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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.

The 3rd death anniversary of Ghazal King Jagjit Singh was on October 1Oth and the 76th birth day of Urdu poet and lyricist Nida Fazli was on October 12th. For the occasions, I had planned to write a combined post and had selected a song months back to be posted on the Blog in October 1Oth or 12th. But some other activities relating to travels and pre Deewali atmosphere in my house resulted in diversion of my mind and in the process, I completely forgot about writing the article for the occasion. It was only when I saw a post on the occasion of the birthday of Nida Fazli that I got reminded of my pending article. Even though anniversary dates have passed, it is never late for paying tributes.

I have selected a non-filmy ghazal ‘garaj baras pyaasi dharti par phir paani de maulaa’ (1994) written by Nida Fazli. The ghazal was composed and sung by Jagjit Singh. This is a prayer to Almighty as also a ‘wish list’ of the poet written in ghazal format. So it is more like a ‘prayer ghazal’. But behind the prayer, there is a universal message.

Nida Fazli is one of the Modern Urdu poets who started writing ghazals shedding its conventional theme of ‘talking to the beloved’. One can find in most of his ghazals, nazms, Hindi poems, Dohas (couplets) the subject of the broader inter-personal relationships, communal harmony, rural and urban landscapes, realities of day to day life etc. As he often says, he writes what he sees and experiences. He writes poems in a language which the common man finds them easy to understand. Most of his ghazals and nazms have secular touches as well. In the prayer under discussion, he brings in Maula, Meerabai and Saleeb (cross).

The lyrics of the ghazal under discussion are heart touching. Jagjit Singh adds emotions to the ghazal by his voice as well as by his composition. Note how he sings in slow tempo with only soft musical accompaniments to ensure that wordings of the ghazal are not missed by listeners in the maze of orchestration. His ghazal renditions have always been ‘bol pradhan’ (emphasis on words of the poetry). If I say that after the death of Malika e ghazal Begum Akhtar, it was Jagjit Singh, the King of Ghazals who revived the interest in ghazals. He always selected simple ghazals which were easy to understand. With his melodious voice and simple orchestration, he could take the ghazal as a form of singing to the door steps of people at large.

This heart touching prayer is relevant in the midst of disturbing developments in the world especially in the context of middle east and sectarian violence in which there is no choices for living ones to die in ease (jeenewaalon ko marne ki aasaani de maula). This is a simple poem rendered in a simple format as a message to a complicated world of today.


Song-Garaj baras pyaasi dharti par phir paani de maulaa (Jagjit Singh NFS)(1994) Singer-Jagjit Singh, Lyrics-Nida Fazli, MD-Jagjit Singh

Lyrics

garaj baras pyaasi dharti par
phir paani de maulaa
garaj baras pyaasi dharti par
phir paani de maulaa
chidiyon ko daane
bachchon ko gud-dhaani de maulaa aa
garaj baras pyaasi dharti par
phir paani de maulaa

do aur do kaa jod hameshaa
chaar kahaan hotaa hai
do aur do kaa jod hameshaa
chaar kahaan hotaa hai
soch samajh waalon ko thhodi
naadaani de maulaa
chidiyon ko daane
bachchon ko gud-dhaani de maulaa aa
garaj baras pyaasi dharti par
phir paani de maulaa

phir raushan kar zahar kaa pyaalaa
chamkaa nayee saleeben
phir raushan kar zahar kaa pyaalaa
chamkaa nayee saleeben
jhoothon ki duniyaa mein sach ko taabaani de maulaa
chidiyon ko daane
bachchon ko gud-dhaani de maulaa aa
garaj baras pyaasi dharti par
phir paani de maulaa

phir moorat se baahar aakar chaaron oar bikhar jaa
phir moorat se baahar aakar chaaron oar bikhar jaa
phir mandir ko koi Meera deewaani de maulaa
chidiyon ko daane
bachchon ko gud-dhaani de maulaa aa
garaj baras pyaasi dharti par
phir paani de maulaa

tere hote koyi kisi ki
jaan kaa dushman kyun ho o
tere hote koyi kisi ki
jaan kaa dushman kyun ho
jeene waalon ko marne ki aasaani de maulaa
chidiyon ko daane
bachchon ko gud-dhaani de maulaa aa
garaj baras pyaasi dharti par
phir paani de maulaa aa
phir paani de maulaa aa
phir paani de maulaa aa

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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.

Continuing on my series of articles on some of the offbeat films (also called parallel or middle cinemas), I have taken up for discussion an NDFC promoted film ‘Thhoda Saa Roomaani Ho Jaaye’ (1990). The film was produced and directed by Amol Palekar. The main roles were played by Nana Patekar, Anita Kanwar and Vikram Gokhale with actors like Banwari Taneja, Dilip Kulkarni, Riju Bajaj, Arun Joglekar and Deepa Lagoo donning the supporting roles. The film was extensively shot in and around Pachmadi in Madhya Pradesh. The film was critically acclaimed but flopped miserably on the box office. I get an impression from the films clips in two parts available on YT that the it was later released on Doordarshan.
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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. This is the 300th article in the blog for Mr Sadanand Kamath.

A man with a spiritual bend of mind would believe that his destiny was pre-planned even before he was born. There are others who believe that they can mold their own destiny. Shailendra was one of those who seemed to have believed that he could be master of his own destiny. That he was a member of Indian People’s Theatre Association (IPTA) indicates what destiny he had chosen for himself. He had taken up the task of awakening the Indian masses on their rights and duties in the background of post-independent India. It was therefore no surprise when he spurned Raj Kapoor of his offer of taking his inspirational song for the film Aag (1948) telling him that his poems were not for sale. However, Raj Kapoor left his address with him in case he had a change of mind.
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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.

Of late, I have been watching some offbeat Hindi movies (also called parallel cinemas or middle cinemas) on DVDs which I had bought at the time of my retirement to watch them later at my leisure. These type of films though artistically well conceived with good narrative style, the realism depicted in some of such films are too disturbing for me. Going by my experience, such well made films may not have repeat audience either in theatres or for watching on DVDs. After watching ‘ Kaagaz Ke Phool’ (1959) sometime in mid 6Os during Guru Dutt’s film festival, I have yet to amass courage to watch it once more though I have the DVD of the film. As against this, I must have watched umpteen times, movies like ‘Chalti Ka Naam Gaadi’ (1958), ‘Padosan’ (1968), and ‘Chupke Chupke’ (1975). Among the films of the recent period, I have seen ‘3 Idiots’ (2OO9) at least 3 times.
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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.

Sahir Ludhianvi will always be remembered for the respect he brought to the lyricists of Hindi films. His arrival in the Hindi film industry set a bench mark for lyricists which brought about a transformation in the style of lyrics writing for Hindi film songs from the 5Os through 7Os.
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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 my younger days, I used to identify Hyderabad with Nizams. For me Hyderabad and Nizamshahi were inseparable in the city’s history, developments and monuments. The establishment of Osmania University is one example among others of the contributions of Nizams in this region. It was only when I visited Hyderabad for the first time on a sightseeing trip in 1989, I became aware of the role of Qutub Shahi (also written as Qutb Shahi) dynasty in the development of Hyderabad. Of the 7 Sultans of Qutub Shahi dynasty that ruled from Golconda and later from Hyderabad, the reign of 5th Sultan, Mohammed Quli Qutub Shah was regarded as the golden period. During his rule, Charminar was constructed and a new capital across Musi River called Bhagnagar and later renamed as Hyderabad was established.
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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.

Purandara Dasa (148O- 1564) who is regarded as the father of Carnatic music was born in Karnataka. I find it somewhat paradoxical that Karnataka, the birthplace of the father of Carnatic music is also the birthplace of some of the most distinguished vocalists of Hindustani classical music. Most of them were born in the North Karnataka region. The prominent Hindustani vocalists from North Karnataka were Pandit Bhimsen Joshi (Gadag), Pandit Kumar Gandharv (Belgaum), Pandit Mallikarjun Mansur (Mansur, Dharwad), Sawai Gandharv (Dharwad), Gangubai Hangal (Dharwad), Shobha Gurtu (Belgaum), Pandit Dinkar Kaikini (Kaikini, Uttar Kannada) etc.
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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.

I had no idea about an obscure film TRIKON KA CHAUTHAA KON(1986) except the unusual title of the film when it was released. How can a triangle by itself have fourth angle. That was my pondering point. The title seems to be the indicative of a complicated story line of the film. I had completely forgotten about of this film until few days back when I came across one of the songs from this film. I liked the song and then I heard two other songs from the film which were also good. So I decided to watch this film which was available on YT.
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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.

SHATRANJ KE KHILAADI(1977) was Satyajit Ray’s first Hindi feature film which he directed with multi star cast from India and abroad. The film was based on a short story by the same name written by Munshi Premchand which I had read during my school days. I watched this film once again and I must say that I enjoyed the movie much more than I had seen it about 3 decades back. The film was produced by Suresh Jindal under the banner of Devki Chitra. The main actors in the film were Amjad Khan, Sanjeev Kumar, Saeed Jaffrey, Shabana Azmi, Farida Jalal, Victor Bannerji, Richard Attenborough, Tom Alter, Barry John, Farooque Shaikh, David Abraham, Veena etc. Amitaab Bachchan was the narrator of the film.
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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.

‘Mammo’ (1994), ‘Sardari Begum’ (1996) and ‘Zubeida’ (2OO1) were films of Muslim trilogy directed by Shyam Bengal. The main feature of these three films was that they were all woman oriented films based on real life stories. These films belonged to what is labelled as parallel cinemas. I have watched all the three films. Why these films are called trilogy? Let us go through in brief, the stories of each of the main characters in these films.
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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10300 songs post by now.

Total number of songs discussed

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