Listening to : Zanjeer (1973)

I picked this film today out of my big stack of yet to see films almost with a sense of duty. You see, my movie watching was censored by my parents in the seventies and violent films like this never made the list. My own leanings also kept me away from this genre. ‘My’  Amitabh Bachchan was the Amitabh of Anand, Abhiman, Silsila, Chupke Chupke and Mili. Realising that I had quite missed the whole ‘Angry Young Man’  phase, I picked up a DVD with three of Amitabh’s action films.  Today I come to the first of these, to a film which was a super-hit and propelled Amitabh to the top tier of Bollywood stardom.

A little boy watches his parents being murdered, traumatised and scarred for life. Vijay grows up to be police officer, an officer who doesn’t hesitate to go out of established procedures and boundaries to deal with criminals.  In short, he has the personality of a vigilante in the garb of a policeman, not a man I could like at all. But I have to say that Amitabh does this ‘brooding, suppressed violence’ personality very well.

Sher Khan (Pran), who runs gambling dens, comes to Vijay’s attention and he takes him on. In a very unconvincing episode, Vijay challenges Sher Khan to a fist fight, after which Sher Khan magically reforms! He also gives his hand in friendship to Vijay. Pran as the Pathan is very well cast and does an impressive job as Sher Khan. Mala (Jaya Bhaduri) is a knife sharpener+ street performer who also comes in contact with Vijay. The gentrified Mala from the later part of the film is more suited to Jaya rather than the loud and rough-edged Mala at the start.

The Big Bad Man in his locality, Teja, who coincidentally happens to be the man who killed his parents, is the next one Vijay unknowingly takes on. In one of the episodes, Mala comes to risk and Vijay invites her to stay with his brother and sis-in-law for safety. They develop a rapport and an understanding. Again, I find this relationship unconvincing. How did they breach the divide of the classes so easily? How did a rough, uneducated woman become so easily gentrified? Its telling that the sis-in-law calls Mala’s clothes as ‘fancy dress’  when she first meets her. The chasm between the educated middle-class and the uneducated low-income workers is real; intimate relationships cannot be built that easily.

Teja manoeuvres Vijay into being convicted of taking bribery and he is jailed for six months. When he comes out of jail, he is an embittered man. Mala convinces him to give up revenge, which he tries but Teja still comes after him. With Mala’s permission Vijay returns to the fray and the ending is satisfyingly predictable.

The film is well-paced with good performances not only by the leads but also by the supporting cast. The script, with coincidences galore, stretches one’s credulity but no more than other Bollywood films of that era. I dislike revenge as a theme; I consider it to be one of the baser instincts of mankind, why celebrate it? I neither admired nor respected the protagonist, so I could not quite like the film. But I am in the minority evidently, this film enjoyed a huge success.

Coming to the music by Kalyanji-Anandji, I can only call it average+. The lyrics are by Gulshan Bawra; there is some decent poetry in places.

• Chakku Chhuriyan – Asha Bhonsle. A pedestrian song. Asha’s high pitched vocals do not suit Jaya at all.
• Dil Jalon Ka – Asha Bhonsle. This is a club number with Bindu shimmying and wriggling to this song. I like this better than the previous Asha solo, still it is not something I am going to pick out to listen.
• Diwane Hain Diwanon Ko – Mohammad Rafi, Lata Mangeshkar. A nice song with good harmonium interludes.
• Bana Ke Kyon Bigade Re – Lata Mangeshkar. Well written lyrics and a beautiful melody, sung well by Lata. 
• Yari Hai Iman Mera – Manna Dey. Undoubtedly the most celebrated song from this film, it is the ultimate ‘bromance’ song. Memorable words. Listen to this :
  जान भी जाए अगर, यारी में यारों ग़म नहीं
  अपने होते यार हो ग़मगीन, मतलब हम नहीं
  हम जहाँ हैं उस जगह, झूमेगी नाचेगी ख़ुशी
  Such a positive spirit !! And then there is this :
  तेरा ममनून हूँ, तूने निभाया याराना
  तेरी हँसी है आज सबसे बड़ा नज़राना
  यार के हँसते ही, महफ़िल पे जवानी आ गई, आ गई
  What a lovely sentiment!
  The music director has delivered the spirit of the words. It is an excellent composition with a lovely melody and interesting changes in tempo. Add to it Manna’s impeccable singing, Pran’s naturalness, Amitabh’s brooding intensity ..and you have a truly memorable song.   

My choice for today must be evident by now, enjoy!!

Listening to: Mehbooba (1976)

Raga Shivaranjani has taken root in my mind since my classical music post a couple of days back.  Remembering a haunting song (pun intended!) set to this raga, I sat down to see Mehbooba. Of course, knowing that its Shakti Samanta film, I felt confident that it would have a certain class.

Mehbooba belongs to the Bollywood genre which I call Lost-Love-From-A-Previous-Life. This genre boasts some interesting films like Milan, Mahal and Karz. As always in films such as this, there is an abandoned palace, a photograph or painting to trigger memory and a haunting tune plaintively sung by a spooky woman trailed by the hero looking enchanted (I would have been terrified and run in the opposite direction!). And of course, people look exactly the same in all their lives so as to make recognition easy!!

So here is Rajesh who comes to a haunted and haunting mansion on a stormy night. Subsequent events lead him to remember his tragic love story from the previous life where he is a court singer and Hema Malini the court dancer. They fall in love but there is a childhood marriage which must be honoured and it all leads to the death of the lovers. In his current life, he comes across his lost love and has to work hard (ie. sing the haunting melody very often) to make her remember. There is a current life villain in Prem Chopra but after the most unconvincing of climaxes and fight scenes, all ends well.

I confess to being slightly bored by the predictability of the story. The actors I don’t blame; they did their bits well enough except for Yogeeta Bali who is quite wooden. Asrani’s role reminded me of a similar role in Abhiman. Its a good enough time-pass film.

The music by R.D.Burman has some memorable moments. The background score has some lovely lilting melodies as well. The lyricist, Anand Bakshi has woven some good lines.

• Mehbooba – Kishore Kumar. I listened without attention to the title song as I got distracted by a bad guitar-playing act by Rajesh. He is supposed to be a musician here, surely he should have made a better attempt? Kishore has sung this well enough but there are no surprises.
• Mere Naina – Lata Mangeshkar. People are always divided between which version they like, Lata’s or Kishore’s. See below for a comparison.
• Gori Teri Painjaniyan– Manna Dey. When it comes to classically based songs, its difficult to touch Manna Dey. He has sung this with his usual verve and energy. Hema has danced well. At some instances, the lyrics leave much to be desired – घर से निकलती है तू गिर के संभलती है तू  Is that supposed to be poetry?? Still, a very nice song indeed.
• Aapke Shahar Mein – Lata Mangeshkar. Mujra song. Loved the turquoise-black ghagra set that Hema was wearing, other than that nothing interested me.
• Chalo ri – Lata Mangeshkar. A nice ethnic dhun but it does remind me of a myriad other songs. Nothing unsual.
• Mere Naina – Kishore Kumar. A memorable performance and definitely the better version of the song. See below for analysis.
• Parabat Ke Peeche – Lata Mangeshkar, Kishore Kumar. The only duet of the movie, I remember it being played on the radio quite often so I reckon it was quite popular. I like the refrain very much indeed, very unusual and it is also beautifully sung.

Why do I like Kishore’s version better? Lata’s version starts better, with a lovely little alaap which is repeated mid-song as well. This establishes the more ‘ghostly’ effect for the female version. The musical interludes are also prettier, with lovely sounds of the ghungroo.  Still, I prefer Kishore’s version. There are some long notes in the song (eg. the word deewane in ae dil deewane)  which in Lata’s version is uninteresting while Kishore’s voice has a natural vibration which makes even the flat notes lovely. The composer has used Mishra Shivaranjani, with the extra note G3 (Carnatic system) while Shivaranjani uses only G2. In the first verse, in the line Dard Bhara Yeh Geet Kahan Se in Hoton Pe Aye-Door, the G2-G3 slide comes on Aye-Door. This only presence of G3, that too only in the upper octave, lends the most important haunting quality (sad G2-happy G3) to this song. And is therefore very important. Lata’s voice unfortunately sounds quite sharp in this slide while Kishore simply shines. For lyrics click here.

To listen to the whole album, click here.

My pick for the day is of course Kishore’s version of Mera Naina.

and Gori Teri Painjaniyan to enjoy Hema’s dancing.

Listening to: Lal Patthar (1971)

यह है फतेहपुर सिकरी | इसे शाहंशाह अकबर ने बसाया था | इसकी वीरानी और ख़ामोशी में अजीब कशिश है| जादू सा है | इसलिए मैं यहाँ बार बार खींचा चला आता हूँ | और फिर भी दिल नहीं भरता |

“This is Fatehpur Sikri. Emperor Akbar established it. There is strange attraction in its emptiness and silence. A kind of magic. That is why I am drawn to come here again and again. And even then I remain unsatiated.”

Thus starts the film in Raaj Kumar’s impeccable voice. How could I not like this film? I feel exactly the same way! Here’s the Durgah of Salim Chisti where I heard the most beautiful music many many years ago.

The protagonist is Prince Gyanshankar, a man tortured by what he considers to be his inherited ‘bad blood’ – there is madness in the family. He lives a controlled life to keep a reign on himself. His character is briskly established at the start of the film and though I did cringe at the tiger hunt, it added to describing him as a man.

He rescues a young and beautiful widowed woman from bandits and then from her in-laws who ill-treat her. He establishes her as his concubine in his palace, going so far as to give her the jewellery his mother had left for his future wife. He says ‘तुम्हे इन गहनों पे पूरा अधिकार है’ – you have full rights over this jewellery. It sounds like a defining moment in their relationship. He gives her a new name to cement their relationship – does that symbolise a cut-off from her previous life? Saudamini is dead and Madhuri comes to life. 

Hema is gorgeous once she sheds her window’s whites. Gyanshankar seems to have Pygmalion like intentions, trying to change an illiterate and uncultured woman to be a suitable partner for a Nawab. But Madhuri is no Eliza.  Her English teacher says ‘Rani sahiba is rather dull-headed’. Though she cleans up well and learns to read, she falls short of his needs in a companion.

Ten years pass. When he realises it, he is shocked. But why? Was this not the life he chose? In spite of his apparent acceptance of his ‘tainted blood’, he must have had some expectations of his life which did not come to pass.

He chances upon a young and lovely singer and as before, he selects another woman to adorn his life without really getting to know her. Its consistent with his character but not normal for a prince who is marrying ‘to do his duty’, as he puts it. In effect, he buys her from a drunkard father with gambling problems. History repeats itself; once more he picks a beauty in a helpless situation. Does he have a need to be needed, to be looked up to ? Does he not feel equal to women of his own social level? What happens when the concubine and his wife have to share his favours?

Well, you’ll have to see the film to answer that! I have to warn you that the climax is a bit of nonsense, totally illogical. Script-writers seem to like mad characters so as to get away with anything, but it doesn’t work. However the strength of the first half carries the film. Raaj Kumar gives a controlled performance and Rakhee does reasonably well. Hema Malini has lost an opportunity to shine as her role is strong, but she doesn’t impress. Her interview  here seems to be a bit of an excuse. Vinod Mehra provides very decent support.

Shankar-Jaikishen have given a solid album with some very good music here.

• A Aaja Dikhaoon – Asha Bhonsle. Disappointing.
• Unke Khayal Aaye To – Mohammad Rafi. A beautiful ghazal with some memorable lyrics by Hasrat Jaipuri.   इस दिल से आ रही है किसी यार की सदा, वीरान मेरा दिल था बसा के चले गए
• Sooni Sooni Sans – Asha Bhonsle. A classically based song, with good lyrics by Neeraj.
• Phoolon Se Meri – Asha Bhonsle. A beautiful poetry recitation with next to no instrumentation. Admire Asha’s voice and these beautiful lines by Neeraj.

फूलों से मेरी सेज सजादो आज मैं लूंगी जनम दुबारा
चंदा की बिंदिया  तारों का कंगन सपनों की लाओ हार
साँसों में मेरी केसर महके अंगों में झूमे बहार
ऐसा करो सिंगार सखीरी सुध-बुध भूले श्याम हमारा

• Geet Gata Hoon Main – Kishore Kumar. An excellent melody with superb singing by Kishore. Lyrics by Dev Kohli are quite touching. I was going to give it a heart but I found the instrumentation to be below par and also the beat of the songs seems too fast.
• Re Man Sur Mein Ga – Manna day, Asha Bhonsle. A superb classically based song in Raag Kalyan (Yaman) with lyics by Neeraj. Manna Dey is in his element and Asha proves that she can out-sing any singer when she sets her mind to it.

You can listen to the full album here.

My selection for the day is Re Man Sur Main Ga. The movie has used only one stanza, so listen to the audio version below.

And as a fan of Kishore, I cannot help but feature this song as well! You can admire the pretty ladies too!

Listening to : Meri Surat Teri Ankhen (1963)

Would anyone reject a child because of its perceived ugliness? I am not convinced. Yes, India is a country where perfect little infant girls have been abandoned or killed in the past. Yes, it is a country where disabled children have also suffered the same treatment. Yes, it is steeped in the racism of skin colour so I am not astonished at the equating of dark with ugly, much as I disagree with it. This has been the cross for the dark skinned Indians to bear from pre-historic times when the light skinned, Causasoid Indo-Aryans migrated into Northern India, displacing the dark-skinned Australoid Dravidian locals. Yet, a first male child of middle-aged parents being rejected just because of skin colour? That wouldn’t happen. Once I accepted that, the rest of the film was easier to digest.

The script is not too bad and has good character development. The climax however is very poorly scripted. The movie’s message आदमी रंग रूप से नहीं, उजले मन से ख़ूबसूरत होता है  (a man is made beautiful not by colour or form but by an enlightened mind) is a good one and the movie is true to this message. At the end, Ashok Kumar says to his mother ‘सच तो यह है की मेरी सूरत को तेरी आँखों से किसीने नहीं देखा’ accounting for the title.

Ashok Kumar is very good at displaying the angst of someone who suffers from low self-esteem and the negative bias of society.   I so love his diction and dialogue delivery! However, at 52, he is much too old to play this part of a 25 year old. In scenes where he addresses his screen parents, he looks older than them!

Asha Parekh is young and glowing in a role which demands little of her.  Pradeep Kumar is adequate as a dissolute (well, not really)  man but I have great resistance in accepting him as the good-looking brother. Again, he is too old at 38 to play a young man. Is that Iftekhar in a non-police-office-or-military-chap role? I can hardly believe my eyes!

The music is by S.D.Burman, with credited support from R.D.Burman. The album is a credit to SD’s genius which is well matched by Shailendra’s lyrics. 

• Poocho Na Kaise – Manna Dey. Based on classical music in Raga Ahir Bhairav, it has become a classic in itself. Manna Dey shines in displaying his roots in classical music in this superb song. See footnote for lyrics. Iconic. 
• Tere Bin Soone – Mohammad Rafi, Lata Mangeshkar. A slow, meditative song sung perfectly by Rafi and Lata who show that they have a talent equal to Manna’s in classical ragas. This one is set to Raga Piloo.
• Tujhse Nazar Milane Mein – Asha Bhonsle. A club song which has some nice instrumentals but the melody didn’t appeal.
• Naache Man Mora – Mohammad Rafi. Another excellent classically based song in Raga Bhairavi. Asha Parekh displays her dancing talents in this good Kathak number. Its a pity we don’t see much of this lovely classical dance form anymore in films.
• Tere Khayalon Mein – Lata Mangeshkar. A not very scintillating solo.
• Yeh Kisne Geet Cheda – Mukesh, Suman Kalyanpur. I really liked this rather old-fashioned duet. A lovely melody!

Click here to listen to the whole album.

My choice for the day is of course Poocho Na Kaise by Manna Dey.

I have included the song below for the Kathak performance by Asha Parekh.

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Footnote (lyrics) :

पूछो ना कैसे मैंने रैन बिताई
इक पल जैसे इक जुग बीता
जुग बीते मोहे नींद न आयी (पूछो)

इक जले दीपक इक मन मेरा
फिर भी न जाये मेरे घर का अँधेरा
तडपत तरसत उमर गंवाई (पूछो)

ना कहीं चंदा ना कहीं तारे
ज्योत के प्यासे मेरे नैन बेचारे
भोर भी आस की किरण ना लाई (पूछो)

pooCHo na kaisE mainE rain bitayI
ik pal jaisE ik yug beeta
yug beetE mohE neend na AyI

ik jalE dIpak ik man mErA
phir BHI na jAyE mErE GHar kA anDHErA
tadpat tarsat umar ganvayI

nA kahIn chandA nA kahIn tArE
jyOt kE pyAsE mErE nain bEcharE
BHor BHI As kI kiraN nA lAyI

Do not ask how the night passed
An eon passed in an instant
But even an eon did not bring me sleep

A lamp burned, so did my mind
still the darkness of my home did not fade
A lifetime passed in suffering, in longing

Nowhere do I see the moon or stars
My poor eyes thirst for light
Even dawn did not bring a ray of hope

Listening to: Waqt (1965)

Which Hindi film fan has not seen Achala Sachdev giggle at Balraj Sahni singing Aye Meri Zohra Jabeen? Over the years I have seen many hundreds of romantic songs but this song sung by a middle-aged husband to his middle-aged wife has always been the epitome of romance for me, even when I was a young girl. Romancing a young woman who is not yet yours, that is a game all men play. But romancing your wife of many years and the mother of your children? Ah, therein lies true romance. I was but a kid when I saw this song on TV but I have never forgotten, neither the song, nor my idea of romance.

Remembering the song but not the movie, I re-watched it recently. One of the pioneering ‘multi-starrers’, it has an enviable cast. Siblings-lost-in-childhood-who-find-each-other-again is a theme which is very popular in Indian cinema, and this movie is a good example of it.  I quite enjoyed myself, noting in passing that –

• Raj Kumar indeed has a great style of dialogue delivery. He’s got some really nice lines like जिनके अपने घर शीशे के हों वह दूसरों पे पत्थर नहीं फेंका करते , all of which he delivers with panache.
• He also has a cool manner of walking, a little lazy stroll almost. Attractive..
• He should never smile, I would never trust a man who smiles like that! (Good God, does it mean I trust men based on their smiles???Oh!!!!)
• Shashi Kapoor, whom I admired as a young woman, looks too ‘pretty’ to me now..but those canines are charming…
• If you get separated from people, go back to where you saw them last!! Kids, are you listening?
• Coincidences occur more often in Bollywood than anywhere else!

Coming to the music by Ravi and lyrics by Sahir Ludhianwi, I enjoyed my favourite songs as much as I did before and heard a couple I had never heard previously. I noted with interest that Asha has sung all the feminine tracks though a few seem very suitable for Lata. Is there a story there? Given the music is for a film by B.R.Chopra with music Ravi, it is not surprising to see Mahendra Kapoor sing quite a few tracks too. This team has produced some good songs. Here is the Waqt song list :

• Aye Meri Zohra Jabeen – Manna Dey : Superb!
• Waqt Se Din Aur Raat – Mohammad Rafi : Sad song, competently sung but not catchy.
• Kaun Aya – Asha Bhonsle : I had not heard this song before. It has a lilting tune and reminds me vaguely of some other song I know well..can’t quite place it though.
• Din Hai Bahar Ke – Asha Bhonsle, Mahendra Kapoor: A beautiful melodious song, this reminds me strongly of Sarse Sarke Chunariyan from Silsila (1981).
• Hum Jab Simat Ke – Asha Bhonsle, Mahendra Kapoor :
• Maine Ek Khwab Dekha Hai – Asha Bhonsle, Mahendra Kapoor : A slow and romantic duet.
• Chehre Pe Khushi Cha Jaati Hai – Asha Bhonsle : Very nice song, I would have chosen Lata for this.
• Aage Bhi Jaane Na tu – Asha Bhonsle : A masterpiece!! Asha has sung this to perfection! Congratulations to Ravi for the truly haunting music.

  जीने वाले सोच ले यही वक़्त है कर ले पूरी आरज़ू  Sometimes the lyrics and the music complement in each other very well – in this song the match is perfect. 

As I can’t decide between my two favourite songs, I am presenting both for your inspection. Tell me which you like better. In case you want to listen to the whole album, you can find it here.

Aye Meri Zohra Jabeen–Manna Dey

You can find the lyrics to Aye Meri Zohra Jabeen here.

Aage Bhi Jaane Na tu– Asha Bhonsle

 

You can find the lyrics to Aage Bhi Jaane Na Tu here. (I saw a few mistakes though, I am not sure of the quality)

Listening to: Padosan (1968)

How I loved this movie as a kid! I remember giggling helplessly each time it had a re-run on the telly. So when I spotted this old favourite in a DVD shop last time I was in India, I picked it up to see if it was still giggle-worthy. I was not disappointed.  Mehmood, Kishore Kumar, Om Prakash, Mukhri and Keshto Mukherjee provide enough laughs to keep one well amused. In fact, the comedy is so good that one quite forgets to watch the lead pair of Sunil Dutt and Saira Banu! A few irrelevant observations:

• Directors liked putting leading ladies on cycles (remember Nutan in Anari?) while nowadays they prefer zippy sports cars. I must say that their elaborate coiffeur is possibly safer on the cycles..
• Showing a leg – just knee-down – when stuck out of bubbles in a bathtub was considered racy!!
• The lady prefers a man who cannot sing (she likes music), who repeatedly lies and cheats, has no work/earnings and who is a village bumpkin with no smarts to a man who can sing and is devoted to her! Just for a more pleasing face?? But she too is manipulative…oh well! The Filmi-Goddess-of-Superficiality should be well pleased.

The music still sounds great. Composer R.D.Burman does a great job and the lyrics by Rajendra Krishan are on the nose.

• Main Chali Main Chali – Asha Bhonsle, Lata Mangeshkar. Quite a light and happy little song; and it is nice to hear the two sisters together.
• Sanwariya – Manna Dey. Manna Dey is always competent but the song doesn’t leave an impression.
• Bhai Batur – Lata Mangeshkar. Lata sounds young and fresh and lilting melody is pleasing.
• Mere Samne Wali Khidki Mein – Kishore Kumar. Generations of Roadside Romeos have benefited from this useful little ode to the Girl in the Window! What’s funny is that Sunil lip-syncs Kishore better than Kishore does himself!
• Mere Bhole Balam – Kishore Kumar. A very amusing song and a comic scenario. You can hear the influence of Bengali folk traditions. Kishore Kumar of course has great timing.
• Ek Chatur Naar – Kishore Kumar, Manna Dey. How talented are Manna and Kishore!! The vocal acrobatics they indulge in!! I believe quite a bit of this song was impromptu and that there was a bit of rivalry between Manna and Kishore. If so, its only adds to the quality of the song. And the picturisation with Mehmood and Kishore Kumar at their rollicking best – what can I say!!
• Sharm Aati Hai Magar – Lata Mangeshkar. An excellent song, a showcase for Lata’s talents. I only object to the आपके क़दमों  bit..for God’s sake Saira, Get A Life!! But I guess one has to forgive lyricists of yesteryears. They evidently didn’t know better.
•  Kehana Hai – Kishore Kumar. Oh how wonderful Kishore sounds! And when he sings तुम ही तो लाई हो जीवन में मेरे प्यार प्यार प्यार I just melt!!

There are three songs which I love but of course I have no choice but to present Ek Chatur Naar for the goofball act of Mehmood and Kishore ! For those who want to listen to the whole album, here is a link.

Ek Chatur Naar–Kishore Kumar, Manna Dey

Na to karavan ki talash hai

Album : Barsaat Ki Raat (1960)

Song : Na To Karavan Ki Talash Hai

Lyrics : Sahir Ludhianvi

Music : Roshan Lal

Singers : Mohammed Rafi, Manna Dey, Asha Bhonsle, Sudha Malhotra, Shiv Dayal Batish

Form : Qawwali, Hindi Film

For this first post from Hindi films, I hesitated but a few minutes before choosing this song.  There are innumerable pieces of Hindi film music which have become part of my musical world. However, with my deep love of Qawwalis, the absolute mastery over music by Mohammed Rafi and Manna Dey, Roshan’s musical genius and the beautiful poetry of Sahir Ludhianvi’s words, this song belongs to the very pinnacle of Hindi Film music.  Just see what the poet says :

woh hanske agar mange toh ham jan bhi de de,
ha yeh jan toh kya chiz hai, iman bhi de de, kyonki

How much more easy to give up ‘jaan’ than ‘iman’ ! One a coward’s way out and the other, the most difficult of things…

and again,

nazo andaz se kehte hain ki jina hoga
zeher bhi dete hain toh kehte hain ki pina hoga
jab mai pita hu toh kehte  hai ki marta bhi nahi
jab mai marta hu toh kehte hain ki jina hoga

How beautifully put !  Hindi/Urdu is certainly the language of poets, don’t you think?

People seem to often come to my site looking for lyrics. As there are other sources on the net which provide exactly that, I shall just redirect you to one of those sites. For the lyrics to this song, look here.

For ten minutes of beautiful music experience, watch the clip below.

Na To Karavan Ki Talash Hai-Mohd Rafi, Manna Dey, Asha Bhonsle