atul's bollywood song a day- with full lyrics

Archive for the ‘Lyrics contributed by readers’ Category


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 II (Taal)
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In part I, we introduced the concepts of “octave” and “notes” and mentioned that they are known as “saptak” and “swar” respectively in Hindustani classical music. We used these concepts to discuss “Aaroh” and “Avroh”. Ab aage…

People will recall that Sur-Taal is a term that is commonly used while discussing music. We know what is “Sur” or “swar”. Let us now see what is “Taal”.

In a musical performance, there are people (singers as well as musicians) who create swars. These swars lead to what is called melody.

The musical team also has someone who is not at all producing swars and therefore makes no contribution in creation of melody.

If a musician is not producing melody then why is he there in the music team ? Throw him out of the team, some people may suggest.

That person in the musical team does not create melody, but he creates something which is just as important for music. He creates Rhythm (Taal) for the music.

Musical rhythm (taal) is a cyclical pattern of musical sounds (called bol) that get created at certain times (called beats). A taal may have say 16 beats (viz in case of a popular taal called teentaal). In each of these beats, certain “bol” get played. After a cycle of 16 beats during which 16 predefined bols get played, the same cycle get played again and again for the whole duration of the music composition.

This “taal” gets created on Duggi-Tabla in Hindustani classical music, or on mridangam in Karnatak classical music, on dholak in North Indian folk music, on dafli in street musical performances etc.

To summarise, while singers and many musical instruments create melody by playing notes (swars), there are certain musical instruments (mostly percussion instruments) that create cyclical musical rhythm (taal). A taal has a predefined number of beats and certain sounds (called bols) gets played during those beat events.

It is the combination of melody line and cyclical rhythm patterns that constitute music. While swars are being created in the melody line, bols are getting played in a sequence in the taal. Melody line and rhythm patterns seek to keep pace with each other in a musical performance.

Long back, taal was created manually (with hands) in the form of clap (taali) and they may have led to the nomenclature of the term Taal for rhythm. Now, duggi tabla is the standard instrument for this purpose in Hindustani classical music. Duggi (also called baayaan, as it is kept on the left hand side of the tabla player) and tabla (daayaan, as it is kept on the right hand side of the tabla player) together create certain “bols” such as

Name of “bol” How created Remarks
Ga by striking mid part (called maidaan) of duggi Resonant sound
Ka By striking rim (Chhat) of duggi Flat slapping sound no resonance
Ti By striking centre (syaahi) of tabla Flat slapping sound no resonance
Tin By striking mid portion of tabla
Ta/Na By striking rim of the tabla
Dhin Ga + Tin By striking mid part of duggi and mid part of tabla simultaneously
Dha Ga + Na By striking mid part of duggi and rim of tabla simultaneously

Let us take the example of teentaal. It is a 16 beat taal, where the 16 beats are subdivided into sections of 4 beats each. The bols are
dhaa dhin dhin dhaa / dhaa dhin dhin dhaa / dhaa tin tin taa/ taa dhin dhin dhaa

Here is a demonstration of teen taal (couresy the site raag-hindustani.com)

I mentioned earlier that a musical composition has surs creating melody and bol creating rhythm and their combination creates a musical composition. Here is an example how melody line and taal keep pace to create a composition (couresy the site raag-hindustani.com):

Lyrics

piya ki najariya jaadu bhari
piya ki najariya jaadu bhari
moh liyo man prem bhari
moh liyo man prem bhari
piya ki najariya
kawan jatan ab kari e aali
kawan jatan ab kari e aali
naahin pare mohe chain ek ghari
naahin pare mohe chain ek ghari
piya ki najariya jaadu bhari
piya ki najariya jaadu bhari
moh liyo man prem bhari
piya ki najariya

The above concept of “taal” is a very basic concept and one that is more dificult to understand than the concept of swar. The fact that sur creates melody and taal creates rhythm will help us understand what people mean when they describe some one as a melody king or a rhythm king.

Here is a song from “Laal Patthar” (1972). This song is a semi classical song which is sung by Manna Dey and Asha Bhonsle. Neeraj is the lyricist. Music is composed by Shankar Jaikishan.

The vocalists in this song create melody by singing swars in accordance to the grammer of Raag Kalyan, whereas rhythm of this song is kaharwa. Kaharwa is an 8 beat taal, where the eight beats are broken into two parts of four beats each. The bol of this taal are
dha ga na ti | na ka dhin na |

The song, while being sung in the same raag could have been accompanied by a different taal and then the song would have sounded differently.

Note: If you have followed the above discussion carefully and you have understood the concept of taal, then you would be able to catch an error in the lyrics of this song. The lyrics mentions
Sur hai raaja
lay hai raani

The lyrics should have been

Sur hai raaja
taal hai raani

“lay” is another concept that has not been explained so far and we will explain this term in a future article. For the time being try and understand the concept of “taal” as mentioned above and try to visualise how “Sur” and “taal” combine to create music.

As mentioned in the first part of this series, we are trying to go as gently as possible in the series, because the concepts being involved are very important and our understanding of future concepts will depend on our understanding of the terms that have been introduced so far.

Keep offering your suggestions, observations, words of encouragements etc to this series. We want to make this series a collaboration of contributors. I have received one article from a knowledgeable contributor on this subject which I will post after I have introduced some more basic concepts, so that the concepts mentioned in that article can be understood in a knowledgeable manner by readers.

The lyrics of this song were sent to me by Khyati Bhatt long long ago. I do not know how I failed to discuss this song at the time when this lyrics were sent to me long ago. Perhaps it was destined that this semi classical song be discussed while discussing the principle of music in the blog.


Song-Re man sur mein gaa (Laal Patthar)(1972) Singers-Manna Dey, Asha Bhonsle, Lyrics-Neeraj, MD- Shankar Jaikishan
Both

Lyrics (Provided by Khyati Bhatt)

re ae ae ae
aa aa aa aa
aa aa aa

aa aa aa aa
aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

re man sur mein ga aa aa
re man sur mein ga aa aa
re man sur mein ga
ga ga
re man sur mein ga aa aa

koi taar besur na boley
na boley
koi taar besur na boley
na boley

re man sur mein ga ga
ga
re man sur mein ga aa aa aa

jeevan hai sukh dukh ka sangam
jeevan hai sukh dukh ka sangam
madhyam ke sang jaise pancham
madhyam ke sang jaise pancham
donon ko ek bana
bana
bana
bana aa aa
re man sur mein ga ga ga
re man sur mein ga aa aa aa

dil jo dhadke
taal baje re ae
dil jo dhadke
taal baje re ae

taal taal mein samay chale re
taal taal mein samay chale re
samay ke sang ho ja aa aa
aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa aa aa
re man sur mein ga ga ga
re man sur mein ga aa aa aa

jag hai geeton ki rajdhani
jag hai geeton ki rajdhaani
sur hai raaja
lay hai raani
aa aa aa
sur hai raaja
lay hai raani
saaz roop ban ja
ban ja
ban ja
ban ja ban ja aa aa
re man sur mein ga ga ga
re man sur mein

ga aa aa aa
re man sur mein
re man sur mein
re man sur mein
ga aa aa aa aa


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
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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 Sudhir, 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 Voice of Mukesh #65
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The film ‘Hanuman Janam’ is a 1954 film.  It is produced by MS Pathak and Durgadas for Rani Productions, Bombay and is directed by Raja Nene.  The cast of actors includes Prem Adeeb, Ranjana, Paro, Miky, Uma Dutt, Kanta Kumari, Raj Adeeb, MS Phatak, Jugnu, Lily Kelkar, Alka, Raj Sehgal, Mohini, Avtar Kishan, Lalit Kapoor, Meera, S Prakash, Meenu, and Chandabai.  The eight songs in this film are written by SP Kalla and the music direction is by Hansraj Behl.

Of the eight songs, we have two songs sung by Mukesh.  In the previous episode of this series, I had posted the first Mukesh song from this film – “Sukh Dukh Ke Donon Paaon Par”.  Today, I present the second song of Mukesh from this film.  This is ‘Bidaai’ song, the traditional song of farewell, that is an expression of a good bye to a new bride, as she prepares to leave her parents’ home to go and permanently settle in a new home, literally starting off a new life.  In the Indian tradition, this moment is an epitome of emotional flow.  And this moment has been captured in many songs in Hindi films.  On this blog itself, we now have 30 songs that belong to this category.

A very interesting side note to this song.  As I checked online, I find couple of uploads of this song.  As I played the first of them, I found that it seems to end abruptly, just close to the end of the third ‘antaraa’ (stanza).  So I tried the other link.  On playing this second one, I found the same issue with the ending of the song.  Quite intrigued, I went back to my own collection and pulled out the version that I have.  Once again, I found the same situation.  As a last resort, I turned to the definitive source of Mukesh’s songs,the  Mukesh Geet Kosh.  But in that also, I find that the lyrics available are exactly as played out in the audio versions that I had already listened to.

One possible explanation is that the song on the original 78 rpm gramophone record suffers from this discrepancy.  The timing of the song is around 3 minutes and 16 seconds or so.  It means that the original recording of the song is somewhat longer, maybe three and a half minutes or more.  That means that the actual song is longer than the capacity of a 78 rpm record.  So the producers of the record would simply have cropped the audio length to fit on the standard length of a 78 rpm record.  Does not happen often but there are a few such instances in which the song is cropped to fit the standard length, and hence, appears to end abruptly, prior to the actual end of the song.  The only way to check for the complete song now is to locate the video of this film. No luck so far, but let us hope.

Meanwhile, let us listen to this little heard song of Mukesh from 1954, and savor the melancholia that is the hallmark of this voice.
Enjoy.


Song – Gori Peehar Chhod Mukh Hamse Mod (Hanuman Janam) (1954) Singer – Mukesh, Lyrics – SP Kalla, MD – Hansraj Behl

Lyrics

gori peehar chhod
mukh humse mod
chali piya ke des chali ho
piya ke des chali ho

maa ki pyaari
raajdulaari
chham chham paaon badhaaye
chham chham paaon badhaaye
tadap tadap kar maa ki mamta
thaam jiya reh jaaye. . .
thaam jiya reh jaaye
reh jaaye
gori peehar chhod
mukh humse mod
chali piya ke des chali ho
piya ke des chali ho

jhar jhar roye
sang saheli. . .
jhar jhar roye
sang saheli
tumko yaad dilaaye
tumko yaad dilaaye
bhool na jaana
o dulhaniya
jaa ke des paraaye
jaa ke des paraaye
chali ho ooo ooo
ooo ooo oooo
gori peehar chhod
mukh humse mod
chali piya ke des chali ho
piya ke des chali ho

nain lajeele
mad se geele
nain lajeele
mad se geele
dekhat roop lubhaaye
dekhat roop lubhaaye
nai naveli
pee kaa aangan
swarg banaane jaaye
swarg banaane jaaye

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

गोरी पीहर छोड़
मुख हमसे मोड़
चली पिया के देस चली हो
पिया के देस चली हो

माँ की प्यारी
राजदुलारी
छम छम पाँव बढ़ाए
छम छम पाँव बढ़ाए
तड़प तड़प कर माँ की ममता
थाम जिया रह जाये
थाम जिया रह जाये
रह जाये
गोरी पीहर छोड़
मुख हमसे मोड़
चली पिया के देस चली हो
पिया के देस चली हो

झर झर रोये
संग सहेली
झर झर रोये
संग सहेली
तुमको याद दिलाये
तुमको याद दिलाये
भूल ना जाना
ओ दुल्हनिया
जा के देस पराये
जा के देस पराये
चली हो ओ ओ
ओ ओ ओ
गोरी पीहर छोड़
मुख हमसे मोड़
चली पिया के देस चली हो
पिया के देस चली हो

नैन लजीले
मद से गीले
नैन लजीले
मद से गीले
देखत रूप लुभाए
देखत रूप लुभाए
नई नवेली
पी का आँगन
स्वर्ग बनाने जाये
स्वर्ग बनाने जाये


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 Wonderful Sounds of 1930s – 7
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If this voice sounds familiar, that is because we have heard him before on this blog.  The earlier posted song is also a delightful rendition – “Bhar Bhar Ke Jaam Pilaa De Bahaar Aayi” from the film ‘Miss Frontier Mail’ (1936).  The singer is Basheer Ahmed Khan, also known as Basheer Qawwaal.  This song today is from a very obscure and almost unheard film from 1937 – ‘His Highness’.  As I am browsing the songs from 1930s in my collection, I am finding excellent gems that have been unheard of for decades.  Wonderful pieces of music that are excellent compositions of excellent verses.  The obscurity can be gauged from the fact that almost no information is available about the film, or the artists that have contributed to create this, and other such obscure and rare gems.
The verses are written by Sampat Lal Srivastav ‘Anuj’.  Regarding music composition, the Geet Kosh lists two music directors, viz. Lallubhai Nayak and Shankar Rao Vyas.  However, the information about which music director has composed which of the songs, is not available.  I tried to search, but I am unable to locate any information on these artists, from online or other sources.  I request other readers and friends to please add more information about the film and the artists.

The wonderful lines of this song are a heartfelt gratitude for the benefaction of the Prophet Muhammad (PBUH).  The words are an exquisite ode to the support and guardianship that the poet says he has experienced.  The epithet used is that of a ship – the ship of life.  So strong is the conviction in His guardianship, that the expression that comes from the poet’s mind is

chale kyun mori naiyyaa kinaare kinaare

Why should my ship ply only near to the shores
(Let me take on the high seas and the storms
There is nothing to fear
For Muhammad (PBUH) is my protector)

ummeed e ahl e kashti naa-khuda ke hai ishaare par
meri kashti rawaan hai be-khatar tere sahaare par

The hopes of worthiness and sustenance of my ship
Are allied with the beckoning of my Oarsman, my Coxswain
My ship moves without fear and concern
On Your support and guardianship
[Notes:
Ummeed:  Hopes, expectations
Ahl:  Being, of, existence, worth, essence
Ahl e Kashti:  (Sea) worthiness of ship
Naa-khuda:  Boatman, oarsman
Be-khatar:  Without fear or concern of dangers

talaatum ho qiyaamat kaa ke toofaan hashr-saamaan ho
shakistah baadbaan shiraazah e kashti pareshaan ho

Let there be a storm of dashing waves
Akin to the tumult of the day of reckoning
Let the sails of my ship be torn and broken
Let the shape and form of my ship
Be damaged and in disarray
[Notes:
Talaatum:  Great storm (just like a tsunami)
Qiyaamat (Qayaamat):  The day of reckoning, the day this world will be destroyed
Hashr:  (same as Qayaamat above)
Hashr-saamaan: (just like) the day of reckoning
Shikastah (shakistah): Frail, broken
(pronunciation of ‘Shikasta’ as ‘Shakistah’ is probably just a poetic license)
Baadbaan:  Sails of a ship
Shiraazah:  Organization, shape and form, structure
Pareshaan:  In disarray, damaged

wo ghar barbaad ho kaise tu jiska meer saamaan ho
wo kashti garq ho kaise ke tu jiska nigehbaan ho

How will that home ever be devastated
Whose safety is led by You
How will that ship ever be drowned
Whose guardian and watchman is You
[Notes:
Meer:  One who is concerned about safety and security
Garq:  To sink, to drown
Nigahbaan:  Guardian, watchman

meri kashti badhegi aur cheerti seena samandar ka
rawaani zaaiqah ban kar karegi kaam khanjar ka

My ship will blissfully sail on
Cutting through the body of the waves of the sea
Its movement working like a cutting dagger

sitaara auj par hai in dinon mere muqaddar ka
ke qismat se mila hai saath mujhko tujh se rehbar ka

The stars of my destiny
Are at their zenith these days
For it is with great fortune
That my path is led by a guide like You
[Notes:
Auj:  Zenith, summit
Muqaddar:  Destiny
Raahbar:  Guide, one who leads

Listen to and enjoy this remarkable Naat.  And think of all the amazing gems from the early years that are still waiting to be discovered.

Song – Chale Kyun Mori Naiyyaa Kinaare Kinaare (His Highness) (1937) Singer – Basheer Ahmed Khan, Lyrics – Sampat Lal Srivastav ‘Anuj’, MD – Shankar Rao Vyas / Lallubhai Nayak

Lyrics

ummeed e ahl e kashti
naa-khuda ke hai ishaare par
meri kashti rawaan hai be-khatar
tere sahaare par
chale kyun mori naiyyaa kinaare kinaare
chale kyun mori naiyyaa
chale kyun mori naiyyaa
kinaare kinaare
chale kyun mori naiyyaa kinaare kinaare

talaatum ho qiyaamat kaa
ke toofaan hashr-saamaan ho
shakistah baadbaan shiraazah e kashti pareshaan ho
aa haan
wo ghar barbaad ho kaise
tu jiska meer saamaan ho
wo kashti garq ho kaise
ke tu jiska nigahbaan ho
chale kyun mori naiyyaa kinaare kinaare
chale kyun mori naiyyaa
chale kyun mori naiyyaa
kinaare kinaare
chale kyun mori naiyyaa kinaare kinaare

meri kashti badhegi aur
cheerti seena samandar ka
rawaani zaayeka ban kar karegi
kaam khanjar ka
haan haan
sitaara auj par hai in dinon
mere muqaddar ka
ke qismat se mila hai saath mujhko
tujh se raahbar ka
chale kyun mori naiyyaa
chale kyun mori naiyyaa
kinaare kinaare
chale kyun mori naiyyaa kinaare kinaare
haan chale kyun mori naiyyaa kinaare kinaare

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

उम्मीद ए अहल ए कश्ती
नाखुदा के है इशारे पर
मेरी कश्ती रवां है बेखतर
तेरे सहारे पर
चले क्यों मोरी नैय्या किनारे किनारे
चले क्यों मोरी नैय्या
चले क्यों मोरी नैय्या
किनारे किनारे
चले क्यों मोरी नैय्या किनारे किनारे

तलातुम हो क़ियामत का
के तूफां हशर सामां हो
शकिस्ता बादबां शीराज़ा ए कश्ती परेशान हो
आ हाँ
वो घर बर्बाद हो कैसे
तू जिसका मीर सामां हो
वो कश्ती गर्क़ हो कैसे
के तू जिसका निगेहबां हो
चले क्यों मोरी नैय्या किनारे किनारे
चले क्यों मोरी नैय्या
चले क्यों मोरी नैय्या
किनारे किनारे
चले क्यों मोरी नैय्या किनारे किनारे

मेरी कश्ती बढ़ेगी और
चीरती सीना समंदर का
रवानी ज़ाएका बन कर करेगी
काम खंजर का
हाँ हाँ
सितारा औज पर है इन दिनों
मेरे मुक़द्दर का
के क़िस्मत से मिला है साथ मुझको
तुझसे रहबर का
चले क्यों मोरी नैय्या
चले क्यों मोरी नैय्या
किनारे किनारे
चले क्यों मोरी नैय्या किनारे किनारे
हाँ चले क्यों मोरी नैय्या किनारे किनारे


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.

“Kan Kan Mein Bhagwaan”(1963) was produced by Mahipartai Shah and directed by Babubhai Mistry for Roop Kala Pictures. The movie had Mahipal, Anita Guha, Ram Singh,Ratnamala, Raja Nene, Krishna Kumari, Kumud Tripathi aka Kummo Tripathi, T.N.Sinha, Prakash, Yunus Parwaiz, Mridula Rani, Punam Kapur, Baijnath, Ajit, Rehana, Uma Dutt, R.S.Dube, Munshi, Shekhar, Chand, Deochand aka Devchand, Lal Bahadur, Kishore, Dilawar Khan, Nazima Aka Baby Chand, Burhan, Jugal Kishore, Dinanath, Vijay Kumar, Master Aziz, Moolchand etc in it.
Read more on this topic…


This article is written by Sudhir, 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.

Aap Se Humko Bichhde Huye, Ek Zamaana Beet Gaya” – a classic from the 1969 film ‘Vishwaas’. Interesting story behind this song. Kalyanji Anandji had composed this song to be sung by Mukesh. On the day of the recording, for some reason, Mukesh could not be present. Kalyanji Anandji, for the sake of utilizing the recording session, decided to record the song anyway, in another voice. The song was supposed to be re-recorded when Mukesh would be available again for recording. Later, when re-recording was being discussed with Mukesh, he happened to listen to the song that was already recorded. So impressed was he with the voice and the rendering of this specific song, he insisted that the song be retained and included in the film as recorded. Thus was launched the singing career of a mechanical engineering graduate, who had come to Bombay initially, not to become a singer.

Wishing Manhar Udhas many happy returns of his birthday (13th May).
Read more on this topic…


This article is written by Sudhir, 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 song will take you on a brief three minute journey of delightful music and singing.  Unknown and obscure gems such as this one, tell me that Hindi film music is poorer than what should have been; that there are less than 20 songs in Hindi films by this voice, her mainstay being Bangla films and Bangla non-film and religious songs.

Remembering Utpala Sen on the anniversary of her passing away (13th May).
Read more on this topic…


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.

Entertaining Sales Pitch Songs – 7
—————————————————–

I remember such sellers from my travels in childhood.  It was a time when intercity travel of half a day or less would be a journey by bus, and a longer journey would be by train.  Both my maternal and paternal families are spread out over the Punjab and Himachal areas north of Delhi – Chandigarh, Simla, Ludhiana, Jalandhar and Amritsar.  All these cities being less than a day’s journey, our travels were generally by the intercity state transport buses. Any other travels, like visiting other metropolitan cities which are all south of Delhi, would generally be by train.  During my school years, travel to visit family was quite a regular affair, once or twice a year during vacation breaks.  Other travels, to places like Bombay, Calcutta, Madras and Bangalore were less frequent.
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.

“Maa Ka Aanchal” (1970) was produced and directed by Jagdev Bhambri for Harintaraj Films. The movie had Sanjeev Kumar, Abhi Bhattacharya, Anjana(Mumtaz), Leela Mishra, Jagdev, Sheela.R., Satpal Nishan, Sushma, Johnny Whisky, V.Gopal, Gopal Segal, Amol Sen, Dilip Dutt, Deena Nath, Master Rattan, Abdul, RajKumar Dutt, Abdul etc in it.
Read more on this topic…


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.

एक गाना सुना होगा – “बड़ा ही CID है वो नीली छतरी वाला, हर ताले की चाबी रखता हर चाबी का ताला”॰ अपने blog पर भी है॰ लगता है अब इस गाने को थोड़ा बदलना पड़ेगा, ऐसे – “बड़े ही CID हैं, ये अतुल गैंग के मेम्बर्स, गाना guess करने में हैं अव्वल नंबर”॰ काश, लेकिन नहीं, अभी ये गाना blog पर नहीं है॰  :)

(You must have heard the song – “Badaa Hi CID Hai Wo Neeli Chhatri Waala”.  It is on our blog.  Seems as if this song needs to be modified.  Like This – “Bade Hi CID Hain, Ye Atul Gang Ke Members, Gaana Guess Karne Mein Hain Awwal Number”.  Sorry, this one is not yet on the blog).
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

11148

Number of movies (All songs covered)

667

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