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

Happy Diwali.

Greetings to all dear fellow travelers of this musical voyage, and all dear friends and readers on this blog. Another new celebration of the festival of lights – may it illuminate your life with the brilliance of joy and happiness. And may it bring blessings of good health, peace and satisfying prosperity – blessings that may come visiting, and then continue staying in your household. Till the time when it is due for celebration again, and this greeting will be refreshed – again.

The day that marks the return of Bhagwan Shri Ram to his home in Ayodhya, after a gap of fourteen years. Fourteen long and dreary and joyless years for the people of Ayodhya; years that were spent without the presence of Lord Ram amongst them. While this tenure was in progress, it seemed limitless and overawing. But when the day arrived and the dear Lord returned home, it was a celebration of happiness never seen before.

In the epic ‘Ramayan’, there is a description of two other fabulous celebrations, one when the Lord appears in family of Raja Dashrath, and the second when the young Prince is married to Sita, the daughter of Raja Janak. Both celebrations have been described in detail in the epic. Both celebrations are also portrayed as epitomes of joy and fulfillment. And yet, it is the celebration of the return of Lord Ram that is the most celebrated. For it is the day when, after a wait of fourteen long years, the people of Ayodhya, who had known the joy of His presence amongst them, and had lost him on a pretext, were reunited with His presence and His grace once more. The happiness knows no bounds, when one receives back something that is a source of joy and fulfillment, something that was taken away, and then finally it is returned once again.

It is a celebration of the second homecoming of this happiness. It is the return and the revival of joy into life. It is the time to light up so many lamps that the night becomes as luminous and dazzling as the day itself. Let this celebration sweep through not just your home, but also through your self, your being. With the prayers that this return of the blessings and joy is now forever.

Presenting another wonderful non film rendition by Rafi Sb for this occasion today. This songs comes from the other side of the 78 rpm record that also carries the other Diwali celebration song by him – “Falak Se Utre Zamee Pe Taare” . An NFS that is recorded sometimes in the 1960s, for which information about the poet and the composer is as yet not available.

Listen and enjoy. May this celebration of the visitation of Divine presence and fulfillment, remain with you always.

Happy Diwali.


Song-Aayi deewaali ki dulhaniya (Rafi NFS)(1960) Singer-Rafi

Lyrics

aayi deewali ki dulhaniya
aayi deewali ki dulhaniya
jhil mil deep jaley
jhil mil deep jaley
aayi deewali ki dulhaniya
phoot padey kirnon ke jharne ae
phoot padey kirnon ke jharne
laagey mann ko bhaley
laagey mann ko bhaley
aayi deewali ki dulhaniya

ban thhan kar aaye parwaane ae ae ae ae ae
jal jal kar deewali manaane ae
jal jal kar deewali manaane
log kahen deewali jisko
log kahen deewali jisko
pyaar kisi ka hans ke jaley
aayi deewali ki dulhaniya
jhil mil deep jaley
jhil mil deep jaley

aaaa
birhan ke ghar aayi deewali
birhan ke ghar aayi deewali
sang mein dukhde laayi deewali
sang mein dukhde laayi deewali
lok laaj se darr kar chaahe
lok laaj se darr kar chaahe
us ne kiya singaar bhale
aayi deewali ki dulhaniya

jug jug se koi deepak gaata
jalaa hua dil aur jalaata
apne mann ki pyaas bujhaata
in taaron ki chhaon taley
aayi deewali ki dulhaniya
jhil mil deep jaley
jhil mil deep jaley
jhil mil deep jaley
jhil mil deep jaley

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

आई दिवाली की दुल्हनीया
आई दिवाली की दुल्हनीया
झिलमिल दीप जले
झिलमिल दीप जले
आई दिवाली की दुल्हनीया
फूट पड़े किरणों के झरने
फूट पड़े किरणों के झरने
लागे मन को भले
लागे मन को भले
आई दिवाली की दुल्हनीया

बन ठन कर आए परवाने ॰ ए॰ ए॰ ए॰ ए
जल जल कर दिवाली मनाने
जल जल कर दिवाली मनाने
लोग कहें दिवाली जिसको
लोग कहें दिवाली जिसको
प्यार किसी का हंस के जले
आई दिवाली की दुल्हनीया

आssss
बिरहन के घर आई दिवाली
बिरहन के घर आई दिवाली
संग में दुखड़े लाई दिवाली
संग में दुखड़े लाई दिवाली
लोक लाज से डर कर चाहे
लोक लाज से डर कर चाहे
उसने किया सिंगार भले
आई दिवाली की दुल्हनीया

जुग जुग से कोई दीपक गाता
जला हुआ दिल और जलाता
अपने मन की प्यास बुझाता
इन तारों की छांव झिलमिल दीप जले
झिलमिल दीप जले
तले
आई दिवाली की दुल्हनीया
झिलमिल दीप जले
झिलमिल दीप जले
झिलमिल दीप जले
झिलमिल दीप जले

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

An important date today – 21st October. It is the birth date of two very dear performers who have held the center stage for sustained periods, enthralling many generations of filmgoers and music lovers – Shammi Kapoor and Helen. In their own spaces, both these artists ruled the silver screen through the decades of 1960s.

Shammi Kapoor’s transformation from a generic performer to the flamboyant young lover happened in the later part of 1950s, with films like ‘Tumsa Nahin Dekha’ (1957) and ‘Dil Deke Dekho’ (1959). And he continued to remain on the top for the next decade. After the mid 1970s, he transitioned into character roles and continued to regale the audiences with his style and histrionics. The curtain on this illustrious career came down a little over three years ago, on 14th August, 2011.

For Helen, the launching pad was really the iconic “Mera Naam Chin Chin Choo” in ‘Howrah Bridge’ (1958). And then on for two decades, she ruled as the princess of dance, going from strength to strength with each performance. For over two decades, her dance numbers were a fixture in the film production in Bombay. No matter the formula, her dances would definitely be part of the script.

Wishing Helen ji all the best in life – good health and happiness, on this day today.

A number of songs that include both the artists, are already showcased here on the blog. And locating new numbers which show both on the screen together, is becoming a tough task. I have been able to locate this dance number from the 1974 film ‘Chhote Sarkar’. Shammi Kapoor is present in the scene, but he is not singing. He is the artist who is sitting in one corner, sketching out the figure of the dancing belle.

‘Chhote Sarkar’ is produced by Pinky Films, Bombay and is directed by K Shankar. Cast of actors includes Shammi Kapoor, Sadhna, Shashikala, Sulochana, Sunder, Helen, Shammi, Asit Sen, Jagdish Raj, Rashid Khan, Uma Dutt and Rajan Kapoor etc. The songs of this film are penned by Rajendra Krishan and the music is by Shankar Jaikishan.

No matter the quality of the film and picturization, the performance that Helen presents is with full heart and energy. Simply cannot find a fault with that. Simply see and enjoy.


Song-Main kesar kasturi (Chhote Sarkaar)(1974) Singer-Krishna Kalle, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics

main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

kahaan kahaan se aa jaate hain
raat ke raahi rang jamaane
beete din ki bhool ke thokar
raat ki taaza thokar khaane
kuchh jaane
kuchh pehchaane
aur kuchh in mein anjaane
kuchh jaane
kuchh pehchaane
aur kuchh in mein anjaane
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

aankh mein jhhoothi rangeeni hai
jeevan sabka pheeka pheeka
har maathe per lagaa huaa hai
gham ke chandan ka ik teeka
apna apna dard chhupaaye
chalte phirte ye saaye
apna apna dard chhupaaye
chalte phirte ye saaye
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

kadam kadam par jinke peechhe
maayusi ke lagey hain pehre
haath mein leker wo paimaane
dekh rahe hain khwaab sunehre
paagal mann ko yoon behlaayen
kadam kadam par dhokha khaayen
paagal mann ko yoon behlaayen
kadam kadam par dhokha khaayen
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

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

मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

कहाँ कहाँ से आ जाते हैं
रात के राही रंग जमाने
बीते दिन की भूल के ठोकर
रात की ताज़ा ठोकर खाने
कुछ जाने
कुछ पहचाने
और कुछ इन में अंजाने
कुछ जाने
कुछ पहचाने
और कुछ इन में अंजाने
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

आँख में झूठी रंगीनी है
जीवन सबका फीका फीका
हर माथे पर लगा हुआ है
ग़म के चन्दन का इक टीका
अपना अपना दर्द छुपाए
चलते फिरते ये साये
अपना अपना दर्द छुपाए
चलते फिरते ये साये
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

कदम कदम पर जिनके पीछे
मायूसी के लगे हैं पहरे
हाथ में ले कर वो पैमाने
देख रहे हैं ख्वाब सुनहरे
पागल मन को यूं बहलाएं
कदम कदम पर धोखा खाएं
पागल मन को यूं बहलाएं
कदम कदम पर धोखा खाएं
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी


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 Many Colors of Love #22 – Defiant Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

And so wrote the scribe

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

The lines bring to mind the compelling images from the powerful scenes of the iconic film ‘Mughal e Azam’ (1960). A prince who declares war on his own father, the emperor of India, for the sake of the woman he loved. Defeated in battle, he is brought in chains to the royal court, and is subsequently condemned to death by the emperor, for his audacity and his seditious actions. On the day of the punishment, the prince is being taken to the place where the execution is to happen. And a commoner, a sculptor who had earlier introduced the prince to the stunning beauty that would be his sweetheart, joins the crowds, and sings these line praising the glory, the courage and bravery, of the people in love. And the memory also brings on the minds screen, the earlier scenes from this story, telling of the defiance that was expressed by the prince’s beloved, in the royal court in the presence of the emperor and the empress themselves. The scene that is immortalized in the song – “Pyaar Kiya To Darna Kya”.

What is about this love that compels the protagonists towards relentless and daring impudence that is adamant to take on the whole world. What is the power that drives this possessiveness and this dedicated intent that eventually expresses itself as a rebellion. A rebellion that is never ever taken very kindly by the kinsmen and the society, Rather, in most cases, the rebellion has drastic and tragic consequences, as has been documented in the tales of love told the world over.

Maybe, there is another way. Maybe at times there seems to be a mute submission and acceptance in the face of the family or societal strength that seems impregnable. There are tales too, of the unfulfilled love that grieves in loneliness and cries in the night. Yes, that destiny too is visited upon the lovers at times, albeit the consequences are still as distressing and tragic as the rebel scenario. And yet, this defiant and recalcitrant expression that takes on the minds of the lovers, is a powerful theme – one that is the more fascinating of the two.

Stories of such intense conduct simply go on to underscore the power that this emotion of love exercises upon the minds of its protagonists. The protected environment of the family, within which an individual grows and learns, is a given at the time of birth. The individual has not exercised any rights or choices to be with the particular family one is born in. It simply is. It is the most important and the most significant given, at the start of one’s life.

As the individual grows, and starts to spread its wings of awareness beyond the family, one comes in touch with other people that will become friends and acquaintances. And then, one of these associations develops into a special one – a relationship that has not existed in life before, a relationship that is not like anything else experienced before, a relationship that is more gratifying than anything else in life. A relationship of love between a man and a woman. An association that appears to complement and complete one’s imperfect self into a perfect whole. An association that demarcates a completely new state of affairs in life, that did not exist before. An association for which the individual feels a sense of paramount ownership and decision making. As association that brings in a sense of fulfillment that surpasses anything else in life that has existed thus far.

And the individual begins this experiential journey of love, not just with the other person, but also with this sense of fulfillment, this sense of being complete and this sense of ownership and achievement.

But then the world steps in. It tries to explain, tries to dissuade, tries to browbeat, threatens, tells of the consequences – all of which are reasons that do not appeal at all to the two people in love. It sometimes results in a grievous and mute withdrawal, giving life to the words – “Do Dil Toote, Do Dil Haare, Duniya Waalo, Sadqe Tumhaare”. And at other times it takes form of a revolt that will compel the confined Bobby and Raj to run away in the darkness of the night (‘Bobby’, 1973). Or in the case of Shehzada Salim, embark on a militant expedition against his own father and emperor of India.

The expressions of this revolt have been capture so beautifully in the two songs from the film ‘Mughal e Azam’, mentioned above. But the power of expression and the audacity that is contained in this song, is completely unmatched, ending up being more powerful a song than the two songs of ‘Mughal e Azam’ combined. In some ways, this song is the reason behind my working on this series of colors of love. Couple of years back when I heard this song for the first time, it simply blew my mind. The words, the expression of courage, the sheer negligence of consequences, the militant rhythm, and the constrained rendition – it all took my mind by a storm.

The militant rhythm – if Anil Da had anymore increased the pace of this tune, it would have become a marching song of the soldiers. And the constrained rendition – I have thought about it, wondering why there is not a corresponding ferocity in the rendition, to match the words that are being sung. The song from ‘Mughal e Azam’ in the voice of Rafi Sb, has been crafted as an intense and raging composition that has the capability for an adrenaline rush, brining your blood to boil. But in this song, Anil Da chose to keep the rendition by Lata ji a few notches below that ferocity. And the effect – it is simply superb. Think of a threat that is delivered viciously and loudly. And then think of the thread that is delivered firmly, but without the fireworks. The latter tells you that the level of confidence and conviction in the assertion is so great that it does not even care to create fear. The emotions and the surging feelings of the receiver of this threat are unimportant – and the nonchalant and dismissive expression, is something to be more afraid of.

That effect Anil Da has been able to create in this song. And the words – goodness they carry the power of the extreme scenarios. I still have to find a more powerfully written and rendered song in this genre. The first line itself is a supercilious expression of the highest authority making an announcement.

keh do ke mohabbat se na takraaye zamaana

“Let it be known
That none may dare
To contest with love”

A proclamation as if coming from the highest office in the land – “keh do. . .”, “let it be known”. I do not even care who listens to this proclamation, I do not care what thoughts and ammunition is being gathered in your mind, I do not care if you are offended by it. A sweeping declaration that takes into its ambit the entire world, so to say – this is love, and you are warned not to dare to come in opposition.

aakaash se takraayegi fariyaad kisi ki
hil jaayega sansaar zameen kaanp uthegi
suraj ko milega na sitaaron ki thikaana

The commiserations of love will strike against the very fabric of the sky itself. The earth will tremble and the entire world will shudder. The sun and the stars in the sky will cower in self defense, and will find no place to hide.

Goodness, wow – the power being expressed is ascribed with capabilities to send such shudders through the universe that the stars and the suns will pray for their safety and existence. And that is just the result of a ‘fariyaad’, a commiseration that will rise to skies and envelop this creation. The protagonist is dismissive about whether the universe remains or not. It is love defied that has the power to dismantle and pack away this universe even. And the underlying refrain – I do not care.

aahon mein wo sholay hain ki phuk jaayen hawaayen
jal jaayen jhulas jaayen sulag jaayen ghataayen
udd jaaye dhuaan ban ke zamaane ka zamaana

The burning sighs carry embers that will raze even the winds to ashes. And the clouds in the skies will be scorched and singed out of existence. Let this whole creation be annihilated and evaporate in a whiff of smoke.

Wow and goodness – the protagonist realizes that there is nothing left if there is nothing left, if the creation is destroyed. And yet, the expression is there to say, you try to defy love, you will be destroyed, this entire creation will be destroyed. There is this conviction inherent here that love is greater than the creation itself (wow, what startling connection to the philosophies). And the underlying refrain – I do not care.

hum sar pe kafan baandh ke aayen hain muqaabil
haathon pe liye jaan to thokar mein liye dil
ae maut kisi aur ko marne se daraana

You wanted a confrontation, and here I am, wearing the coffin cloth, ready even to end myself. Do not sweet talk me with promises of life, for I am carrying it in my hand, ready to discard it at a moment’s notice. Do not entice me now with the entreaties of the heart. For the defiance of love, I will fight to the end – I have no use for a heart that would listen and agree with you. O the silent reaper of death, go elsewhere and terrify others with the calamity you carry in your hands. Me – I am not anymore afraid of even you.

As I said before, a more powerful set of verses that describe this defiance I have not yet come across. For that, this song is the tops in my list for this genre.

A word now about the connection to the film ‘Mughal e Azam’. In my write up for the song “Allah Bhi Hai Mallah Bhi Hai”, I had written about the original plans for Mughal e Azam. Originally, this film was planned in the mid 1940s. The ensemble of actors who were to play the main roles were Nargis, Chandramohan, Sapru and others. Music direction was assigned to Anil Biswas and Kaif Bhopali was to be the lyricist. The plans came under a cloud. The main financier for K Asif migrated to Pakistan after the partition happened. Chandramohan passed away in 1949, and the project was shelved for some time. In the early 1950s, it was revived again. Dilip Kumar was identified to play the role of Salim, and Prithviraj Kapoor was also brought into the cast of actors. But by this time, Nargis and Dilip Kumar had parting of ways. Asif Sb stuck to his decision to include Dilip Kumar, and decided to drop Nargis. After much mulling and search, finally Madhubala was picked for the role of Anarkali.

Meanwhile, when the earlier team was assembled and the outline of the script was in progress, Kaif Irfani and Anil Biswas went ahead to create some songs. However, with the scale of changes that happened later in mid 1950s, Anil Da was replaced by Naushad Sb as the music director. I am only speculating, as I have not seen this in print anywhere yet, that one of the reasons of Anil Da’s downhill career after mid 1950s could have been the selection of Naushad by Asif Sb above him, for ‘Mughal e Azam’.

The song or songs earlier created for ‘Mughal e Azam’, were later used in the film ‘Maan’. Of course, the film was nowhere near ‘Mughal e Azam’ in its scale, grandeur and execution. And so these gems of Anil Da’s and Kaif Bhopali’s efforts were relegated to a B grade film. I wonder what would have been, if these songs were part of the final ‘Mughal e Azam’.

The comments in Geet Kosh identify only the song “Allah Bhi Hai Mallah Bhi Hai”, as the song originally prepared for ‘Mughal e Azam’. When I came across this song and I heard it, I find very definite strains of similarity to both the songs from ‘Mughal e Azam’ – “Pyaar Kiya To Darna Kya” and “Zindabaad Zindabaad, Ae Mohabbat Zindabaad”. With little tweaking, this song is kind of the two songs of ‘Mughal e Azam’, rolled into one. Minus the ferocity of “Zindabaad Zindabaad”, I find this song to be the more powerful song that presents the defiance of love. And my intuition tells me that this song is also one of the original songs created for ‘Mughal e Azam’ by Anil Da and Kaif Bhopali.

The film ‘Maan’ is from the banner of Filmkar Limited, it is directed by Safdar ‘Aah’. The main cast of actors includes Ajit, Chitra, Jagirdaar, Durga Khote, Kumar, Achla Sachdev, Yashodhara Katju, Kamlesh Kumari, Chandabai etc. There are nine songs in this film, three of which are already showcased here. This is the fourth song from the movie finding its place on this blog. There are two other lyricists who have contributed the lyrics, the director Safdar ‘Aah’ himself and Raja Mehdi Ali Khan.

A super creation in my lists, a song that has succeeded in the power of expression it is supposed to deliver. Listen and enjoy.


Song-Keh do ke muhabbat se na takraaye zamaana (Maan) (1954)Singer- Lata, Lyrics-Kaif Bhopali, Md-Anil Biswas

Lyrics

ye pahaad rond daale. . e e e.
ye zameen seenk daale
na dabey na dab sakenge
kabhi pya. .ar karne wa. .ale. . e e e

keh do. . oo oo oo
keh do ke mohabbat se na takraaye zamaana
keh do ke mohabbat se na takraaye zamaana
aasaan nahin pyaar ke deepak ko bujhaana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

aakaash se takraayegi fariyaad kisi ki
aakaash se takraayegi fariyaad kisi ki
hil jaayega sansaa. . aar
hil jaayega sansaar
zameen kaanp uthegi
suraj ko milega na sitaaron ki thikaana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

aahon mein wo sholay hain ki phuk jaayen hawaayen
aahon mein wo sholay hain ki phuk jaayen hawaayen
jal jaayen jhulas jaayen sulag jaayen ghataayen
udd jaaye dhuaan ban ke zamaane ka zamaana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

hum sar pe kafan baandh ke aayen hain muqaabil
haathon pe liye jaan
to thokar mein liye dil
haathon pe liye jaan
to thokar mein liye dil
ae maut kisi aur ko marne se daraana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

————————————-
Hindi script lyrics (Provided by Sudhir)
————————————–
ये पहाड़ रौंद डाले॰ ॰ ए ए ए
ये ज़मीन सींक डाले
ना दबे ना दब सकेंगे
कभी प्या॰ ॰र करने वा॰ ॰ले॰ ॰ ए ए ए

कह दो॰ ॰ ओ ओ ओ
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो के मोहब्बत से ना टकराए ज़माना
आसान नहीं प्यार के दीपक को बुझाना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ

आकाश से टकराएगी फरियाद किसी की
आकाश से टकराएगी फरियाद किसी की
हिल जाएगा संसा॰ ॰आर
हिल जाएगा संसार
ज़मीन काँप उठेगी
सूरज को मिलेगा ना सितारों को ठिकाना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ

आहों में वो शोले हैं के फुक जाएँ हवाएँ
जल जाएँ सुलग जाएँ झुलस जाएँ घटाएँ
जल जाएँ सुलग जाएँ झुलस जाएँ घटाएँ
उड़ जाये धुआँ बन के जमाने का ज़माना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ

हम सर पे कफन बांध के आयें हैं मुक़ाबिल
हाथों पे लिए जान
तो ठोकर में लिए दिल
हाथों पे लिए जान
तो ठोकर में लिए दिल
अए मौत किसी और को मरने से डराना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ


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.

Suniye
Suniye
Suniye
Suniye janaabe waala
Kya kehta hai munaadi waala
Pehle meri baat suniye gaur se
Phir baat kijiye aur se

Hear, hear, hear
Pay heed o gentlemen
Listen to what the town crier has to say
First listen to what I have to say
After that talk with others
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.

The heydays of New Theatres lasted about one and a half decades, from its foundation in 1931 to around mid 1940s. The war and the famine drastically impacted the film industry in Calcutta. Majority of the artists migrated to Bombay, and the production houses in Calcutta suffered on account of that. Given the circumstances, New Theatres was also impacted. We do not see any significantly notable films come from that banner after the mid 1940s.
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.

Greetings to Vinod Khanna on his 68th birthday. (6 october)

A commanding personality to contend with on screen. In whatever role he appears, he has the capacity to be the center of gravity in every scene. In the last scenes of ‘Mere Gaon Mera Desh’ (1971), appearing as the sardaar (leader) of a gang of dacoits, he is down and beaten, by Dharmendra. Even in that scene, he exudes strength, and gives the perception of being the stronger.
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.

= = = = = = = = = = = = = = = = = =
The Many Colors of Love #21 – Dwelling in the Lover’s Eyes
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

And so wrote the scribe

oooo
meri aankhon mein bas gaya koi re
mohey neend naa aaye main kyaa karun

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.

= = = == == = = = = = = = = = = = =
Rafi Sb – In The Seventies – 23
– – – – – – – – – – – – – – – – – – – – – -

(1971 – Solo – Regional – Chhattisgarhi)

One more song, the final one of this series – it belongs to the category ‘heard- just-once-o-but-never-forgotten’. And once again, another dramatic reunion, this one just two days ago.
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.

= = = = = = = = = = = = = = ==

Sandhya Mukherjee – a voice that is comparatively heard less frequently on the Hindi film screen, is a big name in the world of Bangla music and Bangla film music. In fact her association with Hemant Kumar as a duet singer, is almost as legendary as the on screen pair of Uttam Kumar and Suchitra Sen. Majority of the duets of these two actors in Bangla cinema, have been playback sung by these two singers.

Greetings to Sandhya ji on her 73rd birthday (4th october).
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.

There is an interesting trivia about the logo of the New Theatres film company. Encircling the image of the elephant with a raised trunk, there are two phrases, one in English and one in Bangla. The English phrase in the upper half of the circle records the name of the company – ‘The New Theatres Limited’. The Bangla phrase in the lower half of the circle says – ‘Jivatang Jyotiretu Chhayam’ which translates to ‘Light Infusing Shadows with Life’. I have not seen many logos of some of the earlier production companies, but from the later decades, I do not recall a logo which carries any specific message. It is possible this is a unique trivia in the history of Indian cinema.
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 10300 songs post by now.

Total number of songs discussed

10371

Number of movies (All songs covered)

547

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