atul's bollywood song a day- with full lyrics

Posts Tagged ‘Talat Mehmood


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

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Atul Song-A-Day 10K Song Milestone Celebrations ––43 (Post number 9998)
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How do you feel when a family member achieves something spectacular? Atul is my family, not only as a fellow blogger, but also because both of us started our professional career at the same Institute. This was a small, beautiful, self-contained place, tucked away in a town back of beyond, at the foothills of a hill (which was literally called पहाड़ी). This Institute was a British creation in 1927, with exceptional facilities thrown in: indoor swimming pool, indoor badminton court, squash court, tennis courts, football field, table tennis, billiards table, lounge, dark room for photography (the world was not digital then), and a huge golf course just outside the complex. Four years of our most exciting young days in this ambience, the life-style, and the traditions created a strong life-long bond with the Institute, and among the alumni. As I entered a few years earlier, I am especially delighted by the awesome achievement of my younger brother, The Incomparable Atul. As he completes the magical number of 10,000 posts I convey my heartiest congratulations to him and all the regular contributors who have made it possible.

We were more than four years apart at that paradise, and soon after leaving I branched out to a different line where our paths did not cross professionally. Therefore, I did not know Atul except through this blog, until we met, courtesy Sudhir ji, the ASAD stalwart, whom I got to know virtually, first through our blogs, and then personally, as we were in the same city. That meeting was the moment when we made the exciting discovery – just like the emotional climax of many films starting from the days of Kismet (1943) – that I and Atul were closely related.

Though younger to me, Atul is my senior by miles. He started blogging about two years before me. But more importantly, ASAD is the place I turn to for reference. One of the favourite phrases of the government is ‘single-window clearance’. ASAD is one-stop answer to your most-music related queries. As I see it, this site is going to contain, in a foreseeable future, every film (and a good deal of non-film)-songs available online. It is said about the epic Mahabhaarat that यन्न (यत्+न) भारते तन्न भारते [That which is not there in (Maha)bhaarat is not there in Bhaarat]. There would be a time when one can say यन्न अतुले तन्न चित्रपटसंगीते.

I do not remember when and how I first came across ASAD, but I do remember several ‘special’ moments I had with the blog. One was when “O preetam pyare chhor chale gharbaar mujhse door” by Amirbai Karnataki from film ‘Leela’, (1947; C Ramchandra) was posted. I would not have heard this song more than a couple of times, about four decades ago. But this was one song which mesmerized me on the first hearing – on the very first hearing its tune got embedded in my heart, I remembered other details too, such as the film and MD’s name that we normally associate with a song. Then, it seemed to have disappeared from radio and everywhere. So, when it came up on ASAD, it was a deeply nostalgic moment for me. Similar special moment was when Feroza Begum’s NFS “Tum bhulaye na gaye haye bhulaye na gaye” , a song etched in memory for forty years and then apparently lost forever, appeared here.

Not only I, but some readers on my blog too are deeply grateful for such ‘special’ moments through ASAD. For example, some of them had been yearning for some rare songs of Kamal Barot and Suman Kalyanpur for forty years. I passed on the request to Sudhir ji – with little hopes – who like a kind-hearted wizard was able to pull out the songs from his magical hat and post them here.

Mr Sadanand Kamath and Mr Arunkumar Deshmukh are two other stalwarts whom I greatly admire – the former for his facile pen, high-quality research and his selection of non-film ghazals and light-classical songs of the vintage era; the latter for his amazing knowledge, ability to recall and retrieve, and generous nature of sharing unstintingly. I am also fortunate to have met Arunji, the Living Encyclopedia. In a lighter vein, I think of a 1TB hard disk wired in a human brain. When I think of Arunji, I often mix up the title of Hitchcock’s classic as “The Man Who Knew Everything”.

There are many others who are actively building up this blog through their guest articles, contribution of lyrics and participation. I may not be able to mention their names individually, but I do follow them regularly. It is a huge collaborative effort, and unique in its scope. Hats off to the entire team!

How do you describe your relationship with music? Long long ago you had heard some unknown melody coming from a distant source that held you spellbound and brought tears to your eyes, and you didn’t know why. Or you heard a friend sing an unknown song at NCC camp, or a dinner party, that remained with you forever, and you yearned for it but didn’t know where to find it. The romance of restless yearning – that was our relationship with old songs. The Internet has brought everything at the click of a button. I don’t know whether it is an unmixed blessing, because that romance of restless yearning has gone from our lives. But there is something to be said for fulfillment of dreams too, and ASAD does that for countless music lovers across the globe.

The song I have selected for this post exactly reflects that romance. This is a non-film ghazal sung by Talat Mahmood. As the readers are well aware, Talat Mahmood started his music career with a non-film song “Sab din ek samaan nahi tha” (1941), and it was another non-film song, soon after – “Tasweer teri dil mera behlaa na sakegi” (http://atulsongaday.me/2012/05/09/tasweer-teri-dil-mera-behla-na-sakegi/) – that made him a national sensation. My own list of his best would include as many non-film songs as film songs. And among his best which mesmerized me when I first heard it about four decades ago, and has remained one of my greatest favorites, is his rendering of “Hothon se gulfishaan hain wo ankhon se ashqbaar hum”. As per talatmahmood.net, this is written by Faiyyaz Hashmi, and composed by Talat Mahmood himself. Faiyyaz Hashmi is the poet who also wrote “Tasweer teri dil mera. . .”, as well as numerous legendary geets and other NFSs sung by Jagmohan and others.

On a personal note, when my romance with this ghazal started at a very young age, probably I didn’t understand its meaning at all. But, the velvet voice of the Ghazal King, and his voice-modulation and inflexion you don’t normally find in his singing otherwise, overcame my lack of understanding its meaning. I liked it because its tune was out of this world. Today I feel I have a fair grasp of its meaning, which obviously enhances its pleasure. Here is its lyric, followed by my translation, which has been significantly enhanced by Sudhir ji in the course of our discussion (Thank you, Sudhir ji!). I am aware that I might still be missing its nuances. There are experts of Urdu language here, and it would be immensely useful for all if they could explain its meaning if I am off the mark.

Translation (jointly by me and Sudhir ji)
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hothon se gulfishaan hain wo, ankhon se ashq-baar hum
saawan se wo hain bekhabar, begana-e-bahaar hum

Her lips smile like petals of flowers,
While my eyes shed tears of sorrow
She is oblivious of the downpour from my eyes,
While the spring of her smiles is distant for me

arsh ki ye bulandiyaan, farsh ki pastiyon se hai
un ka guroor dekh kar ban gaye khaksaar hum

The pompous loftiness of the sky
Is due to the humble lowliness of the ground
Seeing her haughty condescension,
I turned myself into modest, lowly dust

parwana jaa ke jab gira, shola to kaanp kaanp utha
us pe na kuchh asar hua, jispe hue nisaar hum

When the moth plunged into the lamp,
Even the flame trembled with unease
But the one at whose feet I surrendered myself
Remained unmoved and aloof

pee hai kisi ki bazm mein itni ki phir na uth sakey
hosh o hawaas kuchh nahin, kitne hain hoshiyar hum

In the company of a special one
I have drunk myself so senseless
That I am unable even to get up
See my alertness, my good judgment
That I have lost my sanity and discernment


Song-Hothon se gulfishaan hain wo (Talat Mehmood NFS)(1950) Singer-Talat Mehmood, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta

Lyrics

aaa aaa aaa
aaaaa aaaa aaaa
hothon se gulfishaan hain wo
hothon se gulfishaan hain wo
aankhon se ashq-baar hum
saawan se wo hain bekhabar
saawan se wo hain bekhabar
begaana-e-bahaar hum
begaana-e-bahaar hum

arsh ki ye bulandiyaa..n
aan aan aan
farsh ki pastiyon se hain
un ka guroor dekh kar
un ka guroor dekh kar
ban gaye khaaksaar hum
hothon se gulfishaan hain wo

parwaana jaa ke jab gira
aa aa aa
parwana jaa ke jab gira
aa aa aa
shola to kaanp kaanp uthha
aa aa
us pe na kuchh asar hua
us pe na kuchh asar hua
jispe huye nisaar hum
hothon se gulfishaan hain wo

pee hai kisi ki bazm mein
aen aen
itni ki phir na uthh sakey
ae ae
hosh o hawaas kuchh nahin
hosh o hawaas kuchh nahin
kitne hain hoshiyaar hum
hothon se gulfishaan hain wo
aankhon se ashq-baar hum
aankhon se ashq-baar hum

—————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-
आss आsss
आsssss आss आsss

होठों से गुल्फिशां हैं वो
होठों से गुल्फिशां हैं वो
आँखों से अश्क बार हम
सावन से वो हैं बेखबर
सावन से वो हैं बेखबर
बेगाना ए बहार हम
बेगाना ए बहार हम

अर्श की ये बुलन्दीयां
फर्श की पस्तियों से हैं
उनका गुरूर देख कर
उनका गुरूर देख कर
बन गए खाकसार हम
होठों से गुल्फिशां हैं वो

परवाना जा के जब गिरा
परवाना जा के जब गिरा
शोला तो काँप काँप उठा
उसपे न कुछ असर हुआ
उसपे न कुछ असर हुआ
जिसपे हुये निसार हम
होठों से गुल्फिशां हैं वो

पी है किसी की बज़्म में
इतनी कि फिर न उठ सकें
होश ओ हवास कुछ नहीं
होश ओ हवास कुछ नहीं
कितने हैं होशियार हम
होठों से गुल्फिशां हैं वो
आँखों से अश्क बार हम
आँखों से अश्क बार हम

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.

The mention of this name brings to mind, the mindless sidelining and disregard of talent that was ever the most gifted and capable. But that is life – the unfortunate unkindness it metes out to some people is beyond our intelligence to understand. Comes to mind the lines of Meera Bai’s bhajan –

Koel Kar Dini Kaali
Santo, Karman Ki Gati Nyaari

That the Koel bird is endowed with such a beautiful voice that is incomparable, but the same Maker also made it black and ugly, such are the vagaries of destiny.
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.

“Makkhichoos” (1956) was directed by Ramchandra Thakur for Maya Pictures Production. The movie had Mahipal, Shyama, Gope, Jeevan, Leela Misra, Moti Sagar, Shammi etc in it.
Read more on this topic…


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

“Doraaha”(1952) was a Progressive Pictures Production. It was directed by Bal Chhabra. The movie had Shekhar, Nalini Jaywant, Agha, Jagdeesh Sethi, Murad etc in it.
Read more on this topic…


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

“Wo Din Yaad Karo” (1971) was produced and directed by K Amarnath. The movie had Nanda, Sanjay Khan, Shashikala, Mehmood, Madan Puri, Rajan Haksar, Tuntun, Dhumal, Wasti 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.

Real life has no control experiments. In the sense that one cannot experiment with real life. One cannot re enact the passages of life which
have already passed, and try them with a different set of parameters. Time once gone, cannot be relived. And events and passages once experienced, cannot be replayed. The seductive thought process – ‘yun hota to kya hota’ (‘Ah, only if it were so’) is an exercise in speculation, for one cannot decisively say whether the results in life would have been different, had one taken a different path and made some different choices. It is all speculation, and nothing else.
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.

THE VIBRANT 40s (Episode No. 5)
————————————–
” Haazir so Vazir ” and ” Out of sight is out of mind ” are two well known proverbs which describe the Hindi film industry. Those who are in the limelight- for whatever reasons- are the talk of the town. Those who are not heard about, seen or spoken about are not remembered, whatever their contribution to the industry. This is the experience of of almost every film personality who retired and spent time away from the industry till their end.
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.

“Mumtaz Mahal” (1957) was directed by Ram Daryani for Nigam Films. The movie had Jairaj, Sheila Ramani, Veena, Agha, Nazir Kashmiri, Umesh, Sheila Ramani etc in it.
Read more on this topic…


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

“Shaahi Farmaan” (1961) was directed by K Anand for Shriwatan Talkies. The movie had Krishna Kumari, Kamran, Habib, Bazid Khan, Uma Dutt, Azim etc in it.
Read more on this topic…


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

“Suhaagan” (1954) was produced by Dada Dharmadhikari and directed by Anant Mane. The movie had Jaswant, Sulochana, Vijayalaxmi, Jankidas, Geeta Bali etc in it. Here is what Mr Arunkumar Deshmukh, our beloved in house encyclopaedia, has to say about this movie:
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 10000 songs post by now.

Total number of songs discussed

10017

Number of movies (All songs covered)

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