atul's bollywood song a day- with full lyrics

Archive for the ‘Guest posts’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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

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

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

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

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

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

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

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

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

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

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

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

Listen and enjoy.


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

Lyrics

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

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

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

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

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

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

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

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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:

Bada huwa to kyaa huwa jaise ped khajoor
Panthi ko chhaaya nahin phal laage ati door

[Eminence or greatness is useless like date trees.
Neither do they provide shade for travellers nor their fruits].
The two liners is a typical of Kabir using the examples from our day to day life to bring out the wider underlying philosophy and realities of life. This makes the rural folks to whom his poems are usually addressed, easy to understand. In his poems, Kabirdas has mainly relied on nature like river, sea, trees, mountains, sky and other earthly objects as metaphors to drive his views on philosophy of life. And these are coming from a person who never studied in school. But he had a Guru in Sant Ramanand Swami who left for heavenly abode when Kabirdas was barely in his teens. But the knowledge he received from his Guru in a short period of time made him from Kabir to Sant Kabirdas. The importance he gives to Guru (Spiritual Master) in his poems can be judged from a Doha among many which I had studied in my school days

Guru Govind dono khade kaake lagoon paay
Balihaari guru aapno Govind diyo milaay

[I faced both my Guru and Govind (God). Whom should I touch feet first?
I submit to my dear Guru who showed me the path to God].
The life sketch of Kabirdas is shrouded with many myths and legends. There are some variants of his early life available on the websites depending up on which Kabir Panthis (religious sects) had written. I have gone along with the general perception of his early days which, more or less, match with my understanding of his life I had studied in my school text book.

Sant Kabirdas (C.1440-C.1518) was born to a Brahmin widow who, fearing the disrespect from the society, being born outside the marriage, abandoned the newborn near a pond at the outskirt of Banaras. The newly born was picked by a muslim couple belonging to weavers’ family who brought him up. Since childhood, Kabirdas was fond of the company of sadhus and saintly persons through whom he came to know about Sant Ramanand Swami, a crusader of social evils in Hindu society. At first, Ramanand Swami was not keen to make him his disciple. But a chance encounter with him at one of the ghats of Ganga in Banaras changed his impression about him and took him as his disciple.

Kabirdas believed in formless God. He was opposed to the idea of idol worship. He denounced superstitions and religious dogmas. His approach to religion was practical and humanitarian as was evident from his poems. Some of his Dohas are hard hitting towards the religious dogmas and hypocrisy of both Hindu and Muslim.

Hindu barat ekadashi saadhe doodh singuada seti
Ann to tayaage man ko na hatake paaran karen sagauti

[Hindus observe fast on ekaadashi but eat water chestnuts with milk.
They give up regular food but do not control their mind. After breaking the fast, they eat meat].

Turuk roza nimaz guzaare bismil bang pukaare
Inki bihist kahaan se howe sanjhai murgi maare

[Turks (Muslims) observe the fast (during ramazan) and offer namaaz.
From the minaret, they loudly utter ‘Bismillah’.
How can they go to heaven when in the evening they kill chickens?]
He never gave his preaching either in the temples or mosques. Instead he preferred to address the folks at the road side or at his house while doing his daily job of weaving.

Because of his open denouncement of some of the established religious traditions, Kabirdas became the enemies of both pandits and Mullahs alike. It is said that during the last phase of his life, he was forced by some influential people of Banaras to leave the place as retaliation for his preaching. He shifted from Banaras to Maghar (now in Sant Kabir Nagar district) along with his disciples and died there in C. 1518. It is said that he deliberately chose Maghar to leave this world just to break the myth that those who die in Banaras gets the salvation and those who die in Maghar go to the hell. Soon after his death, there was dispute between his Hindu and Muslim followers as to how his last rites would be performed. It is said that when the veil over his dead body was lifted, they found only flowers. These were divided between Hindus and Muslims and they performed his last rites according to their religious traditions.

Kabirdas did not write down any of his poems. They were all ‘baanis'(utterances) mostly in Bhojpuri dialect. It was only after his death that most of his ‘baanis’ were written down by his disciples in the form of Dohas and Sakhi. Bijak, a compilation of poems of Kabirdas serves as a religious book for the followers of Sant Kabirdas. Some of the poems of Kabirdas are also a part of Guru Granth Saheb, the holy book of Sikhs.

As I said earlier, unlike other poets of Bhakti Movements, bhajans of Kabirdas were addressed to a formless and omnipresent God. His bhajans are called nirguni (without attributes). In his devotional poems, there is a blending of Sufism with Vedantic principle of Atma (Soul). In most of his poems, Guru plays a prime role in attainment of salvation.

I am presenting one of Kabirdas’ nirguni bhajans ‘sunta hai guru gyaani’(1978) sung and composed by Pandit Kumar Gandharva in Raag Ahir Bhairav. At the outset, like any poem of Kabirdas, this one also looks simple. But when I tried to understand the meaning, it turned out to be complicated one for me. There are many translations of this devotional poem available on the websites. While most of them are transliteration of the poem without going into the deeper interpretation, a few have very complex interpretations bringing in the concepts like Naad Bindu and Aham Baani into a wider connotation of Naad Yogaasan and Shaiva philosophy, respectively. My view is that since Sant Kabirdas addressed his poems and Dohas mostly to downtrodden rural folks, he must have used these words as figurative speech. I have attempted a translation in English keeping in view the overall philosophy of life preached by Sant Kabirdas.

sunta hai guru gyaani
gagan mein aawaaz ho rahi hai jheeni

A wise man hears a faint sound of solemn music (of salvation) from the sky.

pahile aaye naad bindu se peechhe jamaya paani
sab ghat puran puru rahya hai alakh purush nirbaani

The soul originated from naad bindu (shunya or dot of celestial music).
Thereafter, He filled water in earthen vessels in full
who is a mute alakh purush (Supreme God).

wahaan se aaya pata likhaaya trishna toone bujhaai
amrut chhod so vishay ko dhaave khol de phaans phansaani

The soul arrived from there (naad bindu) to this world with a name here
for quenching the thirst (desire). But in this process, one forgot that he had
left nectar (the eternal peace) and opted for poison (worldly desires)
thus getting caught in his own trap.

gagan mandal mein gau bhi aani bhoi pe dahi jamaaya
maakhan maakhan santon ne khaaya chhaachh jagat bapraani

The cow of knowledge is milked in the celestial sphere
which is turned into curd for benefit of everyone on the earth.
The learned men opt for the butter (cream of knowledge) from the butter milk
while the rest are happy with residual butter milk (residual of knowledge).

bin dharti ek mandal deese bin saruvar joo paani
gagan mandal mein hoye ujiyala bol guru mukh baani

See the circle (sphere) beyond the earth as one sees the water beyond the lake.
If one follows this principle, the celestial sphere lights up, says the Guru.

(The underlying philosophy here seems to be that of oneness as against dualism.
The other interpretation could be that one should look at the substance and not the matter).

oham soham baaja baaje trikuti dhaam suhaani
ida, pingala, sukhaman naadi sun dhwaja phahraani

The music of Oham Soham makes the trikuti dhaam pleasant.
The energies from Ida, Pingala and Sukhman naadis (channels)
flow freely in the body upon listening to devotional songs.

[ Oham= Who am I?, Soham= You are I. In other words, there is no difference
between the Creator and creation. Soham is uttered in meditation while
inhaling and exhaling the breath. Trikurti Dhaam= Confluence of holy place.
Naadis are part of Kundalini Yoga].

kahe Kabir suno bhai saadho jai agam ki baani
din bhar re jo nazar bhar dekhe ajar amar ho nishaani

Listen O ascetic man, says Kabir. Understand the words of ‘Agam’.
If one looks with focus throughout the day (soul searching),
they make an eternal symbol in the mind (of getting pure bliss).

[ ‘Agam’ here probably refers to a collection of nirguna compositions,
the philosophic treatises of Shaiva saints of the North India].
Irrespective of the interpretations of this nirguni bhajan, listening to it in the voice of Kumar Gandharv has a soothing effect.


Song-Sunta hai guru gyaani (Kumar Gandharv NFS)(1978) Singer-Kumar Gandharv, Lyrics-Kabir

Lyrics

aa aaa
aa
aaa
suntan hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai

pahile aaye
aaye
aaye
pahile aaye
naad bindu se peechhe
jamaaya paani
paani
ho ji
pahile aaye
naad bindu se peechhe
jamaaya paani
paani
ho ji
sab ghat pooran pooru rahya hai
alakh purush nirbaani ho ji
nirbaani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai

wahaan se aaya
wahaan se aaya
pata likhaaya
wahaan se aaya
pata likhaaya
trishna taune bujhaayi
bujhaayi
trishna taune bujhaayi
bujhaayi
amrut chhod chhod
vishay ko dhaave
amrut chhod chhod
vishay ko dhaave
ulti phaans phansaani ho ji
phansaani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
sunta hai ae ae
sunta hai
sunta hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani

gagan mandal mein
mandal mein
gagan mandal mein gau biyaani
gagan mandal mein gau biyaani
bhoi pe dahi jamaaya
jamaaya
bhoi pe dahi jamaaya
jamaaya
maakhan maakhan
santon ne khaaya
maakhan maakhan
santon ne khaaya
chhaachh jagat bapraani ho ji
bapraani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani

sunta hai ae ae
sunta hai
sunta hai
sunta hai
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani

bin dharti ek
ek
bin dharti ek mandal deese
bin dharti ek
aaaaa
aaaaa
bin dharti ek mandal deese
bin dharti ek mandal deese
bin sarovar jyun paani re ae
bin sarovar jyun paani re ae
gagan mandal mein hoye ujiyaala
gagan mandal mein hoye ujiyaala
bole guru-mukh baani ho ji
mukh baani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
sunta hai ae ae ae
sunta hai
sunta hai
sunta

oham soham baaja baaje
oham soham baaja baaje
trikuti dhaam suhaani re ae
trikuti dhaam suhaani re ae
ida pingala sukhaman naadi
ida pingala sukhaman naadi
ida pingala sukhaman naadi
sun dhwaja phaharaani ho ji
phaharaani ho ji
sunta hai guru gyani
gyaani
gyaani
gyaani
gyaani
sunta hai guru gyaani
gyaani
gyaani
gagan mein aawaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
sunta hai guru gyaani
gyaani

kahe Kabira
Kabira aa
kahe Kabira
suno bhai saadho
kahe Kabira
suno bhai saadho
jayi agam ki baani re ae
jayi agam ki baani re ae
din bhar re jo nazar bhar dekhe
ajar amar ho nishaani ho ji
nishaani ho ji
sunta hai guru gyaani
gyaani
gyaani
gyaani
gyaani
gagan mein awaaz ho rahi
jheeni
jheeni
jheeni
jheeni
jheeni
jheeni
sunta hai guru gyaani
gyaani
gyaani


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Till 1947, Hindi films were made in Bombay, Lahore, Calcutta and Poona. Most studios were located in these cities. South Indian language films were made mainly in Madras and Bangla films were made in Calcutta and Dhaka.

The Partition in 1947 changed the picture completely. Wholesale polarisation took place. Producers of Hindi films had to flee from Lahore, leaving everything behind them and some artists from Bombay left for Pakistan. Thus, after Partition, the exclusive centre for production of Hindi films was only Bombay. By 1950 things settled in India and Pakistan Film Industry.

Telugu film producers shifted to Hyderabad, Kannada films to Bangalore and Malayalam to Kerala. Madras, however,still made films other than Tamil, like Telugu Hindi etc. But now it was only Remakes of successful Tamil films or dubbed films. The 50s saw many Hindi films dubbed from southern languages(Read Tamil/Telugu). Initially, they were Mythological, Fantasy or costume films. In the 60s, however even social films were remade.

Film production in Madras is very methodical and professional. They make films as per plans and in planned times. For this reason, in the 60s to 80s many Hindi film actors volunteered to to make films in south. The producers in south too had their favourites. In the Music area, there were,Ravi ,C.Ramchandra or Madan Mohan, for lyrics and story, Rajinder Krishna and Pradeep, and actors were Jeetendra, Rajendra Kumar,Sunil Dutt and Mehmood.

Though Polarisation took place in film production, the attraction to come to Bombay and work here continued. Artists from various centres still came to Bombay.
The biggest contribution came from Bengal, in the areas of music, direction and acting. Artists from South tried their hand with Hindi films, either by Remade or dubbed films. Thus the greatest south actors like Sivaji Ganeshan, M G Ramchandran, N T Rama Rao, A.Nageshwar Rao, Jayalalita, Janaki, Susheela, Prem Nazir of the older generations and Rajanikanth, Kamal Hasan and Chiranjeevi from the next Generations were seen in Hindi films.

In the music department also, many composers like K.Narayan rao, C.Balaji, S.Rajeshwar Rao, C R Subramanyam, E Shankar, R Sudershanam, Ramesh Naidu, Adi Narayanrao, Vishwanath-Rammurthy, Lingappa etc worked in Hindi films.( Only Dr.Rajkumar, the Kannada Superstar never worked in Hindi films. In fact, except for just 1 Telugu film, Shri Kalhasti Mahatmyam, Dr.Rajkumar never worked in any other language film.)

There is one name from South, which was so famous, that it is surprising that he too gave music to Hindi Films. His name is GHANTASALA.

Most people from outside south may not know this name, but he was a legend in Sothern languages as a Singer and Composer.

GHANTASALA VENKATESWARA RAO was born on 4-12-1922 in a Telugu Bramhin family of Mr.Soorayya, who was a great singer himself. Ghantasala lost his father very early and was brought up by his maternal uncle. After education in college and Karnatak music, he joined the ‘quit India’ movement and was jailed for 18 months. After the sentence was over, he started working in earnest. On someone’s advise, he joined films and did some small roles.

His first film as a MD was ” Mana Desam”, also a debut film for N T Rama Rao. Some sources claim that his debut was with film ” Laxmamma”. After this there was no looking back. Ghantasala became very famous. He sang in Telugu, Kannada, Tamil, Malayalam and Tulu as well as Hindi.

Ghantasala has sung over 10000 songs in southern Languages. He was MD for more than 100 films in south.

Ghantasala’s first Hindi film as MD was Pataal Bhairavi-1952, a Hindi remake of the Telugu blockbuster. His assistant in this film was A.Krishnamoorthy, who knew Hindi very well. He also gave music to Jhanda ooncha rahe hamara-64, Pandav vanvaas-73 and Lav-Kush-74.-all remakes/dubs of Telugu films. In film Rani-52, a remake which had D C Dutt as composer, Ghantasala sang his first Hindi song.(Though this song with a personal commentary by the collector is on You Tube, Gantasala’s daughter refuses to accept that this is Ghantasala’s song).

Ghantasala( This was his surname-his first name being Venkateswara Rao-which was never used by anyone.) died on 11-2-1974 at Madras. He was a Padmashree and a Postage stamp was released with his photo, in his honour on 11-2-2003.

Today we will see and enjoy a song from Pataal Bhairavi-52. This was a production of Vijaya Vauhini studios, produced by B.Nagi Reddy and Chakrapani( He is the same person who was also the Editor of Chandamama Magazines). This film broke all the records of Box office in Andhra and other southern states. So a Tamil retained even in the Hindi version, because Malathi was proficient in speaking, reading and writing Hindi fluently.

Incidentally, after this film, N T Rama Rao started his own Production Studio-Ramkrishna Studios-in Hyderabad.

Vijaya Vauhini studios and the Chandamama offices were located in Vadapalani, a suburb of Madras. In 1980,I had an opportunity to see the studios and also meet Mr.Chakrapani in Chandamama office,through one of my friends in Madras.

PATAAL BHAIRAVI-52 was directed by K.Venkat Reddy and the music was by Ghantasala (Asstt.-A.Krishnamurthy). Lyrics were by Pt.Indra. There were 9 songs ,sung by Talat Mehmood, G M Durrani,Geeta Roy, Kamala Devi and Jikki (P G Krishnaveni). Jikki is one of favourite singers from South,apart from P.Suseela.

The story of Pataal Bhairavi is a Fantasy, full of drama, dances, Magic, Sword Fights, Heavy costumes, palaces and lot many Trick scenes.

Ramu(N T Rama Rao) is the son of an ordinary gardener, who falls in love with Princess Indumathi(Malathi) of Ujjain Kingdom. While the Rajmata has no objection, the king does not approve of a commoner..So, Ramu decides to become rich and meets a mantrik (S V Ranga Rao) who promises to make him rich in quick-time. Actually, the Mantrik wants to sacrifice Ramu to the Goddess ( Girija) to propitiate her and get rich himself.

Ramu comes to know of the mantrik’s plan and plays the game in such a way that instead of Ramu, the Mantrik is sacrificed to the Goddess, who appears before Ramu and makes him rich and powerful. Meanwhile, the king is attacked by a big enemy, but Ramu helps the king and defeats the enemy and saves the kingdom. The king is now in his favour and Ramu not only gets married to Indumathi but is also declared the heir Apparent to the king’s throne.

There are many trick scenes and sword fights in the film worth seeing. It is said that actor RANJAN helped the producers in shooting the sword fight scenes.

( The story was once again remade in 1985, with Jeetendra as Ramu, Jayaprada as Indumati and Kader Khan as the Mantrik. Shoma Anand played the Goddess Patal Bhairavi.)

Here is a melodious song from this film. This is a solo song by Talat Mehmood. After hearing the song, one may be reminded of the song from Barsat-49 – “Bichhade huye pardesi” by Lata Mangeshkar. Those days it was a common and mutually approved way of copying tunes from Hindi-Telugu films, nevertheless Talat song has its own charm too. Enjoy…


Song-Bichhad gaye jo saathi (Paataal Bhairavi)(1952) Singer-Talat Mehmood, Lyrics-Pt Indra Chandra, MD-Ghantasala

Lyrics

bichhad gaye jo saathi
bichhad gaye jo saathi
phir na milenge kya
bichhad gaye jo saathi

bikhhre phoolon ke kaanton se ae
poochh rahi hai bulbul ro ro o
bikhhre phulo ke kaanton se
poochh rahi hai bulbul ro ro
ujde gulshan armaanon ke phir na khilenge kya aa aa
bichhad gaye jo saathi

ulfat roothi kismat roothi
rooth gayi duniya saari
ulfat roothi kismat roothi
rooth gayi duniya saari
bujhe huye ye charaag dil ke
phir na jalenge kya aa
bichhad gaye jo saathi

kya kya thhe armaan hamaare
kya kya thhin ummeeden aen
kya kya thhe armaan hamaare
kya kya thhin ummeeden aen
dil hi dil mein rone waale
phir na hansenge kya aa
bichhad gaye jo saathi
phir na milenge kyaa aa
bichhad gaye jo saathi
bichhad gaye jo saathi


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.

It has been raining fairly much all day yesterday. It was raining when I woke up today morning. Seemed like a good pleasant day starting. The weather in Delhi had been humid and windless for past two three days. Yesterday was a welcome break and today is a day with brightness that comes after rain. With nothing particular for reference, the mind had been humming the lines since I woke up.

barsaat mein
humse miley tum sajan
tumse miley hum
barsaat mein

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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.

= = = = = = = = = = = = = = = = = =

The Many Colors of Love #20 – The Ticklish Aches of Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

And so wrote the scribe

pyaar ka. . . dard hai
pyaar ka. . . dard hai
meetha meetha. . . pyaara pyaara
meetha meetha. . . pyaara pyaara
ye haseen. . . dard hi
ye haseen. . . dard hi
do dilon ka. . . hai sahaara
do dilon ka. . . hai sahaara

Aah, to be young at heart, and in love – the emotion carries one to the top of the world. And really, there is a tickle of a lovely pain in the heart when this emotion starts to spread its wings. When just a mere mention of a name, or even just the thoughts of that someone special, will trigger this hastened heartbeats and a rising feeling, that it is difficult to restrain from staying still. The phrase – ‘pulling at the strings of the heart’ – has been oh so aptly coined. Literally it seems as if something is pulling at the heart. And the ache that follows is so full of pleasure. For the thoughts of that someone special are joining this ache, in a delectable conspiracy that brings this loveable tingling sensation. And the heart wants to just soak itself and remain submerged in this fluidy flow of emotions and sensations.
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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.

Film industry is one industry where men and women have to work together. Whether it is Actor-director or Singer-Composer, for the sake of work they have to spend much time together. No wonder then that Cupid does his work overtime. Sometimes there are mutual attraction and at times there are one sided fires burning. In most cases the one sided fire is extinguished in a very painful way, like what P L Santoshi faced with actress Rehana or the slap Sanjiv Kumar got from actress Nutan.
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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 our film industry,there were 2 types of actors. One-who were lucky and did not have to struggle at all to become successful as a Hero and Two-those who had to struggle hard to be a hero and successful. We are NOT talking about actors like Raj Kapoor, Shammi or Shashi kapoor or R D Burman, for whom already there was a base made by their fathers in the industry facilitating their acceptance and opportunities. However there are examples like Mehmood -son of a successful actor Mumtaz Ali and some other star sons who had to struggle hard to create their own space in the industry.
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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.

The best period of HFM’s melody was the 50s. Countless sweet melodies were brought out by talented composers. The whole atmosphere in India that time was highly conducive to the growth and spread of Indian film industry. newer markets were being added for overseas exhibition,thus making the actors and singers earn more.
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This article is written by Mahesh Mamadapur, 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.

Legendary singer Mukesh was born in Delhi, on July 22, 1923 in a middle class family consisting of 10 children. Mukesh was the sixth of the siblings. The lure of films always appealed to Mukesh and as such he was less interested in studies. After his matriculation in a municipal school he was able to get a job of assistant surveyor in Delhi’s department of public works through his father. However, after just seven months of service, Mukesh ran away to Mumbai to become another KL Saigal whose adherent fan he had been all along. Even in school, Mukesh was known as “junior saigal” and the lunch breaks often involved the young Mukesh rendering his favourite Saigal numbers to his peers amongst whom Roshan Lal would be one on the harmonium.
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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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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has exactly 10200 songs post by now.

Total number of songs discussed

10200

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