atul's bollywood song a day- with full lyrics

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Basics of Music- Part II (Taal)
————————–
In part I, we introduced the concepts of “octave” and “notes” and mentioned that they are known as “saptak” and “swar” respectively in Hindustani classical music. We used these concepts to discuss “Aaroh” and “Avroh”. Ab aage…

People will recall that Sur-Taal is a term that is commonly used while discussing music. We know what is “Sur” or “swar”. Let us now see what is “Taal”.

In a musical performance, there are people (singers as well as musicians) who create swars. These swars lead to what is called melody.

The musical team also has someone who is not at all producing swars and therefore makes no contribution in creation of melody.

If a musician is not producing melody then why is he there in the music team ? Throw him out of the team, some people may suggest.

That person in the musical team does not create melody, but he creates something which is just as important for music. He creates Rhythm (Taal) for the music.

Musical rhythm (taal) is a cyclical pattern of musical sounds (called bol) that get created at certain times (called beats). A taal may have say 16 beats (viz in case of a popular taal called teentaal). In each of these beats, certain “bol” get played. After a cycle of 16 beats during which 16 predefined bols get played, the same cycle get played again and again for the whole duration of the music composition.

This “taal” gets created on Duggi-Tabla in Hindustani classical music, or on mridangam in Karnatak classical music, on dholak in North Indian folk music, on dafli in street musical performances etc.

To summarise, while singers and many musical instruments create melody by playing notes (swars), there are certain musical instruments (mostly percussion instruments) that create cyclical musical rhythm (taal). A taal has a predefined number of beats and certain sounds (called bols) gets played during those beat events.

It is the combination of melody line and cyclical rhythm patterns that constitute music. While swars are being created in the melody line, bols are getting played in a sequence in the taal. Melody line and rhythm patterns seek to keep pace with each other in a musical performance.

Long back, taal was created manually (with hands) in the form of clap (taali) and they may have led to the nomenclature of the term Taal for rhythm. Now, duggi tabla is the standard instrument for this purpose in Hindustani classical music. Duggi (also called baayaan, as it is kept on the left hand side of the tabla player) and tabla (daayaan, as it is kept on the right hand side of the tabla player) together create certain “bols” such as

Name of “bol” How created Remarks
Ga by striking mid part (called maidaan) of duggi Resonant sound
Ka By striking rim (Chhat) of duggi Flat slapping sound no resonance
Ti By striking centre (syaahi) of tabla Flat slapping sound no resonance
Tin By striking mid portion of tabla
Ta/Na By striking rim of the tabla
Dhin Ga + Tin By striking mid part of duggi and mid part of tabla simultaneously
Dha Ga + Na By striking mid part of duggi and rim of tabla simultaneously

Let us take the example of teentaal. It is a 16 beat taal, where the 16 beats are subdivided into sections of 4 beats each. The bols are
dhaa dhin dhin dhaa / dhaa dhin dhin dhaa / dhaa tin tin taa/ taa dhin dhin dhaa

Here is a demonstration of teen taal (couresy the site raag-hindustani.com)

I mentioned earlier that a musical composition has surs creating melody and bol creating rhythm and their combination creates a musical composition. Here is an example how melody line and taal keep pace to create a composition (couresy the site raag-hindustani.com):

Lyrics

piya ki najariya jaadu bhari
piya ki najariya jaadu bhari
moh liyo man prem bhari
moh liyo man prem bhari
piya ki najariya
kawan jatan ab kari e aali
kawan jatan ab kari e aali
naahin pare mohe chain ek ghari
naahin pare mohe chain ek ghari
piya ki najariya jaadu bhari
piya ki najariya jaadu bhari
moh liyo man prem bhari
piya ki najariya

The above concept of “taal” is a very basic concept and one that is more dificult to understand than the concept of swar. The fact that sur creates melody and taal creates rhythm will help us understand what people mean when they describe some one as a melody king or a rhythm king.

Here is a song from “Laal Patthar” (1972). This song is a semi classical song which is sung by Manna Dey and Asha Bhonsle. Neeraj is the lyricist. Music is composed by Shankar Jaikishan.

The vocalists in this song create melody by singing swars in accordance to the grammer of Raag Kalyan, whereas rhythm of this song is kaharwa. Kaharwa is an 8 beat taal, where the eight beats are broken into two parts of four beats each. The bol of this taal are
dha ga na ti | na ka dhin na |

The song, while being sung in the same raag could have been accompanied by a different taal and then the song would have sounded differently.

Note: If you have followed the above discussion carefully and you have understood the concept of taal, then you would be able to catch an error in the lyrics of this song. The lyrics mentions
Sur hai raaja
lay hai raani

The lyrics should have been

Sur hai raaja
taal hai raani

“lay” is another concept that has not been explained so far and we will explain this term in a future article. For the time being try and understand the concept of “taal” as mentioned above and try to visualise how “Sur” and “taal” combine to create music.

As mentioned in the first part of this series, we are trying to go as gently as possible in the series, because the concepts being involved are very important and our understanding of future concepts will depend on our understanding of the terms that have been introduced so far.

Keep offering your suggestions, observations, words of encouragements etc to this series. We want to make this series a collaboration of contributors. I have received one article from a knowledgeable contributor on this subject which I will post after I have introduced some more basic concepts, so that the concepts mentioned in that article can be understood in a knowledgeable manner by readers.

The lyrics of this song were sent to me by Khyati Bhatt long long ago. I do not know how I failed to discuss this song at the time when this lyrics were sent to me long ago. Perhaps it was destined that this semi classical song be discussed while discussing the principle of music in the blog.


Song-Re man sur mein gaa (Laal Patthar)(1972) Singers-Manna Dey, Asha Bhonsle, Lyrics-Neeraj, MD- Shankar Jaikishan
Both

Lyrics (Provided by Khyati Bhatt)

re ae ae ae
aa aa aa aa
aa aa aa

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

re man sur mein ga aa aa
re man sur mein ga aa aa
re man sur mein ga
ga ga
re man sur mein ga aa aa

koi taar besur na boley
na boley
koi taar besur na boley
na boley

re man sur mein ga ga
ga
re man sur mein ga aa aa aa

jeevan hai sukh dukh ka sangam
jeevan hai sukh dukh ka sangam
madhyam ke sang jaise pancham
madhyam ke sang jaise pancham
donon ko ek bana
bana
bana
bana aa aa
re man sur mein ga ga ga
re man sur mein ga aa aa aa

dil jo dhadke
taal baje re ae
dil jo dhadke
taal baje re ae

taal taal mein samay chale re
taal taal mein samay chale re
samay ke sang ho ja aa aa
aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa aa
re man sur mein ga ga ga
re man sur mein ga aa aa aa

jag hai geeton ki rajdhani
jag hai geeton ki rajdhaani
sur hai raaja
lay hai raani
aa aa aa
sur hai raaja
lay hai raani
saaz roop ban ja
ban ja
ban ja
ban ja ban ja aa aa
re man sur mein ga ga ga
re man sur mein

ga aa aa aa
re man sur mein
re man sur mein
re man sur mein
ga aa aa aa aa


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.

Basics of music- Part I (Swar and Saptak)
—————————————–
In this blog, we have discussed over eleven thousand songs till now. When I use the word “discuss”, I mostly mean that we have provided lyrics of the song, provided the audio/video link of the song and mentioned the names of artists singing the song and performing in the picturisation. We sometimes discuss the movies and artists of these songs in detail.

Come to think of it, the song itself has many things in it that have rarely been touched upon in the blog. For instance, majority of HFM is based on Hindustani classical music. Many principles of classical music is followed in HFM even if they go unnoticed by most music lovers.

We will be able to appreciate HFM (or for that matter any music) if we are able to understand what goes behind the music. Music may be regarded as an art by laymen but it is based on scientific principles. Music is also noticed following mathematical laws.

I, in collaboration with other contributor(s) of the blog propose to start a series in the blog that will introduce us to the principles of music. In the beginning, we will introduce musical terms and explain what exactly they mean and how they lead to creation of music that pleases our senses. We will try to take many baby steps in this series in the beginning, because the concepts being discussed will take some time to sink for the beginners. Those who are interested in the subject are requested to give their feedback. Participation of readers will determine the course of this series which will take a lot out of us, but it is hoped that the end result will see us getting enriched a great deal, musically speaking, of course.

So, in this first part, I will explain some very basic and important terms, namely “swar” and “saptak” and what they mean. So here we go.

Assumption:-I assume that readers have some understanding of terms used in physics like say “frequency”, “pitch” etc. If required, we will explain these terms too, based on user feedback.

Question-What is a musical “note” ?
Answer- A musical note is a pitched sound, viz sound at a particular frequency.

Question-What is an octave ?
Answer- A range of notes where the higher note is of twice the frequency as compared to the lower note.

Let us understand the above statements with examples.

It has been noticed that human ear is capable of identifying at the most 22 notes in an octave. Theese 22 notes are called micronotes in Western classical terminology or “shruti” in Hindustani classical music terminology. Seven out of these 22 notes in an octave are considered musically significant and they have been called “swar” in Hindustani classical music. Since there are seven swar in an octave, the term coined for them is “saptak”, where “sapt”=seven. So, musically speaking an octave is the same as saptak and it contains the seven swars, as following:

Swar Full name Meaning of the term Inspiration from Abbreviation Remarks
Shadja Creator of six Inspired from cry of the peacock Sa This is an invariant swar (Achal Swar)and a reference point for other swars
Rishabh Rishabh means bull Inspired from sound of a bull Re Has two variations, viz Shuddh and Komal
Gandhaar Sweet fragrance Sound of a goat Ga Has two variations, viz Shuddh and Komal
Madhyam Middle one Sound of heron Ma Has two variations, viz Shuddh and Teevr
Pancham Fifth Sound of cuckoo Pa This is an invariant swar (Achal Swar)
Dhaiwat Sixth note Neighing sound of horse Dha Has two variations, viz Shuddh and Komal
Nishaad Seventh note Trumpeting sound of an elephant Ni Has two variations, viz Shuddh and Komal

The seven notes together are also described as “Sargam”, where the word sargam is an acronym contaning the first letters of the first four swars.

It must be kept in mind that four of the swars, viz. Re, Ga, Ma, Dha, Ni have one variant each- called komal for Re, Ga , Dha, Ni, and Teevr for Ma. So there are a total of 12 musical notes, though we still describe the sargam as consisting of saat swar only. Incidentally, the term “Sur” is same as “swar”

In a classical musical composition, the swars are sung in ascending order (called aaroh), followed by singing in descending order (called avroh).

Let us assume that the composition makes use of all the seven notes of the saptak (octave) in aaroh as well as avroh. Then the aaroh will go:
Sa Re Ga Ma Pa Dha Ni Sa’ where each swar (note) is sung at an increasingly higher pitch compared to the previous swar till we arrive at the seventh and final swar Ni. The singer then goes higher and sings Sa’ which sounds the same as the first note Sa but it is at twice the frequency vis a vis the original swar Sa.
These swars, viz Sa Re Ga Ma Pa Dha Ni Sa’ constitute an octave (Saptak). Typically a singer will most of the time operate in one octave. He would sing the aaroh in that saptak and they go down Sa’ Ni Dha Pa Ma Ga Re Sa by singing the avroh.
[Note- The convention followed here has Sa’ as twice the freqency of Sa, Re’ at twice th frequency of Re etc.]

Suppose that the singer, after reaching at Sa’, which is twice the frequency as the original Sa, keeps going at higher and higher frequencies, viz. Sa’ Re’ Ga’ Ma’, Pa’ Dha’, Ni’, Sa”. Then that will constitute another octave. The original octave is called mid octave (madhya saptak) while the higher octave is called taar saptak. Likewise the octave below the madhya saptak can be obtained if one goes down in frequency below the original Sa by singing awroh, viz. Sa ‘Ni ‘Dha ‘Pa ‘Ma ‘Ga ‘Re ‘Sa, where ‘Sa is half the frequency of Sa. This lower octave, one octave below the madhya saptak is called mandrak saptak.
[Note- The convention followed here has ‘Sa as half the freqency of Sa, ‘Re at half the frequency of Re etc.]

For the sake of illustration, let us say that the madhya saptak is between 240 hz to 480 hz where 240 Hz is Sa and 480 Hz is Sa’, then taar saptak will be between 480 hz to 960 hz whereas mandra saptak would be between 120 hz to 240 hz.

What about the frequencies of shuddha notes other than Sa in an octave ? They too bear some relation with each other. In madhya Saptak, if Sa is 240 hz and Sa’ is 480 hz, then Re Ga Ma Pa Dha Ni would be 270 Hz, 300 hz, 320 hz, 360 hz, 405 hz and 450 hz. Every note in the octave would be 1.5 times the frequency of the fifth note before it. Thus Pa (360 hz) will be 1.5 times Sa (240 hz), Dha (405 hz) will be 1.5 times Re (270 hz) etc. So one can say that the notes in an octave display the property of geometric progression. It must be kept in mind that we are talking about shudd swars. komal notes of Re Ga, Dha Ni would be of slightly lower frequency than the shuddh version whereas teevra Madhyam would be of slightly higher frequency than shudhh madhyam.

I will let the above information sink in for readers for whom this information is new. People who are familiar with the above concepts are requested to show patience because these concepts are fundamental concepts that must be understood properly before we move on to other concepts.

I have purposely avoided bringing in other musical terminologies in this discussion today. Their turn will come in subsequent discussions. For the time being, here is a song from “Jugnu”(1947). This song is based on a classical “raag”- a term that we will discuss in future.

The song is sung by Noorjahaan and it is picturised on her as well. Asghar Sarhadi is the lyricist. Music is composed by Feroz Nizami.

So enjoy this song, and also the article, and look forward to some “interesting” discussion on the nuts and bolts of music in the days to come. :)


Song-Hamen to shaam e gham mein kaatni hai zindagi apni (Jugnu)(1947) Singer-Noorjahaan, Lyrics-Asghar Sarhadi, MD-Feroz Nizami

Lyrics

(cough cough
cough cough)
hamen to shaam-e-gham mein kaatni hai zindagi apni
hamen to shaam-e-gham mein kaatni hai zindagi apni
jahaan wo hain wahin ae chaand le ja chaandni apni
jahaan wo hain wahin ae chaand le ja chaandni apni

agar kucchh thhi to bas ye thhi tamanna aakhri apni
agar kuch thhi to bas ye thhi tamanna aakhri apni
ke tum saahil pe hote aur kashti doobti apni
ke tum saahil pe hote aur kashti doobti apni
hamen to shaam-e-gham mein kaatni (cough cough
cough cough
cough cough
cough cough)

taqaaza hai yehi dil ka
wahin chaliye
wahin chaliye
taqaaza hai yehi dil ka
wahin chaliye
wahin chaliye
wo mehfil
haaye jis mehfil mein duniya lut gayi apni
wo mehfil
haaye jis mehfil mein duniya lut gayi apni
hamen to shaam-e-gham mein kaatni hai zindagi apni

khuda ke (cough cough)
khuda ke vaaste
zaalim ghadi bhar ke liye aa ja
ghadi bhar ke liye aa ja
bujhaani hai tere daaman pe shama-e zindagi apni
bujhaani hai tere daaman pe shama-e (cough cough
cough cough)
hamen to shaam-e-gham mein kaatni hai zindagi apni
hamen (cough cough cough cough
cough cough cough cough)


This article is written by Arunkumar Deshmukh, fellow enthusiast of Hindi movie music and 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.

VINTAGE SHAMSHAD BEGUM…Song No. 10…Last song of the series.
——————————————————————–

Today’s song is from the film Mangala-1950. It is a duet of Shamshad Begum and T.A.Moti. This is also the last song of this series.

In this series, we have heard,so far, 9 duets of Shamshad Begum, from her early films in the 40s. From the first film of hers in Bombay (Taqdeer) to her first film in Madras(Mangala), we have heard duets with 9 different singers, featuring Motilal, Surendra, K S Raagi, Ram Kamlani, Anil Biswas, G M Durani, Sulochana Kadam, Lata and Chitalkar and today is the 10th singer T.A.Moti. I wanted to include her duets with S D Batish, Geeta Dutt, Mohd.Rafi and Surinder Kaur, but it was not possible to accomodate them in this series.

Film Mangala-50 was a remake of the Hit Tamil film ‘Mangamma Sapatham-1943′. After the unprecedented foray of Gemini’s Vasan’s hit film Chandralekha-48. Subramaniam Srini Vasan or simply S S Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, Editor, producer and Director, but above all, he was a Business Tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini studios, Gemini Laboratories and Gemini distribution circuits. He soon decided to take advantage of the success of Chandralekha and made another Trilingual film . In Tamil it was called “Apoorva sahodarargal”, in Telugu, it was “Apoorva Sahodaralu”, and in Hindi it was called “Nishan”-49. This film too was a great success. Encouraged by this, S S Vasan mad his 1943 Tamil Hit film “Mangamma Sapatham”-43, into a remake in Hindi with the name “Mangala”-50.

Not by coincidence, but by design, the Hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as “Mathalan” in 1955 and in Telugu as “Mangamma shapatham”in 1965- featuring N T Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).

In the early times of Film Industry, very few educated people used to join here. That is why Graduates or Postgraduates used to flaunt their degrees with pride- like Moti, B.A.-the lyricist, or Kavi Pradeep’s pseudoname- Miss Kamal B.A. or even singer Surendra as B.A., LL.B.

A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a Hero, like RAMNARAYAN VENKATRAMAN SARMA Alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family. He did his B.A. with Phisics and then completed M.Litt in Carnatak music and Dance and became a Research Fellow for Ph.D. He also became the Managing Editor of ‘ NATYAM ‘ a magazine for Dance,drama and Music. In total contrast to his expertise in fine arts, he learnt FENCING( Sword Fighting) after he saw it in the Olympic Games.

He was spotted by a Tamil Producer and he made his Debut in the film ” Ashok Kumar “-1941. After a few films in Tamil and Telugu he got the role of SHASHANK in the Magnum Opus film Chandralekha in 1948. The Drum dance and his fencing were the two attractions in the film. The final sword fighting is considered the Longest ever Fencing fight in films till today ! The film was a Hit and Ranjan became typedcast in Action films. Ranjan was a very poor actor, but his Fencing skills were marvellous.

In 1949, came ” NISHAN “, based on the Hollywood film ” The Corsican brothers’-one good and one bad. Tt was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped !. The film, in Hindi, Tamil and Telugu was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumati, he was the villain and the Hero too.

He was invited by New York University for a Fellowship, but Vasan did not leave him, so after Mangala-1950, as soon as the contract was over, Ranjan came to Bombay.

‘Shin shinaki Boobla Boo’-1952 saw him with Rehana but as a Romantic Hero he was worse than Bharat Bhushan or Pradeep Kumar !

He acted in Sindbad the sailor, Baghi, Shahenshah, Kafila, Baghdad, Baap Beti, Nishan Danka and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only Fencing. But he never became famous like Stewart Granger in ” Scaramouche” for his fencing. In the 50s he acted in 23 films, in 60s he did 18 films and in 70s his tally was 17 films. A total of 58 films in Hindi.

After Sword fighting became obsolete he shifted to writing. The story of film MUNIMJI-55 was written by him. After few years in south he was seen again in ‘Chor chor’-74 and ‘Chaitali’-76. Ram Balram was his last film.

He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on Dancing and music.

He shifted to USA to live with his son, but died on 12-9-1983,in New Jersey-USA,due to Heart attack. He was so much forgotten that even the news of his death was not published in India.

Today’s song is from Magala-50. It is a duet of Shamshad with T.A.Moti. I knew about Moti,B.A. but not about Moti T.A.. There was also the singer actor Moti Sagar. I tried very hard to gather information about this singer. I contacted my Tamil and Telugu friends and checked all known south Indian film channels, but to no avail. This is a great problem which I usually encounter in case of Southern and Bangla artistes. Information about these artistes is very difficult to come by. At times Bangla artiste information may be available but inormation about obscure South artistes is conspicuous by its absence.

Actually, the southern film activity, though as old as Hindi Talkie films, is strictly limited to four southern states. It was only the adventurous S S Vasan who ventured into the bastion of Hindi film markets, by promoting his film Chandrlekha. In fact this had encouraged other producers like AVM, Prasad, Vijaya etc to tap the Hindi belt. While making a multilingual film, the south producers always called the Hindi artistes, be it actors, Directors ,composers or singers to come to Madras, but they never went to Bombay. It was only through Dubbed or remade films that south actors, composers or actors were exposed to the Hindi arena. Those days anyone from south was a “Madrasi” and likewise anyone from other than south was a North Indian or a Punjabi ! No one from the North bothered to distinguish between Tamil, Telugu, Kannada or Malayalam-films or people. Everything was “Madrasi “.

The divide between the North and the south went on widening, which finally resulted in the Ánti-Hindi Agitations” of the 60s and 70s in Madras and other southern places. Fortunately, in recent times and with the New Generation, thanks to the coalition politics at the centre and states as well as I.T. centres at Hyderabad and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to writers like Chetan Bhagat’s novels. Thanks to Modernization.

Coming back to T.A.Moti, all that I was able to know about him was that he was from Madras. He was a rare person who learnt Hindustani Classical music under experts. His Hindi pronunciation was very clear, without the typical southern style. He flourished in the later part of the 40s. In almost all dubbed and remade films in Hindi, during the 40s to 60s he sang songs in such films. He was also a very popular singer in Tamil, Telugu, Kannada and Malayalam languages. In South Indian versions of Barsat, Aan, Udan khatola etc etc he sang all the Tamil and Telugu songs. It was a hilarious scene to watch Dilip kumar singing in Tamil !.

From film Chandralekha-48, he started singing in Hindi films too. There may be many,but i heard his songs in Chandralekha, Nishan, Mangala, Dil-46, Intezar ke baad-47, Meri behan-62 Ram and Rahim-68. I read somewhere that in addition to Hindi, Tamil, Telugu,Knnada and Malayalam, T A Moti also sang in Marathi.

The composers of Mangala was a team of D.Parthsarthi, Balkrishna Kalla and E. Shanker. This team also gave music to few other films like Mangala-50, Sansar-51, Mr.Sampat-52, Bahut din Huye-54. Balkrishna Kalla with mohd. Shafi gave music to Krishna Kanhaiya-52. Independently he gave music to only one film-Do Dulhe-54. The southern composers gave music only to dubbed films or remakes.

In the original version of Mangala, which was ‘Mangamma Shapatham’- 43, the Heroine was Vasundhara Devi-mother of Vaijayanti mala. In hindi film mangala, the Heroine was P.Bhanumathi, but the hero was same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad begum sang songs for Chandralekha, her songs were recorded in Bombay, but for Mangala, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.

Let us now enjoy this video of the comedy song which is filmed on Agha and Suryaprabha ( I guess). With this song, we end this series here only.


Song-Bhole bhaale sanam matwaale sanam (Mangala)(1950) Singers-T A Moti, Shamshad Begam, Lyrics-Pt Indra Chandra, MD-Balkrishna Kalla
Both

Lyrics

o jee o jee o jee o
o jee o jee o jee o o

haan jee o haan jee o haan jee o
bhole bhaale sanam matwaale sanam
raat jaave hai jaave hai raat jaawe hai

more pyaare balam matwaale balam
neend aave hai aave hai
neend aave hai

jaao jaao ji balam
O balam besharam
teri jaan ki kasam
neend aave hai
tera kaisa ye sitam
zara soch to sanam
o sanam
beraham
raat jaave hai

neend aave hai aave hai
neend aave hai
raat jaave hai jaave hai
raat jaave hai

Raani aaj meri gaadi pehuchi
dil ke gaanv tak
pahunchi dil ke gaanv tak

Raaja main bhi teri ho gayi
ab sar se paanv tak
dekho Sar se paanv tak
main takiya tu rajaai
tu ghaas ??
main seena tu angdaai
tu tabla main shehnaai
tumhen jaan gaye ham
karo pyaar zara kam
kaise karoongi hajam
jee ghabraawe hai
more pyaare balam
matwaale balam
neend aave hai aave hai
neend aave hai
bhole bhaale sanam
matwaale sanam
raat jaawe hai jaawe hai
raat jaawe hai

kya baat karta
nimbu bhi rasgulla ban gaya
Ye sher tere
jaadu se ab billa ban gaya

mehmaan mere manmaane
maine dhang tere pehchaane
baalam banke lage sataane
Main aaya pyaas bhujane
Aao gaayen milke ham
huye door saare gham
o sanam
naachen ham
tu sataave hai

neend aave hai aave hai
neend aave hai
raat jaave hai jaave hai raat jaave hai


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.

“Nayi Duniya”(1942) was produced by Naushad and directed by A R Kardar for Sirco Productions, Bombay. The movie had Jairaj, Shobhna Samarth, Azurie, R Vasti, Mazhar Khan, Hari Shivdasani, Jeeva, Ram autaar, Alauddin etc in it.

Five songs from this movie have been discussed in the past. Here is the sixth song from “Nai Duniya”(1942) to appear in the blog. This light hearted romantic duet song is sung by Rajkumari and G M Durrani. Tanvir Naqvi is the lyricist. Music is composed by Naushad.

Only the audio of this song is available. Seeing that Rajkumari and G M Durrani were the main singers of this movie, one can guess that this song was picturised on the lead pair in the movie. Going by the cast, it could be Jairaj and Shobhana Samarth, but I am not sure. I request our knowledgeable readers to throw light on this movie as well as on the picturisation of this song.


Song-Dil loot liya jee dil loot liya (Nai Duniya)(1942) Singers-G M Durrani, Rajkumari, Lyrics-Tanveer Naqvi, MD-Naushad
Both

Lyrics

dil loot liya ji dil loot liya
dil loot liya ji dil loot liya
kisne loot liya ji kisne loot liya
kisne loot liya ji kisne loot liya

kyun nainon ne ki hai chori
dil mein ghus ke jora jori
haaye loot liya ji dil loot liya
dil loot liya ji dil loot liya
kisne loot liya ji kisne loot liya
kisne loot liya ji kisne loot liya

wo kaun nain hain chor
jo hain aise seena-jor
wo kaun nain hain chor
jo hain aise seena-jor

ye naina hain ye naina
ye naina hain ye naina
ye naina hain ye naina
ye naina hain ye naina

achcha
in nainan ne loota hai dil
in nainan ne kiya hai ghaayal
in nainan ne loota hai dil
in nainan ne kiya hai ghaayal
ye naina hain ye naina
ye naina hain ye naina
ye naina hain ye naina
ye naina hain ye naina
kaun se
ye
ye
hmm
phir jao police bulaao
phir jaao police bulaao
thaane jaake rapat likhaao
phir jao police bulaao
phir jaao police bulaao
thaane jaake rapat likhaao

dil loot liya ji dil loot liya
dil loot liya ji dil loot liya


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.

“Sitaara”(1939) was directed by Ezra Mir for Everest Pictures Corporation, Bombay. The movie had Ratanbai, Khursheed Bano, Nazeer, Mubarak, Jamshedji, Aashiq Hussain, K N Singh, Sunalini, Voilet Cooper, Mirza Musharraf, Nazeer Bedi, Bibi Bai, Haidersha, Aashuji, Trivedi etc in it.

Here is the first song from this movie to appear in the blog. This song is sung by Khursheed Bano. Munshi Dil is the lyricist. Music is composed by Rafiq Ghaznavi.

Only the audio of this song is available. seeing that Khursheed Bano was an actor singer and she acted in this movie, it is clear that the song was picturised on her as well.


Song-Main prem baag ki pakshi (Sitaara)(1939) Singer-Khurshid, Lyrics-Munshi Dil, MD-Rafiq Ghaznavi

Lyrics

main prem baag ki pakshi
main prem baag ki pakshi
nit prem ki baani boloon
prem ki baani boloon
prem ki baani boloon
shaakhon pe jhhoola jhhooloon
shaakhon pe jhhoola jhhooloon
main phhurr phhurr phhurr phhurr udti phirti
main phhurr phhurr phhurr phhurr udti phirti

main prem baag ki pakshi
main prem baag ki pakshi
chaahe bijli chamke cham cham cham
chaahe neha barse dham dham dham
main nahin kisi se darti
main phhurr phhurr phhurr phhurr udti phirti
main phhurr phhurr phhurr phhurr udti phirti

main prem baag ki pakshi

main mauj bahaar ki raani
karti hoon sada manmaani
meri hansi phool mein basti
main nahin kisi se darti
meri hansi phool mein basti
main nahin kisi se darti

main prem baag ki pakshi
main prem baag ki pakshi


This article is written by Pamir Harvey, fellow enthusiast of Hindi movie music and 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.

With this song the film Dhongee (1976) makes its debut on this blog. I know only this song from this film and remember it from my childhood days, when it used to be played on the radio, on Vividh Bharati to be precise. The YT uploader has erroneously mentioned this movie as a release of 1979.
Read more on this topic…


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.

VINTAGE SHAMSHAD BEGUM…..Song No. – 9
——————————————–
Today’s song is from the film Girls school-49. It is a duet sung by Shamshad Begum and Chitalkar.
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.

“Namaste” (1943) was directed by M Sadiq and S U Sunny. This movie had R Wasti, Protima Dasgupta, Jagdish Sethi, Nayampalli, Mishra, Rajkumari Shukla, But Kashmiri, Ghulam Rasool, Alluddin, Amir Ali, Jetha N Lakhani 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.

“Hospital”(1943) was directed by Sushil Majumdar for M P Productions, Calcutta. The movie had Kanan Devi, Ahindra Chaudhary, Robin, Krishna, Pramod, Hiralal, Tulsi, Indu, Sandhya, Purnima, Manorama, Devbala etc. in it.
Read more on this topic…


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.

I have been doing some research on the works of Gopaldas Saxena ‘Neeraj’ – both as a poet and a lyricist for Hindi films. Being an admirer of this great poet and lyricist, I have been reading his poems that are available on the websites and also going through the available songs that he wrote for Hindi films. Suffice it to say here that he wrote over 100 songs for about 40 films during his stint in Hindi film industry. After 1975, The rate of his song writing for films had dwindled considerably since 1975, when he began to work from his home in Aligarh. The last time that he wrote a song for a film was for his close friend Dev Anand’s ‘Charge Sheet’ (2011).
Read more on this topic…


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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 11100 song posts by now.

Total number of songs discussed

11148

Number of movies (All songs covered)

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