atul's bollywood song a day- with full lyrics


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.

“Shahanshah” (1953) was directed by Amiya Chakraborty for G P Productions, Bombay. The movie had Kamini Kaushal, Ranjan, K N Singh, Achala Sachdev, Shakeela, Agha, Mukri, Jagdish Kamal, Rajan Kapoor, Ramesh sippy, Baby Usha, Cuckoo, Mariana Lisbeth, Neeru, Kishu etc in it.

Four songs from this obscure movie have been discussed in the past. Here is the fifth song from this movie.

This song is sung by Geeta Dutt. Sahir Ludhianvi is the lyricist. Music is composed by S D Burman.

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

Lyrics of this song were sent to me by Nitin Shah.


Singer-Le le dil ko le le qismat ke hain ye mele (Shahanshah)(1953) Singer-Geeta Dutt, Lyrics-Sahir Ludhianvi, MD-S D Burman

Lyrics (Provided by Nitin Shah)

le le
dil ko le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

ye husn ye jawaani ee
ye aag aur ye paani ee
sab kuchh tere liye hai
aa teri meharbaani
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

mehka hua hai gulshan
do chaar phool chun le ae
ye baat hai patey ki
ae mere yaar sun le
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

duniya ka gham bhula de ae
dil ka salaam leke ae
ho ja kisi pe sadqe
allah ka naam leke
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

le le dil ko lele
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

ye husn ye jawaani ee
ye aag aur ye paani ee
sab kuchh tere liye hai
aa teri meharbaani
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

mehka hua hai gulshan
do chaar phool chun le ae
ye baat hai patey ki
ae mere yaar sun le
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

duniya ka gham bhula de ae
dil ka salaam leke ae
ho ja kisi pe sadqe
allah ka naam leke
dil de ke dil ko le le le le le
qismat ke hain ye mele
qismat ke hain ye mele
dil de ke dil ko le le le le le
qismat ke hain ye mele

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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.

“Dekh Kabira Roya” (1957) was produced and directed by Amiya Chakraborty for Srirangam, Bombay. The movie had Anita Guha, Ameeta, Anoop Kumar, Daljit, Jawahar Kaul, Shubha Khote, Shivraj, Pravin Paul, Shyam Kumar, Ridku, Robert, Balwant Rahi, Chandabai, Shanti, Omkarnath, Shankarrao Nagarkar, Rampal, Sundar etc in it.

Eight out of its ten songs have been discussed in the blog.

Though I had heard the songs of this movie several times, it is only recently that I watched (a portion) of the movie in order to locate a as yet missing song. It was then that I got a gist of the story line of this movie. The movie is a light hearted tale of three out of job men – a singer, a painter and an editor, and three girls fall in love with them, mistaking them for the other. Thus, the music loving girl falls for the painter, mistaking him for the singer, painting loving girl falls for the editor, mistaking him for the painter while the girl with the literary bent falls for the singer, mistaking him for the editor.

Here is the ninth song from the movie. It is sung by Lata. This missing the beloved song is picturised on Shubha Khote (the girl with literary bent) who is missing Anoop Kumar, mistaking him for the editor, while he is in fact a singer who sings great songs (mostly in Manna Dey’s voice) in the movie.

This song is a part of a raagmaala in the movie where three songs follow one another and in these songs (all sung in Lata’s voice), one of the girl is shown missing her respective beloved. The songs picturised on Ameeta and Anita Guha have already been discussed in the past.

Rajinder Krishan is the lyricist. Music is composed by Madan Mohan.

Lyrics of this song were sent to me by Nitin Shah.


Song-Tu pyaar kare ya thhukraaye (Dekh Kabira Roye)(1957)Singer-Lata, Lyrics-Rajinder Krishan, MD-Madan Mohan

Lyrics (Provided by Nitin Shah)

na gila hoga
na shiqwa
na shikaayat hogi
araz hai chhoti si
sun lo toh inaayat hogi

tu pyaar kare ya thukraaye
ham to hain tere deewanon mein
chaahe tu hamen apna na bana
lekin na samajh begaanon mein

marne se hamen inkaar nahin
jeete hain magar is hasrat mein
marne se hamen inkaar nahin
jeete hain magar is hasrat mein
bhoole se hamaara naam kabhi
aa jaye tere afsaanon mein,
tu pyaar kare ya thukraaye
ham to hain tere deewaanon mein

mit’te hain magar haule haule
jalte hain magar ik baar nahin
mit’te hain magar haule haule
jalte hain magar ik baar nahin
ham shamma ka seena rakhte hain
rehte hain magar parwaanon mein
ham shamma ka seena rakhte hain
rehte hain magar parwaanon mein,
tu pyaar kare ya thhukraaye
ham to hain tere deewaanon mein


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.

In our high school curriculum, we had Hindi Padhya (Poetry) in which, among others, poems of Meerabai, Tulsidas, Kabirdas, Surdas, Raskhan were taught to us. While most of the poems were in the praise of Lord Ram and Krishna, poems of Sant Kabirdas were not addressed to any specific God. I had heard the word ‘nirgun’ from my teacher in regard to the poems of Sant Kabirdas, I did not know the meaning of ‘nirgun’ in wider sense until few years back. Some of Dohas (two liners) have still remained in my memory. One of those which often come to my mind is:

Bada huwa to kyaa huwa jaise ped khajoor
Panthi ko chhaaya nahin phal laage ati door

[Eminence or greatness is useless like date trees.
Neither do they provide shade for travellers nor their fruits].
The two liners is a typical of Kabir using the examples from our day to day life to bring out the wider underlying philosophy and realities of life. This makes the rural folks to whom his poems are usually addressed, easy to understand. In his poems, Kabirdas has mainly relied on nature like river, sea, trees, mountains, sky and other earthly objects as metaphors to drive his views on philosophy of life. And these are coming from a person who never studied in school. But he had a Guru in Sant Ramanand Swami who left for heavenly abode when Kabirdas was barely in his teens. But the knowledge he received from his Guru in a short period of time made him from Kabir to Sant Kabirdas. The importance he gives to Guru (Spiritual Master) in his poems can be judged from a Doha among many which I had studied in my school days

Guru Govind dono khade kaake lagoon paay
Balihaari guru aapno Govind diyo milaay

[I faced both my Guru and Govind (God). Whom should I touch feet first?
I submit to my dear Guru who showed me the path to God].
The life sketch of Kabirdas is shrouded with many myths and legends. There are some variants of his early life available on the websites depending up on which Kabir Panthis (religious sects) had written. I have gone along with the general perception of his early days which, more or less, match with my understanding of his life I had studied in my school text book.

Sant Kabirdas (C.1440-C.1518) was born to a Brahmin widow who, fearing the disrespect from the society, being born outside the marriage, abandoned the newborn near a pond at the outskirt of Banaras. The newly born was picked by a muslim couple belonging to weavers’ family who brought him up. Since childhood, Kabirdas was fond of the company of sadhus and saintly persons through whom he came to know about Sant Ramanand Swami, a crusader of social evils in Hindu society. At first, Ramanand Swami was not keen to make him his disciple. But a chance encounter with him at one of the ghats of Ganga in Banaras changed his impression about him and took him as his disciple.

Kabirdas believed in formless God. He was opposed to the idea of idol worship. He denounced superstitions and religious dogmas. His approach to religion was practical and humanitarian as was evident from his poems. Some of his Dohas are hard hitting towards the religious dogmas and hypocrisy of both Hindu and Muslim.

Hindu barat ekadashi saadhe doodh singuada seti
Ann to tayaage man ko na hatake paaran karen sagauti

[Hindus observe fast on ekaadashi but eat water chestnuts with milk.
They give up regular food but do not control their mind. After breaking the fast, they eat meat].

Turuk roza nimaz guzaare bismil bang pukaare
Inki bihist kahaan se howe sanjhai murgi maare

[Turks (Muslims) observe the fast (during ramazan) and offer namaaz.
From the minaret, they loudly utter ‘Bismillah’.
How can they go to heaven when in the evening they kill chickens?]
He never gave his preaching either in the temples or mosques. Instead he preferred to address the folks at the road side or at his house while doing his daily job of weaving.

Because of his open denouncement of some of the established religious traditions, Kabirdas became the enemies of both pandits and Mullahs alike. It is said that during the last phase of his life, he was forced by some influential people of Banaras to leave the place as retaliation for his preaching. He shifted from Banaras to Maghar (now in Sant Kabir Nagar district) along with his disciples and died there in C. 1518. It is said that he deliberately chose Maghar to leave this world just to break the myth that those who die in Banaras gets the salvation and those who die in Maghar go to the hell. Soon after his death, there was dispute between his Hindu and Muslim followers as to how his last rites would be performed. It is said that when the veil over his dead body was lifted, they found only flowers. These were divided between Hindus and Muslims and they performed his last rites according to their religious traditions.

Kabirdas did not write down any of his poems. They were all ‘baanis'(utterances) mostly in Bhojpuri dialect. It was only after his death that most of his ‘baanis’ were written down by his disciples in the form of Dohas and Sakhi. Bijak, a compilation of poems of Kabirdas serves as a religious book for the followers of Sant Kabirdas. Some of the poems of Kabirdas are also a part of Guru Granth Saheb, the holy book of Sikhs.

As I said earlier, unlike other poets of Bhakti Movements, bhajans of Kabirdas were addressed to a formless and omnipresent God. His bhajans are called nirguni (without attributes). In his devotional poems, there is a blending of Sufism with Vedantic principle of Atma (Soul). In most of his poems, Guru plays a prime role in attainment of salvation.

I am presenting one of Kabirdas’ nirguni bhajans ‘sunta hai guru gyaani’(1978) sung and composed by Pandit Kumar Gandharva in Raag Ahir Bhairav. At the outset, like any poem of Kabirdas, this one also looks simple. But when I tried to understand the meaning, it turned out to be complicated one for me. There are many translations of this devotional poem available on the websites. While most of them are transliteration of the poem without going into the deeper interpretation, a few have very complex interpretations bringing in the concepts like Naad Bindu and Aham Baani into a wider connotation of Naad Yogaasan and Shaiva philosophy, respectively. My view is that since Sant Kabirdas addressed his poems and Dohas mostly to downtrodden rural folks, he must have used these words as figurative speech. I have attempted a translation in English keeping in view the overall philosophy of life preached by Sant Kabirdas.

sunta hai guru gyaani
gagan mein aawaaz ho rahi hai jheeni

A wise man hears a faint sound of solemn music (of salvation) from the sky.

pahile aaye naad bindu se peechhe jamaya paani
sab ghat puran puru rahya hai alakh purush nirbaani

The soul originated from naad bindu (shunya or dot of celestial music).
Thereafter, He filled water in earthen vessels in full
who is a mute alakh purush (Supreme God).

wahaan se aaya pata likhaaya trishna toone bujhaai
amrut chhod so vishay ko dhaave khol de phaans phansaani

The soul arrived from there (naad bindu) to this world with a name here
for quenching the thirst (desire). But in this process, one forgot that he had
left nectar (the eternal peace) and opted for poison (worldly desires)
thus getting caught in his own trap.

gagan mandal mein gau bhi aani bhoi pe dahi jamaaya
maakhan maakhan santon ne khaaya chhaachh jagat bapraani

The cow of knowledge is milked in the celestial sphere
which is turned into curd for benefit of everyone on the earth.
The learned men opt for the butter (cream of knowledge) from the butter milk
while the rest are happy with residual butter milk (residual of knowledge).

bin dharti ek mandal deese bin saruvar joo paani
gagan mandal mein hoye ujiyala bol guru mukh baani

See the circle (sphere) beyond the earth as one sees the water beyond the lake.
If one follows this principle, the celestial sphere lights up, says the Guru.

(The underlying philosophy here seems to be that of oneness as against dualism.
The other interpretation could be that one should look at the substance and not the matter).

oham soham baaja baaje trikuti dhaam suhaani
ida, pingala, sukhaman naadi sun dhwaja phahraani

The music of Oham Soham makes the trikuti dhaam pleasant.
The energies from Ida, Pingala and Sukhman naadis (channels)
flow freely in the body upon listening to devotional songs.

[ Oham= Who am I?, Soham= You are I. In other words, there is no difference
between the Creator and creation. Soham is uttered in meditation while
inhaling and exhaling the breath. Trikurti Dhaam= Confluence of holy place.
Naadis are part of Kundalini Yoga].

kahe Kabir suno bhai saadho jai agam ki baani
din bhar re jo nazar bhar dekhe ajar amar ho nishaani

Listen O ascetic man, says Kabir. Understand the words of ‘Agam’.
If one looks with focus throughout the day (soul searching),
they make an eternal symbol in the mind (of getting pure bliss).

[ ‘Agam’ here probably refers to a collection of nirguna compositions,
the philosophic treatises of Shaiva saints of the North India].
Irrespective of the interpretations of this nirguni bhajan, listening to it in the voice of Kumar Gandharv has a soothing effect.


Song-Sunta hai guru gyaani (Kumar Gandharv NFS)(1978) Singer-Kumar Gandharv, Lyrics-Kabir

Lyrics

aa aaa
aa
aaa
suntan hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai

pahile aaye
aaye
aaye
pahile aaye
naad bindu se peechhe
jamaaya paani
paani
ho ji
pahile aaye
naad bindu se peechhe
jamaaya paani
paani
ho ji
sab ghat pooran pooru rahya hai
alakh purush nirbaani ho ji
nirbaani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai

wahaan se aaya
wahaan se aaya
pata likhaaya
wahaan se aaya
pata likhaaya
trishna taune bujhaayi
bujhaayi
trishna taune bujhaayi
bujhaayi
amrut chhod chhod
vishay ko dhaave
amrut chhod chhod
vishay ko dhaave
ulti phaans phansaani ho ji
phansaani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani

gagan mandal mein
mandal mein
gagan mandal mein gau biyaani
gagan mandal mein gau biyaani
bhoi pe dahi jamaaya
jamaaya
bhoi pe dahi jamaaya
jamaaya
maakhan maakhan
santon ne khaaya
maakhan maakhan
santon ne khaaya
chhaachh jagat bapraani ho ji
bapraani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani

sunta hai ae ae
sunta hai
sunta hai
sunta hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani

bin dharti ek
ek
bin dharti ek mandal deese
bin dharti ek
aaaaa
aaaaa
bin dharti ek mandal deese
bin dharti ek mandal deese
bin sarovar jyun paani re ae
bin sarovar jyun paani re ae
gagan mandal mein hoye ujiyaala
gagan mandal mein hoye ujiyaala
bole guru-mukh baani ho ji
mukh baani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
sunta hai ae ae ae
sunta hai
sunta hai
sunta

oham soham baaja baaje
oham soham baaja baaje
trikuti dhaam suhaani re ae
trikuti dhaam suhaani re ae
ida pingala sukhaman naadi
ida pingala sukhaman naadi
ida pingala sukhaman naadi
sun dhwaja phaharaani ho ji
phaharaani ho ji
sunta hai guru gyani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
sunta hai guru gyaani
gyaani

kahe Kabira
Kabira aa
kahe Kabira
suno bhai saadho
kahe Kabira
suno bhai saadho
jayi agam ki baani re ae
jayi agam ki baani re ae
din bhar re jo nazar bhar dekhe
ajar amar ho nishaani ho ji
nishaani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein awaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani


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.

Till 1947, Hindi films were made in Bombay, Lahore, Calcutta and Poona. Most studios were located in these cities. South Indian language films were made mainly in Madras and Bangla films were made in Calcutta and Dhaka.

The Partition in 1947 changed the picture completely. Wholesale polarisation took place. Producers of Hindi films had to flee from Lahore, leaving everything behind them and some artists from Bombay left for Pakistan. Thus, after Partition, the exclusive centre for production of Hindi films was only Bombay. By 1950 things settled in India and Pakistan Film Industry.

Telugu film producers shifted to Hyderabad, Kannada films to Bangalore and Malayalam to Kerala. Madras, however,still made films other than Tamil, like Telugu Hindi etc. But now it was only Remakes of successful Tamil films or dubbed films. The 50s saw many Hindi films dubbed from southern languages(Read Tamil/Telugu). Initially, they were Mythological, Fantasy or costume films. In the 60s, however even social films were remade.

Film production in Madras is very methodical and professional. They make films as per plans and in planned times. For this reason, in the 60s to 80s many Hindi film actors volunteered to to make films in south. The producers in south too had their favourites. In the Music area, there were,Ravi ,C.Ramchandra or Madan Mohan, for lyrics and story, Rajinder Krishna and Pradeep, and actors were Jeetendra, Rajendra Kumar,Sunil Dutt and Mehmood.

Though Polarisation took place in film production, the attraction to come to Bombay and work here continued. Artists from various centres still came to Bombay.
The biggest contribution came from Bengal, in the areas of music, direction and acting. Artists from South tried their hand with Hindi films, either by Remade or dubbed films. Thus the greatest south actors like Sivaji Ganeshan, M G Ramchandran, N T Rama Rao, A.Nageshwar Rao, Jayalalita, Janaki, Susheela, Prem Nazir of the older generations and Rajanikanth, Kamal Hasan and Chiranjeevi from the next Generations were seen in Hindi films.

In the music department also, many composers like K.Narayan rao, C.Balaji, S.Rajeshwar Rao, C R Subramanyam, E Shankar, R Sudershanam, Ramesh Naidu, Adi Narayanrao, Vishwanath-Rammurthy, Lingappa etc worked in Hindi films.( Only Dr.Rajkumar, the Kannada Superstar never worked in Hindi films. In fact, except for just 1 Telugu film, Shri Kalhasti Mahatmyam, Dr.Rajkumar never worked in any other language film.)

There is one name from South, which was so famous, that it is surprising that he too gave music to Hindi Films. His name is GHANTASALA.

Most people from outside south may not know this name, but he was a legend in Sothern languages as a Singer and Composer.

GHANTASALA VENKATESWARA RAO was born on 4-12-1922 in a Telugu Bramhin family of Mr.Soorayya, who was a great singer himself. Ghantasala lost his father very early and was brought up by his maternal uncle. After education in college and Karnatak music, he joined the ‘quit India’ movement and was jailed for 18 months. After the sentence was over, he started working in earnest. On someone’s advise, he joined films and did some small roles.

His first film as a MD was ” Mana Desam”, also a debut film for N T Rama Rao. Some sources claim that his debut was with film ” Laxmamma”. After this there was no looking back. Ghantasala became very famous. He sang in Telugu, Kannada, Tamil, Malayalam and Tulu as well as Hindi.

Ghantasala has sung over 10000 songs in southern Languages. He was MD for more than 100 films in south.

Ghantasala’s first Hindi film as MD was Pataal Bhairavi-1952, a Hindi remake of the Telugu blockbuster. His assistant in this film was A.Krishnamoorthy, who knew Hindi very well. He also gave music to Jhanda ooncha rahe hamara-64, Pandav vanvaas-73 and Lav-Kush-74.-all remakes/dubs of Telugu films. In film Rani-52, a remake which had D C Dutt as composer, Ghantasala sang his first Hindi song.(Though this song with a personal commentary by the collector is on You Tube, Gantasala’s daughter refuses to accept that this is Ghantasala’s song).

Ghantasala( This was his surname-his first name being Venkateswara Rao-which was never used by anyone.) died on 11-2-1974 at Madras. He was a Padmashree and a Postage stamp was released with his photo, in his honour on 11-2-2003.

Today we will see and enjoy a song from Pataal Bhairavi-52. This was a production of Vijaya Vauhini studios, produced by B.Nagi Reddy and Chakrapani( He is the same person who was also the Editor of Chandamama Magazines). This film broke all the records of Box office in Andhra and other southern states. So a Tamil retained even in the Hindi version, because Malathi was proficient in speaking, reading and writing Hindi fluently.

Incidentally, after this film, N T Rama Rao started his own Production Studio-Ramkrishna Studios-in Hyderabad.

Vijaya Vauhini studios and the Chandamama offices were located in Vadapalani, a suburb of Madras. In 1980,I had an opportunity to see the studios and also meet Mr.Chakrapani in Chandamama office,through one of my friends in Madras.

PATAAL BHAIRAVI-52 was directed by K.Venkat Reddy and the music was by Ghantasala (Asstt.-A.Krishnamurthy). Lyrics were by Pt.Indra. There were 9 songs ,sung by Talat Mehmood, G M Durrani,Geeta Roy, Kamala Devi and Jikki (P G Krishnaveni). Jikki is one of favourite singers from South,apart from P.Suseela.

The story of Pataal Bhairavi is a Fantasy, full of drama, dances, Magic, Sword Fights, Heavy costumes, palaces and lot many Trick scenes.

Ramu(N T Rama Rao) is the son of an ordinary gardener, who falls in love with Princess Indumathi(Malathi) of Ujjain Kingdom. While the Rajmata has no objection, the king does not approve of a commoner..So, Ramu decides to become rich and meets a mantrik (S V Ranga Rao) who promises to make him rich in quick-time. Actually, the Mantrik wants to sacrifice Ramu to the Goddess ( Girija) to propitiate her and get rich himself.

Ramu comes to know of the mantrik’s plan and plays the game in such a way that instead of Ramu, the Mantrik is sacrificed to the Goddess, who appears before Ramu and makes him rich and powerful. Meanwhile, the king is attacked by a big enemy, but Ramu helps the king and defeats the enemy and saves the kingdom. The king is now in his favour and Ramu not only gets married to Indumathi but is also declared the heir Apparent to the king’s throne.

There are many trick scenes and sword fights in the film worth seeing. It is said that actor RANJAN helped the producers in shooting the sword fight scenes.

( The story was once again remade in 1985, with Jeetendra as Ramu, Jayaprada as Indumati and Kader Khan as the Mantrik. Shoma Anand played the Goddess Patal Bhairavi.)

Here is a melodious song from this film. This is a solo song by Talat Mehmood. After hearing the song, one may be reminded of the song from Barsat-49 – “Bichhade huye pardesi” by Lata Mangeshkar. Those days it was a common and mutually approved way of copying tunes from Hindi-Telugu films, nevertheless Talat song has its own charm too. Enjoy…


Song-Bichhad gaye jo saathi (Paataal Bhairavi)(1952) Singer-Talat Mehmood, Lyrics-Pt Indra Chandra, MD-Ghantasala

Lyrics

bichhad gaye jo saathi
bichhad gaye jo saathi
phir na milenge kya
bichhad gaye jo saathi

bikhhre phoolon ke kaanton se ae
poochh rahi hai bulbul ro ro o
bikhhre phulo ke kaanton se
poochh rahi hai bulbul ro ro
ujde gulshan armaanon ke phir na khilenge kya aa aa
bichhad gaye jo saathi

ulfat roothi kismat roothi
rooth gayi duniya saari
ulfat roothi kismat roothi
rooth gayi duniya saari
bujhe huye ye charaag dil ke
phir na jalenge kya aa
bichhad gaye jo saathi

kya kya thhe armaan hamaare
kya kya thhin ummeeden aen
kya kya thhe armaan hamaare
kya kya thhin ummeeden aen
dil hi dil mein rone waale
phir na hansenge kya aa
bichhad gaye jo saathi
phir na milenge kyaa aa
bichhad gaye jo saathi
bichhad gaye jo saathi


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.

“Pakshiraaj” (1959) was directed by S N Tripathi for Vijay Films, Bombay. The movie had Nirupa Roy, Manhar Desai, Ulhas, Bhujbal singh, Anand Kumar, Shalini, S N Tripathi, Rajrani, Mahesh Desai, Indira Bansal, Kesari, Babu Raje, Dalpat, Ratnamala, Poonam Kapoor, d D Nautiyal, Anil Kumar, Anand Joshi etc in it.

Two songs from this movie has been discussed in the past. Here is the third song from the movie. This song is sung by Asha Bhonsle and chorus. J S Kashyap is the lyricist. Music is composed by S N Tripathi.

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


Song-Lalchaaye re najar lalchaaye re (Pakshiraaj)(1959) Singer-Asha Bhonsle, Lyrics- J S Kashyap, MD- S N Tripathi
Chorus

Lyrics

lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re

pyaari pyaari ye soorat
man bhaaye re
haaye re
lalchaaye re najar
lalchaaye re
gora gora ye badan
gora gora ye badan
jaise chanda ki kiran
gora gora ye badan
jaise chanda ki kiran
kaali kaali ankhiyaan
jiya jaaaye re
haaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re

hoy
gori kaahe ko phera mukhda
ho gori kaahe ko
gori kaahe ko phera mukhda
kaahe ji mein basaaya dukhda
ho kaahe ji mein basaaya dukhda
ho kaahe ji mein basaaya ji dukhda
pyaari pyaari ye bhaunwan
pyaari pyaari ye bhaunwan
baanki baanki chitwan
baar baar ye jeewan
hoy
baar baar ye jeewan
nahin aaye re
haaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re

hoy
gori dekho to nain uthhaake
ho gori dekho ke
gori dekho to nain uthhaake
rahi nainon mein jinke samaa ke
rahi nainon mein jinke samaa ke
ho rahi nainon mein jinke samaa ke
wo hi tere sajan
wo hi tere sajan
aaye tere angan
leke man mein lagan
hoy
leke man mein lagan
piyaa aaye re
haaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re

kaal kaal ankhiyaan
jiyaa jaye re
haaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re
lalchaaye re najar
lalchaaye re


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.

“Farmaaish” (1953) was directed by B K Sagar for J Omprakash’s Majestic Films, Bombay. The movie had Bharat Bhushan, Vijaylaxmi, Pran, Kuldip, Maruti, Chandrashekhar, Amir Banu, R K Sama, Kammo, Khairati, Gope etc in it.

The movie had ten songs in it. As many as six voices were utiised in these songs.

Six songs from this movie have been discussed in the past. Here is the seventh song from “Farmaaish” (1953). This song is a duet. Male voice is Rafi’s. It is the female voice that is of particular interest to me. It is the voice of a Mangeshkar sister, but not the usual ones. Theis song has the voice of Meena Mangeshkar, the sister with the least number of songs under her belt among all the sisters.

This song is a nice song to listen to, and I must say that I find her voice quite pleasant to listen to.

Khawar Zamaan is the lyricist. Music is composed by Husnlal Bhagatram. It is a nice song to listen to.

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

Lyrics of this song were sent to me by Nitin Shah.


Singer-Khushiyon ke zamaane aaye (Farmaaish)(1953) Singers-Meena Mangeshkar, Rafi, Lyrics-Khawar Zamaan, MD-Husnlal Bhagatram
Both

Lyrics(Nitin Shah)

khushiyon ke zamaane aaaaye
khushiyon ke zamaane aaaaye
dil pyaar ke gaane gaaye
dil pyaar ke gaane gaaye
maine jabse nain milaaye
haaye
khushiyon ke zamaane aaaaye

o o o o o o o
o o o
dheere-dheere tera-mera mera-tera pyaar huaa
dheere-dheere tera-mera mera-tera pyaar huaa

nainon ke bhaag jaage
tera deedaar hua
nainon ke bhaag jaage
tera deedaar hua
honthon pe taraane aaaaye
kushiyon ke zamaane aaaaye

iss dil ko dil mein le le
le le
iss dil ko dil mein le le
le le
phir lag gaye pyaar ke mele mele
phir lag gaye pyar ke mele mele

ho o o
mere dil mein sama ja
piya dil mein sama ja
tu aaja
ab kaahe der lagaaaaye
khushiyon ke zamaane aaaaye

o o o o o o o o
o o o
chora-chori toone mere dil ko churaye liya
chora-chori toone mere dil ko churaaye liya

jora-jori toone mohe apna banaaye liya
jora-jori toone mohe apna banaaye liya
toone sapne mere sajaaaaye
dil pyaar ke gaane gaaye
dil pyaar ke gaane gaaye
maine jabse nain milaaye
haaye
khushiyon ke zamaane aaaaye
khushiyon ke zamaane aaaaye


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.

“Baap Bete” (1959) was directed by Raja Paranjpe for A V M Productions, Madras. The movie had Ashok Kumar, Shyama, Chitra, Baburao Pendharkar, Kanhaiyalal, Lalita Pawar, Jagdeep, Ramesh Rao, Vinod Sharma, Krishnakant, Nana Palsikar, Jagdish Raj, V D Puranik, Vasant Ghorpade, Rajendra Kumar Singh etc in it.

Five songs from this movie have been discussed in the past.

Here is the sixth song from the movie. This song is sung by Rafi and Asha Bhonsle. The lady lip syncing in Asha Bhonsle’s voice is Chitra I guess but I am unable to identify the gentleman. I request our knowledgeable readers to help identify him.

Rajinder Krishan is the lyricist of this song with some Hinglish content in it. Music is composed by Madan Mohan.

Lyrics of this song were sent to me by Nitin Shah.


Song-Mere dil mein aane waale (Baap Bete)(1959) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Madan Mohan

Lyrics(Provided by Nitin Shah)

mere dil mein aane waale
mujhko pyaar sikhaane waale
mere dil ki taraf se
many many thanks
meethe baan chalaane waale
meri neend churaane waale
mere dil ki taraf se
many many many many thanks

teri zulfon ke naag mujhe dass gaye
mere khwaabon mein tum bhi to hans gaye
teri zulfon ke naag mujhe dass gaye
mere khwaabon mein tum bhi to hans gaye
aji ham tum se tum ham se phans gaye
meethe baan chalaane wale
meri neend churaane waale
mere dil ki taraf se
many many thanks

ho mere dil mein aane waale
mujhko pyaar seekhane waale
mere dil ki taraf se
many many many many thanks

jaadu nazron ka dil par ho gaya
ek chutki mein pehlu se wo kho gaya
jaadu najron ka dil par ho gaya
ek chutki mein pehlu se wo kho gaya
chalo achha hua jo bhi ho gaya
mere dil mein aane waale
mujhko pyaar sikhaane waale
mere dil ki taraf se
many many thanks
meethe baan chalaane waale
meri neend churaane waale
mere dil ki taraf se
many many many many thanks

hum to bhookhe hain duniya mein pyaar ke
hum bhi baithe huye hain dil haar ke
haaye hum to bhookhe hai duniya mein pyaar ke
hum bhi baithe huye hain dil haar ke
to aao ho jaaye vaade itwaar ke
meethe baan chalaane waale
meri neend churaane waale
mere dil ki taraf se
many many thanks

ho mere dil me aane waale
mujhko pyaar sikhane waale
mere dil ki taraf se
many many many many thanks
lalalalalaala (hmm hmm hmm)
lalalaalalala(hmm hmm hmm)
lalalaalalalalalala(hmm hmm hmm)


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.

“Jeewan Jyoti” (1953) was directed by Mahesh Kaul for Musical Pictures, Bombay. this movie was one of the earlist movies of the then underconfident looking Shammi Kapoor. The movie had Shammi Kapoor, Chand Usmani, Shashikala, Leela Mishra, Dulaari, Amir Banu, Nazeer Hussain, Bannerji, Moni Chatterji, Saiyyad Jaan, Lily Kelkar, Jagdish Chandra etc in it.

Three songs from this movie have been discussed in the past.

Here is a song from this movie. It is a wedding ssong in fact where Shammi Kapoor and Chaand Usmani are getting married, clearly against the wishes of near relatives who are not amused as can be seen. So the constant refrain in the song “najar lag jaaye na” is not misplaced. :)

The song is sung with gusto by Geeta Dutt and chorus. The lyrics, in a language full of rural Hindi words and with plenty of references to Ramcharitmanas is written not by a Hindi poet but by someone who is considered an Urdu Shayar. Sahir Ludhianvi has shown that he is equally adept in writing this genre of song as he is in penning hard hitting songs of protest.

The music is composed by S d Burman.

Here is this wonderful song from “Jeewan Jyoti” (1953) which I heard for the first time only just now.

I am unable to identify the actors lip syncing this song. I request our knowledgeable readers to help identify them.
PS-She is Dulaari, as identified by Khyati Bahtt, our knowledgeable reader.

PS-Comment on an earlier song of this movie my Mr Kanti Mohan Sharma , who watched the movie when it was released in 1953 mentions that

This movie was received well. I saw it in my student days. Mainly because of the popular song so ja re so ja meri ankhiyon ke tare mere rajdulare by Geetadutt who was using her full name then Geeta Ghosh Roychowdhuri. It was considered one of the best lories in any film. Chand Usmani acted very well but she had a bit more of Meena Kumari in her and gradually faded out. This was also Shammi’s debut film. Narendra Sharma claimed to have written two songs in this movie on the invitation of Sahir Ludhianvi who wrote all the songs. His name as a co-lyricist appears everywhere. One of the two is ‘dekho dekho nazar lag jaye na’. I have been looking for the other song which is evading me. It cannot be ruled out that it might have been dropped from the film at the last moment. Can any knowledgeable friend throw any light on it?

.

So Pt Narendra Sharma had helped out in the penning of this song. That explains it.

Audio

Video

Song-Najar lag jaaye na(Jeewan Jyoti)(1953) Singer-Geeta Dutt, Lyrics-Sahir Ludhianvi, MD-S D Burman
Chorus

Lyrics

man sheetal
naina sufal
jodi jugal suhaaye
sundar chhab hirday basi ee
nainan nahin samaaye

o o
dekho dekho
najar lag jaaye na
najar lag jaaye na
najar lag jaaye na re ae
bairan ki najar lag jaaye na

inhen palkon ki oat bithha lo
inhen ankhiyon ki oat chhipa lo ji
bairan ki najar lag jaaye na

hans hans ke baandho ri navras ka bandhan
hans hans ke baandho ri
hans hans ke

arri hans hans ke baandho ri jeewan ka bandhan
hans hans ke baandho ri
hans hans ke

dekho bandhan kahin khul jaaye na
najar lag jaaye na
najar lag jaaye na re ae
bairan ki najar lag jaaye na

raghunandan phere phiren
janak-nandini sang
ankhiyaan umad asheesh den
bahe jamun aur gang
najar lag jaaye na
najar lag jaaye na
najar lag jaaye na re ae
bairan ki najar lag jaaye na

sone ki jhaariyaan re
chaandi ki thhaariyaan
ras ras ke bhojan
parosen kumaariyaan
sone ki jhaariyaan re
chaandi ki thhaariyaan

o dekho
dekho
chhedo na
banni sharmaaye na
najar lag jaaye na
najar lag jaaye na re ae
bairan ki najar lag jaaye na

bhaabhi achala phalwati
bhaiyya achal suhaag
sudh budh meri so gayi
jaag uthhe hain bhaag
najar lag jaaye na
najar lag jaaye na
najar lag jaaye na re ae
bairan ki najar lag jaaye na

sang raghunandan ke
seeta suhaaye re
jodi ko dekh jiya
balihaari jaaye re
balihaari jaaye re jiya
balihaari jaaye re

o o
kahin komal kali kumhlaaye na
najar lag jaaye na
najar lag jaaye na re ae
bairan ki najar lag jaaye na

nain band aanand se
khul gaye man ke dwaar
mangal bhiksha maangti
hari se haath pasaar


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.

“Paayal” (1957) was produced by Joseph Thomas and directed by Joseth Telieth (Jr) for Madras Tailkies, Madras. The movie had Sunil Dutt, Padmini, Baby Naaz, David, Bipin Gupta, Achala Sachdev, Ragini, Agha, Minu Mumtaz, Shivraj, Pravin Paul etc in it.

Four songs from this movie have been discussed in the past. Here is the fifth song from the movie. This song is a light hearted club song which is sung by Rafi and chorus. It is lip synced by Agha with Minu Mumtaz and other fellow dancers also seen in the picturisation.

Rajinder Krishan is the lyricist. Music is composed by Hemant Kumar.

Lyrics of this song were sent to me by Nitin Shah.


Song-Maidaan mein ham jo aa jaayen (Paayal)(1957) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Hemant Kumar
Chorus

Lyrics(Provided by Nitin Shah)

hamen na chhede koi ee
ham sataaye baithe hain
galey mein saat suron ko
dabaaye baithe hain
maidaan mein ham jo aa jaayen
maidaan ki chhuti ho jaaye
maidaan mein ham jo aa jaayen
maidaan ki chhuti ho jaaye
maidan mein hum jo aa jaayen
maidaan ki chhuti ho jaaye
maidaan ki chhuti ho jaaye

arre hotal ka diwala pitt jaaye
darbaan ki chhuti ho jaaye
hotal ka diwala pitt jaaye
darbaan ki chhuti ho jaaye
maidaan mein ham jo aa jaayen
maidaan ki chhuti ho jaaye

hey ae ae bande
marte hain to achhi soorat per
hai shukr mohabbat ke bande
marte hain to achhi soorat per
marte hain to achhi soorat per
marte hain to achhi soorat per

aa aaa
har kisi pe jo ye marne lagen
shamshaan ki chhuti ho jaye
har kisi pe jo ye marne lage
shamshaan ki chhuti ho jaaye
aahe waah
hotal ka deewaala pitt jaaye
darbaan ki chhuti ho jaaye
hotal ka deewaala pitt jaaye
darbaan ki chhuti ho jaaye
maidaan mein ham jo aa jaayen
maidaan ki chhuti ho jaaye
maidaan mein ham jo aa jaaye
maidaan ki chhuti ho jaaye

aaaa aaaa
achha hai ke iss duniya mein abhi
kuchh sabji khoren baaqi hain
achha hai ke iss duniya mein abhi
kuchh sabji khore baaqi hain
kuchh sabji khore baaqi hain
kuchh sabji khore baqqi hain

aaaaa aaaa
munh sab ke agar lag jaaye lahu
haiwan ki chhuti ho jaaye
munh sab ke agar lag jaaye lahu
haiwaan ki chhuti ho jaaye
arre hotal ka deewala pitt jaaye
darbaan ki chhuti ho jaaye
hotal ka deewaala pitt jaaye
darbaan ki chhuti ho jaaye


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.

“Aaj Ki Baat” (1955) was produced and directed by Leela Chitnis to launch the career of her son Ajeet Chitnis. The movie had Ajeet Chitnis, Uday, Chitra, Bipin Gupta, Manmohan Krishna, Sunder, Leela Chitnis etc in it.

Here is the first song from this movie to appear in the blog. This song is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of this song is available.

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

Lyrics of this song were sent to me by Nitin Shah.


Song-Wo chali gham ki hawa (Aaj Ki Baat)(1955) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Snehal Bhatkar

Lyrics (Provided by Nitin Shah)

mohabbat mein kahin do dil hansenge
geet gaayenge magar hum gham ke maare
raat din hum aansoo bahaayenge

wo chali gham ki hawa
aa aa aa aa
mausam badalkar reh gaye
mausam badalkar reh gaye
zindagi ke kaafile
kuchh door chal kar reh gaye
mausam badalkar reh gaye
mausam badalkar reh gaye

humne socha thhaa jalaayenge
naye ghar mein charaagh
ghar mein charaagh
humne socha thhaa jalaayenge
naye ghar mein charaagh
ghar mein charaagh
do sitare aaj palkon par
machalkar reh gaye
zindagi ke kaafile
kuchh door chal kar reh gaye
mausam badalkar reh gaye
mausam badalkar reh gaye

jal uthhi qismat hamaari
chaandni ki aag mein
jal uthhi qismat hamaari
chaandni ki aag mein
phool jo khushiyon ke thhe
sholon mein jalkar reh gaye
zindagi ke kaafile
kuchh door chal kar reh gaye
mausam badalkar reh gaye
mausam badalkar reh gaye

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What is this blog all about

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.

Total number of songs discussed

10188

Number of movies (All songs covered)

508

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