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Archive for the ‘Asha Bhonsle songs’ Category


This article is written by Avinash Scrapwala, 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 think people of my generation (born in late sixties & early seventies) got introduced to Kavi Pradeep ji’s songs mainly through his patriotic songs and devotional/philosophical songs played on loud speakers during Independence Day, Republic days, other days of national importance and main festivals of the year.

So, when I took to buying audio cassettes regularly, I bought the first (and only available) compilation of Kavi Pradeep songs (in 1988-89, I think). It included all of his popular songs namely patriotic songs and bhajans. I thought at that time that these must be the only songs sung by Kavi Pradeep, except the song from ‘Jai Santoshi Maa’ which was not a part of this compilation, and I remember it because I had watched this film earlier.

Thereafter when HMV introduced this series ‘The Golden Collection’, they brought out this album ‘Pradeep-The Genius’. This audio album (planet M-New Delhi-26.03.2004) had two parts Side A: The Singer Poet and Side B: The Poet. So, I get introduced to more of Kavi Pradeep’s songs that were written by him and sung by other singers.

After coming into contact of this blog, I am getting updated with more and more information about Kavi Pradeep and his contributions to Hindi Cinema and to the Indian Culture and Society.

In between,I read about him in two books ‘Sahir Ludhianvi-The People’s Poet’ and ‘Bollywood Melodies-A history of the Hindi Filmi Song’ and gained some more information about Kavi Pradeep.

Then I got to share this song ‘aaj ke insaan ko ye kya ho gaya’, and I thought this was the only popular song of Kavi Pradeep left to be posted, until I discovered one more song ‘kabhi dhoop kabhi chhaaon’ which remaained to be posted. Both of these songs have been posted by now.

But, what disturbs me was the stats of Kavi Pradeep’s songs which was-few months’ back- 127 posted out of 531.

So, I got have got my next assignment – and I am now looking for more Kavi Pradeep songs to bring them here on the blog. In this process, I find a ‘Holi’ song which I shared before ‘Holi’, but this ‘Holi’ our blog switched to the 80’s mood and finally concluding the celebrations with a song from the 60’s. So we will have to wait till next Holi for this song to appear in the blog.

Here is a song from ‘Ram Navami-1956’ which was directed by Raman B.Desai. It had Nirupa Roy, Prem Adib, Ramayan Tiwari, Yashodhara Katju, Rajkumar, Ratnamala, Babu Raje, Shubha Khote, Amrut Rana, Radheshyam, Samson, Jawahar Kaul, Rooplaxmi and Shree Bhagwan in it.

This movie had eight songs composed by Bulo.C.Rani and penned by Kavi Pradeep.
(Not much information about this film is available on the domain, so this needs to be authenticated from HFGK)

Today’s song is sung by Asha Bhonsle and Kavi Pradeep. Lyrics are by Kavi Pradeep and Music is composed by Bulo .C.Rani.
Other than the solo songs sung by Kavi Pradeep which we are normally used there has been a song on our blog “arre waah re dayaalu” which is sung by Kavi Pradeep, Asha Bhonsle and Mohd Rafi.

In that sense, today’s song is one of very few duet songs of Kavi Pradeep appearing on the blog and one of the rare songs of Kavi Pradeep.

I would request knowledgeable readers to throw more light on the film and its songs.

Let us enjoy the song now.


Song-Tunnak tunnak boley re mera iktaara re (Ram Navami)(1956) Singers-Asha Bhonsle, Kavi Pradeep, Lyrics-Kavi Pradeep, MD-Bulo C Rani

Lyrics

Tunnak tunnak bole re
mera iktaara re
mera iktaara re
mera ek taara aa
Prabhu hai sabhi ka paalanhaara re
O o o
Prabhu hai sabhi ka paalanhaara re
Srijanhaara
taaranhaara
Raajanhaara re

tunnak tunnak bole re
mera iktaara re
mera ek taara aa
Prabhu hai sabhi ka paalanhaara re

Prabhu to jagat ka hai naath
uske bal ki hai kya baat
karta raat ko parbhaat
ho o ji
dukhiyon ka bhi deta saath
sukhiyon par bhi uska haath
na karta kisi ki ghaat ho o ji
O pardesi saahukaar
kar lo prabhu se kuchh pyaar
utthh jaayega ye bazaar ek din
saara re

tunnak tunnak bole re
mera iktaara re
mera ek taara aa
Prabhu hai sabhi ka paalanhaara re

sun le re bhatakte praani
din din ghat rahi zindagani
jaise nadiya ka ho paani
ho o ji

ye duniya to hai re phaani
do din ki yahaan mehmaani
kal ki baat kisne jaani ho o ji
bajaao re zor se khadtaal
todo re dharam ka jaal
dekho aa rahaa hai kaal ka banjaara re

tunnak tunnak bole re
mera iktaara re
mera ek taara aa
Prabhu hai sabhi ka paalanhaara re

————————————-
Devnagari Script Lyrics (Provided by Avinash Scrapwala)
————————————-
तुनक तुनक बोले रे मेरा इकतारा रे
मेरा इकतारा रे
मेरा एकतारा आ
प्रभु है सभी का पालनहारा रे
ओ ओ ओ ओ
प्रभु है सभी का पालनहारा रे
सृजनहारा
तारणहारा
राजनहारा रे
तुनक तुनक बोले रे मेरा इकतारा रे
मेरा एकतारा आ
प्रभु है सभी का पालनहारा रे

प्रभु तो जगत का है नाथ
उसके बल कि है क्या बात
करता रात को परभात हो ओ जी

हो ओ ओ ओ ओ

दुखियों का भी देता साथ
सुखियों पर भी उसका हाथ
न करता किसी कि घात हो ओ जी

ओ परदेसी साहूकार
कर लो प्रभु से कुछ प्यार
उठ जाएगा ये बाजार एक दिन
सारा रे
तुनक तुनक बोले रे मेरा इकतारा रे
मेरा एकतारा आ
प्रभु है सभी का पालनहारा रे

सुन ले रे भटकते प्राणी
दिन दिन घट रही जिंदगानी
जैसे नदिया का हो पानी
हो ओ जी
हो ओ ओ ओ ओ

ये दुनिया तो है रे फानी
दो दिन कि यहाँ मेहमानी
कल कि बात किसने जानी हो ओ जी

बजाओ रे जोर से खडताल
तोडो रे धरम का जाल
देखो आ रहा है काल का
बंजारा रे
तुनक तुनक बोले रे मेरा इकतारा रे
मेरा एकतारा आ
प्रभु है सभी का पालनहारा रे


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 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 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 Sudhir, a fellow enthusiast of Hindi movie music and a regular 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.

Aap Se Humko Bichhde Huye, Ek Zamaana Beet Gaya” – a classic from the 1969 film ‘Vishwaas’. Interesting story behind this song. Kalyanji Anandji had composed this song to be sung by Mukesh. On the day of the recording, for some reason, Mukesh could not be present. Kalyanji Anandji, for the sake of utilizing the recording session, decided to record the song anyway, in another voice. The song was supposed to be re-recorded when Mukesh would be available again for recording. Later, when re-recording was being discussed with Mukesh, he happened to listen to the song that was already recorded. So impressed was he with the voice and the rendering of this specific song, he insisted that the song be retained and included in the film as recorded. Thus was launched the singing career of a mechanical engineering graduate, who had come to Bombay initially, not to become a singer.

Wishing Manhar Udhas many happy returns of his birthday (13th May).
Read more on this topic…


This article is written by Pamir Harvey, 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.

After celebrating R. D. Burman’s 500th song on the blog with the grand medley of English songs from Bombay to Goa (1972), we are coming to the last song from this movie to be covered on this blog.

The name of the movie suggests that this is a road movie. As usual a road movie needs to have a main character, who undergoes a transformation and realizes his/her past mistakes and comes back to the straight and narrow. The main character of this plot is Mala (Aruna Irani). She is on the run after having witnessed a murder. She boards a bus, which goes from Bombay to Goa.
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.

“Maa Ka Aanchal” (1970) was produced and directed by Jagdev Bhambri for Harintaraj Films. The movie had Sanjeev Kumar, Abhi Bhattacharya, Anjana(Mumtaz), Leela Mishra, Jagdev, Sheela.R., Satpal Nishan, Sushma, Johnny Whisky, V.Gopal, Gopal Segal, Amol Sen, Dilip Dutt, Deena Nath, Master Rattan, Abdul, RajKumar Dutt, Abdul etc in it.
Read more on this topic…


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.

Fabulous Foot Tappers – 1
– – – – – – – – – – – – – –

The write up on this music director by AK ji (see here) opens with the lead in comment, that “. . . his music towers over his films”.  I am whole heartedly in agreement with this comment.  As he goes on to say that just “. . . one song of his – “Paas Baitho Tabiyat Bahal Jaayegi” (‘Punarmilan’, 1964) sung by Rafi Sb is enough to give him immortality.”  And then one reviews the list of films with him as the music director – ‘Main Aur Mera Bhai’ (1961), ‘Punar Milan’ (1964), ‘Ek Saal Pehle’ (1965), ‘Chale Hain Sasural’ (1966), ‘Suhsila’ (1966) aka ‘Subah Zaroor Aayegi’ (1977), and then of course the iconic ‘Jai Santoshi Maa’ (1975) – the film that gave its run for the money, in a stiff competition to the big time grosser of the same year (viz. ‘Sholay’), and still continues to be on the list top grossing films of all time.  About two decades of active work in the industry, with just sixteen films listed against his name.  But then, as AK ji says, it is just one song that confers immortality on him.

Remembering music director C Arjun on the anniversary of his passing away today (30 April).
Read more on this topic…


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.

‘. . . given a chance, I’d choose to be an actress all over again.’ Closing words in an interview that she gave ten years before she passed away in 2000.  She is the recipient of the very first Filmfare award for best female supporting role – she won it for her portrayal of a young fisherwoman, Mohnia, in the film ‘Baadban’ (1954).

Remembering Usha Kiran, on the anniversary of her birth today (22nd April).
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.

“Aankhon Aankhon Mein”(1972) was produced by Shankar Singh, J Om Prakash and Vijay Kumar and directed by Raghunath Jhalani. The movie had Rakesh Roshan, Rakhee, Pran, Raj Mehra, Tarun Bose, Sachdev, Tun Tun, Pran, Dara Singh Randhawa, Achla Sachdev, Pankaj, Indu Shivraj, Krishan Dhawan, V Gopal, Coca Cola, Madhu Apte, Sanjana, Meena T, Lata Arora, Jay Shree T, Madhumati, Moolchand etc in it.
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 is his 400th article in the 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.

MISSING GEMS FROM THE GOLDEN 50s…Song No. 18….LAST SONG OF THIS SERIES
—————————————————————————
Today’s song is from film Bewaqoof-60. This is the last song of this series. This series has been very interesting and it gave a pleasure of discussing songs from the 50’s decade. Some of the songs were well known and popular in those times and the most others were good enough to provide nostalgic feelings.

Today’s article happens to be my 400 th article on this Blog. I started writing consistently on this Blog from 1-10-2012. Thanks to ATUL ji’s encouragement and active substantial help in writing Lyrics for me,I was able to reach the figure of 400 articles on songs in 30 months. This is an average of about 13-14 songs every month. During these months,our readers from all over the music loving world gave comments of appreciation,which worked as a motivation for me. In this period,I did 21 series of songs on different Themes. My endeavour has always been to present forgotten pearls from Hindi films and side by side,provide useful,unique information on films, songs, singers, composers, actors, directors, production houses, mythology and behind the scene stories.
Read more on this topic…


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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 11100 song posts by now.

Total number of songs discussed

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