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Archive for the ‘Bhajan’ Category


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.

phir na keejey meri gustaakh nighaai ka gilaa
dekhiye aapne phir pyaar se dekha mujhko

Sahir Ludhainvi wrote this couplet in the height of his courtship with a Sikh girl during his college days in the early 4Os. His sitting with this companion in the lawn of the college led to his expulsion from the college. There was no chance of his love blossoming in to a marriage because of the different class and religious background. The girl got married and he relocated himself to Lahore in 1943. His failure in love, a troubled childhood and the bad experiences during his stay in Lahore made him bitter. Note the transformation of Sahir from the following couplet:

ham ghamzaada hain laayen kahaan se khushi ke geet
denge wahi jo paayenge iss zindagi se ham

Incidentally, both these couplets were recited in the film ‘Pyaasa’ (1957). Sahir wrote a full song using the first couplet as mukhda for the film ‘Phir Subah Hogi’ (1959).

No doubt, Sahir Ludhianvi appropriately named his first collections of Urdu poems ‘Talkhiyaan’ (Bitterness) which got published in 1945.

Thebook also has a short and interesting foreword which indicates his state of mind:
Duniya ne tajurbaat o hawaadis ki shakl mein jo kuchh diya hai wo lauta raha hoon.

With the publication of ‘Talkhiyaan’, Sahir became famous as a poet. This book was always in demand as can be gauged by the fact that up to now, 25 editions in Urdu and 14 editions in Hindi have been published. According to one of Delhi based publishers, ‘Talkhiyaan’ is the most published work in Urdu after ‘Diwan e Ghalib’. Some of the nazms and ghazals in ‘Talkhiyaan’, the list of which is given below (not exhaustive) have been used in Hindi films in shorter versions as well as in the diluted form for the easy understanding of the songs.

Chakle (jinhe naaz hai hind par wo kahaan hain)

Taj Mahal (meri mehboob kahin aur mila kar)

Khoobsoorat Mod (chalo ek baar phirse ajnabi ban jaaye hum dono)

Mataa e Ghair + Hiras (pyaar par bas to nahin hai)

Intezaar (chaand maddham hai aasmaan chup hai)

Kabhi Kabhi (kabhi kabhi mere dil mein khayaal aataa hai)

Main pal do pal ka shaayar hoon (main pal do pal ka shaayar hoon)

Mohabbat Tark Ki Maine (mohabbat tark ki maine)

Tang aa chuke hain (tang aa chuke hain)

Most of these nazms and ghazals have some anecdotes behind their inclusion in the films which I propose to discuss in my articles some other time. Interestingly, none of nazms and ghazals listed above was suggested by Sahir Ludhianvi for include in films.

October 25, 2O14 is the 34th death anniversary of Sahir Ludhianvi. Even after over 3 decades of his death, Sahir continues to retain his iconic status in the Hindi film industry even among the current generation. To the best of my knowledge, Sahir Ludhianvi is the only poet-lyricist of Hindi film industry whose personal life, traits and works continue to attract attention from the theatre. Danish Iqbal wrote a musical play ‘Sahir’ which was staged for the first time in 2O1O. The success of the play has prompted a couple of Hindi film producers to attempt to make a biopic film on Sahir Ludhianvi. Yet another Hindi play ‘Ek Mulaaqat’ based on the unrequited love between Sahir and Amrita Pritam has been making waves in the theatres.

True to his name, Sahir (magician) was really a magician in weaving a mix of fitting Urdu and Hindi words in his lyrics in such a way that the people at large could get the broad meanings behind those verses. Javed Akhtar, in his younger days, had once asked Sahir Ludhianvi as to how he could use some hard Urdu words in his lyrics and yet make them understandable to masses. Sahir Ludhianvi had explained to him that if a line in the verse had some hard Urdu words, he would try to write the preceding and the succeeding lines of that verse in lighter words in such a way so as to derive the broad meaning of the line with hard Urdu words.(This was revealed by Javed Akhtar in one of the T V episodes ‘Classic Legends’).

Much has been said about Sahir Ludhianvi in books, media, TV channels and of course on some dedicated websites on him. But his stature in the realms of Hindi film industry as well as in Urdu literature coupled with his personality traits is such that there will always be insatiable appetite to know more about him. I am a great admirer of Sahir Ludhianvi’s film songs and of his non filmy poems. But these are not the only reasons for my admiration for him. I admire him for his courage of convictions even though for some, it may tantamount to a display of arrogance.

I admire 13 year old Sahir Ludhinavi for choosing to stay with his pauper mother rather than staying with his wealthy father thus foregoing the luxuries of life. That was his response when the Judge gave him the options on a case filed by his father against his divorced mother for the custody of his only son.

I admire Sahir Ludhianvi for his filmy songs and poems highlighting the role of the mother and chgampioning the cause of woman’s emancipation. There are well known songs from Sadhana (1958), Baabar(196O), Trishul (1978) etc. But I regard his famous nazm Chakle highlighting the inhuman treatment of women in brothels to be the mother of all his nazms. What amazed me in this nazm is the Sahir’s courage (may be his inner conviction) to compare the women in brothels as belonging to the same species as that of daughters of Radha and Zulekha. If this was to be written in today’s environments, probably, Sahir would have invited the wrath of the fundamentalists.

I admire Sahir Ludhainvi for courageously managing his filmy career in the aftermath of his casual remarks about his lyrics rather than music being the reason for the success of ‘Pyaasa’ (1957). For this remark, he became persona non grata to S D Burman and O P Nayyar, two of the top music directors of that time who refused to work with him. The other two top music directors of that time viz., Shankar Jaikishan and Naushad had their own dedicated lyricists. Earlier, on the issue of lyricists versus playback singers, he had a tiff with Lata Mangeshkar which resulted in her refusal to sing songs written by him. Normally, in these kinds of situations, one would come to the conclusion that the filmy career of Sahir Ludhianvi was almost over. But to the utter surprise of the doomsday predictors, Sahir Ludhainvi came out successfully with the second line of music directors (as they are called in Bollywood terminology but in terms of compositions, they are first rate music directors) in ‘Dhool Ka Phool’ (1958), ‘Phir Subah Hogi’ (1959) and ‘Barsaat Ki Raat’ (196O).

I admire Sahir Ludhainvi for being a frank, honest and forthright individual in saying that Shailendra deserved Filmfare Award for best lyricist for his song mat ro mataa laal tere bahutere (Bandini, 1963) instead of his song Jo waada kiya wo nibhaana padega(TajMahal) (Taj Mahal, 1963) which won him Filmfare Award. He did not attend the Filmfare Award function, 1964 to receive his trophy. It may be mentioned here that Filmfare Awards are based more on the popularity of the song than the literary value of the lyrics. The song for which Sahir got award was on the top of Binaca Geetmala chart for a long time.

Lastly, a bit trivial but nevertheless good enough for me to admire Sahir Ludhianvi’s special nazm which he wrote and recited it on the occasion of his facilitation with a gold medal by Government College, Ludhiana as a part of its golden jubilee celebrations in 1971. The nazm titled ‘Nazar e Kaalij’ he wrote and recited on this occasion, shows Sahir Ludhianvi in full of humility. The full nazm is here. Notwithstanding the fact that it was the same college which expelled him sometime in early 4Os for sitting with his girl friend in the college lawn, the nazm indicates his emotional bond with the college. For instance, note the last stanza of the nazm:

iss sarzameen pe aaj ham ik baar hi sahi
duniyaa hamaare naam se bezaar hi sahi
lekin ham in fazaaon ke paale huye to hain
gar yahaan ke nahi to yahaan se nikaale huye to hain

After his death, the auditorium of the same college was named as Sahir Ludhianvi Auditorium.

Sahir Ludhianvi was an atheist. One would rarely find in his collections of poems, any verse reflecting the praise of or prayer to God. But in so far as filmy songs are concerned, he wrote some beautiful devotional songs in ‘Devdas (1955), ‘Pyaasa (1957), ‘Hum Dono (1962), ‘Kaajal (1965) etc. What is of significance is that this atheist could discuss religious philosophy in such related songs. If ye ishq ishq hai ishq ishq has a shade of Sufiana philosophy, sansar se bhaage phirte ho and man re tu kaahe na dheer dhare are theological discussions on the Hindu philosophy of life. I have personally derived some comfort from the following lines of Sahir to console myself whenever some of my close family relations and friends departed for heavenly abode:

utnaa hi upkaar samajh koi
jitnaa saath nibhaa de
janam maran kaa mel hai sapnaa
ye sapnaa bisraa de
koi na sang mare

Incidentally for public at large, the song man re tu kaahe na dheer dhare is known more for the Rafi’s rendition than for coming out of Sahir’s pen.

According to Prakash Pandit, one of Sahir’s close friends since his Lahore days, after the death of his mother in 1978, he had decided to quit the film industry to concentrate writing Urdu poetry. As it is, he was under pressure from his PWA friends such as Ali Sardar Jafri and Kaifi Azmi by their caustic remarks that Sahir had completely submerged into Hindi film industry and he was neglecting writing Urdu nazms and ghazals. But before he could get freed from the commitments of Hindi films, he breathed his last on October 25, 198O.

On the occasion of the death anniversary of Sahir Ludhianvi, I have selected a lesser known devotional song penned by him for the film ‘Chambal Ki Kasam’ (1980). The song is ‘parmeshwar rakhwaala teraa’ sung by Lata Mangeshkar and composed by Khayyam. The song ends abruptly in the video clip as dacoits on horseback enter the house. I liked the song on the audio clip as there are no sounds of horse riding which, in my view, obstructs the flow of divinity of the song in the video clip. So I have given both the links.

Remembering Sahir Ludhianvi with this beautiful bhajan in the divine voice of Lata Mangeshkar.

Video

Audio

Song-Parmeshwar rakhwaala tera (Chambal Ki Kasam)(1980) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Khayyam

Lyrics (based on video clip)

parmeshwar rakhwaala teraa
parmeshwar rakhwaala
parmeshwar rakhwaala teraa
parmeshwar rakhwaala
wo hi maata
wo hi pita hai
wo hi maata
wo hi pita hai
maine to bas paala aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala

sukh sapne saakaar huye ae
sukh sapne saakaar huye
jab maine tujhko paaya aa
teen lok kaa saain tere
sar par rakkhe saaya
tu mera nanha manmohan
tu mera nanha manmohan
tu mera nandalaala aa aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala

jis daata ki den hai tu u
jis daata ki den hai tu
uss par mamta balihaari
nis din mehke lehke tere
jeewan ki phulwaari ee
hanstaa bastaa
dekh ke tujhko
hanstaa bastaa
dekh ke tujhko
jhoome man matwaala aa aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala
wo hi maata
wo hi pita hai
wo hi maata
wo hi pita hai
maine to bas paala aa
parmeshwar rakhwaala teraa
parmeshwar rakhwaala

bairi…..

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

“Bank Manager” (1959) was produced by S L Agrawal and directed by Rakhan for Movie Stars, Bombay. the movie had Kamini Kaushal, Shekhar, Minu Mumtaz, K N Singh, Radhakishan, Tuntun,Baalam, Jamal, Daraj, Prem, Rajan Kapoor, 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.

“Guide” (1965) was directed by Vijay Anand for Navketal International, Bombay. This movie had Dev Anand, waheeda Rehman, Kishore Sahu, Leela Chitnis, Jaageerdaar, Anwar, Ulhas, Rasheed Khan, Parveen Paul, Poornima, Khirhan Dhawan etc in it.
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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.

Today’s song is from an obscure mythological film Veer Arjun-1952. It is sung by G M Durrani. It is a Bhajan. Durrani has hardly sung any bhajans in his career,so in a way,this is a rare song. Moreover the bhajan starts with Sanskrit shlokas, which Durrani has sung with surprising ease and clarity. He must have really taken lot of efforts to do this.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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

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

In the mid 50s,there were several religious movies and hundreds of melodious Bhajans in them. Those readers who were grown up enough to enjoy Radio in that period will recall several bhajans from that era which had become commonplace in most household. Today we will enjoy one such bhajan from the film Tulsidas-1954.
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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.

We Indians are known to be inquisitive about the personal lives of others, more so in the semi-urban and rural settings. Historically, this trait may have come from community living in hamlets where there were closer ties with families through interactions. This also helped in keeping abreast with what was happening around them. Inquisitiveness is not confined to India alone. It has also been observed in other developed countries, though to a lesser extent. I have personally experienced it in a couple of European countries.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Sati Narmada” (1950) is a movie few people have heard about. This forgotten movie was directed by Ishwarlal for Abhimanyu Chitra productions. The movie had Jeevan, Sulochana Chatterji, Umakant, Salvi, Babu, Raje 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.

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Atul Song-A-Day 10K Song Milestone Celebrations – 13
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When this blog began in 2008, there were very few visitors and hardly any comments. Everyone needs encouragement, and a blog like this was in sore need of visitors.
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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 10400 songs post by now.

Total number of songs discussed

10404

Number of movies (All songs covered)

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