atul's bollywood song a day- with full lyrics

Archive for the ‘Lyrics contributed by readers’ Category


T 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.

“Ek Teri Nishaani” (1949) was directed by B K Sagar for Kwatra Arts Productions. The movie had Meena, Trilok Kapoor, Azmal, Zahoor Shah, Johar, Maruti, Urvashi, Tara Sinha, Shyama, Usha Rani, cuckoo, Om Prakash etc in it.

This movie had two music directors in it, viz Pt Aamrnath and Sardul Kwatra. One song (composed by Sardul Kwatra) has been discussed in the past.

Here is the second song from the movie. This song is sung by Uma Devi (Tuntun).Batish. Listening to the song, it is clear that the song is sung by Uma Devi and not S D Batish. It could mean that the source material giving details of the songs of this movie itself had errors leading to incrrect information and faithful reproduction of this incorrect error by all sources.

Lyrics of this song were sent to me by Avinash Scrapwala.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dil deke pachhtaa gaye ham (Ek Teri Nishaani)(1949) Singer-Uma Devi, Lyrics-Sarshar Sailaani, MD-Pt Amarnath

Lyrics(Provided by Avinash Scrapwala)

Dil deke pachhtaa gaye ham
dil deke pachhtaa gaye
haaye re dhokha kha gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham

pyaar mein thokar haaye
khaa gayaa dil
pyaar mein thokar haaye
khaa gayaa dil
kis ki chaal mein
aa gayaa dil
dil ki chaal mein aa gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham

aas bharaa dil haaye
toot gaya
aas bharaa dil haaye
toot gaya aa aa
sabr ka daaman chhoot gaya
ro ro ke ukta gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham

preet ik haaye rog lagaana hai
preet ik haaye rog lagaana hai ae
jeete jee mar jaana hai
preet ke bhed ko paa gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham

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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.

Some songs do this to you. You may be reading the mukhdaa, off and on, for days, or even months. And still it does not ring a bell anywhere. The memory of that song is so well buried under layers and layers of other things that merely the words do not mean anything. But put it on the player and let the sound come to you. The connect is immediate, and suddenly the miles thick layer of forgetfulness evaporates in one blink of the eye. You will immediately want to get up, and just move – OMG, this is the song. . . after so many years. . . literally in my face for oh so long . . . goodness. And if the song is as full of delight as this one, you will not be able to control the urge to dance along, or may be just tap your feet, or maybe just drum with your fingers, and surely you will want to sing along. And all the while, thanking whoever makes such things happen, that you have re-discovered this song. Like meeting a very very dear friend, unexpectedly, after years of being away. Isn’t that feeling. . . just simply absolutely fantastic.

That is what happened recently, with me and this song. Searching for a song to add to my post for music director Robin Bannerjee, I was looking at the Geet Kosh, and lists of songs in my collection. I would have glossed over this one so many times, before I just decided to play a list of Robin Bannerjee’s songs in sequence. And when this song began to play, I simply had to get up from my chair, so euphoric was the feeling inside, and it required a great force to keep my voice to myself, but could not keep my emotions from welling out of my eyes. A very old friend from the radio listening days, and even then, not heard too frequently, since both the film and the artists are of that category, which is crowded out of the playing lists by other ‘hits’. But yes, counting the blessings; I am so glad to be re-joined with this song, after decades of separation. And I am just not being able to replay it enough. It is like the 10K Yipeeee. . . of Pradeep ji, ten times over. :)

Remembering Robin Bannerjee on the anniversary of his passing away (27th July).

Robin Bannerjee – a prodigal son of Bengal. A music director whose name is associated with such wonderful and everlasting gems like, “Tum Jo Aao To Pyaar Aa Jaaye” (‘Sakhi Robin‘, 1962), “Aankhon Aankhon Mein Har Ek Raat Guzar Jaati Hai” (‘Marvel Man’, 1964), “Tujhe Doon Main Kya” (‘Insaaf Kahaan Hai’, unreleased film from 1950s), “Hamen Un Raahon Par Chalna Hai Jahaan Girna Aur Sambhalnaa Hai” (‘Masoom’, 1960), ‘Anjuman Sitaaron Ki, Ye Mehfil Bahaaron Ki” (‘Rocket Tarzan’, 1963), “Iraada Na Tha Aap Se Pyaar Ka” (‘Aandhi Aur Toofaan’, 1964). . . and many more. His destiny was to be confined to stunt films of the type that reminds one of Tarzan and circus and space travel. But I get ahead of myself.

As I tried to search for information about him, there is not too much that I am able to collect. Most sources simply present a brief about his work, and not much about his life. But then what little is available, when combined with the quality of music he created, it makes a very fascinating reading. Born in Calcutta, he had an intense passion for music and films right from childhood. At the age of 15, he ran away from home and travelled to Bombay, with the dream making in big in Hindi cinema. One reference notes that he reached Bombay with just the clothes on his back. For period of time, he simply used to take bath at Juhu beach, late in the night, so he could wash and dry the only set of clothes he had. Sometimes, it is a wonder, the type of struggle and the circumstances some of these artists had to go through. Apparently, true passion is a driver that many of us armchair audiences will not be able to comprehend.

Months of visiting studios, producers and any friendly references that he could muster up, slowly paid dividends. He made an entry into the stage and theatre world in Bombay, and started getting work as a musician and a singer. A notable assignment at this time was with Sunil Dutt, who staged a play as part of a competition at Bombay’s St Xaviers College. The young Robin worked as the music director for the play, and also got to sing in the play. As connectedness and references led him forward into the film world, he got his first assignment as a music director with the banner Film Trust of India, for the bilingual film ‘Insaaf Kahaan Hai’ that was simultaneously to be made in Hindi and Sindhi. The songs were prepared and recorded in 1958, but the film itself could not be completed for release. Thankfully, the songs of this film are available, and in the voices of Hemant Da and Geeta Dutt, it is a string of some very lovely melodies that Robin created for his debut venture. Songs like “Tujhe Doon Main Kya, Ye Tu Hi Bataa”, “Hey Babu, Hey Bandhu” and “Sainyaan Bedardi” still have the power to stir the listener’s emotions and interests.

His next film is ‘Masoom’ (1960). The music direction for this film was actually assigned to Hemant Kumar. After recording the iconic “Naani Teri Morni Ko Mor Le Gaye” , Hemant Da had to be away out of the country for some reasons. The mantle of composing the remaining songs for the film was handed to Robin, who created such timeless classics like “Hamen Un Raahon Pe Chalna Hai” and “Ye Haath Hi Apni Daulat Hain” .

The songs captured the attention of listeners and producers and new assignments found their way to him. 1961 saw the release of ‘Wazir e Azam’. The film was a disaster. However, the music once again stood out amidst the flop, and two songs by Suman Kalyanpur garnered some attention – “Tu Kahaan, Main Kahaan, Moonh Chhupaaye Huye Chandni Ro Rahi Hai” and “Na Hum Tum Na Zaalim Zamaana Rahega”. This was followed in 1962 with what can be considered Robin’s most successful film – ‘Sakhi Robin’. The soft paced composition of “Tum Jo Aao To Pyaar Aa Jaaye” sounds fresh and ticklish even today, half a century later. In 1963 came ‘Rocket Tarzan’ and with it came the peerless melodies like “Yaa Rabba Rabba Ho, Kahan Jaata Hai Dil Le Ke Mera Ai Ai Yo”, “Unko Humse Badi Shikayat Hai, Pyar Karna Humari Aadat Hai” and the oh so lilting aria of “Anjuman Sitaaron Ki, Ye Mehfil Bahaaron Ki”. 1964 saw another hit with the Dara Singh and Mumtaz starrer ‘Aandhi Aur Toofaan” with wonderful songs that caught the attention of listening public – songs like “Iraada Na Tha Aapse Pyaar Ka” and “Dil Laya Main Bachaa Ke Punjab Se”.

Despite a body of work that sparkled with melody and impressed the listeners, the career of Robin Bannerjee remained confined to films whose names would immediately identify them to be B/C grade stunt movies. Names like ‘Hukam Ka Ekka’, ‘Marvel Man’, ‘Tarzan and Delilah’ all from 1964, ‘Flying Circus’ and ‘Tarzan and King Kong’ in 1965, ‘Rustom Kaun’ and ‘Spy In Goa’ in 1966, and ‘London Express’ in 1968. Sampling the music from these films is a like a trip through the garden of sweet and endearing melodies. But alas, his elevation to grade A films was just not to be.

Seventies was not a good time for Robin. He had one release in 1973 – ‘Phir Aaya Toofaan’, and another film – ‘Raaz Ki Baat’ remained unrleased. Interesting to note that the latter film has recently become available on the internet. There followed two accidents in his life, which confined him to bed and for recuperation for most part of the 1970s. As his life slowly ebbed away, so did his career. He passed away this day in 1986.

‘Sakhi Robin’ is a film from 1962, produced under the banner of People Pictures and directed by BJ Patel. The word ‘Sakhi’ (with an extra emphasis on the ‘kh’ sound) is actually an Urdu word with the meaning generous, helpful, beneficent. The cast of actors is Ranjan, Shalini Chonkar, Rajan Kapoor, Nilofer, Babu Raje, Vishwa Mehra, Shri Bhagwan, Dalpat, Habeen, Shyam, etc.

The six songs in this film are written by Yogesh (aka Yogesh Gaud). Two wonderful melodies from this film are already posted here. This is the third song from this film – song that is going to surprise and steal your heart away. The pace is terrific, and the changeover between the main singer and chorus is just delightful, as is the percussion beat when the singer sings the half line – ‘dekho re aaya’. A very wonderfully crafted song.

A word about the singer. The voice is that of Suman Kalyanpur. A very very interesting note at this point is the fact that Robin did never get Lata to sing for him. However, the manner in which he has used other signers, especially Suman Kalyanpur, one does not feel the lack of Lata ji’s voice in his body of work.

This is a song of the farmer, who is expressing delight and happiness on seeing the waves of golden crop in the fields. Not just that the song has been crafted so beautifully, it has also been presented on screen with real good taste. I am sure as you listen to it, you will not be able to stop yourself from pressing the replay button.

Simply wonderful. Listen and enjoy.


Song-Dekho re aaya mausam suhaana (Sakhi Robin)(1962) Singer-Suman Kalyanpur, Lyrics-Yogesh, MD-Robin Bannerji
Chorus

Lyrics

dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya
dekho re aaya mausam suhaana

saji huyi aaj hariyaali
jaise koi dulhan matwali
saji huyi aaj hariyaali
jaise koi dulhan matwaali
jhool rahaa pawan hindolay
ho jhool rahaa pawan hindolay
jaise koi sapna chhaaya
dekho re aaya
dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya mausam suhaana

udne lagey rang bhare baadal
goonj uthi kheton mein paayal
udne lagey rang bhare baadal
goonj uthhi kheton mein paayal
jhoom uthi phir se umnagen
o jhoom uthi phir se umnagen
dil ne naya geet gaya
dekho re aaya
dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya mausam suhaana

dharti ki aaj hai diwaali ee
jhoome har ek phool har ek daali
dharti ki aaj hai diwaali ee
jhoome har ek phool har ek daali
door kahin boley papiharaa
o door kahin boley papiharaa
mann ye mera sharmaaya
dekho re aaya
dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya mausam suhaana
oh ho o ho o ho
aa ha aa ha aa haa
oh ho o ho o ho
aa ha aa ha aa haa
oh ho o ho o ho
aa ha aa ha aa haa
aaa aaa aaaa aaa

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

देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया
देखो रे आया मौसम सुहाना

सजी हुई आज हरियाली
जैसे कोई दुल्हन मतवाली
सजी हुई आज हरियाली
जैसे कोई दुल्हन मतवाली
झूल रहा पावन हिंडोले
हो झूल रहा पावन हिंडोले
जैसे कोई सपना छाया
देखो रे आया
देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया मौसम सुहाना

उड़ने लगे रंग भरे बादल
गूंज उठी खेतों में पायल
उड़ने लगे रंग भरे बादल
गूंज उठी खेतों में पायल
झूम उठीं फिर से उमंगें
ओ झूम उठीं फिर से उमंगें
दिल ने नया गीत गया
देखो रे आया
देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया मौसम सुहाना

धरती की आज है दिवाली
झूमे हर एक फूल हर एक डाली
धरती की आज है दिवाली
झूमे हर एक फूल हर एक डाली
दूर कहीं बोले पपीहरा
ओ दूर कहीं बोले पपीहरा
मन ये मेरा शरमाया
देखो रे आया
देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया मौसम सुहाना
ओह हो ओ हो ओ हो
आ हा आ हा आ हा
ओह हो ओ हो ओ हो
आ हा आ हा आ हा
ओह हो ओ हो ओ हो
आ हा आ हा आ हा
आs आs आss आs


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 Many Colors of Love #19 – The Quarrels of Love
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And so wrote the scribe
badi cheez hai pyaar mohabbat
aisi taisi jhagde ki
ho jaaye sarkaar mohabbat
aisi taisi jhagde ki

And why not? Having ‘chaat pakodi’ and ‘bhel puri’ occasionally is a good break from the routine meals at home, day in and day out. And so it is with the ‘jhagda’. Isn’t that a matter of common everyday experience? A lot of love, spiced with the pepper of arguments and squabbles; add to the value of high spirits and breaks the monotony of goody goody goodness. Adds to the tang in life.

Always waiting to happen, the quarrels and arguments are a natural part of any two people interactions. For who, in this world has found someone, who is 100% agreeable, and thinks exactly on the same lines as the self. No one I know, has found such a friend or companion. And if someone says he or she has, I would say, just hold on to that companion for everything in life, for you have found God.

But an important aspect of this disagreement, this altercation is that it will happen only with someone you care about. The interaction itself expresses in many different ways. And the disagreement is one of the ways that acknowledges the interaction. And more so, more strongly, because you choose to and you dare to differ, with the belief that the underlying foundations are so strong that you can afford to. Of course, as long as the ego is outside the picture, the debate for a healthy cause is the need for a healthy disagreement. Sometimes it simply is a favor, for it leads to better understanding, and even a heightened longing to continue loving each other.

The ‘naraaz hona’ and ‘roothna manaana’, that gets so much significance on screen, is actually a part of life, albeit may not be so zealously overstated. And in real life, it takes much more tact and intelligent handling – it is veritably a learning school for human interactions. All of us recall the recent incident wherein Atul ji had shared about following instructions of his better, on the 10K day, while a load of us were glued to our computer screens, waiting for the 10K song to appear. ;)

The ‘jhagda’ in Hindi films has both the comic as well as the serious flavors. The fun, the miscommunications, the misunderstandings, the confusions, sometimes accompanied with real good music and song, is a staple ingredient of the sub plots of love on screen. Sometimes it is part of a teasing game, sometimes it is a domestic situation, sometimes it is a lover’s tiff – but most importantly, there has to be a song to facilitate the proceedings (as always :) ).

The Hindi film song has a fair share of such song too. The song mentioned in the beginning of this post is from ‘Chacha Chaudhry’ (1959). Other interesting specimens are – a very domesticated jhagda song from the 1953 film ‘Dhun’ – “Hum Pyaar Karenge, Hum Pyaar Karenge, Hum Lad Ke Jhagad Ke Bhi Pyaar Karenge” ; then a request from the lady that says “O Ladke Makkhan Se, Jhagad Mat Appan Se, Hans Kar Kar Le Pyaar, Tera Kya Bigdega” from the 1971 film ‘Ganga Tera Paani Amrit’; and again, a lady trying to make up with her ‘naraaz’ beau, saying “Ye Lo Main Haari Piya, Hui Teri Jeet Re, Kaahe Ka Jhagada Baalam Nayi Nayi Preet Re” from the 1954 film ‘Aar Paar’; then there is this plea for an understanding by the gentleman “Ye Pyaar Ka Jhagda Hai To Pyaar Se Taye Keejiye” from the 1971 film ‘Aag Aur Daag’; another interesting comic piece from the 1961 film ‘Aplam Chaplam’ – “Dil Ka Natak Khel Chuke To Tu Tu Main Main Karna Kya, Jab Pyar Kiya To Ladna Kya”, (seems to be a parody of the famous song from ‘Mughal e Azam’). A very interesting mukhdaa from a song of 1935; the film is ‘Kaarvaan e Husn’ and the line is “Aap Kya Jaanein Muhabbat Kee Ladaai Ke Maze”; should be interesting to get hold of this song.

The song that I present today is from the 1959 film ‘Lady Robinhood’. As I mentioned in one of my earlier posts, I got hold of the songs of this film, while searching for the songs of an earlier film (from 1946) with the same name. In the set of songs I got, I found this gem of a song that I was hearing for the first time. And I have heard it again and again many times since. The singing voices are of Mahendra Kapoor and Geeta Dutt. I have a strong feeling that in the on screen performance of this song, the lady’s voice is picturized on Tuntun, simply going by the words in the lyrics, and even by the manner in which Geeta ji has sung the lines, sounding so close to Tuntun, the comedienne on screen. The lyrics are by Bekal Amritsari and the music composition is by Sardul Kwatra.

The film is produced under the banner of Rekha Chitr and is directed by BJ Patel. The cast of actors includes Mehru, Nilofer, Rajan Kapoor, Samar Rai, Miraajkar, Tuntun, Shakila Bano Bhopali, Nazir Kashmiri, Moolchand, Abdul Sattar, Balbir, Ram Raseela, Shri Bhagwan, Nandini, Shiela and many more.

The song starts with a resolve for an all-or-nothing fight to the end, as the gentleman is bent to convince the lady of his intentions. There follows a very rapid fire and a very interesting exchange, that is hilarious and includes threats of physical violence by the lady. The lyrics are quiet an interesting mix of Hindi, some Punjabi that includes a couple of very typical north Indian phrases, with a sprinkling of English words thrown in. About the typical phrases from north India, I explain them here.

One of them is ‘tibri tight’. Before the plastic bottles came, the cold drinks were packaged in glass bottles, with a vacuum sealed metal cap that required a special opener. In Punjabi, this cap is called ‘tibri’. It is a lot of mechanical energy that is used to seal the ‘tibri’’ with lot of fizz and pressure to be contained inside. And the threat of ‘tightening the tibri’ for someone is to warn that person to stay within limits, or good care will be taken of him. Almost akin to threats of physical violence.

The second phrase is ‘do kaanon mein sar’. Literally it simply means ‘the head is between two ears’. Now isn’t that the most normal expectation for anybody, that the head is always in between two ears? Well the usage of this phrase is to warn another person who seems to flying too high, taking too much liberties with words and actions – implying that the person’s head is not in its right place, or that the head is too big meaning the person is very arrogant and conceited. So the warning is that the person will be dealt in a manner such that his high flying or oversized head is placed to fit well in between his ears.

And so the song proceeds with threats being exchanged. But of course, the limitation is that this fight will not last more than three minutes and some seconds (playing length of a 78 rpm record ;) ). So by the time the third antaraa comes to a close, all is well, the anger is gone and the two are making avid promises not to fight again. Ah, blessed be the Hindi film song – a fight cannot last more than three minutes. :D :D

Listen to this very ‘fresh sound’ from more than half a century ago. And what’s more, listen to the rare sound of Mahendra Kapoor yodeling at the end of the song. Listen and enjoy.


Song-Na maanogi fight karenga (Lady Robinhood)(1959) Singer-Mahendra Kapoor, Geeta Dutt, Lyrics-Bekal Amritsari, MD-Sardul Kwatra
Both

Lyrics

na maanogi fight karenga
jhagdaa day and night karenga
jo bhi karenga
ho madam jo bhi karenga
right karenga
hum bhi tum se fight karenga
teri tibrrri tight karenga
maar maar ke
ho mister maar maar ke
right karenga

haaye
na maanogi fight karenga
jhagdaa day and night karenga

tera mera jod hi kyaa hai
tu bhajiya mein pedaa
tera mera jod hi kyaa hai
tu bhajiya mein pedaa
do kaanon mein sar kar doongi
agar mujhe phir chhedaa
do kaanon mein sar kar doongi
agar mujhe phir chhedaa

arre hum se jo hans kar baat karenga
service din aur raat karenga
jo bhi karenga
ho madam jo bhi karenga
right karenga
hum bhi tum se fight karenga
teri tibrrri tight karenga. . .

father se manzoori le le
main hoon abhi kanwaara
arre father se manzoori le le
main hoon abhi kanwaara
naukar chaakar motor banglaa
jo bhi hai so tumhaara
naukar chaakar motor banglaa
jo bhi hai so tumhaara
arre hum ko agar tum bore karenga
tang aa ke hum shor karenga
maar maar ke
ho mister maar maar ke
right karenga

haaye
na maanogi fight karenga
jhagdaa day and night karenga

mujh sa koi na milegaa tujhko
hathni jaisi jaadi
arre mujh sa koi na milegaa tujhko
hathni jaisi jaadi
moti kabhi na hoti khoti
tu kya jaane anaadi
moti kabhi na hoti khoti
tu kya jaane anaadi

achaa
lo phir tum par dil se marenga
champi karenga paani bharenga
jo bhi karenga
ho madam jo bhi karenga
right karenga
ab na tum se fight karenga
aur na tibri tight karenga

jo bhi karenga
karenga
jo bhi karenga
right karenga

doo de leyeeee
(ahaa ha ha)
ao de leyeeee
(o ho ho)
ao de leyeeee
(aa haa)
leyeee
(aaaaa)
leyeee
(aaaaa)
doo de leyeeee
(ahaa ha)
ao de leyeeee
(o ho)
ao de leyeeee
(aa haa)
leyeee
(aaaaa)
leyeee
(aaaaa)

———————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————–
ना मानोगी फाइट करेंगा
झगड़ा डे एंड नाइट करेंगा
जो भी करेंगा
हो मैडम जो भी करेंगा
राइट करेंगा
हम भी तुम से फाइट करेंगा
तेरी टिबरी टाइट करेंगा
मार मार के
हो मिस्टर मार मार के
राइट करेंगा

हाए
ना मानोगी फाइट करेंगा
झगड़ा डे एंड नाइट करेंगा

तेरा मेरा जोड़ ही क्या है
तू भजिया मैं पेड़ा
तेरा मेरा जोड़ ही क्या है
तू भजिया मैं पेड़ा
दो कानों में सर कर दूँगी
अगर मुझे फिर छेड़ा
दो कानों में सर कर दूँगी
अगर मुझे फिर छेड़ा

अररे हम से जो हंस कर बात करेंगा
सर्विस दिन और रात करेंगा
जो भी करेंगा
हो मैडम जो भी करेंगा
राइट करेंगा
हम भी तुम से फाइट करेंगा
तेरी टिबरी टाइट करेंगा ॰ ॰ ॰

फादर से मंज़ूरी ले ले
मैं हूँ अभी कंवारा
अरे फादर से मंज़ूरी ले ले
मैं हूँ अभी कंवारा
नौकर चाकर बंगला मोटर
जो भी है सो तुम्हारा
नौकर चाकर बंगला मोटर
जो भी है सो तुम्हारा
अरे हमको अगर तुम बोर करेंगा
तंग आके हम शोर करेंगा
मार मार के
हो मिस्टर मार मार के
राइट करेंगा

हाए
ना मानोगी फाइट करेंगा
झगड़ा डे एंड नाइट करेंगा

मुझसा कोई ना मिलेगा तुझको
हथनी जैसी जाड़ी
मुझसा कोई ना मिलेगा तुझको
हथनी जैसी जाड़ी
मोटी कभी ना होती खोटी
तू क्या जाने अनाड़ी
मोटी कभी ना होती खोटी
तू क्या जाने अनाड़ी

अच्छा
लो फिर तुम पर दिल से मरेंगा
चंपी करेंगा पानी भरेंगा
जो भी करेंगा
हो मैडम जो भी करेंगा
राइट करेंगा
अब ना तुमसे फाइट करेंगा
और ना टिबरी टाइट करेंगा

जो भी करेंगा
करेंगा
जो भी करेंगा
राइट करेंगा

डूऊ ड॰॰ए लेयी ई ई
(आहा हा हा)
यू ड॰॰ए लेयी ई ई
(ओ हो हो)
यू ड॰॰ए लेयी ई ई
(आ हा)
लेयी ई ई
(आ आ)
लेयी ई ई
(आ आ)
डूऊ ड॰॰ए लेयी ई ई
(आहा हा)
यू ड॰॰ए लेयी ई ई
(ओ हो)
यू ड॰॰ए लेयी ई ई
(आहा हा)
लेयी ई ई
(आ आ)
लेयी ई ई
(आ आ)


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.

It was a message earlier in the morning yesterday. It was a reminder email from Khyati Ben, that 25th July 2014 is the 95th birth anniversary of the renowned music director, Sudhir Phadke. This post is on her request. The wonderful and unique song is also her suggestion, and the lyrics are provided by her.

Sudhir Phadke – a name that is forever going to be known for the iconic, very traditional, very homely “Jyoti Kalash Chhalke” . This magical composition, created over five decades ago, has gone down in the history of Hindi film music as one of the all time great songs ever. The verses by Pt Narendra Sharma, and the mellifluous voice of Lata ji, are both strung together into the beautiful tapestry of Raag Bhopali by Sudhir Phadke. A magic of music has never sounded so perfect, so pure, so complete, so fulfilling and so pleasing.

He is a legendary figure in Maharashrtra an Marathi music. He has composed the music for ‘Geet Ramayan’, a simple translation of Sant Tulsidas’ epic into Marathi by the renowned poet, GD Madgulkar. The entire theatrical creation includes 56 songs. In their original presentation on stage and as a radio play, the singers who have sung these 56 songs include Manik Varma, Lalita Deulkar, Lata Mangeshkar, Sudhir Phadke himself, Vasantrao Deshpande, Ram Phatak, and Usha Atre amongst others.

This creation has made him a household name wherever Marathi is spoken. Stage performances of the program continue to draw huge crowds even today.

The composition of “Jyoti Kalash Chhalke” came in 1961. After the passage of five decades in history, most people are not aware of a minor detail – i.e. 1961 was nearly the end of his career in Hindi films. He did one more film in 1962 (‘Pyaar Ki Jeet’), and then one more after a gap of 10 years in 1972 (‘Daraar’). This song from 1961 stands out as a shining beacon in his career. He is best known for this iconic composition. But if we look back into his career of the prior fifteen years, there is a long list of very melodious and endearing songs that comes to mind. The gleeful “Din Hai Suhaan Aaj Pehli Taarikh Hai” (‘Pehli Taarikh’, 1954), is created by him. Some other very wonderful compositions that have come from his baton are “Main Taaron Ki Odh Chunariyaa” (‘Rukmini Swyamvar’, 1946), “Saawan Ki Ghataao Tum Dheere Dheera Aana” and “Taqdeer Mein Likha Hai Meri Thokaren Khana” (‘Aage Badho’, 1947), “Dil Ro Rahaa Hai Hum Gaa Rahe Hain” (‘Apradhi’, 1949), “Birhaa Sataaye Bairi” and “Aaj Ki Raat Niraali Hai” (‘Jai Bheem’, 1949), “Naino Se Bahe Jal Ki Dhaara, Man Mein Mere Angaare Hain” and “Mann Saunp Diya Anjaane Mein” (‘Maalti Maadhav’, 1951), “Nain Se Nain Mila Lo, Man Se Man Ko Uljha Lo” (‘Gaj Gauri’, 1958), “Matke Pe Matka, Khaali Nahin Jaata Nishaana Natkhat Kaa” (‘Gokul Ka Chor’, 1959) and many more such beautiful melodies that are his creation.

Sudhir Phadke was born in Kolhapur in 1919. His name at birth was Ram Phadke, which is later changed, when he started working with HMV. With the passing away of his mother in 1929, the ten year old moved to Bombay with family. His interest and aptitude for music brought him to Maharashtra Sangeet Vidyalaya, where he received formal education and training. He also learnt at the feet of Pt Wamanrao Padhye of the Gwalior gharana, and Dr Bhajker, another renowned exponent of classical music in his times. In 1943 , he joined the gramophone company, HMV, and worked there till 1945. At HMV, he met with Vasudev G Bhatkar, who would later be more famous as Snehal Bhatkar. This was a lasting friendship, which also brought the young Sudhir in touch with the film industry. In collaboration with Vasudev Bhatkar, his first film as music director was ‘Rukmini Swyamvar’ in 1946. In parallel he also got his first break as an independent music direction with the film ‘Golkul’ also in 1946. In 1949, while recording the songs of ‘Jai Bheem’, a mutual attraction arose between the music director and one of his singers in this film, Lalita Deolkar. They were married the same year.

In a career that lasted a little over 15 years in Hindi cinema, he composed approximately a 120 songs for about 20 films. His mainstay, however has been the Marathi Bhaavgeet and music for Marathi films, that has made him a household name in Maharashtra. Compared to his stint with Hindi films, in Marathi cinema, he has composed music for over eighty films. During the last phase of his life, he was working to produce a biographical film on Veer Saavarkar. This film was not completed, however some songs were recorded.

Sudhir Phadke passed away on 29th July 2002, at the age of 83.

I had mentioned in the intro paragraph of this article that this is a very unique song. In her message, Khyati Ben explained this uniqueness as follows. As per the verses of this song, it is clear that on screen, this song is sung by the character of Devki. Readers are familiar with the history of the birth of Lord Krsna. He is born to Devki and Vasudev as their eighth child, while they have been incarcerated in prison, by Kamsa, the brother of Devki. On the night of His birth, by divine intervention, the baby child is carried in a basket by Vasudev and is deposited in the home of Nand and Yashoda in Gokul. All this while everyone is in deep sleep. Vasudev returns from Gokul carrying back the girl child of Yashoda.

The suffering and hardship of prison life, continue to be the bane of Devki’s and Vasudev’s lives. Their freedom comes when eleven years later, young Krsna comes to Mathura. He pulls down Kamsa from his throne and takes his life with a single blow. This episode is very well known.

But the fact is that Devki and Vasudev are condemned to spend another 11 years in prison, before being liberated. This song is most likely placed during that period of eleven years, as Devki calls out to her son, asking to be delivered from this life in prison. Going by our awareness of the variety of Hindi film songs abour Krsna, the experience is that almost all songs of motherly love and invocation are sung by Yashoda. In my awareness, this is probably the only song I have come across, which is apparently sung by Devki. That is what makes this song so unique.

The singing voice is that of Lata ji. The verses are from the pen of Pt Narendra Sharma. The melody created by Sudhir Phadke is based on Raag Mishr Maalkauns. Another very touching and very traditional creation from this team of artists.

Listen and enjoy.

(And thanks once again to Khyati Ben, for prompting to write this post on the venerable music director.)


Song-Tum suno suno ghanshyaam (Gokul Ka Chor)(1959) Singer-Lata, Lyrics-Narendra Sharma, MD-Sudhir Phadke
Chorus

Lyrics

suno . . o o
suno . . o o
suno . . o o
suno . . o o
suno . . o o
suno . . o o
jhan jhanan jhanan
jhan jhanan jhanan
jhan jhanan jhanan
jhan jhanan jhanan
hathkadiyon ki jhankaar suno
dukhiyon ka haahaakaar suno
suno suno Ghanshyaam

suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)

peedaa ka kaaraagaar hoon main
mamta ka luta sansaar hoon main
aansoo jal ki majhdhaar hoon main
us paar ho tum
is paar hoon main
tum meri god ke laalan ho
jag ke hey paalan haar suno
jag ke paalan haar suno
hathkadiyon ki jhankaar suno
dukhiyon ka haahaakaar suno
suno suno ghanshyaam

suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)

chhalkaa kar ras ki gaagariya
baj chuki bahut din baansuriya
o vaasudev nat naagariya
ab aa jaao na baawariya
hain dase vishaile naag abhi
ye zehr bhari fufkaar suno
zehr bhari fufkaar suno
hathkadiyon ki jhankaar suno
dukhiyon ka haahaakaar suno
suno suno Ghanshyaam

suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)
suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)
suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)

—————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
झन झनन झनन
झन झनन झनन
झन झनन झनन
झन झनन झनन
हथकड़ियों की झंकार सुनो
दुखियों का हाहाकार सुनो
सुनो सुनो घनश्याम

सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)

पीड़ा का कारागार हूँ मैं
ममता का लुटा संसार हूँ मैं
आँसू जल की मँझधार हूं मैं
उस पार हो तुम
ईस पार हूँ मैं
तुम मेरी गोद के लालन हो
जग के हे पालनहार सुनो
जग के पालनहार सुनो
हथकड़ियों की झंकार सुनो
दुखियों का हाहाकार सुनो
सुनो सुनो घनश्याम

सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)

छलका कर रस की गागरीया
बज की चुकी बहुत दिन बांसुरिया
ओ वासुदेव नाट नागरिया
हैं डसे विषैले नाग अभी
ये ज़हर भरी फुफकार सुनो
ज़हर भरी फुफकार सुनो
हथकड़ियों की झंकार सुनो
दुखियों का हाहाकार सुनो
सुनो सुनो घनश्याम

सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)
सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)
सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)


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.

Since even before the films started to talk and sing, music has been an important part of the cinematic experience. Even in the days of silent films, there used to be a live orchestra sitting close to the screen, who would provide music accompaniment and some sound effects to make the proceedings more interesting and to keep engaged the attention of the viewers. Of course, when the sound came, and the music and song became such an inseparable part of the theme, the presentation and the making of the films that with it came a new distinction and a new significance that got attached to the role and position of a music director. But the story of the music and song in the films does not end there.

Since the beginning of film making in India, and then more so when the sound came into the movies in 1931, people from the length and breadth of the country came to Bombay, Calcutta, Lahore and other film production centers, with dreams to create music for the films. These men, and some women, were from many different parts of the country, from many walks in life and from many communities. They came to Bombay to be part of what is arguably the most distinctive popular music and popular film culture on this planet. They came to create what ostensibly became the very first crusade for fusion music, anywhere in the world – a fusion of many different forms of music – classical, folk, western etc.

Some of these men, and women became recognized as music directors, whose names would appear in the film credits and also get displayed on posters and advertisement. A large part them however worked as musicians, studio performers, arrangers, assistants and composers. Some of them would gain fame for a specialty that was their hallmark trade. Most of them however, have remained anonymous and unseen performers, playing their art from behind the bright lights. Their contributions toward making the Indian cinematic music as one of the world s most celebrated popular music genres, is immense and immeasurable. Their identity, their names – hidden, and probably lost, behind the curtains that separate the stage from off-stage. They are so close that we can hear them. And yet, they are so far that we cannot see them, or know them. But we know that what we hear as music and song and the background music of course, in the films, the recording of that music would not have been possible, but for these unnamed performers.

Some of their names found place and recognition in newspaper stories, and acknowledgement as assistant music directors in the film’s credits. Names like ‘Chic’ Choclate, Braz Gonsalves, Cawas Lord, Suhrid Kar, Anthony Gonsalves etc. became known to the film audiences and listening public. Then there is another set of names, that were eventually able to gain enough recognition and respect that they got opportunities to rise up and be independent music directors in their own right. Dattaram came out of the shadows behind Shankar Jaikishan. Sattar, the tabla player, teamed up with musicians Lala to compose music as Lala-Sattar, and then also included Asar to compose as a trio – Lala-Asar-Sattar. Suhrid Kar, longtime assistant to SD Burman, came into limelight, albeit for just one film – ‘Kaanch Ki Gudiya’ (1961). Sonik worked for almost a decade as assistant to Madan Mohan and Roshan, before striking out a path for himself in the company of his nephew, Omi. Similarly ‘Chic’ Choclate, the famed assistant to C Ramchandra, ventured out to create music independently.

There are many such names that can be listed. For most of them, independent careers, could not be sustained. Some of them were one film wonders, like Suhrid Kar. Some lasted for a few films – ‘Chic’ Chocolate, Lala-Sattar etc. Some were able to make longer careers as independent music directors – names like Sonik-Omi and Dattaram. In this last category, a notable name that must be included is GS Kohli.

Remembering GS Kohli on the anniversary of his passing away today.

The following brief bio sketch is adapted from the write up for the song “Kahaan Chalki Chham Se” , written by our dear Arun ji Deshmukh.

GS Kohli was born in Punjab in 1928. He became an expert in playing many instruments. When Pancholi gave OP Nayyar his first break with AASMAAN-1952, OP chose Kohli as his assistant. Kohli remained his assistant till 1968, even after becoming an independent Composer himself.

GS Kohli is one of the three Sikh music directors in the Hindi film industry, the other two being Sardul Kwatra and S Mohinder. GS Kohli was the only clean shaven Sikh amongst these three.

Till 1960, Kohli had contributed significantly in OP Nayyar’s popular films like ‘CID’ (1956), ‘Mr. and Mrs 55’ (1955), ‘Aar Paar’ (1954), ‘Hum Sab Chor Hain’ (1956), ‘Naya Daur’ (1957), ‘Mujrim’ (1958), ‘Do Ustaad’ (1959), ‘Kashmir Ki Kali’ (1964) etc.

In 1960, GS Kohli‘s first film as an independent music director was released – ‘Lambe Haath’. His second film was ‘Mr India’ (1961) and then came ‘Faulaad’ (1963), ‘Shikari’ (1964), ‘Chaar Darvesh’ (1964), ‘Adventures of Robin Hood’ (1965), Namasteji (1965), ‘Do Matwaale’ (1966), ‘Naujawan’ (1966), ‘Sangdil’ (1967), ‘Jung aur Aman’ (1968), and then ‘Gunda’ and ‘Jaalsaaz’, his last two films in 1969.

Although GS Kohli was exceptional as an arranger and a tune maker for OP, he could not shine independently. Only B and C grade movies came to his way for creating music. His music in ‘Shikari’ and ‘Namaste ji’ is really wonderful and still continues to be popular. The famous song ”Tumko Piya Dil Diya Kitne Naaz Se” by Lata and Usha is from Shikari (1963).

GS Kohli passed away on 25-7-1996.

Yes, it is true that he is famous for the two films mentioned by Arun ji. However, we must also take a look at the complete body of work that he has accomplished in the one decade that he was active as an independent music director. Some songs that he has created for the film ‘Adventures of Robin Hood’, ‘Faulaad’ and ‘Jaalsaaz’ are no less that a gem category.

For today’s post, I present this peppy club dance song from the film ‘Gunda’. The lyrics are from the pen of Dev Kohli. The singing voice is that of Asha Bhosle. This 1969 film is produced under the banner of Smart Films and is directed Mohammed Hussain. It is a regular NA Ansari – Sheikh Mukhtar cops-and-robbers story. The main cast of actors includes Sheikh Mukhtar, NA Ansari, Sujit Kumar, Jayanthi, Bhagwan, Helen, Sham Kumar, Bela Bose, Shakila Bano Bhopali, Mohan Jerry, Mumtaz Begum, Uma Dutt and Shefali etc. amongst others. On screen, this dance song is performed by Bela Bose, and we can also see Sujit Kumar and Jayanti in the clip. The quality of video is not very good, so some other faces are not recognizable. I could make out Bhagwan in a black suit, hat and fake beard.

Listen and enjoy.


Song-Khushi se jaan le lo ji (Gunda)(1969) Singer-Asha Bhonsle, Lyrics-Dev Kohli, MD-G S Kohli

Lyrics

khushi se jaan le lo ji
dil o imaan le lo ji
kabhi to aazma lo ji
main ne tum se zubaan ki hai
main ne tum se zubaan ki hai
khushi se jaan le lo ji
dil o imaan le lo ji
kabhi to aazma lo ji
main ne tum se zubaan ki hai
main ne tum se zubaan ki hai

tere sadqe tere qurbaan
hansi mein roothhne waale
tere sadqe tere qurbaan
hansi mein roothne waale
sataana tujhko aata hai
sataa le aur sataa le
kabhi to jaanoge
kabhi to maanoge
kabhi to jaanoge
kabhi to maanoge
banda parvar
kuchh bhi keh lo
main ne tum se wafaa ki hai
main ne tum se zubaan ki hai
main ne tum se zubaan ki hai

meri hai iltejaa itni
mujhe apna banaa le tu
meri hai iltejaa itni
mujhe apna banaa le tu
mere dilbar
yakeen na ho
to mujh ko aazma le tu
kabhi to jaanoge
kabhi to maanoge
kabhi to jaanoge
kabhi to maanoge
salaamat tum
raho main ne
meri jaan ye duaa ki hai
main ne tum se zubaan ki hai
main ne tum se zubaan ki hai

khushi se jaan le lo ji
dil o imaan le lo ji
kabhi to aazma lo ji
main ne tum se zubaan ki hai
main ne tum se zubaan ki hai

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

खुशी से जान ले लो जी
दिल ओ ईमान ले लो जी
कभी तो आज़मा लो जी
मैंने तुमसे ज़ुबान की है
मैंने तुमसे ज़ुबान की है
खुशी से जान ले लो जी
दिल ओ ईमान ले लो जी
कभी तो आज़मा लो जी
मैंने तुमसे ज़ुबान की है
मैंने तुमसे ज़ुबान की है

तेरे सदक़े तेरे क़ुर्बान
हंसी में रूठने वाले
तेरे सदक़े तेरे क़ुर्बान
हंसी में रूठने वाले
सताना तुझको आता है
सता ले और सता ले
कभी तो जानोगे
कभी तो मानोगे
कभी तो जानोगे
कभी तो मानोगे
बंदा परवर
कुछ भी कह लों
मैने तुमसे वफा की है
मैंने तुमसे ज़ुबान की है
मैंने तुमसे ज़ुबान की है

मेरी है इल्तजा इतनी
मुझे अपना बना ले
मेरी है इल्तजा इतनी
मुझे अपना बना ले
मेरे दिलबर
यकीन ना हो
तो मुझको आज़मा ले
कभी तो जानोगे
कभी तो मानोगे
कभी तो जानोगे
कभी तो मानोगे
सलामत तुम
रहो मैंने
मेरी जान ये दुआ की है
मैंने तुमसे ज़ुबान की है
मैंने तुमसे ज़ुबान की है

खुशी से जान ले लो जी
दिल ओ ईमान ले लो जी
कभी तो आज़मा लो जी
मैंने तुमसे ज़ुबान की है
मैंने तुमसे ज़ुबान की है


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.

“Roti Kapda Aur Makaan”(1974) was produced and directed by Manoj Kumar for Vishal International Productions. The movie had Manoj Kumar, Zeenat Amaan, Shashi Kapoor, Amitabh Bachchan, Dheeraj Kumar, Aruna Irani, Moushumi Chatterjee, PremNath, Madanpuri, Kuljeet Singh, Agha, Meena.T., Lalita Kumari, Sulochana Latkar, Manmohan, Raj Mehra, Birbal, Rajni Bala, KamalDeep, AsitSen, Harbans, Rajan Kapoor, C.S.Dubey, Madhup Sharma, Jaani Babu, Raza Murad, Kamini Kaushal, Krishan Dhawan etc in it.

Today (24 july 2014) is the 77th birth anniversary of Manoj Kumar. On this occasion, here is a song from “Roti Kadpa Aur Makaan” (1974). This song is sung by Mahendra Kapoor. Santosh Anand is the lyricist. Music is composed by Laxmikant Pyarelal.

The picturisation shows this song sung by Manoj Kumar on a TV while some “Aiyyaash” people viz Shashi Kapoor etc are having a party. Though it is only 1974 and color TV would not come to India for another eight years, this picturisation may make one to believe that colour TV was already available in India in 1974. :)

This song won Mahendra Kapoor the Filmfare award for the best male playback singing.

Lyrics of this song were sent to me by Prakashchandra.

Audio

Video

Song-Aur nahin bas aur nahin (Roti Kapda Aur Makaan)(1974) Singer-Mahendra Kapoor, Lyrics-Santosh Anand, MD-Laxmikant Pyarelal
Chorus

Lyrics(Provided by Prakashchandra)

aur nahin bas aur nahin
gham ke pyaale aur nahin
aur nahin bas aur nahin
gham ke pyaale aur nahin
dil mein jagah nahin baaqi
rok nazar apni saaqi
aur nahin bas aur nahin
gham ke pyaale aur nahin
aur nahin bas aur nahin

sapne nahin yahaan tere
apne nahin yahaan tere
sapne nahin yahaan tere
apne nahin yahaan tere
sachchaayee ka mol nahin
chhup ho jaa kuchch bol nahin
pyaar preet chillaayega
to apnaa galaa ganwaayega
patthar rakh le seene par
kasmein khhaa le jeene par
kasmein khhaa le jeene par
gaur nahin hai gaur nahin
parwaanon par gaur nahin
aansoo aansoo dhalte hain
angaaron par chalte hain
to aur nahin bas aur nahin

aaa
aa aa aa aa
aa aa aa aa
aa aa aa

kitnaa padhoon zamaane ko
kitnaa gadhoon zamaane ko
kitnaa padhoon zamaane ko
kitnaa gadhoon zamaane ko
kaun gunon ko gintaa hai
kaun dukhon ko chuntaa hai
hamdardi kaaphoor huyee
neki chaknaachoor huyee
jee karta bas kho jaaoon
kafan odhkar so jaaoon
kaffan odhkar so jaaoon
daur nahin ye daur nahin
insaanon ka daur nahin
farz yahaan par farzi hai
asli to khudgarzi hai
to aur nahin bas aur nahin
gham ke pyaale aur nahin
aur nahin bas aur nahin

beemaar ho gayee duniyaa
bekaar ho gayee duniyaa
marne lagee sharam ab to
bikne lagein sanam ab to
ye raat hai nazaaron ki
gairon ke saath yaaron ki
to jee hai bigaad doon saari
duniyaa ujaad doon saari
duniyaa ujaad doon saari
zor nahin hai zor nahin
dil pe kisika zor nahin
koi aag machal jaaye
saara aalam jal jaaye
to aur nahin bas aur nahin
gham ke pyaale aur nahin

(whistling sound)
aur nahin bas aur nahin
gham ke pyaale aur nahin
dil mein ab jagaah nahin baaqi
rok nazar apni saaqi

(whistling sound)

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


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 Many Colors of Love #18 – The Lovely Letters of Love
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And so wrote the scribe

likhe jo khat tujhe
wo teri yaad mein
hazaaron rang ke
nazaare ban gaye

Love has needs of words and expressions. And when the lovers are away from each other, the restless pining of the heart materialize as messages that take on many forms. There are countless episodes of these messages of love, many famous and well known, and many more multifold that are personal and undisclosed.

Time was when the paper was not yet invented and the messages were written on plant leaves and barks of trees. Probably the most innovative and wondrous messaging was using the clouds. In the hallowed poetical epic ‘Meghdoot’ (literally, ‘The Cloud Messenger’), Kaalidas describes how Yaksha sent messages to his wife Alaka with the help of Megh, the cloud. Yaksha, is the caretaker of the treasures of Kuber, the God of wealth and prosperity. Once Kuber comes to know that Yaksha is neglecting his duties. As a reprimand, he is banished from Mount Kailash, which is his abode, and sent to the mountains of Vindhyachal for a period of one year. Being separated from his wife, he is longing for her. In desperation, he takes help of Megh to carry his message to Alaka on Mount Kailash. The poem is about Yaksha describing the journey from Vindhyachal to Kailash, how will he recognize the place and how will he recognize Alaka to deliver the message. And of course the message itself – a message of longing and love, expressing desires to be together again with her. The poem has become a renowned classic around the world, appreciated for its beauty and the innovative idea of using the clouds as a messenger of love.

Then we have the Hamsa Sandesha, another literary creation that tells about how Lord Ram sent messages to Sita with help of the swan bird.

We also have the beautiful eulogy of love sent in the form of a letter by Rukmini, to Lord Krsna, through a Brahmin messenger, telling of Her love for Him, and informing that Her wedding has been arranged with King Shishupal, and that He should urgently come and rescue Her from this unseemly fate. This message is presented in detail in the epic Srimad Bhagwatam in the tenth-book and fifty-second chapter. Interested readers can read more about this here.

History also abounds with episodes of using pigeons as carriers of love messages. One of the earliest references in recorded history comes from Greece. The poet Anacreon has written a poem describing how he instructs the carrier pigeon and describes the bird’s flight as a messenger carrying a love-letter to his beloved. In our own history, there is reference of pigeons used as carriers of love messages between Shahzada Salim and Anarkali.

Then we have a mystery message that has been awaiting interpretation for over a century. This message, carved out on wood, has appeared in many inscriptions discovered in Scandinavia. The message that has been puzzling cryptologists and runologists has recently been deciphered and solved. It is a love message that includes the words ‘Kiss Me’.

And discussion on love messages cannot be complete without reference to the Great Bard. His famous comedy, ‘Twelfth Night’ features an assortment of very interesting characters, with very many confusions being caused between them, and a great variety of messages sent from one character to another—sometimes as letters and other times in the form of tokens. Such messages are used both for purposes of communication and miscommunication, that add to the humor in the story line. And there are many other plays by him, in which the device of love letters and love messages has been used in the storyline.

Love messages are a significant part of the story lines and songs in Hindi films. In fact there is a film titled ‘Prem Patra’ from 1962, starring Shashi Kapoor and Sadhna in lead roles. There are many endearing songs that have made this part of the on screen romancing, an unforgettable part of our memories. Whether it is the “Aabaad Rahe Tera Ghar Munshi, Khat Likh De Saajan Ke Naam” from film ‘Surajmukhi’ (1950) or the similar sounding “Khat Likh De Saanwariyaa Ke Naam Baabu” from ‘Aaye Din Bahaar Ke’ (1966), or “Ye Mera Prem Patra Padh Kar” from ‘Sangam’ (1964), or lovely melody of “Tera Khat Le Ke Sanam Paaon Kahin Rakhte Hain Hum” from ‘Ardhaangini’ (1958), or the iconic fame of “Phool Tumhen Bheja Hai Khat Mein” from ‘Saraswati Chandra’ (1967), or the lilting rhythm of “Haaye Haaye Ik Ladka Mujhko Khat Likhta Hai” from ‘Kachche Dhaage’ (1973), or even the melancholy of not receiving the message as in “Main Ye Soch Kar Us Ke Dar Se Uthaa Thaa” from film ‘Haqeeqat’ (1964). And what to say of the song noted at the beginning of this write up. This song from film ‘Kanyadaan’ (1971), I clearly recall that when this film came to the theatres, this song was heard on the radio in practically every program. Continuously for many weeks this song was played, at least 12 to 15 times a day, making some sort of a record.

The song that I present today is from the 1953 film ‘Firdaus’. When I heard this song for the first time, my heart told me it had to be part of this series of songs about love. The words of this song present such a unique aspect of the letters of love. I am so taken in by the idea and the concept that is the central theme of this song. Presenting an emotion of extreme longing, mixed with sadness and helplessness, it tells of the level of desperation that makes the lady write out her message of love, using the ‘kaajal’ (kohl) from her eyes. She says that her mother in law has taken away the ink and the writing pen, and she has no other way to write to her husband, her beloved. And it is an extreme measure that makes her use the ‘kaajal’ to write her letter of love.

For quite some time after listening to this song, my mind was contemplating this thought. I was trying to understand myself whether these verses are a metaphor, to simply say how strongly she misses her beau. But then it struck me. It struck me that actually she is crying. And as the tears flow, along with it flows the kaajal from the eyes. This mixture of ‘kaajal’ and tears is what makes the ink that she is using to write her message of love. When this thought struck me, was really taken in by the beauty of the words and the idea that they present – writing a love letter, and using the tears and kaajal for ink, wow.

‘Firdaus’ is a movie produced under the banner of New Premier Films and is directed by Vasant Joglekar. The star cast includes Ashok Kumar, Geeta Bali, Anoop Kumar, Rama, Om Prakash, Lalita Pawar, Jamaal Amrohi, Badri Prasad, Randhir, Pesi Patel, and Vasant Thengadi etc. The film credits indicate that there are two music directors, viz. Robin Chatterjee and Roshan, and two lyricists, viz. DN Madhok and Shailendra who share the work for creating the eight songs of this film. This song is written by DN Madhok and is composed by Robin Chatterjee. The singing voice is that of Geeta Dutt.

Personally, I just do not seem to be able to get over this song, and how the letter of love is being written. An amazing thought and an amazing song.

Listen and enjoy.


Song-Ab to chale aao baalam ke chitthhi kajre se likhi (Firdaus)(1953) Singer-Geeta Dutt, Lyrics-D N Madhok, MD-Robin Chatterji

Lyrics

kalam dawaat mori sasuwaa ne rakh di
kalam dawaat mori
kalam dawaat mori sasuwaa ne rakh di
naa jaane
kis baat ki peed thhi
naa jaane
kis baat ki peed thhi
ab to chale aao baalam
chithhi
chithhi kajre se
ke chithhi kajre se
ke chithhi kajre se likhi
ab to chale aao balmaa
ho chale aao baalam
chithhi kajre se
chithhi kajre se likhi
ke chithhi kajre se likhi

aawan beeta
bhaadon jaaye
saawan beeta
bhaadon jaaye
likh likh haari
tum nahin aaye
tum nahin aaye
likh likh haari
tum nahin aaye
tum nahin aaye
ab to chale aao balmaa
ho chale aao baalam
chithhi
chithhi kajre se likhi
ke chithhi kajre se
chithhi kajre se likhi

tum ne to jaa ke
julam kar diya
julam kar diya
julam kar diya haaye
tum ne to jaa ke
julam kar diya hai
hum ne lifaafe mein
dil bhar diya hai
dil bhar diya hai
hum ne lifaafe mein
dil bhar diya hai
dil bhar diya hai
ab to chale aao balmaa
ho baalam
chithhi kajre se likhi
ke chithhi kajre se
chithhi kajre se likhi
ab to chale aao balmaa
ho chale aao baalam
chithhi kajre se
ke chithhi kajre se
ke chithhi kajre se likhi

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

कलम दवात मोरी ससुवा ने रख दी
कलाम दवात मोरी
कलम दवात मोरी ससुवा ने रख दी
ना जाने
किस बात की पीड़ थी
ना जाने
किस बात की पीड़ थी
अब तो चले आओ बालम
चिट्ठी कजरे से
के चिट्ठी कजरे से
के चिट्ठी कजरे से लिखी
अब तो चले आओ बलमा
हो चले आओ बालम
चिट्ठी कजरे से
चिट्ठी कजरे से लिखी
के चिट्ठी कजरे से लिखी

सावन बीता
भादों जाये
सावन बीता
भादों जाये
लिख लिख हारी
तुम नहीं आए
तुम नहीं आए
लिख लिख हारी
तुम नहीं आए
तुम नहीं आए
अब तो चले आओ बलमा
हो चले आओ बालम
चिट्ठी
चिट्ठी कजरे से लिखी
के चिट्ठी कजरे से
चिट्ठी कजरे से लिखी

तुमने जा के
जुल्म कर दिया
जुल्म कर दिया
जुल्म कर दिया हाए
तुम ने तो जा के
जुल्म कर दिया है
हमने लिफाफे में
दिल भर दीया है
दिल भर दीया है
हमने लिफाफे में
दिल भर दीया है
दिल भर दीया है
अब तो चले आओ बलमा
हो बालम
चिट्ठी
चिट्ठी कजरे से लिखी
चिट्ठी कजरे
चिट्ठी कजरे से लिखी

अब तो चले आओ बलमा
हो चले आओ बालम
चिट्ठी कजरे से
के चिट्ठी कजरे से
के चिट्ठी कजरे से लिखी


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.

“Ek Baap Chhe Bete”(1978) was produced by Ashok Shinde and directed by Mehmood for Shinde Enterprises. The movie had Mehmood, Nutan, Jaya Bachchan, Shobha Khote, Yogita Bali, Mohan Choti, Kishore Kumar, I.S.Johar, Mukri, Farhad, Mrs.Tracy Mahmood, Madhu Kapoor, Moushami Chatterjee, Bindu, Keshto Mukerjee, Sunder, Junior Mahmood, Sulochana, Maruti, Masood Ali aka Pucky Ali, Maqsood Mehmood Ali Aka Lucky Ali, Maqdoom Ali aka Macky Ali, Masoom Ali, Mansoor Ali, Manzoor Ali etc in it.

Today (23 july 2014) is the 10th death anniversary of Mehmood (29 september 1932- 23 july 2004). Here is a song from “Ek Baap Chhe Bete” (1978) in memory of Mehmood. The song is sung by Rafi and Sulakshana Pandit and it is picturised on Mehmood and Mausami Chatterji. Majrooh Sultanpuri is the lyricist. Music is composed by Rajesh Roshan.

Lyrics of this song were sent to me by Prakashchandra.

Video

Audio

Song-Ghadi milan ki aayi (Ek Baap Chhe Bete)(1978) Singers-Rafi, Sulakshana Pandit, Lyrics-Majrooh Sultanpuri, MD-Rajesh Roshan
Child voices
Both

Lyrics(Provided by Prakashchandra)

ghadi milan ki aayee
aayee
tu chhutti lekar aa jaa aa
pyaar ki been baje na akele
tu zaraa saath nibhaa jaaa aa
pyaar ki been baje na akele
tu zaraa saath nibhaa jaa

ajab museebat aayee
aayee
yahaan toh sunn mere raajaa
ek saath kayee sur bajte hain
band ho kaisse bataa jaa aaa
ek saath kayee sur bajte hain
band ho kaisse bataa jaa

ghadi milan ki aayee

mm…mmmm…mmmmmm
mummy
aanaa mummy
dar lagtaa hai
mummy

aa jaa rey guddu aa jaa
munnoo ko sulaa jaa
laal palang par moti heeraa
teenon baabaa so jaaa
aa jaa re guddu jaa

(whistling sound)
shshshshsh
ssssssssss
jab byaah kiyaa
toh darnaa kyaa jaani
bolo
main toh nahin boloon nahin boloongi
ho sang nahin doloon nahin doloongi

ho o o
mat dol
ooparwaalaa dekhtaa hai
todaa kis ne
dil kaa shivaalaa
dekhtaa hai
dekhe ye durgaa maayee
maayee
huaa badan meraa aadhaa
issi phiqar le ke ye trimurthi
phir na bajaane lage baajaa
issi phiqar le ke ye trimurthi
phir na bajaane lage baajaa

ghadi milan ki aayee ee

(crying sound)

chali aa rey
tu sabko
neend ki goli deke
dil ke tukde ko goli degaa rey
ho aisa nahin hogaa nahin hogaa rey

hmm
na ho toh
main bechaaraa kyaa karoongaa
tere pyaar ke aansoon
pee ke so rahoongaa
aayee balam jee aayee
sonaa abhi naa mere raajaa aa
rahoongi tere bin kaise akeli
tu meri duniyaa basaa jaa
rahoongi tere bin kaisse akeli
tu meri duniyaa basaa jaa

ghadi milan ki aayee
aayee
tu chhutti lekar aa jaa
pyaar ki been baje na akele
tu zaraa saath nibhaa jaa aa
pyaar ki been baje na akele
tu zaraa saath nibhaa jaa
ghadi milan ki aayee


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.

kuchh jodiyaan duniya mein bahut kam milti hain
magar jab milti hain to ghazab ka aalam hota hai

There are combinations of artists that have created some wondrous songs and music. But the disappointment at times is that these artist may have had really very few opportunities to work with each other. Yesterday, as I started to select some songs to post for today to celebrate Mukesh’s anniversary, this thought came to my mind. And I started to look for some songs that Mukesh has sung under the music direction of Jaidev. Just putting together these two names, sounds like a great combination that expected would be creating some wonderful gems together.

As I searched the Geet Kosh, I was in for a disappointment of sorts. As far as I can make out from my search, it seems that Mukesh has sung only two songs for Jaidev. I was expecting more, but then we must count our blessings, for they are the joy that keeps us going.

One song is the iconic “Jab Gham e Ishq Sataata Hai To Hans Leta Hoon” from the 1963 film ‘Kinaare Kinaare’. A rare combination of artists, and a rare song performed on screen by Chetan Anand.

Today I bring to present here possibly the only other song that Mukesh has sung for Jaidev. It is one of the comparatively less heard songs, but it is a song of the highest quality of gems. I remember this song from the radio listening days as a child, and then later this song just seems to have disappeared from the air waves.

The film is ‘Bhaavna’ from 1972. From the banner of Satya Films Corporation, it is directed by Thakur Karunesh. The star cast of the film
includes Dev Kumar, Soniya Sahni, Padma Khanna, Indira, Dev Dutt, Sajjan, Sundar, Dhanraj, V Gopal, Dilip Dutt, Rajrani, Chacha, Moolchand, Deepak Raj, Rajshri T, Kamini Kaushal, Anita Sinha, Manjeet Kumar, Prabhat Kumar, Mahindra Kumar, Shyam Kumar, Dhruv Kumar, and Satish etc.

The lyrics of this beautiful song are written by Naqsh Lyallpuri. It is a duet with Asha Bhosle joining Mukesh to render this loveable, slow paced exchange between two hearts in love. The twosome are alone by themselves, and the gentleman poses the question – “Kya Iraada Hai”. And one can expect a touch of mischief in the song. Very simply worded, and very simply rendered. A song that you will fall in love with.

I am sure that this song is going to be the delight of the day, bringing some endearing and maybe naughty moments back to the heart, and memories.

Listen and enjoy.

PS – as has been informed in comments section by Mahesh ji, and by Harish Raghuvanshi ji in email.

Mukesh has sung under the music direction of Jaidev, in the following films

1963 Kinare Kinare – 1 Solo

1971 Do Boond Paani – 1 Duet

1971 Ek Thi Reetaa – 1 Duet

1972 Bhaavanaa – 1 Duet

1972 Maan Jaaiye – 1 Duet

Besides these, Mukesh also recorded one song each for two incomplete films in the 1970s.

a. Pritima – Tumko Yoon Dekhaa Hai…

b. Tanhaai – Tumhine Dilko Dil Samajhaa Nahin Hai

Both these songs are written by Kaifi Azmi. And both of them are used in the telefilm ‘Chaand Grahan’.

Many thanks to Harish ji and Mahesh ji, for these corrections.


Song-Phir milengin kahaan aisi tanhaaiyaan (Bhaavna)(1972) Singers-Mukesh, Asha Bhonsle, Naqsh Llayalpuri, MD-Jaidev
Chorus

Lyrics

phir milengi kahaan
kya
aisi tanhaai’aan
ha ha ha
kyun

phir milengi kahaan
aisi tanhaai’aan
phir milengi kahaan
aisi tanhaai’aan
poochhti hai nazar
ae haseen hamsafar
kya iraada hai
kya iraada hai
kya iraada hai
kya iraada hai

dekh kar ye fiza
dil machalne lagaa
dekh kar ye fiza
dil machalne lagaa
main bhi poochhoon agar
ae haseen jaadugar
kya iraada hai
kya iraada hai
kya iraada hai
kya iraada hai
dekh kar ye fiza

uff ye naaz o adaa
haaye ye baankpan
uff ye naaz o adaa
haaye ye baankpan
chaandni mein nahaaya sa goraa badan
aankh se dhhal rahaa hai nasha hi nasha
aankh se dhhal rahaa hai nasha hi nasha
hosh mein koi kaise rahe jaaneman
dekh kar ye fiza
dil machalne lagaa
main bhi poochhon agar
ae haseen jaadugar
kya iraada hai
kya iraada hai
kya iraada hai ae
kya iraada hai
dekh kar ye fiza

sakhiyon pyaar huaa
chori se
iqraar huaa
chori se
dil bandh hi gaye
dil bandh hi gaye
ik dori se
piya ne apne paas bulaa kar
kahaa ye natkhat gori se ae ae

kya iraada hai
kya iraada hai
kya iraada hai
kya iraada hai

—————————————-
Hindi script lyrics (Provided by Sudhir)
—————————————-
फिर मिलेंगी कहाँ
क्या
ऐसी तन्हाइयाँ
हा हा हा
क्यों

फिर मिलेंगी कहाँ
ऐसी तन्हाइयाँ
फिर मिलेंगी कहाँ
ऐसी तन्हाइयाँ
पूछती है नज़र
ए हसीं हमसफर
क्या इरादा है
क्या इरादा है
क्या इरादा है
क्या इरादा है

देख कर ये फिज़ा
दिल मचलने लगा
देख कर ये फिज़ा
दिल मचलने लगा
मैं भी पूछूँ अगर
ए हसीं जादूगर
क्या इरादा है
क्या इरादा है
क्या इरादा है
क्या इरादा है
देख कर ये फिज़ा

उफ़्फ़ ये नाज़ ओ अदा
हाय ये बाँकपन
उफ़्फ़ ये नाज़ ओ अदा
हाय ये बाँकपन
चाँदनी में नहाया सा गोरा बदन
आँख से ढल रहा है नशा ही नशा
आँख से ढल रहा है नशा ही नशा
होश में कैसे कोई रहे जानेमन
देख कर ये फिज़ा
दिल मचलने लगा
मैं भी पूछूँ अगर
ए हसीं जादूगर
क्या इरादा है
क्या इरादा है
क्या इरादा है
क्या इरादा है
देख कर ये फिज़ा

सखियों प्यार हुआ
चोरी से
इक़रार हुआ
चोरी से
दिल बंध ही गए
दिल बंध ही गए
इक डोरी से
पिया ने अपने पास बुला कर
कहा ये नटखट गोरी से ए ए

क्या इरादा है
क्या इरादा है
क्या इरादा है
क्या इरादा है


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 one voice in the Hindi cinema world that is so different from any others. The one voice that can only be characterized as soulful and naturally so. The sound of this soft voice seems to be coming from great depth. t not a deep bass, or a booming sound. Just a soft voice, moving very easily and comfortably, rising from deep caverns. Unassuming and soothing as it reaches out to the listeners, it is one voice that caresses, soothes and comforts in a way that no other voice can. No matter what the song be, when sung by Mukesh, it seems to get an unexpected ambience and comes alive, as no other voice can make happen. There is a touch of melancholy that rings even in the songs of zest and happiness, that is the hallmark of his singing. Many more such voices have come and will come. But none will be able to connect the sound with the heart as Mukesh could.

Today, we are celebrating the 91st anniversary of birth of this peerless singer. It is always a wonder in discussions, how come there are not more songs sung by him, than are available. If we take a look at the list of his songs, my conjecture is that no other singer may be able to profess having sung so many songs that became popular, in terms of percentage of the total songs sung. When one hears ten, twenty, fifty, two hundred popular and famous songs of a singer, one expects that surely there will be more that the singer has sung. And it turns out to be true for most other singers. It seems only Mukesh has to his credit that practically every song that he has sung, has become famous and well known. And then after going through that list, the mind asks – OK so these are his famous songs, tell me what else he has sung. And there is very little that can be presented as an answer to that question. His popular and well known songs are everywhere, his lesser known songs are very few. And that is all what Mukesh is.

Having completed the posting (barring maybe one or two) of Mukesh songs till the year 1950 in my ‘Voice Of Mukesh’ series, as I search for songs from subsequent years, I find, not surprisingly, practically everything from the decade of 1950s already posted here on this blog. With maybe one or two exceptions in between, I had to reach down all the way to 1957, to find a song that was not posted.

The film is ‘Sharda’, a tragic social drama that has a complex plot, one that provided grand opportunities to the actors to display the eminence of their histrionic capabilities. The performances put in by Meena Kumari and Raj Kapoor as young hearts in love, by Raj Mehra as father of Raj Kapoor and later the husband of Meena Kumari by a quirk of fate, and by Shyama the new wife of Raj Kapoor who is troubled by the discovery of the shared past of her husband and now his step mother. The drama in this film is touching and deep, and as expected, can only end in tragedy.

Here is a wonderful song from early on in the film, when the young Raj Kapoor and Meena Kumari meet. The place is an out of way ashram, where Raj Kapoor has brought Om Prakash, his friend, for treatment. He falls for Meena Kumari, who is part of the ashram household. And realizes that the way to her heart is only through chanting on the mala. And hence this song comes about. The performance by Raj Kapoor in this song is one of his best comic interludes. But the more enamoring part is all the things that Meena Kumar does not say in words, but expresses through minute inflexions of her face and lips, and her mannerism. The smiles that she almost gets to, have to be more imagined by the viewer, such micro is the movement of her lips. A veritable treat to watch.

Coming from the house of the famous Prasad Productions of Madras, the film is directed by LV Prasad. Besides the ones listed above, the cast of actors also includes Anita Guha, Agha, Gope, Randheer, Rajan Haksar, Sheila Vaz, WM Khan, Mirajkar, Nazir Kashmiri etc. amongst others. Music is by C Ramchandra and the lyrics are from the pen of Rajinder Krishan.

Wonderful memories, wonderful song. Listen and enjoy.


Song-Jap jap jap jap jap re (Shaarda)(1957) Singer-Mukesh, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics

jap jap jap jap jap re
jap jap jap jap jap re
jap jap jap jap mere manwa
jap re preet ki maala
hoye jap re preet ki maala
jap jap jap jap jap re

preet hai devi
preet hai devi
preet shivaala
jap re preet ki maala
jap jap jap jap jap re
hoye jap re
hoye jap re
jap re
jap re. . .

preet se badh kar meet na koi ee
preet se aage reet na koi
preet se badh kar meet na koi ee
preet se aage reet na koi
chhod jagat ko jogi ban jaa aa
chhod jagat ko jogi ban jaa
odh ke preet dushaala
haan jap re preet ki maala
jap jap jap jap jap re
jap jap jap jap jap jap jap jap jap jap jap jap jap re
jap jap jap jap jap jap jap jap jap jap jap jap jap re

jap jap jap jap jap jap jap jap jap jap jap jap
prem nagar ka baasi ho jaa
doob ke is saagar mein kho jaa
prem nagar ka baasi ho jaa
doob ke is saagar mein kho jaa
agar lagan hai teri saanchi
darshan degi baala
ho darshan degi baala
jap re preet ki maala
jap jap jap jap jap re
jap jap jap jap jap jap jap jap jap jap jap jap jap re
jap jap jap jap jap jap jap jap jap jap jap jap jap re
jap jap jap jap jap jap jap jap jap jap jap jap

ang bhabhoot ramaa le jogi
jogan kyon naa teri hogi
ang bhabhoot ramaa le jogi
jogan kyon naa teri hogi
preet ke ras se bharegi ik din
preet ke ras se bharegi ik din
tera khaali pyaala
jap re preet ki maala
jap jap jap jap jap re
jap jap jap jap jap jap jap jap jap jap jap jap jap re
jap jap jap jap jap jap jap jap jap jap jap jap jap re

——————————————————–
Hindi script lyrics (Provided by Sudhir)
——————————————————–
जप जप जप जप जप रे
जप जप जप जप जप रे
जप जप जप जप मेरे मनवा
जप रे प्रीत की माला
होय जप रे प्रीत की माला
जप जप जप जप जप रे
प्रीत है देवी

प्रीत है देवी
प्रीत शिवाला
जप रे प्रीत की माला
जप जप जप जप जप रे
होय जप रे
होय जप रे
जप रे
जप रे ॰ ॰ ॰

प्रीत से बड़ कर मीत ना कोई
प्रीत से आगे रीत ना कोई
प्रीत से बड़ कर मीत ना कोई
प्रीत से आगे रीत ना कोई
छोड़ जगत को जोगी बन जा
छोड़ जगत को जोगी बन जा
ओढ़ के प्रीत दुशाला
हाँ जप रे प्रीत की माला
जप जप जप जप जप रे
जप जप जप जप जप जप जप जप जप जप जप जप जप रे
जप जप जप जप जप जप जप जप जप जप जप जप जप रे

जप जप जप जप जप जप जप जप जप जप जप जप जप रे
प्रेम नगर का बासी हो जा
डूब के इस सागर में खो जा
प्रेम नगर का बासी हो जा
डूब के इस सागर में खो जा
अगर लगन है तेरी सांची
दर्शन देगी बाला
हो दर्शन देगी बाला
जप रे प्रीत की माला
जप जप जप जप जप रे
जप जप जप जप जप जप जप जप जप जप जप जप जप रे
जप जप जप जप जप जप जप जप जप जप जप जप जप रे
जप जप जप जप जप जप जप जप जप जप जप जप जप रे

अंग भभूत रमा ले जोगी
जोगन क्यों ना तेरी होगी
अंग भभूत रमा ले जोगी
जोगन क्यों ना तेरी होगी
प्रीत के रस से भरेगी इक दिन
प्रीत के रस से भरेगी इक दिन
तेरा खाली प्याला
जप रे प्रीत की माला
जप जप जप जप जप रे
जप जप जप जप जप जप जप जप जप जप जप जप जप रे
जप जप जप जप जप जप जप जप जप जप जप जप जप रे


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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)

481

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