh sunao ke jee nahi lagta…
(Kangan, 1959 / Lata)

Free will? Maybe not!
Aadmi chiraag hai, uski chalegi kya chalti hawa ke saamne
Tu bhi majboor hai, main bhi majboor hun, Uski razaa ke saamne…
(Barkha, 1959 / Rafi)

Social statement:
Jis din is duniya se nafrat aur khudgarzi mit jayegi
Us roz ye insaan nachega, us roz ye dharti gaayegi…
(Maa Baap, 1960 / Rafi)

And
Tu aap hai apna chor, kaahe rapat karey kotwaali…
Ped lagaaya paap ka, maange badle mein naarangi
Laakh chhupaaya resham se tan, kaaya teri nangi
Bhari rahegi teri tijori, haath rahenge khaali…
(Patang, 1960 / Rafi)

Rajinder Krishan takes a simple mantra from our scriptures, Tvameva Maata Cha Pita Tvameva, Tvameva Bandhu Cha Sakha Tvameva and converts it to this heartening prarthana that many of us grew up with. It has an innocence that is required to connect with our innermost self. In the same Vividh Bharati interview mentioned earlier, RK informs us that this prarthana became the prayer for all the Primary School students in UP!

Tum hi ho maata, pitaa Tum hi ho
Tum hi ho bandhu, sakhaa Tum hi ho
(Main Chup Rahungi, 1962/Lata & chorus)

You reap what you sow:
Mukhda tera saaf nahi to darpan ko kyun dhoye
Apne aap ko dhokha de kar, O pagle kya hoye
(Shaadi, 1962 / Rafi)

An uncaring God:
Krishna, O kaale Krishna, tuney ye kya kiya, kaisa badlaa liya, rang de ke mujhe apnaa…
Dil mujhe achcha diya tha agar
Kyun na di tuney duniya ko achchi nazar…
(Main Bhi Ladki Hun, 1964 / Lata)

Utter hopelessness:
Kahin se maut ko laao ke ghum ki raat katey
Mera hi sog manaao ke ghum ki raat katey…
(Mera Qasoor Kya Hai,  1964 / Rafi)

Beyond pain and pleasure:
Ye zindagi hamaari, kya khoob zindagi hai
Har lamha hai paraaya, har saans ajnabi hai…
Kabhi din huye andhere, kabhi raat jagmagaayi
Kabhi apni na-ummeedi ummeed ban ke aayi
Samjhe jise siyaahi, dekha to roshni hai…
(Pyar Ka Sapna, 1967 / Lata)

Poets and lyricists have used the flower as a symbol, a metaphor, and as a token of love, romance, vivacity, youth and everything bright. Complete songs and poems have been dedicated to flowers. On the reverse, ‘khizaan’ or autumn — a time when flowers die — has also been romanticized by lyricists in our songs. However, it was surprising to come across a complete song dedicated to a thorn! Check it out:

Chhod de bedardi, chhod de, O kaante mera aanchal chhod de…
Chhoti-si kali raah apni chali kyun daaman tuney thaam liya
Kahungi main kya, kyun der hui, muft mujhe badnaam kiya…
Maan bhi ja, tujhe doongi dua, tu agle janam mein phool baney
Pyar tujhe koi gori karey, zulfon mein sajaa maqbool baney…
(Shaadi, 1962 / Lata)

Patang (1960) saw some thought-provoking, some utterly charming, lyrics from the pen of Rajinder Krishan. Rang dil ki dhadkan bhi laati to hogi has a sweetness, while yet another ‘patang’ song scores — Rafi’s Ye duniya patang, nit badle ye rang. Similarly, the Sunil Dutt-Meena Kumari starrer Main Chup Rahungi (1962) boasts of a few gems from Rajinder Krishan. Koi bataa de dil hai jahaan kyun hota hai dard vahaan (Lata), Mere dil kabhi to koi aayega (Lata), Khush raho ahl-e-chaman hum to chaman chhod chale (Rafi) and Chaand jaane kahaan kho gaya (Rafi & Lata) – captivating songs that became popular and kept listeners hooked for years!

For our share of this duo, a song that needs no introduction for music lovers:

Chal ud jaa re panchhi (Bhabhi, 1957) Chitragupt / Mohd Rafi

Hemant Kumar

Rajinder Krishan seems to be that poet who gave composers a sixer in their first shot! Chitragupt with Bhabhi, and Hemant Kumar with Nagin (1954)! The 12 songs he wrote for the film all saw different levels of popularity for many years. Even before this composer-lyricist partnered together in the 1954 releases — Nagin, Samrat, Shart and Ferry — Hemant Kumar the singer had crooned a Rajinder Krishan song for SD Burman in Sazaa (1951) — Aa gupchup gupchup pyar karen with Sandhya Mukherjee. All four of the movies mentioned were released in 1954 and it’s difficult to pinpoint which of them the duo worked on first.

Qadam-qadam par rang sunehra ye kisne bikhraaya (Nagin, 1954)

Even though Nagin was the true blockbuster album, all of their work together yielded musical nectar as we shall see below.
Whether it was the Nagin singing
Qadam-qadam par rang sunehra ye kisne bikhraaya
Nagin ka mann bas karne ye kaun sapera aaya, na jaane kaun sapera aaya
Pag dole, dil yun bole, tera ho ke raha shikaar re, kaun bajaaye bansuriya, mann dole mera tann dole…
(In fact, so charming was this song that the listener completely forgot that what was being heard was not a ‘bansuriya’ but a ‘been’!)

Or she sang with her beloved (another ‘patang’ song!)
Hemant: Ari chhod de sajaniya, chhod de patang meri chhod de
Lata: Aise chhodun na balamwa, nainwa ki dor pehle jod de…
Rajinder Krishan uses the patang motif in this song not to philosophize about life in general but as a symbol for love and carries it through the song, until this ‘patang’ gathers enough courage to face and revolt in the face of society –
Chiir ke bairi jag ka seena, geet pyar ke gaati,
Hai kis mein itna zor jo kaate dor, saamne aaye na…
Kya baat hai!

It’s hard to ignore how completely Rajinder Krishan can carry a metaphor, a symbol, a thought throughout a verse or even a full song, doing full justice to the symbols and thoughts chosen. Consider these lesser-heard offerings from this partnership:

Mere humsafar tujhe kya khabar hai chala kidhar mera caarvaan
Jahaan maut hi ke hain raaste nahi zindagi ka koi nishaan…
Meri zindagi to hai raat bhar, koi baat sun, koi baat kar
Meri maut mujh ko bula rahi zara chhed de koi dastaan…
(Shart, 1954 / Asha)

Naav badhaa le, maajhi zor lagaa le…
Baadal garje, bijli kadke, naiyya Ram hawaale, O maajhi…
Ek safar hai ye zindagaani, aaj suhaani kal toofani ye zindagaani
Sachchi dhun hai jo manzil ki dekh na pag ke chhaale, O maajhi naav badhaa le…
(Ferry, 1954 / Hemant Kumar & Chorus)

Mujhe nazar se utaar kar bhi na chaen paaya to kya karoge
Jise bhula ke chale ho dil se vo yaad aaya to kya karoge…
Chalo ye maana bagair mere tumhaari raatein jawan rahengi
Magar jo bhoole se mere khwaabon ne aa jagaaya to kya karoge…
(Lagan,  1955 / Lata)

The songs of Taj (1956) appear to be written and composed in the mould of Nagin, their earlier hit. All mellifluous, though lacking the x-factor of the earlier hit. Bansuriya phir se bajaao, Kanha with its Kanha-Radha and gavaalan ki chhori reference gets repeated in Champakali’s (1957) O gavaalan kyun mera mann teri chitwan le gayi, and Saanwale salone natkhat banwaari from Anjaan (1957), complete with the magic of the flute. Not to deny the more-heard Chaandaniya nadiya beech nahaaye (Anjaan, 1956 / Hemant Kumar), Chhup gaya koi re door se pukar ke (Champakali, 1957 / Lata), Chal-chalo re sajan dheere-dheere (Payal, 1957 / Hemant & Lata) and Gumsum sa ye jahaan, ye raat ye bahaar (Duniya Jhukti Hai, 1960 / Geeta Dutt & Hemant Kumar) their place under the sun, but the fact is that many of Rajinder Krishan’s lesser-heard songs were beautifully written.

Of course, the songs of Durgesh Nandini (1956), and Miss Mary (1957) are undeniably melodious and popular to boot. Mat maaro Shyam pichkaari, Chaand niklega jidhar hum na udhar dekhenge and Kaise main aaun paas tumhare from the former and Ye mard bade dil-sard, Brindavan ka Krishan Kanhaiya, So gaya saara zamaana, Sakhi ri sun bole, and O raat ke musafir chandaa zaraa bata de from the latter can still stir our hearts, 65+ years later!

But today this soft, romantic beauty from Durgesh Nandini (1956) with its long prelude for your hearing pleasure!

Kahaan le chale ho (Durgesh Nandini, 1956) Hemant Kumar / Lata

Rajinder Krishan and the Male Link

I do wish to mention a couple of interesting facts that came to light for me as I researched this prolific and diverse lyricist’s work. As you may be aware, female duets in the Hindi films of the ‘50s and ‘60s abound! At the same time, male duets and triets are not as easy to find as their female counterparts. It would take more research than the scope of my essay here to ascertain this for sure, but Rajinder Krishan may have to his credit the maximum number of male duets and triets, just going by what I unearthed as I went along. In fact, three of them belong to one film composed by Roshan with whom RK didn’t have too many films at all. If you know of any other male duets or triets penned by RK, please do add them in the comments!

Vinyl LP record label of Sagai (1951) (Pic: Google Image Search)

• Haseeno ki gaadi mein — Sagai (1951) / C Ramchandra / Chitalkar & Rafi
• Lo mil gayi degree pyar ki — Maalkin (1953) / Roshan / Ram Kamlani, Mukesh & Kishore Kumar
• Koi khushnaseeb hoga — Maalkin (1953) / Roshan / Ram Kamlani, Mukesh & Kishore Kumar
• Kahin se oonchi — Maalkin (1953) / Roshan / Rafi & Kishore Kumar
• Insaaf waala jo — Suhaag Sindoor (1961) / Chitragupt / Manna Dey & Rafi
• Log to baat ka — Shaadi (1962) / Chitragupt / Rafi, Manna Dey & Chorus

While each of these deals with different subjects, the last one on the list is extremely interesting and begs a closer look. Chitragupt composed it as a qawwali so the varying rhythms add to its charm. But it’s Rajinder Krishan’s thoughts on the subject that capture interest. When poets talk about shama-parwana usually the shama is blamed for attracting the parwana and being responsible for his demise. Here, too, the dialogue starts with berating the shama:
Shama se poochha ye ek roz O noor-e-mehfil
Kya Khuda ne baksha nahi ulfat bhara dil
Jo gale tujhse miley usko jalaa deti hai
Chaahne waale ki hasti hi mita deti hai…

But the shama defends herself:
Shama ne aag rakhi sar pe kasam khaane ko
Bakhuda maine jalaaya nahi parwaane ko…
Kahaa ye shama ne parwaana mujh pe marta hai
Adaa se meri muhabbat ka dam ye bharta hai
Kisi haseen ki mehfil ho ya ho veerana
Jahan-jahan main jaaun aa hi jaaye deewana
Hazaar baar ye samjha chuki ke aag hun main…

The parwaana has a defense too! Over to him:
Poochha parwaane se: naadaan tu kyun jalta hai?
Maut jis raah mein hai us pe tu kyun chalta hai?
Shama ne tujhko kya samjhaaya nahi? Bola: samjhaaya to hai
Shola kya tujhko nazar aaya nahi? Bola: jee, aaya to hai
Zindagi se tujhe nafrat kyun hai? Bola: nafrat kaisi?
Shama se phir tujhe ulfat kyun hai? Bola: ulfat kaisi?

Here my eyebrows were raised in shock! For the first time that I could remember, the parwana denies attraction of the shama! Let’s hear his side of the story as RK tells it:
Shama se mujhko muhabbaat ho ye namumkin hai
Aisi kambhakht ki chaahat ho ye namumkin hai
Noor uska mujhe ik aankh nahi bhaata hai
Is ke jalne se kaleja mera jal jaata hai
Meri mehboob ko ye mujh se juda karti hai
Meri dushman hai sar-e-shaam jalaa karti hai
Main to aashiq hun raat ki siyaahi ka
Shama paigham meri tabaahi ka…
Baat keh di hai sach-sach yaqeen keejiye
Jo na aaye yaqeen ye saboot leejiye
Shama din ko jale to main aata nahi, iske jalne se main tilmilaata nahi
Main to aashiq hun… raat ki siyaahi ka…

And there you have it, folks! A shama-parwana tale with a difference, penned by Rajinder Krishan! 😊

Log to baat ka afsaana bana dete hain (Shaadi, 1962) Chitragupt / Manna Dey & Rafi

Husnlal-Bhagatram

This first composer-duo of Hindi cinema is who started it all for Rajinder Krishan. They composed his non-filmi paean to Mahatma Gandhi mentioned in Part 1 while also giving him a chance in their films. Pyar Ki Jeet where Rajinder Krishan wrote 3 songs and shared the title of lyricist with Qamar Jalalabadi who wrote 5, Aaj Ki Raat where RK wrote all 10 songs, Bari Behen and Amar Kahani were all Husnlal-Bhagatram films released in the late 40’s marking Rajinder Krishan’s entry to this glamourous world. This also formed the bulk of their work together with not too much collaboration in the early ‘50s.

Just consider even only the popular songs they created and you realize the truism of what Rajesh Khanna’s character in Anand (1971) says, “Babu Moshaay, zindagi lambi nahi badi honi chahiye”, essentially speaking in favour of a productive life, rather than merely a long one. So, too, the collaboration between these 3 gents.
A case in point is this incredibly simple yet graceful song in Suraiya’s  voice from Amar Kahani (1949);
Beete huye din-raat aye dil yaad na karna
Mit jaana magar pyar mein fariyaad na karna…
Kismat ka ishaara tha ke lut jaana khushi se
Lekin tu kisi aur ko nashaad na karna…

Husnlal-Bhagatram in the centre (Pic: Husnlal Bhagatram Facebook Page)

Here is a sample of their songs together that either earned popularity or hearts:
• Suno suno aye duniya waalon Baapu ki ye amar kahaani  — Non-film (1948) / Rafi
• Tere naino ne chori kiya mera chhota-sa jiya, pardesiya  — Pyar Ki Jeet  (1948) / Suraiya
• Chale jaana nahi nain mila ke — Bari Behen (1949) / Lata
• Jo dil mein khushi ban kar aaya — Bari Behen (1949) / Lata
• Muhabbat ke dhokhe mein koi na aaye — Bari Behen (1949) / Rafi
• Ik teri nazar, ik meri nazar yun lad gayi aapas mein — Amar Kahani (1949) / Suraiya
• Ye kaisi dillagi hai, kahaan ka ye pyar hai — Amar Kahani (1949) / Geeta

Here’s some interesting trivia: Amar Kahaani (1949) sank at the box office. So, the producer of the film, Rajendra Singh, waited a few years, changed only the name of the film to Kanchan (1955) and re-released it with story-dialogue-music intact – no change! Which is why both films have the same songs! Aisa bhi hota hai!

Rajinder Krishan penned many social statements in the form of film lyrics. Perhaps the earliest one was for Aaj Ki Raat (1948), sung by Meena Kapoor:
Kya jaane ameeri jo gareebi ka mazaa hai
Daulat unhein di hai to hummein sabr diya hai…
Hai jeb agar garm to kuchh kha ja, khila ja
Daulat se na kar pyar, ise yun hi luta ja
Nadaan ye paisa bhi kabhi saath gaya hai…
Interesting, because RK was possibly the richest lyricist in Hindi films after he won a jackpot at the races!

Without any doubt, RK’s biggest hit with Husnlal-Bhagatram was Bari Behen (1949) and this song in particular, sung by Premlata and Lata:

Chup-chup khade ho (Bari Behen, 1949) Husnlal-Bhagatram / Premlata & Lata

Kalyanji-Anandji

Did I mention that Rajinder Krishan’s most productive period was till 1973? Well, then, Kalyanji-Anandji could be said to have teamed up with him in the autumn of his writing career, as their most productive period together was during the ‘70s! In the ‘70s, the rules for popularity of songs were changing. Poetry was taking a back seat; instead, rhythm and beat were gaining popularity. In this scenario, many lyricists who had been part of the Golden Age of Hindi Film Music must have struggled to put pen to words that were perhaps not as meaningful, or as deep. But being lyricists and having been given the task of providing lyrics for different filmi situations they got to work in the changing scene of Hindi films.

So while Rajinder Krishan wrote London se aaya main ban-tthan ke (Gopi, 1970 / Lata & Mahendra Kapoor), O mere raja, khafa na hona, der se aayi, duur se aayi (Johny Mera Naam, 1970 / Asha & Kishore), Rehne do gile-shikwe, chhodo bhi taqraar ki baatein (Rakhwala, 1971 / Asha & Rafi), Arre rafta-rafta dekho aankh meri ladi hai (Kahani Kismat Ki, 1973 / Kishore Kumar & Rekha), Ye jo peene ki aadat aam ho gayi, tauba-tauba sharaab badnaam ho gayi (Banarasi Babu, 1973 / Lata) and Sharrbati teri aankhon ki jheel-si gehraayi mein, main doob, doob jaata hun (Blackmail, 1973 / Kishore & Lata) to fulfil the requirement of filmi situations and to the delight of the new cine audience who declared these to be hits, perhaps he also wrote to satisfy his inner poet and the audience that demanded a little more by way of poetry.

Sukh ke sab saathi, dukh mein na koye

Consider these:
Sukh ke sab saathi, dukh mein na koye…
Baahar ki tu maati phaanke, mann ke bheetar kyun na jhaanke
Ujle tan par maan kiya aur mann ki mael na dhoye…
(Gopi, 1970 / Mahendra Kapoor)

Kanhaiya Kanhaiya tujhe aana padega
Vachan Geeta-waala nibhaana padega…
Koi Teri gaiyya ka waali nahi, amaanat ye Teri sambhaali nahi
Kayi Kans Bharat mein paida huye, kapat se koi ghar bhi khaali nahi, Kanhaiya…
(Maalik, 1972 / Mahendra Kapoor)

Koi-koi raat aisi hoti hai jis mein koi baat aisi hoti hai
Jo dil se zubaan tak laayi na jaaye, aankhon se chhupaayi bhi na jaaye…
(Banarasi Babu, 1973 / Lata)

And, perhaps their most successful film together Blackmail (1973), yielded this gem sung exceptionally by Kishore Kumar which became a people-pleaser at every level, proving that good lyrics will always be appreciated:
Pal-pal dil ke paas tum rehti ho
Jeevan meetthi pyaas, ye kehti ho…
Har shaam aankhon par tera aanchal lehraaye
Har raat yaadon ki baraat le aaye
Main saans leta hun, teri khushboo aati hai
Ik mehka-mehka sa paighaam laati hai
Mere dil ki dhadkan bhi tere geet gaati hai…

But Kalyanji-Anandji and Rajinder Krishan had already tasted success in 1963 in a Shammi Kapoor-Saira Banu starrer called Bluff Master, the songs of which have sustained over decades for music lovers of the ‘60s. The dahi-handi festival signature song, Govinda aala re, aala, zara matki sambhal brijbaala (Rafi & chorus), Socha tha pyar hum na karenge by Mukesh, the despondent Aye dil ab kahin na jaa sung by Hemant Kumar, and this charming Lata-Rafi duet,
Husn chala kuchh aisi chaal, deewane ka pooch na haal
Pyar ki kasam, kamaal ho gaya
Dil ko ab tak hai inkaar, aankhen kar baitthi iqraar
Pyar ki kasam, kamaal ho gaya…
Kahaan tak rahoge ye daaman bacha ke, ke mushkil hai bachna nishaane pe aake
Hamara hai kya hum to mit ke rahenge, jahaan tum ne dekha zara muskura ke…

And this, a gem in both Kalyanji-Anandji’s and Rajinder Krishan’s careers. Based on Raag Bageshri, sung by Lata, it is a music lover’s delight to hear:

Bedardi dagabaaz ja (Bluff Master, 1963) Kalyanji-Anandji / Lata

Laxmikant-Pyarelal

As with Kalyanji-Anandji, Rajinder Krishan’s work with Laxmikant-Pyarelal (L-P) also peaked in the 70s, with only a few films in the late 60s. In fact, many of their films together came after 1973, our cut-off year. As with the trend of the films of the 70s, his partnership with L-P also resulted in many songs that were poetically far removed from his work in the 50s and 60s. But that didn’t affect their popularity/ratings! This was a different audience, going to the films to forget their cares. Peppy, catchy music with prosaic words was beginning to be appreciated. Here is a list of the songs that blared on the radio almost on a daily basis during the 70s, more often than not being requests of the listeners, signalling their popularity!

• O meri maina tu maan le mera kehna — Pyar Kiye Jaa (1966) Manna Dey & Usha Mangeshkar
• Din jawaani ke chaar, yaar pyar kiye ja — Pyar Kiye Jaa (1966) / Kishore Kumar
• Mehbooba mehbooba bana lyo mijhe dulha — Sadhu Aur Shaitan (1968) / Mehmood & Rafi
• Kabhi aage, kabhi peechhe, kabhi oopar, kabhi neeche — Sadhu Aur Shaitan (1968) / Rafi
• Kis kaaran jogan jog liya — Jawab (1970) / Rafi
• Aaloo ki bhaaji, baingan ka bhartha, bolo ji bolo kya khaaoge — Wafaa (1972) / Lata & Kishore
• Turururu turururu tera-mera pyar shuru — Jwar Bhata (1973) / Kishore Kumar
• Hotthon pe terna naam, aankhon mein tera pyar — Jwar Bhata (1973) / Asha Bhosle

As in his collaboration with Kalyanji-Anandji, Rajinder Krishan managed to mark his space as a poet in this partnership too. Here is a small sample:

Pyar Kiye Jaa (1966) / Mahendra Kapoor (MK) & Lata (LM):
MK: Phool ban jaaunga shart ye hai magar apni zulfon mein mujhko sajaa leejiye…
LM: Kabhi-kabhi sochun ke tum mere kya ho, dard ho dil ka ya tum dawaa ho
MK: Dard ban jaaunga, shart ye hai magar, dard-e-dil ki mujhi se dawaa leejiye…

Sadhu Aur Shaitan (1968) / Asha Bhosle & Usha Mangeshkar:
Nandlaal Gopal daya kar ke, rakh chaakar apne dwaar mujhe
Dhan-daulat aur kisi ko de, bus de-de apna pyaar mujhe…
Main nirdhan Gokul aur Mathura Tere darshan ko to ja na sakun
Jab apne mann mein jhaanku main, ho jaaye Tera deedar mujhe…

Man Mandir (1971) / Lata (LM) & Kishore Kumar (KK)
KK: Jaadugar tere naina dil jaayega bach ke kahaan…
KK: Tere pyar ka sahaara meri zindagi, teri aankh ka ishaara meri bandagi
LM: Wahaan-wahaan mere pyar ka ghar, jahaan-jahaan teri nazar…

A little trivia: this partnership is responsible for getting Lata Mangeshkar to sing for Helen – no less than a breathy, sensual cabaret – in Inteqam (1969) Aa jaane-jaan, aa mera ye husn jawaan, jawaan, jawaan, a song still appreciated for how L-P composed it and for the finesse Lata brought to it. And if this was an essay to celebrate either the composer duo or the singer, this cabaret song would definitely have been shared here. Rajinder Krishan also wrote a ‘drunk’ song for this same movie, complete with hiccups, sung by Lata and filmed on Sadhana, which is also remembered till today.
Kaise rahun chup ke maine pi hi kya hai
Hosh abhi tak hain baaqi
Aur zara-si de-de saaqi, aur zara-si, aur…
Pataa hai tum ko raaz kya hai mere is suroor ka
Ke is suroor mein zara-sa rang hai guroor ka
Jo maine pi to kyun nashaa utar gayaa huzoor ka…

Kaise rahun chup (Inteqam , 1969) Laxmikant-Pyarelal / Lata

Rajinder Krishan and the Feminine Link

This is the other interesting fact I came across while hearing one song after another! Even when lyricists are fulfilling the requirements of various situations in films there is a ‘voice’ of the lyricist that comes through to the listener that is unique and is true of any artist. This is how a Shailendra song is easily identifiable from a Shakeel Badayuni one, for example. Having said that, one isn’t a hundred per cent sure whether what you’re hearing is the voice of the lyricist or the demand of the situation. In the case of Rajinder Krishan, I found a few women-oriented songs with the same servile tone to them, where the men are glorified. Perhaps, in 2023, our sensitivities are much more heightened to what is referred to as the ‘minority complex’ than they were in the last century. Even so, being a woman, my antennae were raised as I came across these songs, and here is a brief sample for your perusal:

• Meri har khushi tere saath hai, mere devta, mere devta — Maalkin (1958) Roshan / Lata
• Teri lat ka lagaa hai latka, hai saans gale mein atkaa, ab aur na dena jhatka, meri mombattiye…Jab tu hai to kya darr hai, phir jail bhi mera ghar hai, tere qadmon mein ye sar hai, mere Tara Singh ve — Ghar Ki Laaj (1960) Ravi / Asha & Rafi
• Baaghon mein khilte hain phool kasam teri aankhon ki kha ke, Aayi samajh mein jo bhool girey tere qadmon mein aa ke — Suhag Sindoor (1961) Chitragupt / Talat & Lata
• Nazar utthne se pehle hi jhuka leti to achcha tha…Tere shaane pe lehraate huye aanchal ka kya kehna, Isi aanchal se ik ghunghat banaa leti to achcha tha — Modern Girl (1961) Ravi / Rafi
• Vo dil kahaan se laaun teri yaad jo bhula de…Rehne de mujhko apne qadmon ki khaak ban kar, Jo nahi tujhe ganwaara, mujhe khaak mein mila de — Bharosa (1963) Ravi / Lata
• Sharm aati hai magar aaj ye kehna hoga, Ab hummein aap ke qadmon hi mein rehna hoga — Padosan (1968) RD Burman / Lata
In fact, it’s interesting to note that the only award that Rajinder Krishan ever received was for a song that puts the man on a pedestal:
• Tum hi mere mandir, tum hi meri pooja, tum hi devta ho — Khandaan (1965) Ravi / Lata

Tum hi mere mandir (Khandaan , 1965) Ravi / Lata

Ravi

That award that Rajinder Krishan received, his only, was for a song composed by Ravi, a composer as diverse as Rajinder Krishan was as a lyricist. Their partnership produced some popular musical scores, with many being heard regularly on the radio. Among them, Nazrana (1961), Rakhi (1962), Bharosa (1963), Ye Raaste Hain Pyar Ke (1963), Shehnai (1964), and Khandaan (1965).

It’s anyone’s guess how some songs become more popular than others. So many factors influence this outcome. Some of the songs I heard while writing this essay were completely new and yet, especially their lyrics, charmed me completely. They have been added to the list of “Do Hear” below. Do check them out to get the full impact of what these two gents created together.

• Lo wo aa gaye, jeete the hum jin ke liye — Jawani Ki Hawa (1959) / Asha
• Ghum dene waale dene ko ghum beshumaar de, sehne ko saath-saath magar dil hazaar de — Ghar Ki Laaj (1960) / Asha
• Laila ki ungliyaan bechun — Ghar Ki Laaj (1960) / Rafi
• Saaz bajta rahey, raqs hota rahey, zindagi bus yun hi muskuraati rahey — Modern Girl (1961) / Asha
• Dekha hai tumne jidhar-jidhar mehke hain phool udhar-udhar — Nazrana (1961) / Lata
• Hai bahaar-e-baag-e-duniya chand roz, Dekh lo is ka tamasha chand roz — Bombay Ka Chor (1962) / Rafi
• Ya meri manzil bataa ya zindagi ko chheen le — Rakhi (1962) / Rafi
• Vo dil kahaan se laaun teri yaad jo bhula de — Bharosa (1963) / Lata
• Na jhatko zulf se paani ye moti phoot jaayenge — Shehnai (1964) / Rafi
• Main sunaata hun tujhe ek kahaani sun le…Tu ho ke badaa ban jaana — Khandaan (1965) / Rafi
• Jeena ka agar andaaz aaye — Ye Zindagi Kitni Haseen Hai (1966) / Asha
• Kis tarah jeete hain ye log bataa do yaaro — Nai Roshni (1965) / Rafi
• Saari duniya mein dekhen hain do anpadh nadaan — Meherbaan (1967) / Lata
• Sajna saath nibhaana— Doli (1969) / Asha & Rafi

An observation:
The thought in Badi der bhayi Nandlala in Khandaan (1965) gets repeated in Kanhaiya Kanhaiya tujhe aana padega (Maalik, 1972 / Kalyanji-Anandji) quoted above.
Sankat mein hai aaj vo dharti jis par tuney janam liya
Poora kar de aaj vachan vo, Geeta mein jo tuney diya
Tujh bin koi nahi hai Mohan, Bharat ka rakhwaala re, Badi der bhayi Nandlaala…

The synergy of the Ravi-Rajinder Krishan collaboration in Ye Raaste Hain Pyar Ke (1963) makes it impossible to choose one song to highlight from the film. Zulf lehraai teri with its range of emotions from romantic/smitten to rage/accusation, the unique Gunaahon ka diya tha haq to pachhtaane ka haq bhi de, with this thought:
Rooh khatam ho gayi, dil tabaah ho gaya
Doosre ko rok le, ik gunah ho gaya…

Aaj ye meri zindagi dekho khushi mein jhoomti jaane chali kahaan (Asha) is like a wayward drunk, flowing wherever her steps take her; Ye khaamoshiyaan, ye tanhaaiyaan, Rafi & Asha’s duet may be the only Hindi film song capable of raising the heat while talking of snow and cold, so beautifully and romantically is it conceived and executed. And yet, for this writer, the title song of the film inches forward, even if only by a whisker, to the finish line. Asha outdoes herself, as do these two gents who created it. A pensive, resigned, disillusioned Shashikala on screen takes it home. And it becomes our share here. Do pay attention to how she repeats the lines. Uff!

Ye raaste hain pyar ke (Ye Raaste Hain Pyar Ke, 1963) Ravi / Asha

Shankar-Jaikishan

Rajinder Krishan worked with all the composer duos of Hindi films – Husnlal-Bhagatram, Shankar-Jaikishan, Kalyanji-Anandji, Laxmikant-Pyarelal, and Sonik-Omi – and later even with Anand-Milind, sons of Chitragupt.

The association with Shankar-Jaikishan started in 1960 with College Girl, a Shammi Kapoor-Vyjayanthimala film and continued for over a decade.

Tumse Achcha Kaun Hai (1969) is perhaps their most famous film together with five of the seven songs becoming popular with the masses:
• Janam-janam ka saath hai nibhaane ko, sau-sau baar maine janam liye (Rafi)
• Kabhi hum ne nahi socha tha aisa din bhi aayega (Rafi)
• Rangat teri surat-si kisi mein nahi-nahi (Lata & Rafi)
• Kis kisko pyar karun, kaise pyar karun (Rafi)
• Ganga meri ma ka naam, baap ka naam Himalay (Rafi)

A sample of the sprinkles of good songs from Rajinder Krishan’s pen in their partnership:

• Pehla-pehla pyar ka ishaara kaho ji dekha hai, dekha hai kabhi — College Girl (1960) / Lata & Rafi)
• Babul hum torey anganaa ki chidiya, do din yahaan, sau din ghar paraaye — College Girl (1960) / Lata & chorus
• Sau baras ki zindagi se achche hain pyar ke do-chaar din — Sachaai (1969) / Asha & Rafi)
• Mere gunaah maaf kar, mera zameer saaf kar — Sachaai (1969) / Rafi
• Mere nayan baanwre hanste hain ya rote hain — Duniya Kya Jane (1971) / Lata
• Tere bin jiya na lagey, aaja re aaja re — Parde Ke Peechhey (1971) / Lata

Jaikishan and Rajinder Krishan (Pic: Film History Pics/Twitter)

To end the 2nd part of our study, this offering from the Rajinder Kumar-Waheeda Rehman 1970-starrer, Dharti. Sung by Rafi, a song of high praise indeed!
Musavvir khud pareshan hai ke ye tasveer kis ki hai
Banogi jis ki tum, aisi haseen taqdeer kis ki hai
Kabhi vo jal raha hoga, kabhi khush ho raha hoga, Khuda bhi…
Farishte bhi yahaan raaton ko aakar ghoomte honge
Jahaan rakhti ho tum paaon, jagah vo choomte honge
Kisi ke dil pe kya guzri, ye vo hi jaanta hoga, Khuda bhi…

Khuda bhi aasman se (Dharti , 1970) Shankar-Jaikishan / Rafi

In Bombay Ka Chor (1962), Rajinder Krishan wrote and Rafi sang
Hai bahaar-e-baag-e-duniya chand roz…
Kya milega dil kisi ka tod ke
Le dua toote dilon ko jod ke
Jaa, magar kuchh yaad apni chhod ke
Ho tera duniya mein charcha chand roz

I hope this small sample of Rajinder Krishan’s large oeuvre is enough to prove that he has left enough behind for us to discuss him for more than “chand roz”.

Do you agree that for a man who penned Apni to ye aadat hai ke hum kuchh nahi kehte, Rajinder Krishan had a lot to say? 🙂

Stay tuned for Part 3 of this study which explores Rajinder Krishan’s work with the 2 composers he worked the most with – C Ramchandra and Madan Mohan.

REFERENCES
Yesterday’s Melodies, Today’s Memories – Manek Premchand, Notion Press, 2018
Interview with RK (Vividh Bharati)
Rajinder Krishan: The Unsung Lyricist
KANCHAN (1955)/ AMAR KAHAANI (1949)
Shankar Jaikishan Music Scores – Lyricists-wise – Rajinder Krishan (65 Scores)

Don’t Miss Reading Part 1

Rajinder Krishan — Hum Kuchh Nahi Kehte (Part 1)

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