atul's bollywood song a day- with full lyrics


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Genius of Jaidev – 14
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Ankahee (The Unspoken) is a 1985 Indian Hindi film about Astrology. Amol Palekar performed the triple role of Actor-Director-Producer. The star cast included Amol Palekar, Deepti Naval, Devika Mukherjee, Vinod Mehra, Dr. Shriram Lagoo and Dina Pathak. It was based on a Marathi-language play, ‘Kalay Tasmai Namaha’ by writer, C. T. Khanolkar. The film is also noted for its soundtrack, which won two awards at the 32nd National Film Awards, including Best Music Direction for Jaidev and Best Male Playback Singer for noted classical singer Pt. Bhimsen Joshi. The story by C. T. Khanolkar was also nominated for the best story category for 1985 Filmfare Award.

In this film Deepti Naval is portraying a mentally restarted girl, and acts very innocently while singing in a playful way, a very seriously philosophic worded Kabeer’s bhajan. Asha-ji has rendered the song in a perfect way, as a classically trained girl like Deepti in this film would have sung.

Jaidev, during his life span, had superb inimitable style, which was apparent even when he worked as an assistant director with Ustad Ali Akbar and Sachin Devbarman. He remained an exclusive music director for music lovers with good taste. He always used Indian music instruments and most of his tunes were based on Classical Ragas.

Please pardon a mistake in the titles in the video, (which I had uploaded on YouTube long time back) as my typist wrongly typed ‘Anhonee’ instead of ‘Ankahee’. ( I could not fire my typist as unfortunately I found out that the typist was ME only)


Song-Thagwa Nagariya Lootal Ho(Ankahee)(1985) Singer- Asha Bhonsle, Lyrics-Sant Kabir, MD- Jaidev

Lyrics

kauno thagwa
nagariya lootal ho
thagwa nagariya lootal ho
kauno thagwa

chandan kaat ke banal khatolanaa
chandan kaath ke banal khatolanaa
ta par dulheen sootal ho
thagwa nagariya lootal ho
kauno thagwa

uthho ri sakhi mori maang sanwaaro
uthho ri sakhi mori maang sanwaaro
dulha mose roothal ho o
uthho ri sakhi mori maang sanwaaro
dulha mose roothal ho
aaye jamraaj palang chadhhi baithe
aaye jamraaj palang chadhhi baithe
nainan ansua
nainan ansua total ho
thagwa nagariya lootal ho
kauno thagwa

chaari jani mili khaat uthhaayin
chaari jani mili khaat uthhaayin
chahoon disi dhhoo dhhoo uthhal ho
chaari jani mili khaat uthhaayin
chahoon disi dhhoo dhhoo uthal ho
kahet kabeera suno bhai saadho
kahet kabeera suno bhai saadho
jag se naata aa
jag se naata chhootal ho
thagwa nagariya lootal ho
thagwa nagariya lootal ho
kauno thagwa

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

As mentioned earlier, I am at present in a district in Chhattisgarh that shares the same name as the advanced nation of Korea, but unlike the land of Samsung, Sony and Hyundai, I find my internet connection crawling at a pace where it is unlikely that I can even open a page, let alone watch/download videos. So I will have to try and post songs whose drafts are already there with me in the blog.

So this post will be my penultimate post for the day, which will be followed by another post that I have scheduled yo be posted automatically at about 9:30 AM without my intervention.

This song under discussion is one which I was quite familiar with. This song would play on radio frequently and I liked it. But for all that, I never knew that name of the movie or any other details about the song, except for the obvious fact that it was sung by Kishore Kumar and Asha Bhonsle.

Now the lyrics of this song have been sent to me by Prakashchandra. And that is how I have come to know about the details of this song, four decades after I first heard this song. And I have not heard this song again till now, because this song stopped getting played at radio stations after some time.

This song is from “Anhonee” (1973). This song had some other songs, and they were like this song in the sense that they were very popular at that time, I listened to them without being aware of their details and then I heard them again only after their lyrics were sent to me by our contributors. These songs are Balma hamaar motor car laike aayo re (Anhonee), Buddhu pad gaya palle (Anhonee) and Hungaama ho gaya (Anhonee).

This movie, “Anhonee” (1973) was produced and directed by Ravi Tandon for King Productions. The movie had Sanjeev Kumar, Leena Chandavarkar, Kamini Kaushal, Padma Khanna, Bindu,Asrani,Manmohan, Paintal, Jankidas, Satyen Kappu, M.B.Shetty, Ranveer Raj, Kaity Irani, S.P.Dutta, Captain Manmohan, Polson, Shashi Kiran, Mac Mohan, Rehman, Sharmistha Sanyal, Anwar Hussain, Anoop Kumar, Lalita Kumari, Sudhir etc in it.

This song, the fourth song from the movie to appear in the blog is picturised on Sanjeev Kumar and Leena Chandawarkar. Verma Malik is the lyricist. Music is composed by Laxmikant Pyarelal.

With this song, “Anhonee” (1973) joins the list of movies that have all their songs covered in the blog.


Song-Main to ek paagal (Anhonee)(1973) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Verma Malik, MD-Laxmikant Pyarelal

Lyrics (Provided by Prakashchandra)

hmm…hhh
main toh ek paagal
paagal kyaa dil behlaayegaa
main toh ek paagal
paagal kyaa dil behlaayegaa
jise apni khabar na ho
o o o
woh kissi ko kyaa samjhaayegaa
main toh ek paagal
paagal kyaa dil behlaayegaa
main toh ek paagal

na main koi suraj hoon jo apni raushni de doon
na main koi suraj hoon jo apni raushni de doon
na chaand hoon main poonam kaa
gulshan ko taazgi de doon
main aisaa ek sitaaraa jo
bin chamke jal jaayegaa
main toh ek paagal
paagal kyaa dil behlaayegaa
main toh ek paagal

main dil ki dhadkan de doon
apne armaan bhi de doon
main dil ki dhadkan de doon
apne armaan bhi de doon
jo teraa jee behlaaye
use apni jaan bhi de doon
main sar ko jhukaa doongaa
aaa…aaa
jo teri khushi le aayegaa
main toh ek paagal
paagal kyaa dil behlaayegaa
main toh ek paagal

hmmm hmmm hmm
gar pyaar mein paagal hokar
mil jaaye pyaar ki manzil
gar pyaar mein paagal hokar
mil jaaye pyaar ki manzil
toh main sabse keh doongi
main paagal hoon
main paagal
main paagal hoon
main paagal hoon
paagal duniyaa
ho jaayegi
jab dil se dil mil jaayegaa
main toh ek paagal
paagal kyaa dil behlaayega
jise apni khabar naa ho o o
woh kisi ko kyaa samjhaayegaa

main toh ek paagal
paagal kyaa dil behlaayegaa
main toh ek paagal


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Going through the posts in the blog does not give an indication of my whereabouts at the time of posting, unless I mention it. When I think about it, I have been to several places in the last few months and my posts have been made from places like Madhya Pradesh, Rajasthan, Delhi, Gujarat, Maharashtra etc in addition to my present day location in Chattisgarh. Even in Chhattisgarh, I do not remain at one fixed place all the time.

To a person living in Delhi, Bilaspur is a town in Himachal Pradesh, Kota is a town in Rajasthan and Korea is a country famous for Samsung and Hyundai etc. But for people in Chhattisgarh, Bilaspur is a town in Chhattisgarh, Kota is a town near Bilaspur and Korea (spelled Koriya in English while the Hindi spelling is Identical to the country) is a district in Chhattisgarh ! :) And I find myself in Koriya at present ! :)

It was known to me yesterday that I was going to this place (I was not aware at that time that I was going to a place in Koriya) where I would remmain for the whole day. Realising that I may not find much time to post on that day from this location, I did something new. WordPress has the facility of puublishing posts at any date and time, including future dates. So I scheduled two posts to be published automatically on this day. So at least these two posts were guaranteed to be posted on this day even if I was not able to come anywhere near internet.

First of these posts was scheduled to be posted as around 2 AM in the early hours. So this post got published while I was in reality asleep aboard a train going towards my destination. Sudhir Ji, who was awake at that time thought that I was awake as well and e mailed me commenting “Ah, burning the midnight oil, are we !”. In reality I was fast asleep at that moment and I was allowing technology to do the work for me. :) Waah, so I too can be tech savvy sometimes. :)

When I arrived at the destination and opened my computer, I quickly grasped the fact that internet connection was going to be a big problem. I was informed that this place has good electricity supply. But good internet connectivity is not something people in this area may be too concerned about. I have a few drafts ready in the blog and I need to publish them alongwith my writeups, like this one, but I am waiting patiently for that page to open up in the first place.

This song is from “Paraayi Aag” (1948). It is sung by Zohrabai Ambalewaali. Tanvir Naqvi is the lyricist. Music is composed by GHulam Mohammad.

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Man geet suhaane gaaye (Paraayee Aag)(1948) Singer-Zohrabai Ambalewaali, Lyrics-Tanvir Naqvi, MD-Ghulam Mohammad

Lyrics(Provided by Avinash Scrapwala)

Man geet suhaane gaaye ae ae ae
kyun
kuchh samajh na aaye
man geet suhaane gaaye ae ae
kyun
kuchh samajh na aaye

aaj mundere ae kaaga bole
aaj mundere ae kaaga bole
kaun jaane aaye
kaun jaane aaye ae
man geet suhaane gaaye ae ae
kyun
kuchh samajh na aaye

rom rom mein ae
ang ang mein
rom rom mein ae ae
ang ang mein
bijli si lehraaye ae ae
kyun
kuchh samajh mein na aaye
bijli si lehraaye
kyun
kuchh samajh na aaye
kan geet suhaane gaaye ae ae
kyun
kuchh samajh na aaye

ho o o o
dil se kaisi hain aashaayein
naach naach deewaane
ho o o o
dil se kaisi hain aashaayein
naach naach deewaane
dhak dhak har dhadkan gaati hai
madhur madhur se gaane
dhak dhak har dhadkan gaati hai
madhur madhur se gaane
har aashaa muskaaye ae ae
kyun
kuchh samajh na aaye
har aashaa muskaaye ae ae
kyun
kuchh samajh na aaye
man geet suhaane gaaye ae ae
kyun
kuchh samajh na aaye

ho o o
man matwaala aankh kinaare
yoon hichkhole khaaye
ho o o
man matwaala
aankh kinaare ae
yoon hichkhole khaaye
tat par jaise naiyya koi
Lehron pe lehraaye ae
tat par jaise naiyya koi
Lehron pe lehraaye ae
Lehron pe lehraaye ae ae
kyun
kuchh samajh na aaye
Lehron pe lehraaye ae ae
kyun
kuchh samajh na aaye
man geet suhaane gaaye ae ae
kyun
kuchh samajh na aaye


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The early phase of Talkie films was full of 2 types of people.

1. Those who wanted to do something worthwhile in this new field, and

2. Those who saw this field as an opportunity to showcase their skills.

Initially, due to the Studio System, no special qualifications were required to get a job, because in this system anybody was required to do any job. There was no job specification. For example, a script writer would be required to do a role in a film, or the music Director would have to sing a song in the film. So, there are cases where people initially taken for one job, finally excelled in some other job. Such examples are many. Amiya Chakrawarty who was working as a Canteen Manager in Bombay Talkies, ended up as a respected Director of films. Najam Naqvi, a continuity man in BT again, became an actor and a well-known Director, Ashok Kumar-a technician in Photo department became a famous actor and also sang songs, Guru Dutt starting as a Choreographer ended as an actor and a famous Director.

In the Music field also, the film makers needed actors and actress who were reasonably good looking and had a knowledge of singing. This was a great opportunity for the Kothawalis, Tawayafs and singing families, where singing was the profession. Good looking girls from such families had comparatively an easier entry in films. Such actresses were generally called “Bai”, like Jaddanbai, Rattanbai, Waheedanbai, Zohrabai etc. Most joined the industry, acted or sang for few films, and then got married to some actor or a director and settled in life. But some girls joined the films to make a career and contribute substantially. One such was a girl from Karnataka …

Amirjan was born in a Julaha( singing family) family of Belgi in Bijapur district of Karnataka. She was one of the 6 sisters and 1 brother. Singing was very much in the family and her sister Gauhar was already in films- acting and singing. Amirjan was also fond of singing and had dreams of joining films and making a name in it.

Unlike other girls from singing families, Amirjan first completed her schooling and then went to Bombay. Her sister Gauhar helped her to get her first film ‘Vishnu Bhakti’-1934. This film did nothing much for Amirjan’s career advancement, except that her name was now changed as AMIRBAI KARNATAKI.
Undaunted she continued with other films. Her real break came with Kismet-1943. Her own kismat also changed with this film.

I will not go into the details of her Bio, Filmography or Discography, which is too well known and easily available on Internet. I would especially recommend Mr. Vidur Sury ji’s exhaustive article here:

From all the female singers of the 40s, my first vote goes to Amirbai. She was, in true sense, Amir in her singing and justified her name.
Amirbai’s voice was very flexible. She could sing any type of song with great ease, be it a Bhajan, a Naat, Lori, Holi, Diwali, Party, Comedy, Tragedy, Ghazal, Thumri, Qawwali- you just name the genre and she has sung it.

I would like to highlight some of my favourite Amirbai songs that exemplify her comfort level in various genres.

The first among these is the famous song from Samadhi-1950, sung with Lata-“Gore gore o banke chhore.” This song from Samadhi, composed by C. Ramchandra, created a hurricane in the music lovers and for a long time everybody hummed this song. Young boys and girls danced on this song in festivals and functions and youngsters sang it to impress others. Amirbai skillfully combined her golden voice with the novel lilting tune to give a superb inviting effect to the song. Appropriately shot on Kuldip kaur, the song gave a “come hither” invitation to the listeners. This song also went to prove that whatever the genre, Amirbai could ‘just do it’ !

Out of all her songs, from the first to the last, my favourite is a duet with Surendra from film Bharthari-1944. The song is “Bhiksha de de maiya Pingala”. In this song Queen Pingla is responding to Raja Bharthari, who comes as a Jogi asking for Bhiksha (Alms). She recognises him and expresses concern how he would cope up with the hard life of a Jogi, when he had enjoyed a King’s life earlier. The song is like a question answer session, written by Pt. Indra and composed by Khemchand Prakash. This song had become very popular in India and was copied in the Gujarati version of the film. It is still played during poojas.

Another song sung by Amirbai that is my favorite is a Bhajan from the film Village Girl-1945. This film had some very popular and evergreen songs, like “Baithi hoon teri yaad ka le kar ke sahara” by Noorjahan, but this Bhajan by Amirbai was something out of the world. Though MD Shyamsunder had copied the popular tune of Jagmohan’s Geet- “Us raag ko paayal mein” famous in those days, for this song’s mukhda as well as Antara, Amirbai made it a Bhajan dripping with Bhaktiras. Coupled with the scenes on the screen this Amirbai Bhajan can be rated amongst the best Bhajans of HFM.

As I said earlier, Amirbai was at ease with any type of song and she would put all her skill and appropriate emotions in it to make it the Best. There are many sad songs in Hindi films. Even Amirbai has sung many sad songs in her career, so it was difficult to pinpoint just one. However I opt for the sad song from Nargis-1946, “Roti aankhon mein.” Music Directors Husnlal Bhagatram had given excellent music to this song and the tune haunts one for a long time.
Though Amirbai sang about 350 songs in about 135 films, her real singing reign was from 1940 to 1950 only. After 1950, the competition became intense, she became tired, public taste and singing pattern changed and consequently singing offers dwindled. From 1951 to 1954 she sang only 17 songs in 12 films. Her last song was in Bankelal-1972.

Amirbai was very popular in Karnataka and she too was proud to be from Karnataka. Her family runs a cinema Theatre called “AMIR ” in Bijapur even today.
She died on 3-3-1965, but left a sweet legacy of her songs. They will forever remind us about this exceptional singer.

There is one song of Amirbai,which I have kept in my Mobile phone and to which I listen to,when I am alone and in a mood for best music. The song is from film ‘Parbat pe apna dera’-1944…”Pareshan hoon ki kyun meri pareshani nahi jaati”. There is something divine about this song. Vasant Desai had never been so good in composing and no other singer would have done justice to it-except the great Amirbai Karnataki.

Amirbai was an exceptional singer who could do justice to the song, lyricist and the music director in every piece that she performed. She was one of those who came to the Industry with a desire to do something worthwhile and she really did it!

I dont know what is God’s design in making good souls suffer in their last days. Amirbai’s last days too were not very good.

Amirbai had sung very few Non Film Songs during the period 1943 to 1950.

Today we will hear a rare NFS by Amirbai Karnataki. This is a song recorded in 1914, when she was known as Amirjan Karnataki and when she was just 8 year old. This song has been uploaded by an Amirbai ardent fan and one of our contributors-Vidur Sury ji. He writes on You Tube,about this song as-

” Here is a truly extremely rare audio excerpt of supreme singer Amirbai Karnataki Ji’s Dadra in Raga Pilloo (Kafi Thaat). She sang this when she was 8 years old! (She was born in 1906). What musical maturity and singing supremacy! “

Considering that this song was recorded in 1914,this should be the oldest song on this Blog,beating the earlier 1925 song by a decade.
My thanks to Vidur ji for making this rare song available.


Song-Kaho guinyya kaise kate saari raat (Baby Amirjan NFS)(1914) Singer-Amirbai Karnataki

Lyrics

kaho guinyya kaise kate saari raaaat
arre sainyya nahin aaye ae
jiya ghabraaye
kaise kate saari raat
arre guinyya kaise kate saari raat

aa aa aa aa
aa aa aa aa aa
aa aa aa aa
aa aa aa aa

kaho guinyya kaise kate saari raaaat
sainyya nahin aaye
jiya ghabraaye
kaise kate saari raat

aise mein ?? ke
ae ae
???


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Daulat”(1949) was a movie that I was not aware of till today. This movie was directed by Sohrab Modi for Minerva Movietone. The movie had Madhubala, Mahipal, Janki Das, Eric Tarapore, Ghulam Sabir, Leela Mishra, Ghulam Hussain, Seeta Bose, Sadat Ali, Ghulam Mohiuddin etc in it.

Here is a lovely duet from this obscure movie. It is sung by Shankar Dasgupta and Zohrabai Ambalewaali. Qamar Jalalabadi is the lyricist. Music is composed by Hanuman Prasad.

Only the audio of this song is available. I request our knowledgeable readers to throw light on this movie as well as on the picturisation of this song.

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Tum ek nazar dekh chuke (Daulat)(1949) Singers-Shankar Dasgupta, Zohrabai Ambalewaali, Lyrics-Qamar Jalalabadi, MD-Hanuman Prasad
Both

Lyrics(Provided by Avinash Scrapwala)

Tum ek nazar
haan haan
tum ek nazar dekh chuke
ek nazar aur
ek nazar aur
sab faisle ho jaayenge bas
ek nazar aur
ek nazar aur
ae ji tum ek nazar dekh chuke
ek nazar aur
ek nazar aur

kyun dard ka afsaana
sunaaya nahin tumne
sunaaya nahin tumne
kyun dard ka afsaana
sunaaya nahin tumne
sunaaya nahin tumne

dekha jo tumhe
dekha jo tumhe
badhne lagaa dard e jigar aur
dard e jigar aur

do dil mile phir kis liye
dushman hain zamaanaa
dushman hain zamaanaa aa
do dil mile phir kis liye
dushman hain zamaanaa
dushman hain zamaanaa

kismat ka ishaara
kismat ka ishaara hain
idhar aur udhar aur
idhar aur udhar aur

duniya ko pasand aayi na
kyun rasme muhabbat
kyun rasme muhabbat
duniya ko pasand aayi na
kyun rasme muhabbat
kyun rasme muhabbat

duniya ki nazar
duniya ki nazar aur
muhabbat ki nazar aur
muhabbat ki nazar aur

kab tootegi kab tootegi
zanjeer e judaai
zanjeer e judaai
kab tootegi kab tootegi
zanjeer e judaai
zanjeer e judaai

ro ro ke jab
ro ro ke jab aa jaayega
aahon mein asar aur
aahon mein asar aur
ae ji tum ek nazar
haan haan tum ek nazar
dekh chuke
ek nazar aur
ek nazar aur
Ae ji tum ek nazar


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

When the song “baat koi matlab ki” from Apradhi Kaun (1957) was posted here yesterday, one of the comments on it – from Arunji – referred to another song, “phir wohi dard hai”, from this film that had not yet been posted.

I immediately responded to that comment, saying I would post this song too at the earliest.

Without any delay, here is the song. Sung by Manna Dey, picturised on Dhumal and Kumud Tripathi.

And how!

This is an absolute riot of a song. I’d never heard it before seeing the movie – and from the moment I heard it for the first time, I fell in love with it.

Without giving away any of the plot details (after all, it is a suspense film), I will just say that the lead-up to this song is that Kumud Tripathi discovers a certain secret of Dhumal. In order to keep him quiet, Dhumal tries to bribe him, offering to provide him with a daily dose of a “substance”.

When both of them first inhale the “substance”, they are transported to a different world, where their imagination runs riot. This song is part of that sequence.

Not only are the expressions of both Dhumal and Kumud absolutely top-class, the lyrics are also pretty nutty. They sing of pain, the night, their fears, the fact that they thought their sorrows were behind them, but the door of their heart was open, thus allowing the elephant to get away, but leaving his tail getting stuck in its wake. All absolute nonsense of course – but delightfully so. The type of stuff you could imagine happening to somebody in their situation. To add to this, Kumud Tripathi imagines he sees Kammo, Dhumal imagines he sees Lillian.

Full marks to Majrooh saab for coming up with such lyrics. It calls for imagination to come up with this sort of thinking in the first place, and then to come up with lyrics.

And full marks to Manna Dey too. Many know him for his classical songs but he has sung many light / comedy songs in his career. I would put this one right up there on this list, comparable with any other of his light songs. The way he enlivens the song with a brisk feel to it, the intonations, the way he gets right into it and convinces you that this is sung by guys under the influence – is just too good.

So in every sense, this song is just perfect. The picturisation, the singing, the lyrics, the lovely, lively music by Salil da – all combine beautifully to produce this fun song that totally deserves to be better-known.

So I am very happy to be able to bring this one to the notice of this blog’s readers.

A word about Salil Chaudhary in the context of Bimal Roy Productions.

Salil da was one of two regulars for Bimal Roy in Hindi films, the other being SD Burman (Devdas, Sujata, Bandini, Benazir).

Salil da’s compositions for Bimal Roy’s productions (whether directed by Bimal Roy or not) include Do Bigha Zameen, Naukri, Biraj Bahu, Parivar, Amaanat, Apradhi Kaun, Madhumati, Parakh, Usne Kaha Tha and Prem Patra.

Of these, with Madhumati, Salil Chaudhary struck gold. To this day, the songs of Madhumati are among the most popular ever in Hindi films. Among the others, the songs of Parakh (especially “o sajna”) were also quite popular. Some of the other films also had popular songs – like “apni kahani chhod ja” (Do Bigha Zameen), “chhota sa ghar hoga” (Naukri) and another song-riot (one of my Kishore favourites) “kuen mein kood ke mar jaan, yaar tum shaadi mat karna” (Parivar).

I don’t think the songs of Apradhi Kaun were all that popular – though I may be wrong. When I listen to this Manna Dey song, I see no reason why anybody would not fall in love with it. But then, sometimes some songs get overshadowed by others purely because of overcrowding. 1957 (when this film was released) was also the year of Naya Daur, Tumsa Nahin Dekha, Pyaasa , Dekh Kabira Roya, Paying Guest, Nau Do Gyarah and Mother India. So, amidst this embarrassment of riches, maybe the songs of Apradhi Kaun didn’t get much attention from the public.

Anyway it is our job, pleasure and honour, to bring such songs to the notice of the public. Whether they got noticed in their time, or went out of public memory as time went by, we bring them back into public memory through this blog.

Here’s the song – I hope you enjoy it as much as I did. And I really enjoyed it a LOT. :-)


Song-Phir wahi dard hai phir wahi jigar(Apraadhi Kaun)(1957) Singer-Manna Dey, Lyrics-Majrooh sultanpuri, MD-Salil Chaudhary

Lyrics

Phir wahi dard hai
phir wahi jigar
phir wahi raat hai
phir wahi hai darr
hum samjhe gham kar gaya safar
dwaar dil ka khul gaya
haathi nikal gaya
dum reh gayi magar
phir wahi dard hai
phir wahi jigar
phir wahi raat hai
phir wohi hai darr
hum samjhe gham kar gaya safar
dwaar dil ka khul gaya
haathi nikal gaya
dum reh gayi magar

hum to samjhe dushmanon ka haath kat gaya
do dilon ke beech se pahaad hat gaya
hum to samjhe dushmanon ka haath kat gaya
do dilon ke beech se pahaad hat gaya
gham ke bhaari din gaye guzar
dwaar dil ka khul gaya
haathi nikal gaya
dum reh gayi magar
phir wahi dard hai
phir wahi jigar
phir wahi raat hai
phir wahi hai darr

tu dulhan banegi aur chadhegi raagini
tainu u u u
tain na aaaa
tu dulhan banegi aur chadhegi raagini
aayi pyaar ke madhur milan ki chaandni
tu dulhan banegi aur chadhegi raagini
aayi pyaar ke madhur milan ki chandni
Lekin
thhodi
reh gayi kasar
dwaar dil ka khul gaya
Haathi nikal gaya
dum reh gayi magar
phir wahi dard hai
phir wahi jigar
phir wahi raat hai
phir wahi hai darr
hum samjhe gham kar gaya safar
dwaar dil ka khul gaya
haathi nikal gaya
dum reh gayi magar

maine chaaha bhool jaoon
kyun rahoon kharaab
par tera ye husn jaise daal mein ghulaab
maine chaaha bhool jaoon
kyun rahoon kharaab
par tera ye husn jaise daal mein ghulaab
thhoda
thhoda
hai wahi asar
dwaar dil ka khul gaya
haathi nikal gaya
dum reh gayi magar
phir wahi dard hai
phir wahi jigar
phir wahi raat hai
phir wahi hai darr
hum samjhe gham kar gaya safar
dwaar dil ka khul gaya
haathi nikal gaya
dum reh gayi magarrrrrrrr


This article is written by Mahesh Mamadapur, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In the good old days of radio, there often used to arise, a situation when one would like a song, but would miss the announcement of the name of the film. In such cases, one had to wait for the song to be played again. Now with the advent of internet, things have become much simpler where you can actually search, download, store and listen to a particular song often.

I had quite a struggle with such a situation having missed hearing the name of the film quite a few times. When I became accustomed to Google search, I did trace it by the first few words of the song, singers etc. After downloading, the song unfortunately got lost in the huge cache of songs I have in my laptop.
When I decided to try posting this song, I had again lost memory of the name of the film. I had to search a lot in the folders. The find option was also of not much use since the name of the song was with all words joined together etc.

Googling again, I now remember the name of the film very vividly and intend never to forget it. It’s a duet from the film Kamal released in 1949. The year 1949 was a watershed in the history of Hindi Film Music, with several hits encompassing many singers, music directors and lyric writers.
Barsaat, Andaz, Mahal, Dillagi, Shabnam, Badi Bahen, Patanga, Dulari etc. were amongst the top grossers. There were many other films in 1949 with very good music and songs but are either forgotten or less popular in comparison with the above mega hits. One such movie was Kamal with a duet by Geeta Dutt and Surendra.
I am sure many readers may not recollect the combo of singers as well as the film. Geeta Dutt and Surendra have sung only 5 duets together in 3 films and this blog has 2 songs of them covered.

The film ‘Kamal’ was produced under the banner of Hind Kamal Chitra, Bombay, and directed by Surya Kumar. The list of actors includes Surendra, Nayantara, Jeevan, Madan Puri, Mahendra, Lalita Rao, Munshi Khanjar, Bibi Bai, Yashoda Nandan Joshi, Mohna etc.

The music of this film was scored by SD Burman. There are 10 songs in this film, shared amongst GS Nepali, Raja Mehdi Ali Khan and Prem Dhawan. This particular song is written by G.S.Nepali.

The song itself is a blue-mood and extremely melodious romantic duet with Geeta Dutt dominating the song in terms of time space.

I am sure this short and sweet chirpy rare song will cause many a hearts to flutter.


Song-Kehne ko hain taiyyar magar kaise kahen hum (Kamal)(1949) Singers-Geeta Dutt, Surendra, Lyrics-G S Nepali, MD-S D Burman
Both
Both

Lyrics

kehne ko hain taiyar
magar kaise kahen hum
kehne ko hain taiyar
magar kaise kahen hum
karte hain tumhen pyaar
magar kaise kahen hum
ji magar kaise kahen hum
karte hain tumhen pyaar
magar kaise kahen hum
ji magar kaise kahen hum

do din ki abhi baat
mulaakaat hamaari
mulaakaat hamaari
do din ki abhi baat
mulaakaat hamaari
mulaakaat hamaari
aankhon mein chha ke reh gayi
tasveer tumhari
tumko diya dil dard bhi
chup-chap sahen hum
tumko diya dil dard bhi
chup-chap sahen hum
karte hain tumhe pyaar
magar kaise kahen hum
ji magar kaise kahen hum

kayi baar lage kehne
to sharma ke reh gaye
sharma ke reh gaye
kayi baar lage kehne
to sharma ke reh gaye
sharma ke reh gaye
kehna thha hamen aur bhi kuchh
aur keh gaye
kehna yahi hai mauj mein
ik saath bahen hum
kehna yahi hai mauj mein
ik saath bahen hum
karte hain tumhen pyaar
magar kaise kahen hum
ji magar kaise kahen hum

o o o o
rehte hain aas pas
phir bhi aas adhhoori
phir bhi aas adhhoori

oo o o
rahte hai aas pas
phir bhi aas adhoori
phir bhi aas adhoori
hum sochte hai kab mite
ye paas ki doori
ye paas ki doori

do dil hai mile kyun nahin
ek hoke rahe hum
do dil hai mile kyun nahin
ek hoke rahen hum
karte hai tumhe pyaar
magar kaise kahen hum
ji magar kaise kahen hum


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

It is generally believed that the playback singing career of Mohammed Rafi really took off on a sustainable basis after his songs in ‘Baiju Bawra’ (1952) became very popular. I had been carrying an impression that the year 1949 was a watershed in Rafi’s playback singing career. Probably I got this impression due to a number of his film songs I came across on YT released in 1949. To check my ‘hypothesis’, I have attempted an exercise on Rafi’s Hindi film songs during 1944-50. The starting year 1944 was taken as Mohammed Rafi got his first song as a playback singer in 1944. The end year was selected as 1950 just to know as to what was Rafi’s performance as a playback singer after 1949 which is the year I believe to be an important year in shaping his career graph.

For this exercise, first I thought of using Rafi Songs’ Excel Sheet but since the songs were listed there as per the alphabetical order of the films, I found it difficult to cull out the year-wise songs. So I relied on http://www.myswar.com where I could change the display of songs into singer-wise songs, one artist at a time. So I prepared a list of all the songs sung by Mohammed Rafi, year wise. The list prepared from this source was rechecked with Rafi Excel Sheet. There were few discrepancies in these two sources which I have rectified in my list to the best of my knowledge after checking from other sources including this Blog. The broad outcome of this exercise is tabulated below:

Year No. of songs No. of Films No. of MDs
1944 3 1 1
1945 10 6 5
1946 38 18 14
1947 24 14 13
1948 52 25 21
1949 121 49 21
1950 93 38 18
Total 341 151

It is apparent from the table that the year 1949 was indeed an important year in shaping Rafi’s playback singing career. As compared with his performance in 1948, he had not only more than doubled his output of songs but also nearly doubled the number of Hindi films he got to sing in 1949. However, there was a moderate set back in his song output in the following year (1950). One of the reasons could be the fact that in the year 1950, the total Hindi film released had come down to 111 from a high of 157 in 1949.

Having done this exercise, I could get some other statistics concerning Mohammed Rafi’s Hindi film songs. First, the broad category wise distribution of Mohammed Rafi’s 341 songs is as under:

Category Numbers
Solos 132
Duets 169
3 or more singers 40
Total 341

Mohammed Rafi’s first solo song in Hindi film was ‘ae dil-e-naakaam tamanna’ from ‘Hamaara Sansaar (1945) under the music Direction of Pt. Govind Ram. His first duet song was ‘topiwaale babu ne’ with Amirbai Karnataki in ‘Kul Kalank’ (Jeevan Chhaaya, 1945). His sang his first song with Zohrabai Ambaalewali together with Shamshad Begum in ‘Hamaara Sansaar’ (1945).

Second, the top 5 singers with whom Mohammed Rafi sang duet songs during the period under review are as under:

Singers No. of songs
Shamshad Begum 46
Lata Mangeshkar 30
Geeta Roy (Dutt) 16
Suraiya 16
Amirbai Karnataki 11
Other singers 50
Total 169

As I had expected, Mohammed Rafi sang the maximum number of duets with Shamshad Begum during the period under review in keeping with her status at that time, being one of the top female playback singer. In the category of ‘other singers’, Beenapani Mukherjee, Mohantara Talpade, Lalita Deulkar, Surinder Kaur, Chitalkar, Shyam Kumar, Mukesh, G M Durrani, Khan Mastana, K L Saigal etc were other singers.

Third, it was observed that during 1944-50, Mohammed Rafi topped the list among the top 6 male playback singers who were senior to him:

Playback Singers Hindi Film songs rendered during 1944-50
Mohammed Rafi 341
Mukesh 151
G M Durrani 137
Chitalkar (C Ramchandra) 86
Khan Mastana 51
Manna Dey 50

I have not worked out the year-wise performance of the playback singers listed above. But on the basis of some sample checks, I get an impression that Mohammed Rafi overtook Mukesh and G M Durrani from 1948. Probably the popularity of Rafi’s duet song yahan badla wafa ka bewafai ke siwa kya hai in ‘Jugnu’ (1947) may have played an important role for him to get more playback singing assignments subsequently at the cost of G M Durrani. It is interesting to note that during this period, the number of songs rendered by Mohammed Rafi exceeded the combined number of songs rendered by Mukesh and G M Durrani who were his close competitors.

Finally, the statistics of Mohammed Rafi’s Hindi film songs during 1944-50 also bring out some interesting information in regard to the music directors of his songs:

Number of songs
Music Director 1944 1945 1946 1947 1948 1949 1950 Total
Husnlal-Bhagatram - - - 1 1 22 27 51
Hansraj Bahl - - - - 6 13 16 35
C Ramchandra - - 3 8 5 9 4 29
Naushad 3 - 2 - 1 13 6 25
Shyam Sundar - 1 - - 3 9 - 13
Pt. Govind Ram - 4 3 1 1 1 3 13
S N Tripathi - - 3 - 3 1 3 10
Ghulam Mohammed - - - - 2 5 3 10
Feroz Nizami - 3 4 2 - - - 9
Chitragupt - - - - - - 9 9

Even though during the period under review, he had sung the highest number songs under the baton of Husnlal-Bhagatram, it was Naushad, Pt Govindram, Feroz Nizami and C Ramchandra who played important roles in shaping the playback singing career of Mohammed Rafi in the early phase. His first Hindi film song was recorded under the music direction of Shyam Sundar for ‘Village Girl’ (1945), but his song ‘Hindustan Ke ham hain Hindustan hamaara’ from ‘Pahle Aap’ (1944) was first released under the music direction of Naushad.

During this period Mohammed Rafi had also worked with music directors like Sudhir Phadke, Vasant Desai, Datta Davjekar, Prem Nath, A R Qureshi, Shankar Rao Vyas, Ghulam Haider, Hari Prasana Das, Hanuman Prasad, Vinod etc. Surprisingly, during this period, he had only one song composed by one of the most prolific Music Directors of that period – Anil Biswas (Beqasoor, 1950).

During the course of this exercise, I had to refer to YT for some of Rafi’s songs for rechecking the information. I came across many songs from the period under review which are yet to be covered in the Blog. I have selected one of such songs ‘zahe kismat teri mehfil se jo paigaam aaya hai’ from the film CHILMAN (1949). In some places the name of the film has been mentioned as ‘JANNAT’ (1949). In http://www.myswar.com, both these films are listed separately with 10 songs shown under ‘Chilman’ and 12 songs ( i.e., two additional songs) shown under ‘Jannat’.
(Note from Atul- According to HFGK, 10 out of 12 songs of “Jannat” appeared in “Chilman” as well. The record numbers of the same songs were however different for both movies, which meant that different records were issued for the same songs belonging to the two movies)

The song is sung by Mohammed Rafi under the baton of Hanuman Prasad. While under ‘Chilman’ the name of the lyricist of this song is not mentioned, the name of M K Chhibber has been mentioned against this song under ‘Jannat. I had seen the film poster of ‘Jannat’ (1949) on a website which shows that the film was produced by M K Chhibber under the banner of Orient Sound Studios and directed by M Changezey. The names of the actors indicated on the poster are Ajit, Rehana, Balam, Hamid, S Raj and Pritma (Pratima?). I had not heard of both these films and the songs until I came across this song. One song under ‘Chilman’ has been covered in the Blog.

Only audio clip of the song is available. But being a typical Rafi song, one can get a feel of the visual without needing the video clip.


Song-Zahe kismat teri mehfil se jo paighaam aaya hai (Chilman)/(Jannat)(1949) Singer-Rafi, Lyrics-M K Chhibbar MD-Hanuman Prasad

Lyrics

zahe kismat
zahe kismat
zahe kismat teri mehfil se jo paighaam aaya hai
mareez-e- ishq ki khaatir shifhaa ka jaam aaya hai
mareez-e-ishq ki khaatir shifaa ka jaam aaya hai

ye jazb-e-ishq hai mera ke tere husn ka sadka
ke tere husn ka sadka
ye jazb-e-ishq hai mera ke tere husn ka sadka
ke tere husn ka sadka
zahe e dil mein lahu ugla jo tera naam aaya hai
zahe dil mein lahu ugla jo tera naam aaya hai

lagaa teer-e-mohabbat jab dua nikli mere dil se
dua nikli mere dil se
lagaa teer-e-mohabbat jab dua nikli mere dil se
dua nikli mere dil se
tumhaari yaad rangeen ka mujhe inaam aaya hai
tumhari yaad rangeen ka mujhe inaam aaya hai

unhi ne khat likha majboor hokar soz-e- ulfat se ae
soz-e- ulfat se
unhi ne khat likha majboor hokar soz-e- ulfat se ae
soz-e- ulfat se
mera dard-e-jigar aakhir ko mere kaam aaya hai
mera dard-e-jigar aakhir ko mere kaam aaya hai
zahe kismat
zahe kismat
zahe kismat teri mehfil se jo paighaam aaya hai


This article is written jointly by Arunkumar Deshmukh and Sudhir, fellow enthusiasts of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Arunkumar Deshmukh
—————————————
Date-14th march 1931
Venue- Majestic Cinema,Girgaum,Bombay
Occasion- First show of India’s First Talkie Film, Aalam Ara.

A hugh crowd had gathered there. Those who had the tickets were happy and those who did not have tickets were envious. At last the second bell rang and all the people entered the cinema hall and occupied their seats with bated breath….

Such was the scenario on the first day of Alam Ara. Its Advertisement in Times of India said, “All living…breathing…100% Talking…” All of us know about this film, but very few know that since 1929, Madon Theatres, Calcutta were making and showing short ‘Talkie’ films of dances, songs scenes from running stage shows and plays with audio visuals. In the tear 1931, a total of 24 films were made as Talkies. No records of their songs are available, nor any print of any film. Shirin Farhad, the second talkie film made by Madons were released in May 1931. It had jahan Ara kajjan and Master Nissar in lead. This film became even more popular than Alam Ara. Alam Ara had just 7 songs, Shirin Farhad had 18 songs. Many of these were sung by Kajjan. Madons produced 7 more talkie films in 1931, the rest were made in Bombay.

Till few years back, it was believed that the first records issued for songs from a Talkie film were from Madhuri-1932. However,a film and music Historian and writer from Gujarat Mr.Narendra Shrimali “Kamal” proved that 2 songs were recorded for film ” The Trapped aka farebi Jaal”-1931 and he got those records also in the year 2006. It was indeed a historic finding.

To our good fortune, our own SUDHIR JI posted one of these 2 songs as the 10000th song on the 20th July 2014 on this Blog and it became the first Blog to carry India’s First recorded film song from 1931.

Today we are going to listen to a song from a film “Aankh ka Taara”-1932, sung by Jahan Ara Kajjan. She was the leading lady in this film. During the period 1931 to 1938, Kajjan was the main Heroine for Madons and other studios in Calcutta. She had created a ‘Mania’ for her not only in Calcutta but all over India. She was the highest paid artiste of her time.

JAHAN ARA BEGUM KAJJAN was born in Patna, Bihar, on 15-2-1915. her mother was a famous singer from Lucknow. She grew up in Patna. She got lot of attention for ger education. She was taught Urdu at home and her maternal grandfather Syed Hussain taught her English. She, being very clever ,soon became proficient in both languages. At the same time she learnt household chores also. She learnt music under the guidance of Ustad Husnu Khan of Patna. Singing was in her blood anyway. She was very beautiful.

Her interest and expertise in languages developed her to become a Poetess and her poems in Urdu were published in Magazines, under her pen name ” Adaa”.

Because of her beauty and singing skills, she was invited to work on urdu stage. Master Fida Hussain, who was a well known actor, singer, composer and director on Urdu stage had joined ‘Alfred Theatre co.’. It was owned by the Madons of calcutta. Kajjan was taken in it and the troupe toured U.P. and M.P. During this period, Kajjan was romantically involved in Master Fida hussain.

She used to appear on stage at the rate of Rs.250 per show per day. once when she was performing in Patna,one of the owners of Madon Theatres, Calcutta saw her and offered her roles in films. She immediately accepted it and went to Calcutta.

Silent film era was dominated by Parsee, Anglo-Indian and Jew girls, due to their white skin and open attitudes. Once the Talkie films started, they became useless as they did not know speaking in Hindi or singing. In such circumstances actresses like Kajjan got the opportunities. Her first film was ‘ Shirin Farhad’-1931. Paired with Master Nissar she sang 17 songs in this film. This pair became very popular. Her next film was ‘Indrasabha’1932, having a world record 71 songs in the film. Kajjan sang 29 songs in it. The film was based on a drama by Agha Hasan Amaanat.

In Calcutta Kajjan became very famous. She lived a rich and lavish life, mixing among the elite of Calcutta like Prices, Nawabs, High authorities, the mega rich etc. Her dresses and jewellery were talk of the women of the rich and the famous. She had instructed her designer to make only such sarees, which no one in India will ever wear ! She was a regular invitee to even Viceroy’s parties.

She worked only with Madon Theatres. Brijlal Verma was the composer of Madon Theatres. It was a favourite quartet of Madon films, Brijlal’s miss Kajjan and Master Nissar. Together they ruled the early phase of Talkie films. Films like Shirin Farhad-31, Laila Majnu-31, Shakuntala-31, Bilwamangal-32, Aankh ka nasha-33, Dhruva charitra-33, Turki sher-33, Zahreela saanp-33 had Kajjan songs by Brijlal Verma. During this period, she was the highest paid actress in india. Kajjan had a romantic affair with Brijlal Verma too. Kajjan also sang in Roopkumari-34, Sakhi lutera-34, Apradhi abla-35, and Mera Pyara-35 which had her songs.

Kajjan was a good dancer. She learnt dancing from miss Ruqayya Khatoon. She was among the regular dancers in Calcutta Clubs,along with actress Mahazabeen. Kajjan was friendly with westerners. She was fond of pets. For some time she had 2 tiger cubs as her pets and this became the talk of the town in Calcutta.

After Brijlal Verma,it was a rich financer,Seth Karnani,who,just to impress Kajjan, bought the entire Madon theatres for a sum of Rs. 24 lakhs in those days ! A very handsome actor of that era Najmul Hassan had a torrid affair with Kajjan. He is the same Najmul Hassan, who had eloped with Devika Rani-wife of Himanshu Rai, owner of Bombay Talkies,from Bombay to Calcutta. Devika Rani returned to her husband shortly, but he had to remain in Calcutta-for safety.

Kajjan worked in Gulru zarina, Swami bhakti Alibaba aur chaalis chor and Jahan Ara also. By end of the 30s Madon Theatres closed down and Kajjan also stopped work for a few years.

In the early 40s, Kajjan worked in Abla shakti and Ghar sansar-42, Prarthana and Prithvi Vallabh-43 and her last film Bharthari-1944. THe songs of Bharthari, composed by Khemchand Praksah also became very popular. Due to her sweet voice she was called ” The Lark of Indian Cinema”.

Jahan Ara Kajjan died on 15-12-1945, at the age of only 30 years. 2 films, Jadui putli-46 and Tiger man-47 were released after her death.

During her lifetime she lived like a queen. She became a Legend. She acted and sang in almost 40 films in her small career. During the period 1931 to 1937 there was a ” Kajjan Mania ” in India. Her styles and fashions were copied by the elite ladies.

Filmography-

Bhartruhari(1944)
Mumtaz Mahal(1944)
Prarthana(1943)
Prithvi Vallabh(1943)
Ghar Sansar(1942)
Suhagan(1942)
Abla Ki Shanti(1941)
Zalim Saudagar(1941)
Nariraj(1936)
Parivartan(1936)
Raj Dulari(1936)
Shaitan Ka Pash(1936)
Struggle(1936)
Miss Manorama(1935)
Prem Ki Ragni(1935)
Rashida(1935)
Dil Ki Pyaas(1935)
Jahanara(1935)
Mera Pyara(1935)
Anokha Prem(1934)
Garib Ki Duniya(1934)
Sakhi Lutera(1934)
Ankh Ka Nasha(1933)
Dhruva(1933)
Prem Ka Nasha(1933)
Zehari Saap(1933)
Alibaba Aur Chalis Chor(1932)
Ankh Ka Tara(1932)
Bilwamangal(1932)
Chatra Bakavali(1932)
Gulru Zarina(1932)
Indrasabha(1932)
Pati Bhakti(1932)
Laila Majnu(1931)
Satyawadi Raja Harishchandra(1931)
Shirin farhad-1931
( Credits and references- with thanks-
1.Stages of life:Indian Theatre Biographies-By Kathryn hansen
2. Kamalp.blogspot.in
3.Dhunon ki yatra-Pankaj Raag
4.the big Indian picture.com
5.Dr.Surjit Singh ji’s articles
6.My own notes from diaries. )

The song featured today is uploaded on You Tube without the singer’s name. Since the lead actress of the film was Kajjan, it is most likely her song. There was another actress Indubala in the film, who was also a singer. In those days, when there was a craze for Kajjan’s songs, it is unlikely that any other singer will sing a song in the same film. However, to confirm the name I referred the matter to Shri Girdharilal Vishwakarma ji of Jaipur-the famous collector of songs and Music expert on identifying singers. He too expressed an opinion that it looks like a Kajjan song. The voice also matches her other songs.

So, here is kajjan singing a song from ‘Aankh ka Taara’-1932,composed by Motilal Naik.

Post by Sudhir on the song
——————————————–
This is a very lovely selection – a beautiful bhajan that glorifies the holy pastimes of Lord Krsna. In this bhajan, there are five specific episodes alluded to, using very brief references, as is the style of writing of such poetical works. Using just very few words, the poet is creating a memory of an episode, which can be dwelt upon in great detail, in terms of commentaries.

The first episode is presented in the line

katni kaachhe huye jo biraj bachaane waale

The reference here is to the Goverdhan Leela, the episode in which the child Krsna is holding aloft the mighty Goverdhan mountain on the small finger of his left hand, for seven days and seven nights, to protect the people of Brij from the rainy wrath of Indra, the King of Gods and also the King of Rain. ‘katni kaachhe’ refers to the short waistcloth (or underpants in today’s terminology) that the children wear. ‘katni’ is part of the body between the waist and knees. ‘kachhe’ or ‘kachh’ is the garment that is worn in that part of the body. The child Krsna is barely seven years of age when this feat is performed by him. Some of the earliest descriptions in terms of folk songs and even in pictures, He is shown as wearing just this waistcloth, and holding aloft the mountain with one hand. In later depictions, one sees almost a youth Krsna wearing a dhoti and ‘ang vastra’ (shoulder cloth), which is not a very accurate representation.

The second episode is presented in the line

hamko to chhod chale gham ke bhulaane waale

The reference here is to the ‘Maha Prayaan’, the departure of Krsna from Gokul to Mathura. Akroor ji, one of the uncles of Krsna is sent by King Kamsa to fetch Krsna and Balram to his capital city. This episode is one of the most heart rending amongst all the pastimes of Krsna. The Gopis do not want him to go. They coax him, cajole him, plead with him. They fall down in front of the chariot to block his path. Their cries are splitting the fabric of the skies, and their tears are making rivulets on the ground. Many poets have written such graphic verses of this episode, which will move even the hardest heart to tears. This line is uttered by Gopis, that He who made them forget all their sorrows and unpleasantness in life, is now leaving them.

The reason that Kamsa has asked Krsna and Balram to be brought to Mathura is to eliminate Krsna. He is convinced that Krsna is the son of Devki, his sister, and will be the cause of his downfall and death. When this episode occurs, Krsna is just eleven years of age. Kamsa believes that he can easily get rid of him and his brother Balram. But the events turn out otherwise and Kamsa himself gets salvation at the hands of Krsna – literally. Krsna pushes Kamsa from his throne onto the ground and gives him one blow with his fist. And thus ends the reign of terror by Kamsa.

The third episode is presented in the line

Kubja ko raag diyo, hamko bairaag diyo

This event takes place in Mathura. After reaching Mathura, there is a number of small events that happen before they reach the palace of Kamsa. In all these short episodes, Krsna takes over all services and adornments that are meant for Kamsa, and in the process showers his blessings on the people who provide these services to Kamsa. He goes to the tailor who stitches garments for Kamsa, and takes away all his new garments. He goes to the gardener / florist and takes away all the flowers and garlands meant for Kamsa. Then on the way, they meet the lady named Kubja. She is so called because she is a hunchback, and is disfigured at three places in her body. Her daily errand is to bring ‘chandan’ paste for Kamsa’s facial and skin massage. Krsna takes the ‘chandan’ from her hands, and uses it for Himself, Balram and the ‘sakhaas’ (friends) from Gokul who are accompanying him. Then he turns towards Kubja, places His foot on one of her feet, embraces her, and with His arms around her, He gives a sudden upward jerk. And in a trice, the hunched back and the disfigurements disappear and Kubja becomes a beautiful maiden.

Again, this line is being uttered by the Gopis, saying that He showers His affections (raag) on the disfigured Kubja, and to us, He has bequeathed renunciation (bairaag) and pining sorrow for life.

The fourth episode is presented in the line

Gaja ki tera sune dwaarika se dhaayo hain

This episode is the glorification of the rescue of ‘Gaja’, the king of elephants, from the clutches of ‘Graah’, the crocodile. This episode is presented in detail in the ‘Gajendra Moksh Stuti’ as part of the Srimad Bhagwatam. Besides, many other poets have also written beautiful poetry on this episode, and the commentaries on this are no less illuminant. Gaja goes to the river to drink water, and Graah catches one of his feet in his powerful jaws. A tug of war happens with the Graah not letting go, and the Gaja unable to extract his foot from the deathly grip. His family tries to help him, but they together are not successful in pulling him away. Dejected, they simply leave, believing that there is no way to help him. Exhausted and on his last breaths, Gaja calls out to Krsna. And Krsna, who is in his capital city Dwaarika at that time, immediately drops everything and climbs astride Garuda to immediately reach the place where Gaja is struggling. With His Sudershan Chakra, he cuts off the head of Graah and rescues Gaja. The detailed commentaries provide the insight of the previous karmas and incarnations of Gaja and Graah to explain the reasons behind this episode.

The commentators write about ‘Gaja’ as the pompous self, ‘Graah’ as this world of illusion, Maaya, and how it has caught hold of us in its deathly grip. No amount of help from any near and dear ones is of any use. It is only the name of the Lord that will provide salvation and peace. A very breathtaking and profound episode this one is.

The fifth episode is more well known, and is presented in the line

sabha mein Draupadi ki cheer badhaane waale

This is the unfortunate episode from the epic story of Mahabharata. The Kaurav brothers, guided by their scheming uncle, Shakuni Mama, invite the Pandav brothers for a game of ‘Chaupar’, a gambling game that involves skill, guile and also deceit and deception. Progressively, as the Kauravs continue to win based on deceit, they egg on the Pandavs to wager more and more, till finally the Pandavs have nothing left. All their kingdom and treasures and assets are lost. Then Kauravs provoke Pandavs by asking them to wager their wife, Draupdi, a proposal to which surprisingly, the Pandavs agree. There is more behind this story, and it is not just a simple provocation and then agreement. In any case, the Pandav brothers wager Darupdi and lose the next roll of dice also. Now Draupdi is technically the property of Kauravs. And they decide to humiliate her in public, in front of all the people present in the court, including all the elders in the family.

(There is another story behind this desire to humiliate her. When the new palace of Pandavs was inaugurated in Indraprastha, all were invited for the opening ceremony. The palace was wonderful and had some wonders built into it. It had illusions of doorways on the walls, looked like any other door, but were just plain wall. It had water bodies that appeared as plain ground and plain stone floors that gave illusion of water bodies. Duryodhan was taken in more than once by these illusions, on his trip around the palace. At one point, Draupdi makes a remark about blind men having blind sons. The obvious reference is to Dhritrashtra, the blind father of Duryodhan. This remark infuriates Duryodhan, and sets in motion the plans in his mind to avenge his insult, and to dishonor Pandavs and especially Draupdi. The whole episode of the gambling game happens because of this desire to avenge his insult.)

At first, Duryodhan makes her sit in his lap – a dishonor for which he is paid back later. In his one-on-one fight with Bheem at the end of the war, Bheem, going against all the rules of man to man combat, hits Duryodhan on his thighs and crushes them, leaving him unable to walk, except for dragging himself using his arms.

Then next, the Kauravs decide to disrobe her in public. Dushaasan comes forward, grabs one end of her sari and pulls it off her shoulders. Draupadi is pleading with her husbands, with the elders present, with every person in the court to save her from this humiliation, but none comes forward. She tries to hold on to her garment, but Dushaasan is the more powerful of the two. He is able to start pulling her sari from her being. In complete despair, knowing fully well now that none in this court will come to her aid, she lets go of the sari and raises both her hands skywards in supplication, beseeching Krsna to come to her rescue. And then the wonder happens. The sari that Dushaasan is pulling off Draupadi, becomes an endless roll of cloth. Dushaasan keeps pulling and wondering, till he falls down, out of breath, and can’t pull any more. But the sari of Draupadi is still on her body, her honor is intact, and there is a humungous pile of cloth lying on the floor of the court. Every single person hangs down his head in shame. Pandavs, because they are bound not to interfere, once they have lost the right to the Kauravs. All the Kauravs, because one, they are unable to go thorough with their nefarious plans, and secondly, after all Draupadi is a lady of their family, and they have done a serious misdeed with her. All other men folk in the court, from family and others, because they are unable to do anything to help her, fearing the wrath of Duryodhan.

Of all the people in the court, there is only one who, literally, raises one finger to help Draupdi. It is Kripacharya, one of the teachers and Guru of the family. As Draupdi is beseeching and calling out to every single person in the court to help her, every head is down, none is even daring to glance at her. It is only Kripacharya who raises a hand and raises one finger towards the sky, indicating to Draupadi that she will not get any help in this gathering, and that she should call out to the only One – He will come to help. It is thus recorded in the epic story of Mahabharat that the only one person who did not die in the war (besides the Pandav brothers) is Kripacharya. Except for him, every other person who is present in the court, on the side of Kauravs, is killed in the battle. Kripacharya alone remains standing on the side of Kauravs. It is a blessing from Krsna, that he remembered Him in this hour, and he also reminded Draupdi of Him.

And the story about the un-ending cloth also has a prologue. Much earlier in the years, there is an episode wherein Krsna hurts his finger as he is testing the sharpness of an arrow. Droplets of blood appear on his finger. Draupadi sees it and immediately, she tears of a short length from the pallu of her sari and ties a bandage on Krsna’s finger. Years later, this act of giving Krsna a small piece of her sari, is reciprocated by Him, by returning it a hundred thousand fold, enabling her to keep her honor intact.

Such are the wonderful stories about Krsna – the limitless One, whose tales and pastimes are unending. And as I wrote above, in just half a verse, in a few words, allusions are made to histories and episodes that bring back to mind, tales that are a world of wonder by themselves.


Song-Deejo darshan mujhe bansi ke bajaane waale (Aankh Ka Taara)(1932) Singer-Jahaan Ara Kajjan, MD-Motilal Naik

Lyrics(Provided by Sudhir)

aaa aaa aaa
deejo darshan mujhe bansi ke bajaane waale
deejo darshan mujhe bansi ke bajaane waale
katni kaachhe huye jo biraj bachaane waale
katni kaachhe huye jo biraj bachaane waale
deejo darshan mujhe bansi ke bajaane waale

din ko nahin pade chain
raat ko ginte taare
din ko nahin pade chain
raat ko ginte taare
sada pyaare wo govind gun gaane waale
sada pyaare wo govind gun gaane waale

sab sakhi jhool rahee
kadamb chhainyya taley
aa aa aa
aa aa aa
aaa aaa aaa
aaa aaa aaa aaa aaa
sab sakhi jhool rahi
kadamb chhainyya taley
hamko to chhod chale
gham ke bhulaane waale
deejo darshan mujhe bansi ke bajaane waale
deejo darshan mujhe bansi

Kubja ko raag diyo
hamko bairaag diyo
Kubja ko raag diyo
hamko bairaag diyo
jagat mein ham to nahin
bhasm ramaane waale
jagat mein ham to nahin
bhasm ramaane waale

Gaja ki ter suni
dwaarika se dhaayo hain
aa aa aa
aa aa aa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
Gaja ki tera sune
dwaarika se dhaayo hain
sabha mein Draupadi ki cheer badhaane waale
sabha mein Draupadi ki cheer badhaane waale
deejo darshan mujhe bansi ke bajaane waale
deejo darshan mujhe bansi

—————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-

आ आ आ
दीजो दर्शन मुझे बंसी के बजाने वाले
दीजो दर्शन मुझे बंसी के बजाने वाले
कटनी काछे हुये जो बिरज बचाने वाले
कटनी काछे हुये जो बिरज बचाने वाले
दीजो दर्शन मुझे बंसी के बजाने वाले
दीजो दर्शन मुझे बंसी के बजाने वाले

दिन को नहीं पड़े चैन
रात को गिनते तारे
दिन को नहीं पड़े चैन
रात को गिनते तारे
सदा प्यारे वो गोविंद गुण गाने वाले
सदा प्यारे वो गोविंद गुण गाने वाले

सब सखी झूल रही
कदम्ब छईय्याँ तले
आ आ आ
आ आ आ
आ आ आ
आ आ आ आ आ
सब सखी झूल रही
कदम्ब छईय्याँ तले
हमको तो छोड़ चले
ग़म के भुलाने वाले
दीजो दर्शन मुझे बंसी के बजाने वाले
दीजो दर्शन मुझे बंसी

कुब्जा को राग दियो
हममो बैराग दियो
कुब्जा को राग दियो
हममो बैराग दियो
जगत में हम तो नहीं
भस्म रमाने वाले
जगत में हम तो नहीं
भस्म रमाने वाले

आ आ आ
आ आ आ
आ आ आ
आ आ आ
गज की टेर सुनी
द्वारिका से धायो हैं
गज की टेर सुनी
द्वारिका से धायो हैं
सभा में द्रौपदी की चीड़ बढ़ाने वाले
सभा में द्रौपदी की चीड़ बढ़ाने वाले
दीजो दर्शन मुझे बंसी के बजाने वाले
दीजो दर्शन मुझे बंसी


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Noorie” (1979) was directed by Manmohan Krishna (character artist) for Yashraj Films production. This was a small budget love story that the Yashraj Films had planned as a quicky btheir ambitious “Kaala Patthar” (1979).

The movie had Farooque Sheikh, Poonam Dhillon, Bharat Kapoor, Iftekhar, Madan Puri, Padma Khanna, Gita Siddharth, Javed Khan, H.L.Pardesi, Rajan Verma, Vikas Anand, Avtar Gill, Prince Shakeel, Ashok, Mahan Swadesh, Babu Kumar, Murari, Shashi, Laila, Vineeta, Master Devendra, Master Romi, Manmohan Krishna etc in it.

Today (19 august 2014) is the death anniversary of Jaan Nisaar Akhtar (14 february 1914- 19 august 1976). Here is a song from “Noorie” (1976) as a tribute to Jaan Nisaar Akhtar. The song is sung by Lata and it is picturised on Poonam Dhillon and Farooque Sheikh. Jaan Nisaar Akhtar is the lyricist. Music is composed by Khayyam.

Lyrics of this song were sent to me by Prakashchandra.


Song-Chori chori koi aaye (Noorie)(1979) Singer-Lata, Lyrics-Jaan Nisaar Akhtar, MD-Khaiyyam

Lyrics (Provided by by Prakashchandra)

chori chori koi aaye
chori chori koi aaye
chupke chupke ae
sabse chhupke ae
khwaab kayee de jaaye ae
chori chori koi aaye
chori chori koi aaye
chupke chupke ae
sabse chupke ae
khwaab kayee de jaaye ae
chori chori koi aaye

aankhein daale aankhon mein ae
jaane mujhse kyaa woh poochhe ae ae
aankhein daale aankhon mein ae
jaane mujhse kyaa woh poochhe
main jo boloon
boloon kyaa..aaa
hans doon mujhko kuchch na soojhe
aise taake ae
dil mein jhaanke
saans meri ruk jaaye ae
chori chori koi aaye
chori chori koi aaye
chupke chupke ae
sabse chhupke ae
khwaab kayee de jaaye ae
chori chori koi aaye

meethhe meethhe bolon se
dil pe aisaa jaadoo daale ae
meethhe meethhe bolon se
dil pe aisaa jaadoo daale
khoyee khoyee jaaoon main
jo bhi chaahe
manwaa le
mujhko choome ae
dil toh jhhoome
aankh magar jhuk jaaye
chori chori koi aaye
chori chori koi aaye
chupke chupke ae
sabse chhupke ae
khwaab kayee de jaaye ae
chori chori koi aaye

baithhi baithhi sochoon main
woh toh chal de mujhko das ke ae ae
baithhi baithhi sochoon main
woh toh chal de mujhko das ke ae
mujhko maar daaley naa
apne baazuon mein kas ke
dil jo dhadke ae
aise dhadke ae
ek nashaa chhaa jaaye
chori chori koi aaye
chori chori koi aaye
chupke chupke ae
sabse chhupke ae
khwaab kayee de jaaye
chori chori koi aaye

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10100 songs post by now.

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