atul's bollywood song a day- with full lyrics

Archive for the ‘Rare song’ Category


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
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

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)

About these ads

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.

= = = = = = = = == = = =
The Many Colors of Love #18 – The Lovely Letters of Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

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.

Today (22 july 2014) is the birth anniversary of Edwina Violette, affectionately called Edu by her aquiantances. She was born in a Military Hospital and the Matron of the hospital gave her the Name Edwina after Lady Mountbatton.

She had made her debut in Hindi movies in 1958. She was there in Light House (1958), a movie produced and directed by G P Sippy and starring Ashok Kumar, Nutan, Johnny Walker, Nigar Sultana, Master Pakkoo, Naazi, Rajen Kapoor etc. She remembers that she had appeared in a scene in this movie which was picturised outdoors on the Juhu beach.

She worked in Hindi movies for one decade and then emigrated to England in late 1960s just when she had begun to attract attention with songs viz. O haseena zulfon waali jaane jahaan(Teesri Manzil), where she was the “zulfon waali haseena”.

She is leading a contented retired life ever since. She is active in facebook and she is facebook friend with many regulars of this blog. A few regulars have also met her, for example, Memsaab, Harvey etc.

On the occasion of Edwina’s birth anniversary, here is a lovely and lively fun duet from “Light House” (1958). The song is sung by Rafi and Geeta Dutt. Sahir Ludhianvi is the lyricist. Music is composed by N Datta.

Only the audio of this song is available. Rafi excel sheet mentions that the song was picturised on Johny Walker. But who lip synced in Geeta Dutt’s voice is net mentioned. I request our knowledgeable readers to throw light on the picturisation of this song.

This is the seventh and final song from “Light House” (1958) to appear in the blog. So, “Light House” (1958) now joins the list of movies that have all their songs covered in the blog.


Song-Aa aa aa chhori aa(Light House)(1958) Singers-Rafi, Geeta Dutt, Lyrics-Sahir Ludhianvi, MD-N Datta

Lyrics

aa aa aa chhori
aa aa aa chhori
aa aa aa chhori aae
ja ja ja chhora
ja ja ja chhora
ja ja ja chhora ja

hey
aa aa aa chhori
aa aa aa chhori
aa aa aa chhori aa
ja ja ja chhora
ja ja ja chhora
ja ja ja chhora ja

ruk chhori ruk
sar pe na jhhuk
achche nahin ye bahaane

haan
ruk chhori ruk
sar pe na jhhuk
achche nahin ye bahaane

arre tak zara tak
jaldi se bak
kehta hai kya o deewaane

haaye
aa aa aa chhori
aa aa aa chhori
aa aa aa chhori aa
arre ja ja ja chhora
ja ja ja chhora
ja ja ja chhora ja

hosh karo tum
hosh huye gum
dekha jo mukhda tumhaara
hosh karo tum
hosh huye gum
dekha jo mukhda tumhaara
aashiqon ki sun
chhod meri dhun
waise hi kar le guzaara

haan
aa aa aa chhori
aa aa aa chhori
aa aa aa chhori aa
arre ja ja ja chhora
ja ja ja chhora
ja ja ja chhora ja

maine kaha aa
maine kaha jaa
milkar bana aajaa
maine kaha aa
maine kaha jaa
milkar bana aajaa
maine kahaa haan
maine kahaa naa
maine suna aa aa aa aa
aa aa aa chhori
aa aa aa chhori
aa aa aa chhori aa
ja ja ja chhora
ja ja ja chhora
ja ja ja chhora ja

aa aa aa chhori
aa aa aa chhori
aa aa aa chhori aa
arre ja ja ja chhora
ja ja ja chhora
ja ja ja chhora ja


This article is written jointly by Atul and Sudhir. 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.

= = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations –45 (Song number 10000)
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

Writeup by Atul
————————–
So the eagerly awaited moment is here. It was planned to happen on 19 july 2014, on the sixth anniversary of the blog, but that was not to be and it has finally happened one day later. Paucity of time necessitated by urgent personal and even official engagements matters were the cause for this delay by one day. I also had to reluctantly defer three eagerly awaited writeups, viz introductory posts on M/s Arunkumar Deshmukh, Raja and Sudhir ji. They very graciously agreed to have their introductions deferred in view of the circumstances. I am very thankful for their understanding.

If one notices, a lion’s share of the writeups for the last few days have been done by Sudhir ji. He has been spending unimaginable hours on the blog for the last few days despite being tied up in his own personal and professional engagements. And this 10000th post is very much a result of his own initiative, meticulous research had hard work. My heartfelt thanks goes to Sudhir ji without whom this blog would not be what it is today.
Read more on this topic…


This article is written by Arunkumar Deshmukh, 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.

= = = = = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations –44 (Post number 9999)
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

A DAY OF JOY- TO REMEMBER FOR EVER !

In a Man’s life, there are occasions of happiness like Graduation, Job, marriage, First child etc. These are the milestones in one’s life and are celebrated with joy shared by the near and dear ones.

Today I too feel like celebrating because ” OUR ” Blog has touched a milestone- THE 10,000th SONG !

My heartiest Congratulations to ATUL ji, who is doing a great job. I feel his must be the only Blog on the entire Internet, which can boast of 10,000 Hindi film and non film songs (from 1932 onwards), with proper Lyrics. This is a place for Nostalgia, for thousands of Music lovers from almost 200 countries of the World.
Read more on this topic…


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

= = = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations –40 (Post number 9995)
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

Now we know that a chocolate cake happened. In Cochin. Peevesie’s Mom baked the cake to celebrate the 6th anniversary of the setting up of this blog by Atul ji. And she and her husband shared it amongst themselves. Ah well, I am sure it must have tasted good. It is high time now that digital technology should step up and allow for sending chocolate cakes over email. :) And of course, Atul ji is so busy wrapping up the 10K celebration posts and also doing a lot of travel simultaneously, that I am sure he has not yet seen my message of ‘where is the party?’.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Sati Narmada” (1950) is a movie few people have heard about. This forgotten movie was directed by Ishwarlal for Abhimanyu Chitra productions. The movie had Jeevan, Sulochana Chatterji, Umakant, Salvi, Babu, Raje etc in it.
Read more on this topic…


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

Today, we are on track to reach the 10K target. And yes, of course, we must also proclaim the 6th anniversary of this blog. Way back in 2008, this day is the day that Atul made a small start with a song from the film ‘Anokhi Raat’. As Sadanand ji has written in his post yesterday,

gair saath aate gaye aur kaarwaan bantaa gaya
Read more on this topic…


This article is written by Satyajit Rajurkar, 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.

= = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations – 39
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

Fortunately or unfortunately (for my friends, readers and followers) I belong to the variety of people who take pleasure in bringing out the hidden rare gems from HFM, usually from the 60s and the 70s. In keeping with my passion for “Rare Hindi Film Songs” (RHFS is my group on FB), today, I present two forgotten gems from one single movie – “Raftaar” released in 1975.
Read more on this topic…


Important Announcement

(© 2008 - 2014) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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

10025

Number of movies (All songs covered)

481

Total visits so far

  • 5,723,307 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,427 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory

Stumble

Follow

Get every new post delivered to your Inbox.

Join 1,427 other followers

%d bloggers like this: