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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs


This article is written by Mahesh Mamadapur, 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.

chaman mein sab ne hi gaaya
tarana zindagani ka
magar sab se alag tha rang
meri hi kahani ka

zamanaa sun raha hai jis ko
wo meri kahani hai

 

The voice of Mukesh continues to enthral the world of music. Today (22 July) is his birth anniversary and I present here a short song from the film ‘Jis Desh Mein Ganga Behti Hai’ (1960). This film has already been Yippeee’d on the blog, but this particular rendition can as well be taken as an additional separate song.

The video shows Raj Kapoor on the screen, though he does not lip-sync the song. Mukesh in his usual trademark voice recites two dohas (couplets) of Sant Kabir Das. There are some comments on the internet that this short song and scene were missing in the film. I request readers to throw more light on this aspect.

Though there are many websites dedicated to the dohas of Kabir, I requested our Sudhir ji to not only write the lyrics for me but also translate the same. I thank him profusely for the help rendered.

I feel that the voice and the empathy expressed by Mukesh will be more pronounced and appreciated if one understands the meaning of the dohas first. Mukesh, who has recorded the original rendition of the popular ‘Ramcharit Maanas’ of Tulsidas (abridged version), also has a lot of bhajan’s in the film and non-film category. Quite a few of these bhajanas are yet to appear on the blog.

I have been away from the blog as far as song postings is concerned, due to some personal commitments, but will surely come back with more compilations of Mukesh with the artists in the two on-going series. There are a couple of newly discovered songs which will be introduced in the very near future.

With this short song wherein the clarity of the pronunciation of words and the heart-felt expression in the voice is very much perceptible, I once again join numerous Mukesh fans in remembering him on the anniversary of his birth.

Translation and Notes (Provided by Sudhir)
———————————————————————

kabeer soya kya kare, uth na rovey dukh

Why continuing to sleep
Be awake, be alert
And stop crying for sorrows

jaaka vaasa gor mein, so kyon sovey sukh

For happiness is not the destiny
One who eternally lives in grave
Can he ever sleep in peace

Notes: In his couplets, Kabir Das has a specific addressal. When the message of the couplet is a teaching directed towards others, the form of addressal used is ‘sadho‘. When the message of the couplet is directed inwards, then the addressal used is ‘Kabir‘ or ‘Kabira‘. But as is seen in all cases, the message is meant for all. In this couplet, the poet is cautioning the human, not to continue sleeping. Now this sleeping is not simply the physical sleep that one resorts to when the body is tired. The poet is referring to the sleep of ignorance, that most human being undergo, as they spend their lives on this planet. The ignorance being referred to is the ignorance of the true nature of the self and of this material world. The human seeks happiness, but is almost always drowning in the tears of sorrow. So the poet says, wake up and realize the true nature, and don’t continue to cry for your sorrows. Because the life on this planet has only one destination, that is death. We are all residing in graves that have already been prepared for us. For a living person who is existing in a grave, can there be any happiness to be found (in the grave), can such a person ever have a peaceful sleep.
jaaka = variant of ‘jis ka’; for whom
vaasa = to reside; to live
gor = grave; कब्र

जीवन मरण विचार कर, कूड़े काम निवार

Contemplate the cycle of life and death
And dispose of the menial tasks of life
(do what needs to be done for life)

जिन पंथों तुझ चालना, सोई पंथ संवार

But realize the true paths
That have to be traveled
Strive to improve and enrich
The knowledge of that path

Notes: The poet is exhorting the learner, to contemplate the true nature of the cycle of life and death – that nothing in this world is permanent. The process of living entails certain tasks to sustain the life; these are low level tasks, that need to be dispositioned and done with. Do not lose yourself in this process of life, for there are other truer paths that one has to traverse. Make efforts to improve, enrich, clean up the awareness and the knowledge of these paths, so that the travel on these paths of truth is free of obstacles and pain.

In the given scenario, Raju, the village bumpkin and singer, is torn between how to sort out the problem he is facing – neither the dacoits are willing to just meekly give up their profession and surrender, nor is the police showing any benevolence towards them, to try and bring them in alive. In the scene just before these couplets, Raju is at the residence of the police commissioner (role played by Raj Mehra), and is pleading for leniency in return for their surrender. While this conversation is in progress, one of the dacoits, on the instructions of Raaka (role played by Pran), who is now the new gang leader, throws a message tied to a stone, into the house, breaking a window pane. The message is a challenge to the police commissioner, to hand over Raju and Kammo (role played by Padmini) to the dacoits. (Padmini has left the dacoit’s hideout with Raju, much to the chagrin of Raaka). The police commissioner is infuriated, and in anger expresses his will to capture all dacoits and hang them. Raju is now in a fix; what to do. The police won’t listen to him, and for their own reasons. And Raaka, blinded by his obsession for Kammo, and his vexation at Raju, for being the preferred person in Kammo’s heart, isn’t going to oblige by listening to Raju.

In this quandary, Raju is not able to sleep. And then these two couplets play in his mind. He is not lip syncing, but his expressions are so impressive, as he listens to this voice from within. This voice sings two couplets to him, telling him that it is useless to seek happiness in this life and this world, which is only sorrows – the epithet used is “jaaka vaasa gor mein”; that all humans are living in graves already dug for them. The second couplet advises that one should only contemplate on the truth of life, and seek out the path that will take towards that truth. And once that path is evident in the mind, then the personal striving should be cleanse and enrich this path, leading one towards the truth.

When this second couplet plays, a smile descends on the lips of Raju, a light is seen and a determination is made. Raju leaves the police commissioners home immediately, leaving Kammo sleeping inside the room. One does not see him leave, but the next scene is Kammo waking up only to find Raju missing. On enquiry, she is told that he left during the night, but where he has gone, is not known to anyone. But Kammo knows, that Raju has returned to the gang’s hideout.

 


Song – Kabir Soya Kya Kare (Jis Desh Mein Ganga Behti Hai) (1973) Singer – Mukesh, Lyrics – Kabir Das, MD – Shankar Jaikishan

Lyrics

kabeer soya kya kare, uth na rovey dukh
jaaka vaasa gor mein, so kyon sovey sukh

jeevan maran vichaar kar, koode kaam nivaar
jin panthun tujh chaalna, soi panth sanwaar

jin panthun tujh chaalna, soi panth sanwaar

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

कबीर सोया क्या करे, उठ ना रोवे दुख
जाका वासा गोर में, सो क्यों सोवे सुख

जीवन मरण विचार कर, कूड़े काम निवार
जिन पंथों तुझ चालना, सोई पंथ संवार

जिन पंथों तुझ चालना, सोई पंथ संवार

 

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This article is written by Raja, 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.

Today (22 july 2017) is the birth anniversary of our beloved  singer, Mukesh Chand Mathur, better known to one and all as Mukesh (22 july 1923-27 august 1976).

I don’t recall if I have written a tribute to him yet on this blog – I think I might have. But even so, there are no rules here saying I cannot write another one. 🙂  And since I have several fond memories of listening to Mukesh songs in my life, I am happy to use this occasion to remember him and pay my humble tribute to him.

Many regulars here know that I am a big fan of Rafi Saab. And I am a fan of Kishore Kumar also. But that’s the thing – it doesn’t mean I do not like other singers’ songs. I am fond of them all – and I listen to them all. At heart, I am a music lover – and unless  any music is particularly cacophonic or jarring to the ears, I have no problem listening to it.

And let’s be fair – every singer has sung memorable songs, every composer has composed good music, every lyricist has written good lyrics. Yes, not every song or composition or lyrics is memorable – but none of them would have reached where they did in their careers if there was nothing of quality in their work.

At least that’s my thinking. This is also why I tend not to get into “Rafi Saab vs Kishore” or “Lata vs Asha” discussions unless they’re respectful to all concerned and and the discussion is held in the best of spirit. I dislike bashing of any artiste.

Anyway, back to Mukesh. Long before I became a huge fan of Rafi Saab, Mukesh was a big part of my music experience. Kishore was of course the ruling superstar singer of my childhood. He was everywhere.

But Mukesh, with his distinctive voice, always made me notice him. And sit up. There would be ten non-stop Kishore songs, and there’d be one Mukesh song – say, “Kahin Door Jab Din Dhal Jaaye”. Or “Jaane Kahaan Gaye Wo Din”. And that ONE song would go straight to my heart – and linger in my mind for a long, long time. I remember what effect “Kisi Ki Muskuraahaton” would have on me.

That was Mukesh. Mukesh always had that special quality – maybe it was that nasal tone of his, maybe it was the ease and simplicity with which he seemed to deliver his songs.  But he always made an impact on me.

I know he’s not considered quite in the league of Rafi Saab, in terms of range. Many consider Mukesh besuraa – he himself felt that way at times. Yes, you wouldn’t expect him to go all classical like a Manna Dey or even a Rafi Saab with “Naache Mann Mora Magan”. And yes, for most of his career, inspite of several hit songs, he was not considered THE no.1 singer of the time, unlike Rafi Saab or Kishore Kumar (or even Talat Mahmood early on). He was probably No.2 all along.

And yet, he held his own throughout his career. Whatever other singers did – and practically all of them had their ups and downs – Mukesh’s career was largely steady.

Mukesh didn’t sing several thousand songs – according to our blog stats, he has sung just 932 Hindi film songs.  And yet, a very large number of these songs are memorable, hummable – and easily relate-able.  You listen to a Mukesh song for the first time – and there’s a very good chance it will appeal to you right away. Soon you might be humming it. And that’s because his songs went straight to your heart.

It is often said that Mukesh specialized in sad songs. To some extent this is true – he was slotted into this category in the industry. So often if there was a sad song to be sung, his would be the voice called for. For example, one of my favourite songs “Zubaan Pe Dard Bhari Dastaan Chali Aayi”.

But I happen to think, even this is a bit misleading. When I listen to a Mukesh “sad song”, it doesn’t make me one bit sad. It actually goes right to my heart and acts like a balm, it soothes me. I feel better after listening to the song. Might seem odd – and maybe it’s only my personal experience. Maybe it has to do with empathy with the situation of the song. Am not sure what it is.

But Mukesh has also sung many happy songs – and not just for Raj Kapoor. His “Ibtadaa-e-Ishq Mein” and “Bol Meri Taqdeer Mein Kya Hai” from Hariyali Aur Raasta (1962) come readily to mind. And , the quintessential “Ye Mausam Rangeen Samaa”  from Modern Girl (1961).

Although I remember several Mukesh songs from early on in my childhood, the first time he made a huge impact on me was when we’d gone to the town, 25 km away, to see ‘Mera Naam Joker’ (1970). It was the first film I ever saw in a cinema hall as such – my dad took the whole family because he thought it was a children’s film (joker et al :-))  My dad himself didn’t know Hindi and didn’t know any Hindi songs at all, except for one line of one song – “Awaara Hoon” 🙂  That gave me an idea that this song must have been massively popular in its time.

Anyway, while I enjoyed “Ae Bhai Zara Dekh Ke Chalo” immensely – and didn’t understand all the details of the story at that time – I was also much impressed by “Jaane Kahaan Gaye Wo Din” and “Jeena Yahaan Marna Yahaan”. I liked “Kehta Hai Joker Saara Zamaana” as well.

When we got a 2-in-1 at home for the first time, we had just 2 or 3 cassettes, which we would play non-stop. We had songs of ‘Guddi’, ‘Abhiman’, ‘Yaadon Ki Baaraat’ and ‘Zanjeer’.  And we had a Mukesh cassette.

I treasured it – and listened to it SO many times. I remember every song on it, starting with “Mera Naam Raju” to “Chhalia Mera Naam” to “Aa Laut Ke Aaja Mere Meet” to “Sab Kuchh Seekha Hum Ne” (my favourite at the time) to “Dum Dum Diga Diga” to “Aansoo Bhari Hain” to “Chal Ri Sajni Ab Kya Soche” to “Hum Ne Tum Ko Pyaar” to “Chaandi Ki Deewar Na Todi” to “Hum Chhod Chale Hain” (another all-time favourite).

Mukesh songs would regularly figure on radio too – even his “current” songs, like “Kahin Door Jab Din Dhal Jaaye”or “Jis Gali Mein Tera Ghar Na Ho Baalma” or “Jo Tumko Ho Pasand” or “Koi Jab Tumhara Hriday Tod De” or “Ek Pyaar Ka Nagma Hai” would be regulars in farmaishes.

And that’s the thing – many think that Mukesh’s career was primarily for Raj Kapoor, and maybe Manoj Kumar. And most of it was anyway 1950s/60s. But, though his output might have been less in the 70s, he had several memorable songs in this decade too  – right till his death. And  for other actors. Like I said at the start, unlike other singers, Mukesh did not seem to have ups-and-downs in his career, it was largely steady.

Just to give examples of some 1970s songs (non-Raj Kapoor/Manoj Kumar)

Duniya Se Jaane Waale” from Pushpanjali (1970).

Tere Honthon Ke Do Phool” from Paras (1971).

Kahin Door Jab Din Dhal Jaaye” from Anand (1971).

Ae Baadal Jhoomke Chal” from Nadaan (1971), a song I very fondly remember. 🙂

Main To Har Mod Par” from Chetna (1970).

Kai Sadiyon Se, Kai Janmon Se” from Milap (1972).

Zindagi Aur Bataa Teraa Iraadaa Kyaa Hai” from Zindagi Aur Toofaan (1973)

Kai Baar Yun Bhi Dekha Hai” from Rajnigandha (1973).

Barkha Rani Zara Jamke Barso” from Sabak (1973).

Main Dhoondhta Hoon Jinko” from Thokar (1974).

Sansaar hai ek nadiya” from Raftaar (1975).

Phool Aahista Phenko” from Prem Kahani (1975).

Kabhi Kabhi Mere Dil Mein” from Kabhie Kabhie (1976)

Main Pal Do Pal Ka Shaayar Hoon” from Kabhie Kabhie (1976)

Suhani Chandni Raatein” from Mukti (1977)

The reason I mention this decade specifically is to just stress that Mukesh held his own throughout his last few years, inspite of Kishore Kumar’s dominance in that decade. I have not mentioned songs like “Ik Din Bik Jaayega” (Raj Kapoor), “Do Jasoos Karen Mehsoos” (Raj Kapoor) and “Ek Pyaar Ka Nagma Hai” (Manoj Kumar) – they were all very popular too.

So as a young boy growing up, listening to these “current” songs not to mention the fantastic Mukesh songs of earlier decades, I became a Mukesh fan too. So much so that, after Mukesh’s death, one of my friends gifted me a book full of Mukesh songs. It was my prized possession for a long time. It had a whole lot of “new” Mukesh songs for me. I remember I would wait for a Mukesh song on radio – and then quickly rush to check the song in the book, matching the lyrics in the book with the song. I’d be thrilled if the song was in the book – obviously not all songs were.  And till I heard the song, I didn’t know the tune of course.  The song was just words to me, till then. Those were pre-internet days – and I didn’t have access to music shops either.

Some songs I remember “matching “ like this were “Dil Jalta Hai To Jalne De”,  “Zinda Hoon Is Tarah”, “Mujhe Raat Din Ye Khayaal Hai”  (one of my favourite songs) and “Dil Lootne Waale Jaadugar”. It was thanks to this book that I first heard of names like Husnlal Bhagatram and Iqbal Qureshi. Very fond memories of those times. And many of them associated with Mukesh.

Now moving on to the song for today. This is from film ‘Darinda’ (1977). This film has not made its entry on the blog yet – so with this song, it makes its debut. I remember seeing this film when it was released.  But, given my memory, I had forgotten the story completely – the only thing I remembered from that time was this Mukesh song “Chaahe Aaj Mujhe”. I remember liking it even then.

So now, when I wanted to write a post on Mukesh, this song came to mind. I checked the blog – and was a bit surprised to see it missing. I don’t think the film did well – but this song did ok, from what I remember. Since I prefer to post songs of films that I have seen – so that I have some context – I decided to watch this film again.

Briefly, the story is how Sunil Dutt, separated as a poor young boy from his rich childhood friend, Parveen Babi, grows up as a yogi, supposedly to do good deeds. But he has just one goal in mind – to find Parveen, and win her over. He searches everywhere for her – becoming a  monster (Darinda) in the process, even killing women in his pursuit. And when he finally does find her, she is engaged to be married to Feroze Khan. How he then reacts, what is Parveen’s reaction, what happens to Feroze – see the film if you want to find out 🙂 There’s a bit of a hint in this song too. 🙂

As I close, I want to say “Thank you, Mukesh ji, for giving us so many wonderful songs. We will always remember you and be thankful to you.”


Song – Chaahe Aaj Mujhe Napasand Karo. . . Aakhir Mein Tumhen Mera Hi Hona Hoga (Darinda) (1977) Singer – Mukesh, Lyrics – Indeewar, MD – Kalyanji Anandji

Lyrics

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

bachpan ke pyaar ki mit-ti nahin nishaani
bachpan ke pyaar ki mit-ti nahin nishaani
jitna hi mitaana chaahe isey jawaani
jahaan yaad teri soyi ho
jahaan yaad teri soyi ho
dooja na aur koi ho
koi dil ka tumhaare aisa bhi konaa hoga
aakhir mein tumhe mera hi hona hoga

main kya se kya ban gaya tumhaare kaaran
main kya se kya ban gaya tumhaare kaaran
auron ki tarah mera pyaar nahin sadhaaran
na samjho isey dikhaava
na samjho isey dikhaava
hai ye mere pyaar ka daawaa
mere hansne pe hansna, roney pe ronaa hoga
aakhir mein tumhe mera hi hona hoga

chaahe aaj mujhe naapasand karo
chaahe dwaar hriday ke band karo
aakhir mein tumhe mera hi hona hoga
aakhir mein tumhe mera hi hona hoga

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा

चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा

बचपन के प्यार की मिटती नहीं निशानी
बचपन के प्यार की मिटती नहीं निशानी
जितना ही मिटाना चाहे इसे जवानी
जहां याद तेरी सोई हो
जहां याद तेरी सोई हो
दूजा ना और कोई हो
आखिर में तुम्हें मेरा ही होना होगा

मैं क्या से क्या बन गया तुम्हारे कारण
मैं क्या से क्या बन गया तुम्हारे कारण
औरों की तरह मेरा प्यार नहीं साधारण
ना समझो इसे दिखावा
ना समझो इसे दिखावा
है ये मेरे प्यार का दावा
मेरे हंसने पे हँसना
रोने पे रोना होगा
आखिर में तुम्हें मेरा ही होना होगा

चाहे आज मुझे नापसंद करो
चाहे द्वार हृदय के बंद करो
आखिर में तुम्हें मेरा ही होना होगा
आखिर में तुम्हें मेरा ही होना होगा


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.

In Hindi films have a few commandments that are scrupulously followed by all movie makers.

The first commandment is:

1. There shall be song and dance.

As a blog dealing with songs, most of which are accompanied by dance, we can authentically claim to have vast experience and knowledge when it comes to talking about songs and dances in Hindi movies. 🙂

In this discussion, I will confine myself to a set piece situation in Hindi movie where a female sings and dances for the benefit of the hero.

No matter what then genre of Hindi movies, Hindi movie makers can find this situation and fit in an appropriate song and dance.

Take mythological movies for instance, which were a very popular genre of movies, especially during the first few decades. These mythological movies were of indigenous origin as well as foreign origins.

If they were of indigenous origin, say based on Ramayan, Mahabharat or similar tales, then we would have an apsara singing or dancing to typically disturb the tapasya of our mythological hero.

In case of foreign origin tales, our movie makers would take libetal artistic licence and show females dancing infront of the hero in these movies as well. Arabian night tales are one popular foreign origin source for mythological movies. If the tale is of Alibaba, then you can be sure to find a few dances performed by Marzina in the movie.

One often finds liberal extrapolation of situations in Hindi movies. In some Hollywood movies of the past, the hero would find himself captured by some man eating Africa tribes. The hero would be tied up against a stack and / or put into a pot to boil while the tribals would sing and dance around that. This situation was so loved by Hindi movie makers that they began to use it with some modifications in all genres of movies. So, our hero would go to a tribal village and there the female dancers would sing and dance in the honour of the hero, with the pot bellied tribal chief, invariably the father of the main dancer, looking on.

If the hero is of the adventurer type, then it is easy to find a situation like this. For instance, Hatimtai the adventurer would invariably find himself in a song and dance situation like this, if his tale is told in a Hindi movie.

“Hatimtai Ki Beti”(1955) was produced and directed by Nanubhai Vakil for Vakil Productions, Bombay. This fartially colour fantasy movie had Chitra, Mahipal, Daljit, Krishnakumari, Kamal, Kammo, Kumkum, Helen, Heera Sawant, Roohi, Tuntun, Naaz, Maruti, Sundar, Kesari, Niranjan Sharma, Nadir Mota, Wazeer Mohammad Khan etc, with guest appearances by Hiralal, Ram Singh, Nandu Sarkar and Al Nasir.

The movie had ten songs in it, which were penned by Shewan Rizvi (8 songs) and Kaifi Azmi (two songs). Two songs from the movie have been discussed in the past.

Here is the third song from “Hatimtai Ki Beti”(1955) to appear in the blog. The picturisation shows Hatimtai (played by Mahipal) tied up against a stake while a lady (I am unable to identify her) and other ladies singing and dancing around the hero. So you can say that it is an extrapolation of African tribals capturing American tourists in the jungle scenario into an Arabian tale situation.

Sudha Malhotra is the singer. Shewan Rizvi is the lyricist. Music is composed by a R Qureshy.

As mentioned above, I am unable to identify the lady lipsyncing in Sudha Malhotra’s voice. I request our knowledgeable readers to help identify her.


Song-Dil thhaa maasoom…ghabra na pyaar kar le (Hatimtai Ki Beti)(1955) Singer-Sudha Malhotra, Lyrics-Shewan Rizvi, MD-A R Qureshy

dil thha maasoom
mohabbat ne gunahgaar kiya aa aa aa
fanske fande mein tere
tujhpe dil nisaar kiya
aa aa aa

ghabra na
pyaar kar le
ghabra na
pyaar kar le
pyar kar le
pyaar karle ae
ghabra na
pyaar kar le
pyaar kar le
pyaar kar le ae
ghabra na
pyaar kar le

ye bikhri bikhri zulfen
ye bikhari bikhari zulfen
ye bheeni bheeni khushbu
ye bheeni bheeni khushbu
jaaga hua hai jaadu
jaaga hua hai jadu
dil par nahin kaabu
dil par nahin kaabu
aankhon se pyar kar le ae
ghabra na pyaar karle
ghabra na pyar kar le
pyaar kar le
pyaar kar le ae
ghabra na
pyaar kar le

hasrat bata rahi hai ae
hasrat bata rahi hai
toofaan jaga rahi hai
toofaan jaga rahi hai
masti sikha rahi hai ae
masti sikha rahi hai
sharmaaye ja rahi hai ae
sharmaaye ja rahi hai
honthon pe hain taraane
aa aa aa
aa aa aa
honthon pe hain taraane
aankhon me sau bahaane
aankhon mein sau bahane
kyun dard dil na jaane, kyun dard dil na jaane
tujh par fida khazaane,
tujh par fida khazaaane
bas ek baar kar le
ghabra na
pyaar kar le
ghabra na
pyaar kar le
pyaar kar le
pyaar kar le ae
ghabra na
pyaar kar le


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.

“Son of Sindbad”(1958) was produced by Ram Kamlani and Balwant Bhatt, and directed by Nanabhai Bhatt for Neo Light Films, Bombay. The movie had Premnath, Jabeen, Bhagwan, Poornima, Nishi, Tiwari, Cuckoo, Shammi, Sunder, Kuldeep Kaur, Jagdeep, Samson, Jagdish, Ridku, Kriplani, K Tewari, Saroj, Heera, Fazlu, Sayyed, Keshav, Abdul, Kenny etc in it.

The film had eight songs in it. One song from the movie has been covered in the blog in the past.

Here is the second song from “Son of Sindbad”(1958) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. I Request our knowledgeable readers to throw light on the picturisation of this “expression of love” genre of song.


Song-Koi kaise bachaaye dil ko (Son of Sindbad)(1958) Singer-Lata, Lyrics-Prem Dhawan, MD-Chitragupta

Lyrics

koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
jo nazar se bacha
zulfon mein phansa
jo nazar se bacha
zulfon mein phansa
ek dil hai to laakhon nishaane aen
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane

zamaana kahe ke bacho pyaar se
in aankhon ki do-dhaari talwaar ae
zamaana kahe ke bacho pyaar se
in aankhon ki do-dhaari talwaar ae
magar wo hua jo dil ne kaha
huye hum tumhaare deewaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane

haseenon se chhup ke kahaan jaaoge
jahaan jaaoge tum inhen paaoge
haseenon se chhup ke kahaan jaaoge
jahaan jaoge tum inhen paaoge
kahin na kahin
koi to haseen
laga dega dil ko thhikaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
jo nazar se bacha
zulfon mein phansa
ek dil hai to laakhon nishaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane


This article is written by Bharat Upadhyay, 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.

Jaidev Ki Non-Filmi Suraavali – 01
—————————————————-

Thanks to the help of Researchist Sadanandbhai and few more quotes from here and there, this is going to be quite different to my usual writing of short preface to the presentation of the song.

In my series ‘Genius of Jaidev’, I have presented about 60 filmy songs of Jaidevji, which were not covered on our musical Blog. I am unable to locate few more film songs of Jaidev ji, which are obscure, as I am a poor RESEARCHER. (In spite of the fact that I worked for 40 years in a RESEARCH Institute.)

Anyway, looking at the list of NFS covered on our blog, I realised that there is a huge collection of Jaidev ji’s non film songs in my khajana, waiting to be shared and admired.

Someone, at our ‘Sargam’ program had commented and I had noted it down. He commented that “If Gods up there have to choose a music director for their heavenly pleasure no one could beat Jaidev ji for the spot, with so much experience of creating heavenly tunes here on earth.”

Jaidev has given opportunities to many lesser known singers.Today I have selected Seema Anil Sehgal, a singer-composer from Jammu and Kashmir who is an eminent ghazal singer and an AIR artiste. She is also a recipient of the Jnanpith Award.

Jaishankar Prasad (30 January 1890 – 15 November 1937), one of the most famous figures in modern Hindi literature as well as Hindi theatre. In her glowing tribute to Jai Shankar Prasad, the poet-critic Mahadevi Verma says: “Whenever I remember our great poet Prasad, a particular image comes to my mind. A fir tree stands on the slope of the Himalaya, straight and tall as the proud mountain peaks themselves. Its lofty head braves the assaults of the snow, the rain, and the blazing heat of the sun. Violent storms shake its spreading branches, while a thin stream of water plays hide-and-seek amongst its root. Even under the heaviest snowfall, the fiercest heat, and the torrential rain, the fir tree holds its head high. Even in the midst of the worst thunderstorm and blizzards, it remains steady and unflinching.”

This compliment from a younger contemporary of Prasad summarizes the literary genius of one of the leading lights of “chhaayavaad” (छायावाद) movement in Hindi literature. It recognizes Prasad’s place amongst his peers as well as his relevance to the modern thought. As an author of a classic epic of the human psyche, his magnum opus ‘Kamayani’, Prasad had acquired early eminence. But later his multifaceted personality burgeoned in his contribution to diverse fields of literature in spite of countless storms of personal tragedies, and national social and political upheavals.

Brought up in the affluent family of a tobacco merchant, Prasad was a man of personal charm and of romantic disposition. By temperament a reformer and humanitarian, through his devotion to literature he became a lyric poet, a dramatist, a story writer, and essayist. Thus Prasad emerged as a literary genius. It would be no exaggeration if we rank him with such literary stalwarts as Kalidas, Tulsidas, Shakespeare, Dante, and Goethe in view of his vision and aesthetic consciousness.

With this geet, I also introduce this wonderful young singer and musician, Seema Sehgal. Her musical creations and renditions of Urdu poetry and ghazals of the masters, are treat to listen. I would urge you to know more about this wonderful singer – there is a blog dedicated to her at “Seema Sehgal Sings“.

This particular song, the very famous poem of Kavi Jaishankar Prasad, was sung by her under the baton of our Jaidev, in one of the episodes of ‘Aarohi’, a musical program consisting mostly of geets and ghazals, which used to be telecast by the Mumbai Kendra of Doordarshan.

Legendary thespian Padma Bhushan Dilip Kumar said in one of her program: “. . . a reason to celebrate that there are young and enthusiastic singers of your class and calibre. . . Your creations foster conditions in which music can breathe. . .”.

Dadasahib Phalke Award winner Padma Vibhushan Naushad Ali said: “May God grant me an opportunity wherein I could utilize your mellifluous voice in my songs. . .”.

Renowned Tabla Maestro Padma Bhushan Alla Rakha blessed her with the words: “O nightingale from Jammu and Kashmir! May the fragrance of your melodious and soulful voice spread to all corners of the world. . .”.

I welcome you to listen to this wonderful poetic rendition. This geet should be heard in the night on a good sound system to appreciate its depth and intensity.


Song – Beeti Vibhaavari Jaag Ri (Seema Sehgal NFS) (1980) Singer– Seema Sehgal, Lyrics– Jaishankar Prasad, MD – Jaidev

Lyrics

beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
ambar panghat mein dubo rahi
ambar panghat mein dubo rahi
tara-ghat usha naagari
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
 
khag-kul kul-kul sa bol raha
kislaya ka anchal dol raha
khag-kul kul-kul sa bol raha
kislaya ka anchal dol raha
lo yah latika bhi bhar laayee
lo yah latika ….
lo yah latika bhi bhar laayee
madhu mukul naval ras-gaagari
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
 
adharon mein raag amand piye
adharon mein raag amand piye
alakon mein malayaj band kiye
adharon mein raag amand piye
alakon mein malayaj band kiye
tu ab tak soyee hai aali
tu ab tak …
tu ab tak soyee hai aali
aankhon mein bhare vihaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
ambar panghat mein dubo rahi
ambar panghat mein dubo rahi
tara-ghat usha naagari
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
अंबर पनघट में डुबो रही
अंबर पनघट में डुबो रही
तारा घाट उषा नागरी
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री

खग-कुल कुल कुल सा बोल रहा
किसलय का अंचल डोल रहा
खग-कुल कुल कुल सा बोल रहा
किसलय का अंचल डोल रहा
लो यह लतिका भी भर लाई
लो यह लतिका॰॰॰
लो यह लतिका भी भर लाई
मधु मुकुल नवल रस गागरी
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री

अधरों में राग अमंद पिये
अधरों में राग अमंद पिये
अलकों में मयलज बंद किए
अधरों में राग अमंद पिये
अलकों में मयलज बंद किए
तू अब तक सोई है आली
तू अब तक॰॰॰
तू अब तक सोई है आली
आँखों में भरे विहाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
अंबर पनघट में डुबो रही
अंबर पनघट में डुबो रही
तारा घाट उषा नागरी
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री


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.

Remembering Geeta Dutt.

She passed away 45 years ago on 20th July in 1972, brining to close a tumultuous and tragic life, all of 41 years. A voice that held so much promise, and yes, she gave too, so many wonderful gems to remember her by. Just going by the numbers – the decade of 1950s carries close to 850 songs sung by her. And then, in the 1960s, she has recorded less than hundred. And the majority of them belonging to the first half of the decade.

Emotional stability and personal circumstances have such big impact on the performance and output of an artist. It is difficult, and even unfair, to comment on a artist’s portfolio of work, trying to juxtapose it against the personal ups and downs. But in some cases, it stands out quite starkly. The 1950s were the heydays for Geeta Rai, later to be Geeta Dutt, when she married Guru Dutt in 1953. But then, subsequently, a film maker’s life became an impediment in the relationship. Both spouses are artists and creators par excellence, and based on what is written about them, also very sensitive individuals. Thankfully, both are non-compete. And yet, the personal affairs, and the airing of these personal matters in public and media, took a heavy toll of personal energy and emotions, impairing to an extent, their abilities to perform.

In early 1960s, we see a slowdown in Geeta’s output. And then, the tragedy strikes – come 1964 and Guru Dutt is no more. The devastation that descends on Geeta is visible simply from the quantum of her artistic output. Especially in the latter half of 1960s, the songs by her are reduced to a trickle, with just a handful being recorded each year.

The decade turns into 1970s. Just one released film ‘Anubhav’ (1971) with a set of three superb renditions. For a moment, the media, the industry watchers and the listeners, are all agog. The expectations rise once again; here a comeback seems to be in the offing. But then a more tragic news follows almost immediately. She herself is gone; just in 1971 itself. A brilliant blaze that is gone in a flash. The world would no more hear any new songs in her voice. And the songs of ‘Anubhav’ – three recordings that are so full of life, are so reminiscent of the Geeta of 1950s – these become her swansong, so unfortunately. Speculations is all that remains.

For today’s remembrance I am able to pull out this touchingly poignant rendition from one of her very early films, not easily remembered and not easily available. The year is 1947. The industry and the listening public has already stood up to the vibrant sounds of ‘Do Bhai’ that have been rendered under the baton of SD Burman. In the same year, the film ‘Jadui Ratan’ was released. And this new voice of a young girl of 16 is taken up by Chitragupt, another relatively newcomer in the industry, for this film. The film is produced under the banner of Kismet Pictures, Bombay, and is directed by Natwar Shyam. Chitragupt had young Geeta Roy sing two duets and one solo song in this film.

I am presenting today the solo song – “Rut Badal Gayi, Wo Taraana Badal Gaya”. Geet Kosh lists two songwriters for this film namely Behzaad and Kamlakant. However, the assignment of specific songs to individual songwriters has not been made.

A tender and touching melody from seventy years ago, sung by a young girl of 16 at the time of recording. Listen to this beautiful rendition, and marvel at the emotive potential this voice carried, at that young an age.

 

Song – Wo Rut Badal Gayi Wo Taraana Badal Gaya  (Jadui Ratan) (1947) Singer – Geeta Roy, Lyrics -[Unattributed], MD – Chitragupt

Lyrics

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

ye keh ke phir guzar gayi
fasl e bahaar bhi
phoolon mein tha jo apna thikaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

main kis tareh sunaaun
tumhen dastaan e dil
main kis tareh sunaaun
tumhen dastaan e dil
aankhon mein ashq aaye
fasaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

kumhla chuke hain phool
sitaare udaas hain
kumhla chuke hain phool
sitaare udaas hain
ab intezaar ka bhi
zamaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

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

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

ये कह के फिर गुज़र गयी
फस्ले बहार भी
फूलों में था जो
अपना ठिकाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
आँखों में अश्क आए
फसाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

कुम्हला चुके हैं फूल
सितारे उदास हैं
कुम्हला चुके हैं फूल
सितारे उदास हैं
अब इंतज़ार का भी
ज़माना बादल गया

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया


This article is written by Sadanand Kamath, 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.

‘Ladies Only’ (1939) was produced under the banner of Sagar Movietone and it was directed by Sarvottam Badami. The star cast included Surendra, Bibbo, Sabita Devi, Prabha, Harish, Budho Advani, Sunalini Devi, Kaushalya etc. The film was released on 16th February 1939 and Moraraji Desai, the Revenue Minister of the then Bombay State was the chief guest.

The film was a satirical comedy with an unusual end. In this film, Surendra was not a conventional hero in the sense that he did not get any of three main actresses at the end. I have made a synopsis of the story of the film based on the review published in April 1939 issue of ‘Filmindia’ which is given below:

Three girls from three different states, Bengal, Gujarat and Punjab viz Chhaaya (Prabha, Bengali), Sarojini (Sabita Devi, Gujarati) and Asha (Bibbo, Punjabi), meet at a railway station in Bombay (Mumbai). They decide to stay together for their boarding and lodging for which they rent a flat. Satish (Surendra) also meets these girls who come to know that he is passionate about music and stays opposite their rented flat.

The girls staying together for sometime now know each other’s nature. Asha, the Punjabi girl is crude, greedy, music lover, lazy, comfort seeker etc. Chhaaya, the Bengali girl is miser, coy, primitive, and childish. Sarojini, the Gujarati girl, is educated, resourceful and has a great organisational capacity but these are all at the expenses of other two girls. They also display one-upmanship about their respective states.

All the three girls not only live together, they also aim at the same man, Satish who spend much of his time with these girls either on outings or in their rented flat. One day, girls decide to visit his house across the street without notice and find a stout woman welcoming the girls. The stout woman turns out to be Satish’s wife. It is shocking for the girls. The girls walk out of the house muttering something derogatory about the men folk in general.

For Sagar Movietone, ‘Ladies Only’ (1939) gave them a good start for the year 1939 with a box office hit. This was followed by another box office success viz ‘Ek Hi Raasta’ (1939). The banner had also planned for their ambitious films like ‘Alibaba’ (1940) in Hindi and Punjabi and ‘Kumkum the Dancer’ (1940) in Hindi and Bengali. But before these films could be released, Sagar Movietone found themselves in a dire financial crunch. By the end of 1939, the banner was amalgamated with General Films to form National Studios.

‘Ladies Only’ (1939) had 11 songs written by Pandit Indra and Zia Sarhadi but the name of the specific lyricist for each song is not available. All the songs were set to music by Anupam Ghatak.

Here is the first song ‘chamke poonam ko poonam ko chaand’ from the film to appear in the Blog. The song is sung by Surendra and Bibbo. It can be observed that the structure of lyrics are not in usual form and the song is composed for Surendra and Bibbo on different notes and tempos. The song is probably picturised on them separately.

With this song, ‘Ladies Only’ (1939) makes its debut in the Blog.


Song-Chamke poonam ke poonam ko chaand (Ladies Only)(1939) Surendra, Bibbo, MD-Anupam Ghatak

Lyrics

chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
oonchi atariya mein
oonchi atariya mein

chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

tan man kaa itihaas chhipa hai
tirchi najariya mein
tan man kaa itihaas chhipa hai
tirchi najariya mein
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

badi bedhab nainon ki maar
badi bedhab nainon ki maar
shikaari
khud ho gaya shikaar
shikaari
khud ho gaya shikaar
badi bedhab nainon ki maar
shikaari khud ho gaya shikaar
bik gayi main be-mol tol
is prem nagariya mein
bik gayi main be-mol tol
is prem nagariya mein
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand


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 (20 july 2017) is the 45th remembrance day of Geeta Dutt (23 november 1930-20 july 1972). By that time, she had achieved so much in her chosen field of activity that she was assured of being counted among HFM legends. It is easy to forget that she was just 41 when she passed away. That way, she was one of those who departed for their heavenly abode quite early, yet achieved a lot in their fields and became legends. Some other such names that come to mind are Guru Dutt (her own spouse), Jaikishan, Shailendra etc.

As a tribute of Geeta Dutt, here is a song from “Aahuti” (1950) aka “Anokhi Qurbaani”. This movie was directed by Kulbhushan for Sansaar Movietone Limited, Bombay. It had Mumtaz Shanti, Ranjeet Kumari, sapru, Premkant, Kesari, Bikram Kapoor, Cuckoo, Nautiyal, Sudhir, Pitu, Khan Chaand, Mukul, Ratan Gaurang, Bhajanlal, Shyama, Krishna Rani, Neelam, Indra, Indubala, Uma, Gulnar Shirazi, Kathana etc in it.

This song, the second (out of twelve songs) to appear in the blog, is sung by Geeta Dutt. Tandon is the lyricist. Music is composed by D C Dutt.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie, on the lyricist as well as on the picturisation of this song.


Song-Dil jo tumko de diya (Aahuti)(1950) Singer-Geeta Dutt, Lyrics-Tandon, MD-D C Dutt

Lyrics

ho
dil jo tumko
ho dil jo tumko de diya
dard mol le liya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya
dil jo tumko de diya
dard mol le liya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya

khata yahi hui ke nazar tumse mil gayi
itni si baat badh ke kahaani si ban gayi
kisko bura kahen jo chain khud hi kho diya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya
dil jo tumko de diya
dard mol le liya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya

pahle to dil lagaane ko samjhe thhe kuchh nahin
samjhe thhe kuchh nahin
ab haath mal rahe hain ke dil kho gaya kahin
dil kho gaya kahin
hamne ganwaaya dil
hamen dil ne ganwa diya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya
dil jo tumko de diya
dard mol le liya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya

kehna main dil ka maan ke badnaam ho gayi
jitni chhipaayi preet tumse utni khul gayi
jo kah saki na munh se wo aankhon ne keh diya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya
ho dil jo tumko de diya
dard mol le liya
sochti hoon baar baar
haaye maine kya kiya
ye kya kiya
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

हो दिल जो तुमको
हो दिल जो तुमको दे दिया
दर्द मोल ले लिया
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया
हो दिल जो तुमको
हो दिल जो तुमको दे दिया
दर्द मोल ले लिया
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया

खता यही हुई के
नज़र तुमसे मिल गयी
इतनी सी बात बढ़के
कहानी सी बन गयी
किसको बुरा कहे
जो चैन खुद ही खो दिया आ
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया
दिल जो तुमको
दिल जो तुमको दे दिया
दर्द मोल ले लिया
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया

पहले तो दिल लगाने को
समझे थे कुछ नहीं
समझे थे कुछ नहीं
अब हाथ मल रहे हैं के
दिल खो गया कहीं
दिल खो गया कहीं
हमने गंवाया दिल
हमें दिल ने गंवा दिया आ
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया
दिल जो तुमको
दिल जो तुमको दे दिया
दर्द मोल ले लिया
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया

कहना मैं जिस का मान के
बदनाम हो गयी
जितनी छिपायी प्रीत तुमसे
उतनी खुल गयी
जो कह सकी न मुंह से
वो आँखों ने कह दिया आ
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया
हो दिल जो तुमको दे दिया
दर्द मोल ले लिया
सोचती हूँ बार बार
हाय मैंने क्या किया
ये क्या किया


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.

“Bijli”(1950) was directed by Sushil Sahu for Hindustan Chitra, Bombay. This “social” movie had Rehana, Ramesh Gupta, Sitara, Vilas Mohbe, Paro, Badri Prasd, Sushir Sahu, Amirbai Karnataki, Satya Narayan, Narbada Shankar, C L Shah, Kanta, Kazmi etc in it.

This movie had eight songs in it that were sung by five singers. Three songs from the movie have been covered in the past.

Here is the fourth song from “Bijli”(1950) to appear in the blog. This song is sung by Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by Khemchand Prakash.

The fact that Asha Bhonsle, then an up and coming struggler was offered a solo song by a music director of the stature of Khemchand Prakash means that Asha Bhonsle had begun to create favourable impression among music fraternity. This song is a good example to the early promise that Asha Bhonsle was showing, while trying to find her feet in the industry.


Song-Taqdeer bata kya meri khata (Bijli)(1950) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-Khemchand Prakash

Lyrics

taqdeer bata aa
kya meri khata
taqdeer bata kya meri khata
taqdeer bata kya meri khata
jiski ye saza paati hoon main
jiski ye saz paati hoon main aen aen aen
ro ro ke hansoon
hans hans ke miloon
mil mil ke bichhad jaati hoon main
mil mil ke bichhad jaati hoon main aen aen aen
taqdeer bata aa

wo aas meri
dil ki dil hi mein toot gayi
ban ban ke meri taqdeer aakhir phoot gayi
ik dard liye seene mein sanam
ik dard liye seene mein sanam
khaamosh chali jaati hoon main
khaamosh chali jaati hoon main aen aen aen
taqdeer bata aa

main kis se kahoon
meri bhi kahaani khoob rahi
meri naav kinaare
aakar ke bhi doob rahi
nazdeek gayi jitni utni
nazdeek gayi jitni utni
ab door huyi jaati hoon main
ab door huyi jaati hoon main aen aen aen
taqdeer bata aa

barbaad thhi main
barbaad chali ee
tum shaad raho
o o o
haaye
dil ki dua
tum phoolo phalo
aabaad raho
aayi thhi tamannaayen lekar
aayi thhi tamannaayen lekar
aur khaaq liye jaati hoon main
aur khaaq liye jaati hoon main aen aen aen
taqdeer bata aa


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

“Maa Ka Pyaar”(1949) was directed by Ram Daryani for Krishin Movietone, Bombay. The movie had Sulochana Chatterji, Ranjeet Kumari, Manorama, Jeewan, Kuldeep, Ratan, Kumar, Gope, Cuckoo, Babulal etc in it.

This obscure “social” movie had ten obscure songs in it.

One song from the movie has been covered in the past. Here is the second song from “Maa Ka Pyaar”(1949) to appear in the blog. This song is sung by Lata. I C Kapoor is the lyricist. Music is composed by Pt Govindram.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this “remonstrating with the Almighty” genre of song.


Song-Toone jahaan banaa kar ehsaan kya kiya hai (Maa Ka Pyaar)(1949) Singer-Lata, Lyrics-I C Kapoor, MD-Pt Govind Ram

Lyrics

tu ne jahaan bana kar
tu ne jahaan bana kar
ehsaan kya kiya hai
ehsaan kya kiya hai
bas khelne ka apne saamaan kar liya hai
bas khelne ka apne saamaan kar liya hai
ehsaan kya kiya hai
tu ne jahaan bana kar
tu ne jahaan bana kar
ehsaan kya kiya hai
ehsaan kya kiya hai

lekin tere khilaune aen
lekin tere khilaune
aansoo baha rahe hain
sun le pukaar unki ee ee
sun le pukaar unki
tujh ko bula rahe hain
tujh ko bula rahe hain
marne ki aarzoo mein
marne ki aarzoo mein
kab tab koi jiya hai
kab tab koi jiya hai

gar teri ye thhi khwaahish
ham munh se kuchh na kahte
gar teri ye thhi khwaahish
ham munh se kuchh na kahte
jo naach tu nachaata aa
jo naach tu nachaata
wo naachte hi rahte
jo naach tu nachaata
wo naachte hi rahte
matti ke but banaata
matti ke but banata
ye dil kyun de diya hai
ye dil kyun de diya hai
tu ne jahaan bana kar
tu ne jahaan bana kar
ehsaan kya kiya hai
ehsaan kya kiya hai

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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 nine years. This blog has over 13400 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13454

Number of movies covered in the blog

Movies with all their songs covered =1013
Total Number of movies covered =3694

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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