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

I had listened to most of the audio clips of Begum Akhtar’s ghazals and other semi-classical songs uploaded on YT. She had rendered ghazals of many well known Urdu poets like Ghalib, Mir, Daagh, Momin Khan Momin, Faiz Ahmed Faiz, Jigar Moradabadi, Firaq Ghorakhpuri, Behzad Lucknowi etc. In the later part of her singing carrier, she sang ghazals of the then emerging poets like Shamim Jaipuri, Shakeel Badayuni, Kaifi Azmi, Sudarshan Faakir, Amir Qabalbash etc. Jigar Moradabadi was one of her favourite poets. Begum Akhtar started singing his ghazal sometime in the second half of 30s when Jigar was already popular among the mushiara audience because of his captivating style of rendering his poetry. Because of his popularity, he was called ‘people’s poet’.

Begum Akhtar fell in love with Jigar Moradabadi’s Diwan when she first started reading it for selecting a few ghazals for composition and renditions in the concerts. From the poetry, she surmised that the poet must be a romantic person. Eventually, she fell in love with him without even meeting him. At one time, she used to sing only his ghazals in concerts with great fondness. Despite requests from the audience for singing some other poets’ ghazals, she would shrug off by saying that she had prepared to sing only his ghazals.

Her ‘crush’ for Jigar Moradabadi was so intense that one day after finding out Jigar’s residential addressed, she sent him a letter expressing her admiration of his Diwan and proposing to marry him. She said ‘you are a poet and I am a singer. We should unite and make a great couple’. Jigar Moradabadi sent his reply telling her that she had only read his Diwan but had not seen him. He advised her not to dream about looking at him as he was not the one suited to be her lover. The reference to ‘not to look at him’ was a pointer to the fact that Jigar Moradabadi did not consider himself to be a good looking person. On the day she received his ‘letter of rejection’ one of the ghazals she sang in her concert was a gloomy ghazal of Ghalib:

Ye na thhi hamaari kismat ke visaal-e-yaar hota
Agar aur jeete rehte yehi intezaar hota

[I was not fortunate to join with my beloved.
If I had lived longer, it would have been an endless wait.]
Note: The source of the anecdote mentioned above is ‘Ae Mohabbet… Reminiscing Begum Akhtar’ written by Prof. Rita Ganguli, one of her senior disciples.

Jigar Moradabadi remained one of her favourite poets and she continued to sing his ghazals until her death in October 1974.

I have selected for this write-up one of Jigar Moradabadi’s ghazals which she composed and sang in the concerts during the days of her ‘crush’ for the Poet. The ghazal is ‘koi ye keh de gulshan gulshan’. Begum Akhtar had composed this ghazal and sang in concerts sometime in latter half of 30s, but it was recorded for HMV sometime in early 50s (Record No. N.88304). Five out of 19 couplets of the ghazal have been included in the record version to fit in 78 RPM disc space.

Enjoy this khushnuma (joyous) ghazal in a sonorous voice of Begum Akhtar in her birth centenary year 2014.


Song-Koi ye keh de gulshan gulshan (Begam Akhtar NFS)(1950) Singer-Begam Akhtar, Lyrics-Jigar Muradabadi

Lyrics

aa aa aa
aa aa aa
aa aa aaa
aa aa
aa aa aa aa
koi ye keh de gulshan gulshan
koi ye keh de gulshan gulshan
laakh balaayen aen
laakh balaayen
ek nasheman
laakh balaayen
ek nasheman
koi ye keh de

phool khile hain gulshan gulshan
an an
lekin apna apna daaman
lekin apna apna daaman
koi ye keh de

aaj na jaaaane
raaz ye kyaa hai
ae ae ae
hijr ki raat aur itni raushan
hijr ki raat aur itni raushan
koi ye keh de gulshan gulshan

rahmat hogi ee
aa ee eee
taalib e isyaan
rashk karegi paaki e daaman
rashk karegi paaki e daaman
koi ye keh de

kaaaanthon kaa bhi
haq hai kuchh aakhir
kaun chhudaaye apna daaman
kaun chhudaaye apna daaman
kaun chhudaaye
koi ye keh de gulshan gulshan
ko…i

——————————————–
Meaning of some words used in the ghazal

Laakh balaayen = Plenty of trouble
Nasheman = Nest, Resting place
Hijr ki raat = Night of separation
Rahmat = Mercy, Clemency
Taalib-e-isyaan = candidate/aspirant for rebellion
Rashk = Envy
Paaki-e-damaan = sanctity or purity of character

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

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Atul Song-A-Day 10K Song Milestone Celebrations –46 (Song number 10001)
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The other day, I received a phone call from an unexpected quarter – Bhole and Chhote, the adopted ‘kids’ of Atul, lodging a sort of complaint against their Master that they have been neglected in his Blog for a long time.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Atul Song-A-Day 10K Song Milestone Celebrations – 34
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The number 10000 is an important milestone. In cricket, batsmen aggregating 10000 runs or more in test matches and One Day Internationals (ODIs) are considered iconic batsmen. In athletics, athletes participating in 10000m run are regarded as persons of great endurance. It is the ultimate aim of long distance runners to win the 10000m running competition to prove their prowess. I find that there are 9 batsmen in test matches and 10 batsmen in ODI cricket who have achieved the distinction of aggregating 10000 and more runs. There may be nearly hundred athletes who have won 10000m run in recognised athletic competitions.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Before the advent of cinemas in India, Parsi theatres played the role of a catalyst for transmitting social, historical, political and religious messages to the people at large. The owners of theatres were rich and educated Parsis. Alfred Theatrical Company of Bombay (Mumbai) and Madan Theatres Ltd. in Calcutta (Kolkata) were two of the prominent theatre companies. With the successful staging of some of the plays by these two theatre companies, the audience from all the strata of the society and of different religious background started patronising the plays. The themes of the plays were diversified to cater the needs of the audience. With this, the theatre companies were always looking for play writers and stage actors.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

A young sarangiya (sarangi player) from Lahore becomes the sarangi accompanist to some of the female singers such as Inayatbai, Hirabai, Akhtaribai (Begum Akhtar) etc in their concerts in the late 1920s for a living. In such concerts, he also sings thumris composed by his uncle as fillers during breaks.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The lyricist, the music director and the singer are the trinity who are involved in the making of film songs, making their own contributions in popularising the song. However, right from the early days of talkies films 1931, the lyricists have remained in the shadows of music directors and singers. I have some 78 RPM records of films of 40s which do not contain the names of lyricists. Even All India Radio and Radio Ceylon (Sri Lanka Broadcasting Corporation) rarely used to announce the name of the lyricists while airing Hindi film songs.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Muzaffar Ali is one of the few Hindi filmmakers who spearheaded what was known as parallel cinemas during 70s and 80s. He came into the scene of parallel cinemas when some of the films under this tag such as Mrinal Sen’s ‘Bhuvan Shome’ (1969), Mani Kaul’s ‘Uski Roti’ (1969), Kumar Sahani’s ‘Maya Darpan’ (1972), M S Sathyu’s ‘Garam Hawa’ (1973), Shyam Bengal’s ‘Ankur’ (1974) etc were critically acclaimed. Being low budget films, some of these films fared well at the box office.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

hamri atariya pe aajaa re saanwariya dekha dekhi tanik hoi jaaye

This is the mukhda of the song from the film ‘Dedh Ishqiyaa’ (2014) which I partly heard for the first time during the promotion of the film on various TV channels in December 2013. I was very happy that in the era of Hindi film music where loud songs with high velocity instrumentation and the meaningless lyrics are the order of the day, this semi-classical song had also found a place in the scheme of things of the modern day movie makers.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

There has been a close relationship between Urdu/Hindi poets and Hindi film industry especially after the advent of talkie films in 1931. Arzoo Lucknowi, Faiyaaz Hashmi, Behzad Lucknowi, Dr. Safdar ‘Aah’ Sitapuri, D N Madhok, Pandit Indra Chandra, Pandit Madhur, Kavi Pradeep, Pandit Narendra Sharma and many more were part of the Hindi film industry in the 30s and 40s.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is my small tribute to Ustad Amir Khan (15/08/1912 – 13/02/1974) on the occasion of his 40th death anniversary which falls on February 13, 2014. He was the founder of the Indore Gharana though personally he did not like to be associated with any gharanas. He maintained that he belonged to the Hindustani gharana and other gharanas were like its sub-branches. But his disciples gave the name of Indore gharana for his unique style of rendition.
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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 10000 songs post by now.

Total number of songs discussed

10022

Number of movies (All songs covered)

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