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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.

Basics of Music- Part III (Raag and Thhaat)
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In part I, we introduced swars and mentioned that combination of swars constitutes melody. In part II, we introduced the concept of Rhythm (taal) and mentioned that it is the combination of melody and rhythm that makes music what it is today.

Each of the two parts were quite heavy duty stuff for people not exposed to such stuff earlier. I got some comments on part I, but hardly any for the second part, which may mean that these concepts may have been going above the heads of readers. Nevertheless, these concepts are vital and they needed to be introduced. Here is the third part of the discussion on basics of music.

Here, we will dig deeper into swars. In part I, we mentioned that there were seven basic swars in all and they belonged to one saptak (normally called madhya saptak). The saptak above madhya Saptak is called taar saptak, while the saptak below madhya saptak is called mandra saptak, each containing the same swars. We can have taar taar saptak as well as mandra mandra saptak too, but they are mostly theoretical in nature. In practice, one deals with swars belonging to madhya saptak and its adjacent saptaks, viz taar saptak and mandra saptak at the most.

Notes are combined to form scales of melody. In Hindustani classical music these melodic scales are called Raag. So, we can define a raag as a melodic scale consisting of seven swars. The different combination of these swars in their various permutaions and combination give rise to diffferent raags.

At least five swars are required to be used in a melodic scale in its aaroh as well as avroh before it can qualify to be called as a raag.

Different characteristics of raag

Characteristic of raag Explanation Remarks
Swars Raag must have pre defined swars in it
Thaat Family of Raags Raags with same aaroh swars belong to a thhaat
Jaati Classification based on number of swars used in the raag Raag may have five (audhav jaati ), six (shadav jaati ) or seven (sampoorn jaati) swars in it
Swars in Aaroh /Avroh Based on number of swars in aaroh and avroh Sampoorn-sampoorn (if 7 swars in aaroh as well as avroh), audhav-sampurna (if 5 swars in aaroh and seven swars in avroh), etc
Based on significant swars Most sigificant note is called Vaadi swar, second significant note is samvaadi swar
Based on characteristics For instance, based on its characteristic pakad etc.
Based on time of the day Raags are classified based on time of the day

All human beings in the world are divided into various zodiac categories based on their birth dates. Likewise all raags are divided into their own Zodiacs, called Thhaat based on the commonality of swars used in them. A thaat must have seven notes out of the twelve notes [Seven Shuddha, Four komal (Re, Ga, Dha, Ni), one teevra (Ma)], placed in an ascending order. Both the forms of the notes can be used. There are ten thaat in all. A thhaat is named after one of the member raags of that thaat. (courtesy: http://indian-classical-music-hindustani.blogspot.in/2011/07/thaats.html. Thanks to Reshma Hingorani for her brilliant blog)

(Note-m means shudhh madhyam, M means teevra madhyam, small letters for other swars means komal swars)

Name of thhaat Swars in aaroh Description Member raags
Bilaawal S R G m P D N S’ All seven shudhh swars used in aaroh Alahiya-Bilawal / Alahiya Bilaval, Asa Bhavani, Bhinn Shadaj / Kaushik Dhawani, Bihag / Bihaag, Bihagda, Bilaval, Chakardhar, Chandrika, Chitmohini, Deepak (Bilaval), Deshkar, Devgiri Bilaval, Durga (Bilaval), Gunkali, Hansdhavani, Hem Kalian, Jairaj, Jaldhar Kaidar, Janranjani, Kakubh, Kamal Ranjani, Lachhasakh, Lajvanti, Mevada, Nat Bihag, Nat Bilaval, Pahadi, Patbihag, Ras-chandar, Ras-ranjani, Sarparda, Shankara, Shukal Bilaval, Yamani Bilaval
Khamaj S R G m P D n S’ Replace N of Bilawal thaat with n Champak, Champakali, Des, Durga (Khamaj), Gara, Gaud Malhar, Gawati, Gorakh Kalyan, Hans Shiri, JaiJaiVanti, Jhinjhoti, Jog, Kalavati, Kamai, Kamboji, Kantal Varali, Karunk Varali, Khamaj / Khamaaj, Khambavati, Khokar, Lankeshiri, Madhuri, Malgunji, Rageshri, Saraswati, Shyam Kedar, Sorath, Tilak Kamod, Tilang
Kaafi S R g m P D n S’ Add g to Khamaj Thaat Abhogi, Abhogi Kanada, Ahiri, Badhans Sarang, Bageshiri / Bageshri, Bahar, Barva, Bhim, BhimPalasi, Brindavani Sarang, ChandraKauns, ChandarNandan, Daulti, Deshkhya, Dhanashri, Dhani, Gara, Gaud Malhar, Gope, Kamboji, Hans Manjari, Hanskankani, Husseini Kanada, Jaikans, Jayant, Jog, Kafi / Kaafi, Kaunsi Kanada, Kohal,
Kohla, Madhukauns, Madhuranjani, Madmaad Sarang, Manavi, Megh Malhar, Megh, Mian Ki Malhar, Nayaki Kanada, Patdeep,
Piloo, Ramdasi Malhar, Shahana, Shahana Kahnda, ShiriRanjani, Shivranjani, Shudh Sarang, Surdasi Malhar, Vijaya
Asawari S R g m P d n S’ Add d to Kafi thaat Anand Bhairavi, Asavari, Darbari Kahnda/ Darbari, Desi, Dev Gandhar, Gandhari, Gopi Basant, Jangla Jheelaf (Asavari), Jaunpuri, Kaunsi Kanada (combination of malkauns and darbari), Khat, Komal Desi
Bhairavi S r g m P d n S’ All komal swaras, r g d n Bhairavi, Bhupali Todi, Bilaskhani Todi, Kaunsi Kanada (combination of malkauns and darbari), Komal Rishabh Asavari, Malkauns
Bhairav S r G m P d N S’ Komal r and d(bhairavi thaat minus komal g & n) Ahir-Bhairav, Bhairav, Gauri, Gunkali, Jogiya, Kalingada, Meghranjani, Nat Bhairav, Ramkali, Vibhas (When rendered with Komal D, falls under Bhairav Thaat)
Kalyan S R G M P D N S’ Teevra Madhyam Bhoopali / Bhopali, Chandarkant, Chandini Kedar, Chhayanat, Durga Kalian, Gaud Sarang, Hameer, Hindol, Jait Kalian, Kamod, Kedar, Lakshami Kalyan, Nand, Shiri Kalyan, Shudh Kalyan, Shyam Kalyan, Vejayanti, Viranchumukhi, Yaman / Yaman, Yaman Kalyan
Marwa S r G M P D N S’ Add r to Kalyan thaat. Bhankar, Bhatiyaar, Bibhas / Vibhas, Lalit When rendered with Shuddha D, falls under Marwa Thaat, Marwa, Puriya Kalyan, Puriya, Sohini
Poorvi S r G M P d N S’ Add d to Marwa thaat.
In lalit, r and d are Komal; M both Teevra and Shuddha. P not used. All other notes are Shuddha. When rendered with Shuddha D, Lalit also falls under Marwa Thaat
Basant, Gauri, Lalit, Paraj, Poorvi, Puriya Dhanashri Shree
Todi S r g M P d N S’ Add g to Purvi thaat – King of all thaats Gujari Todi, Lilavati, Madhuvanti, Miyan Ki Todi, Multani Todi

I realise that this part contains quite heavy duty stuff. But these are useful reference material that I have tried to bring together at one place for ready refrerence. After this heavy dose, the subsequent doses would be milder in comparison.

Having discussed a great deal about “Raag” in this writeup, let us listen to a Hindi movie song based on Raag Bageshwari. If one looks at the table of “Thhaat” above, one can make out that this raag belongs to Kaafi thhaat. So it uses the swars S R g m P D n S’

Details of this raag are

Scale
Aaroha : n s,g m,D n S
Avaroh : S n D ,m P D, g R S

Vadi : Madhyam (Ma)
Samavadi: Shadaj (Sa)

Jaati :Audhav Sampoorna

Varjit Swara – R P in Aaroh

Time for this raag-Madhya Raatri (Middle of night)

This song based on Raag Bageshwari is from “Raadha Aur Seeta”(1979). This song is in two parts. Part I is sung by Hemlata. Part II is sung by Hemlata and Suresh Wadkar. Ravindra Jain is the lyricist as well as the music director.

The song is picturised on Abha Dhuliya and Arun Govil.

Part I

Part II

Song-Man ki baat jab honthon pe aane ko ho (Raadha Aur Seeta)(1979) Singers-Hemlata, Suresh Wadkar,Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

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Part I (Female solo)
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hmm hmm hmm
ho o ho

man ki baat jab honthon pe aane ko ho
aur bhi koi geet gaane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
Man ki baat jab honthon pe aane ko ho

aisa sanyam bhi kya
jo sapnon ke bhi paaon rok de
aaye koi pathhik
?? nainon ke ??
tok de
laalsa jo kuchh
laalsa jo kuchh
khone paane ko ho
tinke chun chun ke
ghar banaane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
man ki baat jab honthon pe aane ko ho

bandhanon se pare
an-dekhe bandhan prem preet ke
jin mein bandh ke hriday
kabhi prashan kare ??
haar jeet ke
jab koi khushi
jab koi khushi
paas aane ko ho
koi apna sab kuchh lutaane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
Man ki baat jab honthon pe aane ko ho

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Part II (Duet)
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an-kahi
an-suni ee
baaton ko madhu antar mein dhaal ke
sukh ka anubhav karo o
yoon hi sukh sapno ke deep daal ke
kuchh bataane ko
kuchh bataane ko
kuchh chhupaane ko ho
bela kehne ki
phir na aane ko ho
kya ho
man aise mein jo keh de
abhi nahin
abhi nahin
phir kabhi ee
man ki baat jab honthon pe aane ko ho

kalpana kya kare
yadi kehne waala
maun saadh le

srishti dekhe kise
do nainon ko jab laaj baandh le
dhairya ka baandh
dhairya ka baandh
toot jaane ko ho

aur phir bhi na man bataane ko ho
kab tak
yoon hi kehti rahogi
abhi nahin
abhi nahin
phir kabhi ee

man ki baat jab honthon pe aane ko ho


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.

THE VELVET MAGIC-TALAT DUETS
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We are starting a New series-on Talat Mehmood’s film songs-especially the Duets. Talat songs are my favourites and I am in the company of a large number of music lovers on this issue. His soulful, sad and melodious songs and everlasting duets are heard all over the world even today. Some of his duets with Lata, Asha, Shamshad and Geeta are very famous, but not many people are aware that Talat sang a wide variety of duets with many singers. From Suprova Sarkar in Calcutta to Hemlata in Bombay,Talat’s range of singers includedMubarak Begum,Sudha malhotra,Madhubala Jhaveri,Surinder Kaur,Suman Kalyanpur,Sulochana Kadam,Ameerbai karnataki,Rajkumari etc among the females and Kishore kumar,manna Dey, mukesh,Rafi,Balbir etc among the male singers.

Out of the total 450 songs that Talat sang, 325 songs are already posted in this Blog. That leaves us with just 125 more songs, but locating these songs is not that easy. Perhaps some C grade and stunt film songs may not have their songs issued on records. One will have to search with collectors ( I hope our Sudhir ji is reading this). Out of these 325 songs, there are 55 duets with Lata, 34 with Asha and 18 with Geeta Dutt.

Talat started his career as a singer first, then became an Actor, then a singer and again an Actor and then again a Singer. All this jumping around from one activity to another activity gave the impression that Talat is not serious about his career. This cost him dearly and he lost his place in film music sooner than in due course of time. Talat accepted this in several interviews. Here are some parts of one of his interviews, as found on Cineplot (it has been edited by me for this article)…

“He was born into a highly cultured, but conservative, family in Lucknow. Music interested him to such an extent that he studied it as a subject in Lucknow’s Morris College. Often, he sang for the All India Radio, Lucknow. Later, he signed on with HMV. He had to go to Calcutta in 1941 for the recording sessions, which was when he was spotted by the famous New Theatre bosses.

Talatsaab was an extremely handsome young man. ” P K Sanyal of New Theatres wanted me to sign me on as an actor,” Talatsaab recalled his early days in Calcutta. “I had no objections, really. But my father was a bit upset, though he came around finally.”

Calcutta was the scene of hectic filming during the early 1940′s. Talatsaab’s first film, Raj Lakshmi, co-starred Kanan Bala and Chhabi Biswas. Released in 1945, the film did fairly well and was followed by ‘Tum aur Main’with kanan Devi and Samapti with Bharati Devi . Talatsaab had never trained as an actor. He performed by instinct and picked up tips by watching his co-actors on-screen.

“I enjoyed acting,” recalls Talatsaab. “And these were soft, romantic roles in films that has a number of songs. The films of this era followed the singing hero concept very closely.” But the handsome actor, at 22, faced a peculiar problem. Most of his heroines like Kanan Bala and Kanan Devi were older than him and the pairing, at times, looked distinctly odd.

During the late 1940s, the focus of movie making shifted from Calcutta to Bombay. Like several other young aspirants, Talatsaab also made the change. He was warmly welcomed; his reputation had preceded him. Music director Anil Biswas gave him a break in Arzoo and his playback singing for Dilip Kumar proved to be a major highlight of the film.

During the early 1950s, Talatsaab was sought after by every leading music director. He lent his voice to every single top hero, from Dilip Kumar to Bharat Bhushan. In 1951, he made a guest appearance in the Dev Anand-Madhubala starrer, Aaram, sitting at the piano as he rendered that memorable number,Shukriya shukriya. The film was not much of a success, but the song is hummed even today.

His first role as a hero in a Bombay film, though, only came in 1953. “(A R) Kardarsaab chose me as the hero for his film, Dil-E-Nadaan,” explained Talatsaab. Newcomer Peace Kanwal, the winner of a beauty contest organised by Kardar and the Kolynos toothpaste firm, was the heroine.

Dil-E-Nadaan was a soft, romantic triangle with Talat, the singer, being wooed by two women, Peace Kanwal and Shyama. The music score by Ghulam Mohammad produced everlasting hits like Zindagi denewale and Yeh raat suhani raat nahi.
Dil-E-Nadaan’s music became the rage. And Talatsaab became a sought-after hero in Hindi films. Then followed Daak Babu (with Nadira), Waris, Raftar (Nadira and Naaz) and Diwali Ki Raat (Roopmala, Shashikala and Leela Mishra). In the last mentioned, the elegant Talatsaab played a taxi driver.

Well known director Satyen Bose directed him in the 1957 hit, Ek Gaon Ki Kahani (Mala Sinha). Producer S U Sunny – who had made the Dilip Kumar starrers, Babul and Udan Khatola – cast the singer-duo of Suraiya and Talat Mahmood in Maalik. The innovative Khayyam scored the music for Lala Rookh, a fantasy where Talatsaab starred with Shyama.

“I never did more than one or two films at a time,” Talatsaab recalled. “I also noted the difference between filming in Bombay and filming in Calcutta. Unlike the more artistic Calcutta where movies were made at a slow pace, Bombay was commercial. Life was hectic. Everyone was in his own world and was, of course, very professional.”

What kind of an impact did Talat Mahmood make as an actor?

The great singer thought a while and then candidly admitted, “Listen, I was not competing with stars like Dilip Kumar, Dev Anand or Ashok Kumar. But, in those days, soft, romantic films were appreciated and singing hero like me could do well.” His films were not box office bonanzas. Neither were they disasters which disappeared without trace, days after their release. Three of his films – Waris, Sone Ki Chidiyaand Ek Gaon Ki Kahani – were much-appreciated hits.

Talat Mahmood’s major drawback was that, quite often, he held himself back in crucial romantic scenes. His self-consciousness showed. He could not essay violence and comedy. But he was adequate as an emotional actor. And he had a large female following.
From 1956, Talat Mahmood regularly went on foreign tours. The concerts – held in the UK, the US, the Gulf and even the distant West Indies – were superb. But as he acted in films and spent months abroad on concerts, music directors and producers had to look for other playback singers. As a result, Talatsaab lost out on some memorable films like Madhumati.

Some of the music directors felt that, having turned actor, he would not be easily available as a playback singer. As Talatsaab’s son, Khalid, explained, “Also, Father would never ask for favours. Not would he undercut anyone. He was, and is, a thorough professional and a gentleman.”

By the mid-1960′s, film music had changed. Shammi Kapoor, with his boisterous Yahoo image, had arrived. There were fewer opportunities for a voice like Talatsaab’s. But the concerts continued, so did the recording of private ghazals. The government honoured him with a Padma Bhushan and Doordarshan made a documentary on him . ”

When Talat started ha acting career in Calcutta his first film was Rajlaxmi-1945. he was given a role of a Sadhu in this and he sang his Debut Hindi Film song “Jaago musafir jaag0″. His acting in this film was below par. His second film was Tum aur main-1947. here too he had a side role and just one duet with Suprova Sarkar. In his 3rd film at Calcutta- “Sampatti”-1949 he became a singing hero first tie.,opposite the veteran Bharati Devi. Talat had 2 solos and 2 duets with Suprova Sarkar again. In the period 45 to 47 and 47 to 49 he sang some Hindi and Bangla NFS. He sang in Bangla with the name Tapan Kumar.

We begin this series with his duet with Suprova Sarkar in film Sampatti-1949. Actually in his both the earlier 2 films,he worked along with Kanan Devi,but he has no song with her . Suprova Sarkar’s name is not much widely known outside Bengal,because she stayed put in Calcutta and sang in only Hindi films made there.

Suprabha Ghosh was born on the 25th of September, 1919. Her father was Upendranath Ghosh and her mother Champaknalini. Suprabha’s first training in music was from her parents, both music lovers. Champaknalini gave her lessons in devotional songs. Formal training started from Dhrupadia Shishir Guha and thereafter from Tarapada Chakraborty. Her entry into music world as a professional happened when she was only thirteen, with her participation in Galpadadur Asar in All India Radio, Calcutta. In the forties she was a regular in the live early morning programme Mahishashurmardini from A.I.R. and her association with the radio was almost life long. In the last years of her life Suprabha Sarkar was associated as trainer of Nazrul songs.

In 1942, Suprabha Ghosh got married to Advocate Sudhir Chandra Sarkar but unlike many singers of her time Suprabha did not have to quit singing after marriage even after becoming the mother of two sons. 1942 onwards all her records carried the name Suprabha Sarkar. Her first gramophone record was published from Senola Musical Products Company in February, 1936.

In 1949, Suprabha Sarkar turned composer and set to tune Rodana Tomar and Jibane Amar Na Bola Katha, both written by Manik Basu. However, after this she never did the job of music direction. Suprabha’s association with Kaji Nazrul Islam dates back to the days of making of the N.T. film Sapurey (1939).

Earlier, in 1935, Suprabha had the historic opportunity to sing in the first playback song in Indian films along with Parul Biswas and Miss Harimati in Bhagyachakra (1935), the song being Mora Pulak Jachi Tabu Sukh Na Mani and the Hindi version Dhoop Chhayon (1935), the song Main Khush Hona Chahoon. Some research workers give the name of Umashashi as one of the singers.

The other singers in this quite long song were Krishna Chandra Dey and Ahi Sanyal. Their names as playback singers have not been included probably because they sang for themselves. The popularity of the Jiban Maran (1939) song gave Suprabha Sarkar a permanent place in Bengal’s playback singing. Kundan Lal Saigal was so moved by her voice that he presented a harmonium to her. A very precious gift indeed and Suprabha preserved the instrument and used it all her life.

Suprabha got less work for films and basic discs and she withdrew herself from the show business. However she could never detach herself from music and continued to serve as a teacher in institutions like Rabindra Bharati University, Surtirtha Sangeet Bidyalay and above all All India Radio where she was appointed trainer of Nazrul songs. Apart from official associations, she gave regular music lessons to a host of students.

Suprova sang in Hindi films like Dhoop chhaon,Maya,Mukti,Anath Ashram,President,Dushman,KapalkundalaWapas,Amiri,Hamraahi,Baap,Tum aur main,Anjangard and Sampatti.

Jovial by nature, Suprabha Sarkar was also famous for her short temper. However, she was popular with her colleagues and juniors and was Bardi , meaning elder sister, to all. In the seventies, Suprabha Sarkar was interviwed on television by poet Pulak Bandyopadhyay. She rendered several songs, some in bits and some full showing what control she had over her voice even at that age. She breathed her last on 23rd of September, 1989.

Let us now enjoy this early song of Talat. Can you notice that the famous tremor or ‘kampan’ (it is called LARGISH technically. लार्जीश ) is almost absent in this song. may be it became pronounced later in his Bombay stay.
(My thanks to Cineplot and Dr. J.P.Guha for information used herein).


Song-Mujh ko apna banaaya kisne (Sampatti)(1949) Singers-Talat Mehmood, Suprova Sarkar, Lyrics-Pt Bhushan, MD-Timir Baran

Lyrics

Mujh ko apna banaaya kisne
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone ae
dil mein dard uthhaaya kisne
toone sajaniya toone
dil mein dard uthhaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone ae
toone aankhon se aankh milaayi
mere man mein aag lagaai
toone aankhon se aankh milaayi
mere man mein aag lagaai
toone meethhi boli boli
toone meethhi boli boli
mere man ki duniya doli ee
mere man ki duniya doli

preet ka rog lagaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone ae

o phoolon sang hansne waali
dil ki kali khila jaa aa aa
o phoolon sang hansne waali
dil ki kali khila jaa aa
sun ja meri raamkahaani ee
sun ja meri raamkahaani
apna geet suna jaa aa aa
apna geet suna jaa aa

mujhko yoon tarsaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone
dil mein uthhaaya kisne
toone sajaniya toone
toone sajaniya toone ae
mujh ko apna banaaya kisne
toone sajaniya toone


This article is written by Shekhar Gupta, 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.

There are only a handful of Bollywood numbers from movies made after mid-1960s that I really long to hear. Lest I may be misunderstood, this is a statement of personal preference by this music-illiterate, not necessarily an adverse commentary on the later years’ work.

One such post mid-1960s number is Anand Bakshi’s “Tum aaye to aaya mujhe yaad, gali mein aaj chaand nikla” from the Mahesh Bhatt written-and-directed Zakhm (1998) which has Alka Yagnik crooning at her very best in the Lata idiom under the baton of M.M. Kreem.

“Zakhm” is about a Muslim girl (played ever so superbly by Pooja Bhatt – her screen name never becomes clear in the movie). She is in love with a Hindu film producer Raman Desai (played by Nagarjuna) and married to Raman secretly because of their different faith. Their marriage remains unaccepted by Raman’s domineering mother and he is pressurized by her to marry (again) with another girl of her choice – Sonia (Sonali Bendre). While Raman still financially supports his Muslim wife, he visits her only occasionally as she struggles to raise her young son Ajay (played by Kunal Khemu), and later another son Anand (played by Akshay Anand) born just prior to his father’s death in a car crash.

Prelude to this soulful song is young Ajay cajoling his father to visit their home – which Raman finally does. As Ajay notices his father arriving in his car downstairs, he runs to put on a gramophone record which plays this number: “Tum aaye to aaya mujhe yaad, gali men aaj chaand nikla”. His mother, dishevelled doing household chores, is puzzled as Ajay gestures towards the door. She opens the door only to see the love of her life Raman walking in.

Her emotions – first surprise, then muted joy at his sight, and finally tears welling up in her eyes telling silently the tale of the pain of loneliness, social rejection and her struggles – all play on her face; each one of which Pooja Bhatt has wordlessly portrayed on her face as exquisitely as any leading lady of the cellulite before or since her. Then, she hastily withdraws to collect herself. In the meantime, Raman takes off his shoes to show to Ajay that this time it is not a fleeting visit. After gathering herself, his wife shortly reappears before her husband to welcome him coyly, again wordlessly, but her pent-up anguish vents in her tears. The couple retreats to privacy and Ajay gets out of their way as this poignantly romantic number continues to sonorously enunciate Pooja’s emotions in the background … all of which Alka Yagnik has vocalized as soulfully as Pooja Bhatt has portrayed it movingly. Alka’s emphasized enunciation of “chaand” when repeating the line “gali men aaj chaand nikala” is simply breath-taking … with that, the allegory leaves no doubt as to who is Pooja’s “chaand”!

To complete the story, her struggles only intensify after her husband’s death in the car accident, leaving her to raise her two sons – Ajay (played by Kunal Khemu as a young boy, and Ajay Devgan as his grown-up self) and Anand (played by Akshay Anand) on her own. The fact that she has children with a Hindu man forces her to hide her faith and live her life as a Hindu lady – even in front of her young son Ajay. But Ajay realises his mother is Muslim when, in the shock at her husband’s sudden death, she breaks out in Koranic verses. At that point she makes him promise to bury her according to her faith upon her death, for only through a proper burial would she be able to reunite with her lover and husband Raman in heaven.

When the grown-up Ajay’s mother dies of burns much later, he prepares to bury her in accordance with the Muslim rites as per her wishes. By this time Sonia too has learnt about her mother-in-law’s gross injustice towards Raman’s real love and first wife … and lends her support to a determined Ajay. But Ajay’s task is impeded by the fundamentalist leader Subodh Bhai (Ashutosh Rana) who is hell-bent to exploit their private tragedy as a Hindu-Muslim issue for his political end. He incites a Hindu youth mob, including Ajay’s brother Anand, a youth leader by then, to prevent Ajay from burying his mother. When Anand finally realizes Subodh Bhai’s real intentions, he stands-up for his brother to make Subodh Bahi back out. Anand then helps Ajay bury their mother as per the Muslim tradition as she had wished … and she is shown to finally reunite with Raman in heaven in the end.


Song-Tum aaye to aaya mujhe yaad gali mein aaj chaand nikla (Zakhm)(1998) Singer-Alka Yagnik, Lyrics-Anand Bakshi, MD-M M Kreem

Lyrics

Tum aaye to aaya mujhe yaad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
tum aaye to aaya mujhe yaad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
tum aaye to aaya mujhe yaad
gali mein aaj chaand nikla

ye naina bin kaajal tarsen
baarah maheene baadal barsen
suni rab ne meri fariyaad
suni rab ne meri fariyaad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
tum aaye to aaya mujhe yaad
gali mein aaj chhand chaand nikla

aaj ki raat jo main so jaati
khulti aankh subah ho jaati
main to ho jaati bas barbaad
main to ho jaati bas barbaad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla

maine tumko aate dekha
apni jaan ko jaate dekha
jaane phir kya hua nahin yaad
jaane phir kya hua nahin yaad
gali mein aaj chaand nikla
gali mein aaj chaand nikla
gali mein aaj chaand nikla
jaane kitne dinon ke baad
gali mein aaj chaand nikla


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.

Songs to Tickle Your Memory – 20
– – – – – – – – – – – – – – – – – –

Just in his early twenties, he was already managing a music school in Lahore.  And HMV had already released a few records of non-film songs composed by him.  In 1944, he was twenty eight, when he headed to Bombay, with aspirations to be a music director in the film industry.

Remembering Hansraj Behl on the anniversary of his passing away (20th May).

He is the creator of such iconic memories like “Mohabbat Zinda Rehti Hai, Mohabbat Mar Nahin Sakti” (‘Changez Khan’,1957); “Le Chala Jidhar Ye Dil Nikal Padey” and “Din Ho Ya Raat Hum Rahen Tere Saath” (both ‘Miss Bombay’, 1956); “Bheega Bheega Pyar Ka Samaa, Bataa De Tujhe Jaana Hain Kahaan” and “Nain Dwaar Se Mann Mein Wo Aa Ke” (both ‘Saawan’,1959); “Bhool Ja Sapne Suhaane” (‘Raajdhani’, 1956); “Kitna Haseen Mera Piya Haaye Allah” (‘Sunehra Jaal’,1966); “Aaye Bhi Akela, Jaaye Bhi Akela” (‘Dost’,1954); “Dil e Nadaan Zamaane Mein” (‘Mast Qalandar’, 1955); “Moti Chugne Gayi Re Hansi Maansarover Teer” (‘Chheen Le Azaadi’,1947); and many more.  He is the creator of the timeless aria of “Jahaan Daal Daal Par Sone Ki Chidiyaan Karti Hain Basera” from the 1965 film ‘Sikander e Azam’.  And he is also the composer of the first and only film song recorded by actress Madhubala in the 1946 film ‘Pujaari’ – “Bhagwaan Mere Gyan Ke Deepak Ko Jalaa De”.

For over three decades, he regaled the movie goers with wonderful music and songs. But for all his career, he remained confined to B grade category of films.  In his active years, he was also the leading music director for Punjabi films, with a handsome number of hits to his credit.

This song from the 1959 film ‘Saawan’ is another of the memory ticklers from days we heard music turning the tuning knobs on a radio.  A wonderful composition – the lyrics are written by Prem Dhawan and the lilting melody is by Hansraj Behl.  On screen, this song is performed by Ameeta, with Bharat Bhushan playing the flute, and from the continuous smiles on his face, appears to be very satisfied being pursued by a dainty damsel.

Aah, the wonderful memories of the years gone by.  Thanks to Prakash ji for his tickler, reminding of the anniversary – his message was timely; delay is from my side.  And yes, the lyrics have also been sent in by him.
See, listen and enjoy.

Song – Kaanha Chhedo Baansuri Kanhaiyya Chhedo Baansuri (Saawan) (1959) Singer – Lata Mangeshkar, Lyrics – Prem Dhawan, MD – Hansraj Behl

Lyrics (Provided by Prakash Chandra ji)

kaanhaa chhedo ba. . .ansuri

kaanhaa chhedo ba. . .ansuri

chhaliyaa 
ooo chhaliyaa
ooo chhaliyaa…aaa

kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke

sun sun murli ki dhun pyaari
daudi daudi aaun re
sun sun murli ki dhun pyaari
daudi daudi aaun re
tann bhi doley
mann bhi doley
besudh si ho jaaun re
kajraa bhoolaa
gajra bhoolaa
kuchch aissi kho jaaun re
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke

saat suron ne jaal bichhaayaa
phans gayee meri jaan re
saat suron ne jaal bichhaayaa
phans gayee meri jaan re
cheer kalejaa jaaye phir bhi
meethi laage taan re
ho gayee ghaayal mori paayal
phir bhi naache praan re
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke

maan bhi jaao lo main haari
ab to na tarsaao jee
maan bhi jaao lo main haari
ab to na tarsaao jee
apne bas mein karke mere
mann ko na tadpaao jee
murli baaje
gori saaje
rasiyaa raas rachaao jee
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke
kaanhaa chhedo baansuri
kanhaiyya chhedo baansuri
naache raadhaa baawri jhoom jhoom ke
jhoom jhoom ke
naache jhoom jhoom ke
jhoom jhoomke
naache jhoom jhoom ke
hmmm. . . mmmmm. . .
hmmm. . . mmmmmmmm. . .

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

कान्हा  छेड़ो बां॰॰॰सुरी
कान्हा  छेड़ो बां॰॰॰सुरी
छलिया
ओss छलिया
ओss छलिया॰ ॰ ॰ आ॰ ॰

कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के

सुन सुन मुरली की धुन प्यारी
दौड़ी दौड़ी आऊँ रे
सुन सुन मुरली की धुन प्यारी
दौड़ी दौड़ी आऊँ रे
तन भी डोले
मन भी डोले
बेसुध सी हो जाऊँ रे
कजरा भूला
गजरा भूला
कुछ ऐसी खो जाऊँ रे
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के

सात सुरों ने जाल बिछाया
फंस गई मेरी जान रे
सात सुरों ने जाल बिछाया
फंस गई मेरी जान रे
चीर कलेजा जाये फिर भी
मीठी लागे तान रे
हो घायल मोरी पायल
फिर भी नाचे प्राण रे
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के

मान भी जाओ लो मैं हारी
अब तो ना तरसाओ जी
मान भी जाओ लो मैं हारी
अब तो ना तरसाओ जी
अपने बस में करके मेरे
मन को ना तड़पाओ जी
मुरली बाजे
गोरी साजे
रसिया रास रचाओ जी
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के
कान्हा छेड़ो बांसुरी
कन्हैय्या छेड़ो बांसुरी
नाचे राधा बावरी झूम झूम के
झूम झूम के
नाचे झूम झूम के
झूम झूम के
नाचे झूम झूम के
हम्ममम॰ ॰ ॰ मम्ममममम॰ ॰ ॰
हम्ममम॰ ॰ ॰ मम्ममममम॰ ॰ ॰


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.
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.

“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.
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.

“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 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.

“Ham Ek Hain” (1946) was a Prabhat Film Company Limited Production. It was directed by P L Santoshi.

This movie was the debut movie of Dev Anand, Rehman, Rane, Rehana and Kamla Kotnis. Today this movie is known for Dev Anand, but he had only played a smaller role. The biggest name of this movie at that time was Durga Khote, who played the matriarch who, in addition to her own son (played by Dev Anand) adopts boys of different religions as well as a girl of the lower caste and brings them up as her own kids. It is easy to guess that this movie was the inspiration behind lots of subsequent movies espousing the theme of unity in diversity. The name of “Amar Akbar anthony” (1977) readily comes to mind.
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.-8
————————————————

Today’s song is a Quartet of Shamshad begum with Lata, Chitalkar and Rafi, from the film-Roshni-1949.
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

11155

Number of movies (All songs covered)

667

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