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

Sar pe kadamb ki chhainyya muraliyaa baaj rahi

Posted on: May 18, 2011


When I listened to “Puraani Filmon Ke Geet” programme of Radio Ceylon in 1970s between 7-30 AM to 8 AM, the last song of the programme was reserved for K L Saigal. Now that I think about it, there were a few standard K L Saigal songs that were recycled repeatedly in this programme. I have a feeling that all the K L Saigal songs that were played in that programme have been covered in this blog. I am now in fact covering those K L Saigal songs that are lesser known and which were rarely played in the above mentioned programme .

Take this song of “Bhakt Surdas” (1942) for example. I do not recall this song ever playing on the “Puraani filmon ke geet” whenever I listened to this programme. I many of course be wrong, but the fact remains that this song is “new” for me. And I am sure it will be new for many readers of this blog as well.

Here is this song from “Bhakt Surdas” (1942). It is a duet which is sung with gusto by Rajkumari and K L Saigal. D N Madhok is the lyricist. Music is composed by Gyan Dutt.

I have not been able to get the lyrics fully right to my satisfaction, especially towards the end of the song. I request my knowledgeable readers with keener ears to provide the missing/corrected words where I may have been unable to get the lyrics right. The song itself is wonderful to listen to, where the leela of Lord Krishn is described. The word “Kadamb” refers to a tree which was a tree under which Lord Krishna would often take shelter. Many sites erroneously mention the word as “Qadam” or “Kadam” meaning”step” which is clearly incorrect for this song.
PS-I am extremely thankful to Sudhir for the corrections in the lyrics. Now the lyrics are complete and accurate, and listening to this song, armed with the complete and accurate lyrics is a divine experience.

I find this song so soothing to listen to. In fact, I find that all K L Saigal songs have this quality of calming the nerves of the listeners. This therapeutic property of K L Saigal’s songs has not yet been fully realised/appreciated, I feel. And I am serious in mentioning this fact.


Song-Sar pe kadamb ki chhainyya muraliyaa baaj rahi (Bhakt Surdas) (1942) Singers-Rajkumari, K L Saigal, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
Raadhaa bhi naache,
Kanhaiyyaa bhi naache
Raadhaa bhi naache,
Kanhaiyyaa bhi naache
main bhi naachoon
nachaiyyaa bhi naache
main bhi naachoon
nachaiyyaa bhi naache
ankhiyaan bal bal gainyyaa
muraliyaa baaj rahi
mori laaj rahi
ankhiyaan bal bal gainyyaa
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi

baanke ne kyaa dhoom machaayi
baanke ne kyaa dhoom machaayi
har naari gopi ban aayi
har naari gopi ban aayi
muralidhar baney sainyaan
muraliyaa baaj rahi
mori laaj rahi
muralidhar baney sainyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi

4 Responses to "Sar pe kadamb ki chhainyya muraliyaa baaj rahi"

Atul ji,

A very lovely song; I cannot help but agree with you regarding the therapeutic value of Saigal’s voice. The tonal quality and the effortless depth this voice has is incomparable.

I am suggesting some corrections. The context of this song is the raas leela of Lord Krishna with the gopis. The following lines are reinterpreted as below:

ankhiyaan bal bal bainyyaa
should read
ankhiyaan bal bal gainyyaa

“bal bal gainyyaa” is a modified form of “balihaari jaaun”. Now “balihaari jaaun” is a kind of complex context – “let me take away all your ill omens and let me bestow upon you all my good omens”, a desire that is wishes by all gopis for the Lord.

I take the next set of corrections together,
“baansuri ne(?) kyaa dhoom machaayi
baazuon kyaa dhoom machaayi
har naari jo preetam(?) aayi
har naari jo preetam(?) aayi
muralidhar maange(?) sainyaa”

should read
“baanke ne kyaa dhoom machaayi
baanke ne kyaa dhoom machaayi
har naari gopi ban aayi
har naari gopi ban aayi
muralidhar baney sainyaa”

“Baanka” is another name for Lord Krishna. When the Lord beckons with his flute, then all ladies go to him as gopis.

I am including below, the complete lyrics with the above mentioned corrections, plus some minor spelling corrections:

sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
Raadhaa bhi naache,
Kanhaiyyaa bhi naache
Raadhaa bhi naache,
Kanhaiyyaa bhi naache
main bhi naachoon
nachaiyyaa bhi naache
main bhi naachoon
nachaiyyaa bhi naache
ankhiyaan bal bal gainyyaa
muraliyaa baaj rahi
mori laaj rahi
ankhiyaan bal bal gainyyaa
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi

baanke ne kyaa dhoom machaayi
baanke ne kyaa dhoom machaayi
har naari gopi ban aayi
har naari gopi ban aayi
muralidhar baney sainyaan
muraliyaa baaj rahi
mori laaj rahi
muralidhar baney sainyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi
sar pe kadamb ki chhainyyaan
muraliyaa baaj rahi
mori laaj rahi

Rgds
Sudhir

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Thanks a lot for the corrections. Now armed with the correct lyrics and proper background information, one can appreciate the song even more.

Like

There is a small correction. It is Baansi ne kya dhoom machai. In this context Lord Krishna has been described as ‘Murlidhar in the end.

Like

As a tribute to KL this song is frequently played by Gujarati drama circle at the end of the show when people are evacuating the auditorium. The effect that the song creates make the exiting audience really spellbound. The song definitely has something substantial besides exceptional music.

pravin modi,
a Kansen.

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