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Archive for the ‘Lata solo’ Category


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

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

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

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

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

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

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

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

Chakle (jinhe naaz hai hind par wo kahaan hain)

Taj Mahal (meri mehboob kahin aur mila kar)

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

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

Intezaar (chaand maddham hai aasmaan chup hai)

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

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

Mohabbat Tark Ki Maine (mohabbat tark ki maine)

Tang aa chuke hain (tang aa chuke hain)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Video

Audio

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

Lyrics (based on video clip)

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

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

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

bairi…..

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This article is 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.

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The Many Colors of Love #22 – Defiant Love
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And so wrote the scribe

ishq baghaawat kar baithe to
duniya ka rukh mod de
aag lagaa de mehlon mein
aur takht e shaahi tod de
seena taane maut se khele
kuchh na karen fariyaad

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.

We have covered over ten thousand songs in the blog still we have some extremely well known songs that still remain to be covered. Sometimes even I am not aware that they have not been covered as I am under the impression that these songs were covered long back. We call such songs as belonging to the genre of “How come this song was not discussed so far”. :)
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.

“Khilaadi” (1950) was produced and directed by R C Talwar. The movie had Suraiyya, Ashok Kumar, Kumar, Sundar, Indu, Anoop Kumar, Narmada Shankar, Cuckkoo 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.

Today (11 october 2014) is the festival of Karwa Chauth. On this
occasion, here is a karva chauth song from “Jurrat” (1989). The song is sung by Lata and chorus. The song is picturised on Amla and other women who are seen dancing and singing, which is the recommended filmy way of observing karva chauth vrat, I suppose. :)
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.

Readers may have noticed that very few posts were appearing in the blog for the last several days. That tends to happen during festival seasons/ holidays when I am unable to find much time to devote to blogging. As a result, backlog of blogging work piles up. In addition, I have been unable to discuss several topics that I have been wanting to discuss for quite some time.
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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.

SONGS FROM ARTISTE NAME FILMS….Song No. 10…Last song of the series.
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Today’s song is from Film Asha-1948. The films having title Asha were made in 1938,1948,1957 and 1980. In this century, there was Asha ki Kahani-2002 and Ashayen-2010. The film Asha made in 1957 was the most popular one due to its songs like…Eena Meena Deeka. That was the time Kishore kumar was on the seventh heaven and in demand most.
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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.

“Memsaab” ( 1971), a lesser known movie than “Memsaab “(1956) was produced and directed by Atmaram for Guru Dutt Film Combines. The movie had Vinod Khanna, Yogita Bali, Bindu, Abhi Bhattacharya, Asrani,Meena T., Jayashree T., Asit Sen, Hercules, Jagdish Raj, Mac Mohan, Naval Kumar, Rajen Hakser, Rajan, Shakoor,Tarun Bose, Mridula, Ashoo, Tarun Bose, Mac Mohan,Jagdish Raj, Keshto Mukherjee etc in it.
Read more on this topic…


This article is written by nahm, 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.

Chaandni raaten – Song No. 11
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A legend was born on 28/09/1929. Today (28 september 2014) is Lata Mangeshkar’s 86th Birthday that we all celebrate on this blog. Many many happy returns of the day to her and may she live a long and healthy life.
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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.

“Majhli Didi” (1967) was produced by Kochi Sarkaar and Gopal Mukherjee and produced by Hrishikesh Mukherjee for K G Pictures. The movie was based on Sharatchandra Chattopadhyay’s Bangla novel “Mejhdidi”. The movie had Meena kumari, Dharmendra, Bipin gupta, Lalita pawaar, Master Sachin, eela Chitnis, Leela Mishra, Amal Sen, Abubakar, Parashuram, Ajit Chatterjee, Keshto Mukherjee, Samar Roy, Nimbalkar, Baby Saarika, Jalal Agha, Asit Sen, Shah, Satya Bannerjee, Aaythodha, Master Maruti, Master Khalid, Daya Bai, Niranjan Roy, Muniraaj, Baby Razia, Jalal Agha, Asit Sen etc in it.
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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10400 songs post by now.

Total number of songs discussed

10404

Number of movies (All songs covered)

552

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