atul's bollywood song a day- with full lyrics

Author Archive


This article is written by Sudhir, 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.

Posts like this come really once in a while. I would like to call them million dollar posts. Or rather ‘laakh rupaye ki baat (post)’ – because ‘Phir Bhi Dil Hai Hindusatni’. :) :)

Congratulations to all fellow band-wagoneers and welcome to the next century milestone. We are Ten Thousand and Two Hundredth post today. And the march continues. Generally, when we come to century posts, we have celebrations connected to it. Almost always, we have at least one anniversary that we connect with a century post, or we have a certain artist also complete a century or a multi century individual milestone along with the blog century milestone. Occasionally we have a double celebration connected together, which actually makes three milestones – the blog century post, and two other important celebrations – combinations of artist anniversaries and / or artist century posts.

The special that we have today is a more rare occurrence – blog century milestone plus three other milestones. I tried to search for other examples of similar dimensions, and can readily recall only one other such combination. On 12th February last year, when the blog clocked the 7500th song, we had a special that included century milestones for three artists together. The song is “Tum Bansi Ho Main Taan” (http://atulsongaday.me/2013/02/12/tum-bansi-ho-main-taan/) from the film ‘Radha Krishna’ (1954). I request Atul ji and other readers to identify whether any more such quadruple celebration posts have happened in the past. The artists that clocked the century milestones together in the 7500th post are Lata ji (then at 2200 songs), Geeta ji (then at 400 songs) and Sachin Da (also at 400 songs at that point). So two singers and a music director.

What we have today is another interesting combination of three artists who are reaching the grand centuries of individual presence on the blog. And oh, so very very interesting that two of the artists from the 7500th song are also present in the celebration of the 10,200th song today. The honor roll of the artists for today’s celebration is Lata ji, Sachin Da and Rajinder Krishan – a balanced mix of singer, music director and lyricist. Lata ji is reaching her 2700 song to be published here. Rajinder Krishan breaches the 800 mark and Sachin Da arrives at the 500th song to be showcased here on the blog.

The reason I call such occasions as ‘Laakh Rupyae Ki Post’, is because it really is a combination of many unpredictable variables that can make it happen. In general, each of the artists is progressing at their own pace, as and when their songs get posted. Sometimes we see an acceleration by design, but that is only because either their anniversary is due, and / or their individual century milestone is approaching. Making it happen by design can be done for maybe one artist at a time. It is sheer coincidence when we may find two artists approaching their individual milestones and then Atul ji may try to coincide the celebrations. Such coincidences are rare.

But rarer still is the possibility that three artists will be approaching their individual milestones. Such occurrences are a horizon beyond coincidence. They sound more like quirks of improbability, converging into an event. And then getting coupled to the blog century marker – that is one more dimension variable that further complicates the equation. Ah, but the kicker is still to come.

For all these celebrations to come together, there is the much bigger improbability at work. And that also has two further dimensions. One – that the artist that we are trying to put together into a single post, well, they should have worked together, to make it into a single post, that means – one song. Now this is the real clincher. With so many artists working together to have created so many thousands of songs, one would simply expect many of them to have worked together for creating music. That is the general expectation. But I tell you, the actual state of affairs is not so straightforward. Two artists – well, one can still expect to see a good sizeable body of work done together. Add one more artist to the list. And suddenly the number of songs available from them having worked together plummets down by orders of magnitude.

Take the example for today. Lata ji, Rajinder Krishan, Sachin Da – all three very prolific artists with really big size contributions to the world of Hindi film song. But I was really stumped to find that Rajinder Krishan and Sachin Da have worked together just in five films – four of which came in 1950-51 and the fifth came in 1957. With so much work done by both these stalwarts over a contemporaneous period of almost three and a half decades, suddenly we find ourselves working with a very limited portfolio of songs. Add the name of Lata ji to this mix, and that further reduces the number of options we have for ferreting out a song for special celebrations.

And now to add the final dimension of complexity to this whole affair. The song should be unpublished on the blog. Wo, now we are really fishing for needles in haystack. With such a large number of songs now posted, this exercise becomes even more limiting. Of course, as we are merrily going along with posts day in and day out, we are not really bothering to hold back songs for special occasions like these combinatorial celebrations. And when the quirks of improbability bring us to this juncture, we find ourselves really scrambling to get to a good song worthy of the celebration. Putting all these permutations and combinations together, it is really a challenging task to be able to do a post such as this. I remember when I was preparing for the 7500th post. Having pored through pages and pages of Geet Kosh details, I was really amazed to find that Sachin Da, Lata ji and Geeta ji are featured together in just one songs across all their careers. And being blessed for small mercies, the song was not yet published on the blog. (I base this on the information that is currently available in the print version of the Geet Kosh. There may be missing information or corrected information that may change this result.)

And so, being blessed for small mercies – :) :) – this ocean of Hindi film songs still holds a gem or two, for all occasions.

This song that I present for this celebration today, bringing together these three stalwart artists, comes from the 1957 film ‘Miss India’. A song sung by a young damsel, who has just lost her heart in love, is asking of the morning breeze whether it knows how her heart was taken away. A lovely gem of a song coming from a not totally unfamiliar film. A very pleasant listen – a soft melody that makes one get a feel of the early morning breeze. Depend on Sachin Da to add in some folk elements into the construction of the melody. I could locate only the audio of this song, but my intuition is that this song would have been performed by Nargis on screen.

And so, the bandwagon marches on, continuing to discover lost and unheard gems. Ten thousand two hundred songs – or as Raja ji would put it – ‘Ten time Ten time Ten times Ten plus Two times Ten times Ten’. My, my, we are into some very impressive numbers league now.

Listen and enjoy.


Song-Baad e saba kuchh to bata (Miss India)(1957) Singer-Lata, Lyrics-Rajinder Krishan, MD-S D Burman

Lyrics

aaa aaa aaaaaaaa
baad e sabaa
kuchh to bataa
ye kya huaa
kaise mera
oye ji ji ji ji
ji ji ji ji
dil kho gayaa
baad e sabaa
kuch to bataa
ye kya huaa
kaise mera
o ji ji ji ji
ji ji ji ji
dil kho gayaa
baad e sabaa

kal raat jab chaandni thi jawaan
aa nikle thhe yoon hi do dil yahaan
kal raat jab chaandni thi jawaan
aa nikle thhe yoon hi do dil yahaan
chaand dhhalta gayaa
dil machalta gaya
pyaar ka ik suhaana bahaana hua
o ji ji ji ji
ji ji ji ji
dil kho gayaa
baad e sabaa
kuch to bataa
ye kya huaa
kaise mera
o ji ji ji ji
ji ji ji ji
dil kho gayaa
baad e sabaaaaaa aaaaa
aaaaaa aaaaaaa
aaa aaaa aaaa aaaa aaaaaaaa

lehar kaise kinaare se takraa gayi
chali thhi kahaan se kahaan aa gayi
lehar kaise kinaare se takraa gayi
chali thhi kahaan se kahaan aa gayi
naao behti gayi
aur kehti gayi
hai ye subah nayi ye zamaana naya
o ji ji ji ji
ji ji ji ji
dil kho gayaa
baad e sabaa
kuch to bataa
ye kya huaa
kaise mera
o ji ji ji ji
ji ji ji ji
dil kho gayaa
baad e sabaa

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

आ आ आ आ
बादे सबा
कुछ तो बता
ये क्या हुआ
कैसे मेरा
ओय जी जी जी जी
जी जी जी जी जी
दिल खो गया
बादे सबा
कुछ तो बता
ये क्या हुआ
कैसे मेरा
ओ जी जी जी जी जी
जी जी जी जी जी
दिल खो गया
बादे सबा

कल रात जब चाँदनी थी जवां
आ निकले थे यूं ही दो दिल यहाँ
कल रात जब चाँदनी थी जवां
आ निकले थे यूं ही दो दिल यहाँ
चाँद ढलता गया
दिल मचलता गया
प्यार का इक सुहाना बहाना हुआ
ओ जी जी जी जी
जी जी जी जी
दिल खो गया
बादे सबा
कुछ तो बता
ये क्या हुआ
कैसे मेरा
ओ जी जी जी जी
जी जी जी जी जी
दिल खो गया
बादे सबा
आ आ
आssss आssssss
आ आss आss आss आsssss

लहर कैसे किनारे से टकरा गयी
चली थी कहाँ से कहाँ आ गयी
लहर कैसे किनारे से टकरा गयी
चली थी कहाँ से कहाँ आ गयी
नाव बहती गयी
और कहती गयी
है ये सुबह नयी ये ज़माना नया
ओ जी जी जी जी
जी जी जी जी
दिल खो गया
बादे सबा
कुछ तो बता
ये क्या हुआ
कैसे मेरा
ओ जी जी जी जी
जी जी जी जी
दिल खो गया
बादे सबा

About these ads

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.

HFM songs can be divided into hundreds of categories. What category of songs appeal to us depend on our long term conditioning (temperament) as well as on out short term frame of mind (mood). There are occasions when even people with positive outlook and cheerful disposition feel low. Under such circumstances, some people (depending on their temperament)like to listen to sad melancholic songs and drown in their sorrow in various ways, by withdrawing into their shell, taking to drinking etc. What one needs under such circumstances are songs that enable to to look at the silver linings in the dark cloud and lift your morale by telling you that the setback faced is temporary and brighter days are just round the corner. In other words, you need to listen to songs that inspire you to get back on your feet and get ready to take on the challenges that life has to offer.

These kinds of inspirational songs are a genre of song that can be listened to at any moment by any people no matter what their temperament and their mood could be, and such songs are especially welcome when one is feeling down in the dumps.

Here is a wonderful inspirational song that will do the job admirably under such condition. This song is from “Zamaana” (1957). It is sung by Manna Dey. Qamar Jalalabadi is the lyricist. There were two music directors in this movie, viz. Anil Biswas and Salil Chaudhary. Music of this song is composed by Salil Chaudhary.


Song-Himmat na haar arre bande (Zamaana)(1957) Singer-Manna Dey, Lyrics-Qamar Jalalabadi, MD- anil Biswas

Lyrics

himmat na haaaar
arre bande
himmat na haar
arre bande
naiyya se kinaara door nahin
himmat na haar
insaan to hai majboor magar
bhagwaan kabhi majboor nahin een een een
himmat na haar
arre bande
naiyya se kinaara door nahin
himmat na haar

jab sar pe museebat aati hai ae
jab sar pe museebat aati ha
saari duniya thhukraati hai
duniya ka ye dastoor sahi
bhagwaan ka ye dastoor nahin een een
himmat na haar
arre bande
naiyya se kinaara door nahin
himmat na haar

jo hona thha so ho ke raha aa
jo hona thha so ho ke raha
tu dil ke tukde phir se uthha aa
ik thhes lagi hai chhoti si
hua sheesha chaknaachoor nahin een een een
himmat na haaar
arre bande
naiyya se kinaara door nahin
himmat na haar

kudrat ne tujhe do haath diye ae
kudrat ne tujhe do haath diye
mehnata mein sharam ki baat ko kya
koi tan beche
koi man beche
arre kaun yahaan majdoor nahin een een
himmat na haar
himmat na haar
himmat na haar


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.

Today (2 september 2014) is the birth anniversary of Sadhana, the heart throb of millions of movie watchers in 1960s.

A few of her movies that were started in late 1960s had to be held in abeyance because Sadhana suffered from an ailment that affected her face. This, plus the fact that time and tide waits for none, meant that she was a pale shadow of her earlier self when she returned back after getting healed. Time had passed her by in the interim. Shooting of a few of her incomplete movies were resumed but it was too late by that time and these movies failed at the box office.

“Mehfil” (1978) was one movie which had a delayed release.

Here is a song from “Mehfil” (1978) on the occasion of Sadhana’s birth anniversary. This song is a mujra song which is sung by Asha Bhonsle and it is picturised on Sadhana. Mushtaq Merchant is one of her clients in the picturisation.

Majrooh Sultanpuri is the lyricist. Shankar, marginalised in the industry after the demise of his partner Jaikishan had continued to soldier on in small banner movies under the same old name of Shankar Jaikishan and this song was one the few post Jaishan phase songs that had enjoyed some popularity in its time.

Lyrics of this song were sent to me by Prakashchandra.


Song-Nathaniyaa haale to bada maza hoye (Mehfil)(1978) Singer-Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Shankar Jaikishan

Lyrics(Provided by Prakashchandra)

luti kaise mehfil
abhi dekh lenaa
tadap jaayenge dil
abhi dekh lenaa
aaa aaa
hmmm
nathaniyaa haale
nathaniyaa haale
toh badaa mazaa hoye
nathaniyaa haale
toh badaa mazaa hoye
jhulaniyaa haale toh
badaa mazaa hoye
jhulaniyaa haale toh
badaa mazaa hoye
nathaniyaa haale toh
badaa mazaa hoye
nathaniyaa haale toh

Dialogues:
kyun laale
nathaniyaa haale baai
nathaniyaa haale

ankhiyon mein kaale
kaajal ki dori
akhiyon mein kaale
kaajal ki dori
palkon pe rakh dee jaise kataari
jaise kataari ee
katariyaa chaale toh
katariyaa chaale toh badaa mazaa hoye
katariyaa chaale toh badaa mazaa hoye
nathaniyaa haale toh badaa mazaa hoye
nathaniyaa haale toh

Dialogues:
aei kambakthon
kabhi mujraa nahin dekhaa kyaa
arre kuchch paise waise phenkon
kuchch waah waah karo
khadke saale
lo

aashiq ho chaahe jitnaa sayaanaa
aashiq ho chaahe jitnaa sayaanaa
daale nazar toh kar doon deewaanaa
daale nazar toh kar doon deewaanaa
kar doon deewaanaa aaa
nazar koyee daale
nazar koyee daale toh badaa mazaa hoye
nazar koyee daale toh badaa mazaa hoye
nathaniyaa haale toh badaa mazaaa hoye
nathaniyaa haale toh

dialogues:
ab kaisaa laage chaachaa
chaachaa ko toh paseenaa aa rahaa hai baai
toh bachche
ptchu…
roomaal se chaachaa kaa mukhdaa ponchch daal

jo chhoo le jal jaaye
main itni sundar
jo chhoo le jal jaaye
main itni sundar
rakhti hoon bijli
ghunghtaa ke andhar
ghunghtaa ke andhar
haaye
ghoonghat koyee taale
ghoonghat koyee taale toh badaa mazaa hoye
ghoonghat koyee taale toh badaa mazaa hoye
nathaniyaa haale toh badaa mazaa hoye
nathaniyaa haale toh


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.

Zohrabai Ambalewaali has completed her century of songs in the blog. She had sung more than two hundred songs in her career, so we still have lots of her songs remaining to be discussed.

Here is another song sung by Zohrabai Ambalewaali. It is from a movie called “Gaurav” (1947). Saraswati Kumar Deepak is the lyricist. Music is composed by Shanti Kumar Desai.

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 Avinash Scrapwala.


Song-Hanso hanso mere man ki hanso phulwaari(Gaurav)(1947) Singer-Zohrabai Ambalewaali, Lyrics-Saraswati Kumar Deepak, MD-Shanti Kumar Desai

Lyrics (Provided by Avinash Scrapwala)

Hanso hanso
hanso hanso
mere man ki ee
mere man ki hanso
mere man ki hanso
phulwaari
hanso hanso
hanso hanso
mere man ki ee
mere man ki hanso
mere man ki hanso
phulwaari

hanso tum bhi hanso
hansoon main bhi hansu
hanso tum bhi hanso
hansoon main bhi hansoon
piya pyaare ke nainon ki
nagri basoon
nagri basoon
piya pyaare ke nainon ki
nagri basoon
nagri basoon
thehro aati
thehro aati
thehro aati pujaaran pujaari
thehro aati pujaaran pujaari
mere man ki hanso
mere man ki hanso
phulwaari
hanso hanso
hanso hanso
mere man ki ee
mere man ki hanso
mere man ki hanso
Pphulwaari

ho o o
meri bindi ko
meri bindi ko rang gayi
sooraj kiran
meri bindi ko rang gayi
sooraj kiran
meri kaliyaan
ho o meri kaliyaan
meri kaliyaan
ho o meri kaliyaan
khila gayin chandaa kiran
poori ho gayi
poori ho gayi lagan
mere man ki lagan
mere man ki lagan
lagan mere man ki lagan
mere man ki lagan

duniya dekhegi
ye duniya dekhegi
ye duniya hamaari
mere sapnon ki
ho mere sapnon ki duniya
dulaari
ho dulaari
mere sapnon ki duniya
dulaari
Ho dulaari
mere man ki hanso
mere man ki hanso
phulwaari

hanso hanso
hanso hanso
mere man ki ee
mere man ki hanso
mere man ki hanso
phulwaari
hanso hanso


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


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.
Read more on this topic…


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.
Read more on this topic…


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.
Read more on this topic…


Important Announcement

(© 2008 - 2014) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 exactly 10200 songs post by now.

Total number of songs discussed

10200

Number of movies (All songs covered)

508

Total visits so far

  • 5,858,941 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,458 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory

Stumble

Follow

Get every new post delivered to your Inbox.

Join 1,458 other followers

%d bloggers like this: