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

Archive for the ‘“Baansuri” song’ Category


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This is the 1400th post by Sudhir.

Blog Day :

4693 Post No. : 16378

 

The Many Colors of Love #31 – Love Divine
– – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

खाक को बुत, और बुत को देवता करता है
इन्तहा ये है के बंदे को खुदा करता है इश्क़

Khaak Ko But, Aur But Ko Devta Karta Hai
Inteha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq

Such a profound statement with a hugely significant implication – words are written by Sahir. Whether you read them in the flow of the entire set of lyrics, or just these two phrases, the import of these words cannot be diminished. And a more grand effect is achieved in rendition. Roshan Sb has put this to a melody that one cannot pulls oneself away from the flow, as line after line is being rendered by Rafi Sb. And finally, the effect of the rendition itself, as the continuous flow of singing gains momentum, the crescendo is rising, and Rafi Sb takes these two line progressively higher from octave to octave – to the most important message in this entire qawwali – “बंदे को खुदा करता है इश्क़ ” – “That Love Elevates Man to the Degrees of God”. This phrase is the ultimate climax – in all aspects – the rising crescendo of the music, the heightening pitch of the singer’s voice, the increasingly fervent clapping of the accompaniment singers, and the magnificent declaration about Love and God – all converging on the heights wherefrom one cannot go any further. For the message delivered is the ultimate statement to be made in this creation, in this existence – that Love Elevates.

All faiths, all beliefs, all creeds – have one thing in common. They all acknowledge something superior, a higher power that be – because none can otherwise explain the existence of these universes and the presence of the self on this planet. It is Voltaire who has said – “If God did not exist, it would be necessary to invent Him”. Yes, there is so much that we do not understand and so much that cannot be explained by the intellect, that finally even the non-believers cannot extract themselves out of the argument to explain existence.

Where is the story of creation? Every creed has its own, and in every such story there is a higher power that be, which is acknowledged as the authority responsible. The Humans being a visibly cognizant entity (चेतन) in this creation which is so manifestly non-cognizant (जड़) – this question indeed arises in the curious awareness of the self – why am I here? And the answer given by every system of belief is a variation of – “Man Must Return to His Maker”.
I remember another famous qawwali –

रस्ते अलग अलग हैं ठिकाना तो एक है
मंज़िल हरेक शख्स को पाना तो एक है

Raste Alag Alag Hain Thikaana To Ek Hai
Manzil Har Ek Shakhs Ko Paana To Ek Hai

“That paths may be many, yet the destination is the same.”
“And to the Divine must we return”

Theological systems have a life and existence of their own. Most people will follow one or the other that already exists. Once in a while, in a millennium, will come a person or a thought that will bring forth a new theology. Over the ages and across the history of mankind, one after another, newer and different belief systems have appeared, and each has its own existence, its own history, its thoughts, teachers and following.

And then, there is love. No, not as simply as it is just said. An emotional enigma, an anonymous obscurity, supposedly an inscrutable element that forms a significant constituent of what this larger conundrum of ‘creation’ is. An element yes, the basic, most primeval foundational piece. Tagore, in all his wisdom, was moved to write thus – “Love is an enduring mystery because it has nothing else to explain it“.

We can write and express it in a multitude ways, and indeed that has been done across the history. And yet, it remains universally undefined, and there always is yet another expression that attempts to. Through the history of mankind, this attempt has been made many millions of times. And as many millions of times poets, philosophers, lovers, thinkers, believers, and yes, the disbelievers too, have talked about it. And yet, in every age, in every culture, in every generation, every individual mind still continues to ask this question. The same minds continue to discover new definitions and new flavors. Adam and Eve wondered about it, as they looked upon the tree of the forbidden fruit. Brahma, the creator of the universe, was so enamored by his own creation of the feminine form, that he forsook his lotus seat as the creator God, and ran after Her. Lord Shiva was so captivated with the Mohini incarnation of Lord Vishnu, that he too left his abode in Kailash, and in pursuit of that vision. The renowned Sufi poet, Rumi thus wrote “Love is the astrolabe of God’s mysteries”.

Some say God is Love. Some others say Love is the link from Man to God. Yet others say Man who has realized Love, has realized God. Philosophers have written that Love is the basis of this Creation. Others have surmised that Love is the sustenance of this Creation. Another thought is that Love is the path to God. Such a multitude of concepts, ideologies and aesthetics thinkers have thought about and postulated. Some others say Love is an axiom. In the process of philosophical or logical differentiation, an axiom is a self evident truth that stands by itself. It cannot be further simplified or partitioned, or be established from more basic and elemental concepts. An axiom always just is. I recall the cover page of one of the most popular worldwide English editions of the Bible. The cover page simply says “The Greatest Is Love”. No other words, not even the word ‘Bible’ is printed on the cover page. It simply says “The Greatest Is Love“, and that’s it.

This is surely an axiom. A summary outcome of years and aeons of distillation of the human thought that has examined the emotions and expressions to bare bones, and then from the remnants of all that is stirred in the crucibles of the collective human psyche comes this extraction so short, so sweet and so sublime. And from this emerge some very stunning implications, the most significant of them being that Love is greater than God. And suddenly one has to pause, pull the brakes on this whirling carousel of thoughts and expressions and stare in wonder and amazement at this startling conclusion – “The Greatest Is Love, Even Greater Than God Himself”.

There is this play of Love that permeates every thought, every event, every concept, and everything that populates this universe at the physical as well as the non physical and the metaphysical levels of existence. The cycles of existence of the universe – the cause, the sustenance and the eventual assimilation – each one of these is an act of love. The cause of creation occurs when the alone Supreme Soul has a desire to share. That sharing is an expression of Love. The sustenance of the universe is the desire to maintain and keep well the creation – once again it is an act of Love. And the eventual assimilation – no, not the destruction, but more a dissolution of this game of universe, and the assimilation of all the souls back into the primal super soul. Once again, an act of love – an embrace that outweighs any level of proximity – the ultimate sharing of love. The ultimate conversation of love is the tête-à-tête of the souls – as they say, Soulmates. In our bhakti discourses, it is the ‘आत्म निवेदनम्’ (‘atma nivedanam’), the ultimate propinquity of love, the highest stage of meeting of the souls.

Love and God – the ultimate triumphs of realization in this mystery of existence, the magnum opus of individual endeavor and accomplishments. After propounding all the values of human existence, and teaching about all the good and bad in life, every faith, every religion finally talks about Love, about Love and God, about Love Divine, about the Divinity of Love.

This Divine Love is expressed and manifest in countless episodes that are scattered across the length and breadth of the scriptures of our Sanatan Dharm. In the Varaha Avatar – manifestation of Vishnu in the form of a tusked Boar, Vishnu battles with Hiranyaksh and vanquishes him. Then he dives into the waters of the Cosmic Ocean, into which Hiranyaksh had hidden Bhoodevi (Goddess Earth). He picks Her up on his tusks, and brings her out of the waters of the netherworld. In this episode there are brief shlokas wherein Vishnu in the form of Varaha tells Bhoodevi – “My Dear, it has been such a long time that you have cuddled as such in my arms, and I have carried you”.

During the episode of Sagar Manthan, Goddess Lakshmi appears as one of the outcomes of the churning of the Cosmic Ocean. There is an argument as to who would she belong to. Short of a battle, good sense prevails and all agree that Lakshmi should herself select her consort. And Lakshmi puts the flower garland on Vishnu.

In this same episode, Vishnu also appears as Mohini, the incarnation as a beautiful woman. And Shiva who is also present, is so enamored by Her beauty that He immediately has a charming attraction for Her and pursues Her. This affiliation recurs many more times as different episodes are narrated in different books.

When Vishnu appears in the avatar of Narsimhadev, and vanquishes Hiranyakashipu, His demeanor is so frightful, and He is so angry even as the inanimate body of Hiranyakashipu is lying in his lap, that none of the Gods and Sages present have the courage to approach Him. Not even Sage Narad who has the liberty to approach Vishnu whenever and wherever. Not even Goddess Lakshmi, His wife. Then Brahma and Narad request the child Prahlad to approach Narsimhadev. With his childlike innocence, Prahlad presents himself to the infuriated and ferocious half lion manifestation. And lo, in a moment, the anger of Narsimhadev evaporates and is immediately replaced by effusive love for his Bhakt.

Episodes and encounters of love are numerously present in the narration of Vishnu’s avatars as Ram and Krishna. The beauty of Ram is so divine that numerous Sages and village belles express their desire to serve Him as His wife. He declines, for in this avatar as Ram, He has a vow to be the husband of just one, and that is Seeta. But then He gives a boon to all such seekers that in his future incarnation as Krishna, He would accept their desires and betroth them. Therein lies the reason behind the Sixteen Thousand One Hundred and Eight wives of Krishna, as well as the occurrence of the phenomenal and Divine Raas Leela.

In the pageantry of the Sanatan Dharm theology, two entities are identified as beyond creation. They are Shiva and Vishnu. These are the only two for whom no stories of origin can be found, no details of parentage have ever been documented. In every episode, in every tale, the description of their physical appearance is always the same. There is no ageing across time. There is no dissolution at the time of Pralaya or Maha Pralaya. On the occasion of Maha Pralaya even Brahma completes his existence of 100 years (Brahma years, vastly different from the concept of earth years) and dissolves back, awaiting the next cycle of creation.

Vishnu and Shiva exist beyond the time and space, beyond the nothing and anything of this created universe. Their abodes are beyond time and they remain even when everything else disappears at the end of creation. It is nearly impossible for the human mind to even imagine what would be beyond the infinity of time and space as we comprehend it. In a manner of speaking, They represent the two basic forces, the two fundamental concepts that are the source of everything of any kind of nature that is, was, or will be, but They Themselves are apart from this creation. It is interesting to note that this concept of two basic forces pervades many other civilizations and many other theologies. The philosophies of further east have this representation as Yin and Yang, the two fundamental forces that are the basis of all creation. The Buddhist philosophy has the concept of Purush and Prakriti, and that everything else exists or is created through the interactions of these two. Even the scientists pursuing research on the theories of Modern Physics are making efforts towards what they call as the Grand Unified Theory of Physics, in which they propose that there exist only two basic forces in this physical universe and everything else in this visible measurable universe can be computed and extracted from the interplay of the equations of these two basic forces.

The scriptures of Sanatan Dharm abound with narrations of many flavors which describe the interplay between these two fundamental identities, and everything else that comes from them. There are narrations where Parvati, the Consort of Lord Shiva is represented as an incarnation of Vishnu. Then we have other narration where Radha ji is represented as an incarnation of Shiva.

The Ardhnaarishvar manifestation of Shiva, in which the left side of His being transforms into the female form, and He is blessed with being male and female form together in one presence. As per the narrations, Shiva got so smitten with the beauty of Mohini swaroop of Vishnu, that he continuously meditated on that beautiful form. As a result He earned the boon from Vishnu that Mohini would co-exist in the same physical body with Him. That is how the Ardhnaarishvar manifestation of Shiva came about.

Narrations abound in our scriptures of the purity of relationships of Love between Radha and Krishna, between Seeta and Ram, between Parvati and Shiva. However, in the most basic terms, it is all the interplay of the two basic forces of Vishnu and Shiva. And now I will touch upon one more aspect of Divine Love – the Love of Gopis of Vrindavan for the Child Krishna.

I have mentioned little earlier in this article, about the rationale behind the episode of Raas Lila during the appearance of Krishna on this earth, about the boon many learned Sages and women folk of villages received from Ram, when they approached Him with their desires to serve Him as His wives. Close to the end of Dwaapar Yug, when Krishna appeared on this land, these blessed souls all incarnated in Brij as Gopis, the milkmaids. The propensity of their earlier attraction to Ram, transformed in this life into an attachment of devotion to Child Krishna.

There are numerous narrations from many scriptures about the pastimes of Krishna in Gokul, Nandgaon and Vrindavan. Many of these episodes, including the Divine Raas Leela, are played out as interactions between Gopis and Child Krishna. The tales are endless. About Gopis craving for a view of Krishna, His pranks to trouble them as they go about their daily chores, about stealing butter and curd from their homes, about breaking the earthen pots (matkis) containing milk and butter, about the Gopis making Krishna dance just for getting some buttermilk and curd from them, even getting His face embellished with bits of cow dung to get more butter from them, and many many more.

There is a very interesting thread that weaves through all these episodes and pastimes, all the way up to the Raas Leela. And that thread is the flute that Krishna always carries with him, no matter what. This flute, made from a small stick of bamboo, is inseparable from Krishna. It is his eternal partner during the manifestation of all his pastimes while in Brij.

Krishna’s flute playing is remarkably Divine. At will, He can call for all the cows, or all the peacocks, or all the monkeys, or all his playmates and friends. And yes, when He plays the flute for that purpose, it is also to call all the Gopis. The ones so beckoned, are mesmerized by the music of the flute and as if a piece of iron is pulled by a magnet, so will the called ones respond to the call of the flute and in a trance just come to Him.

Gopis are attracted by His flute playing. Their attachment and their affectionate loyalty to Child Krishna is such that they would immediately give up whatever it is that they are doing, answer this call of devotion and converge wherever Krishna is. But when the music is over and the spell dissipates, they are also upset and annoyed that He has such power over them, that He will call them over whenever. There are small episodes of narration of such quarrels between Gopis and Krishna, and also complaints by Gopis to Yashoda.

Taking this narration further, we are also told that the Gopis are also cross with the flute itself. Just a small piece of bamboo and it has such a mesmerizing power over them. They even complain to the flute itself. Sometimes they slyly steal the flute and hide it. Then the little Kanhaiya is distraught, and he pleads with the Gopis to return it. There are some very beautiful bhajans and descriptions that depict this back and forth exchange between Kanha and the Gopis. And then, another step, the Gopis will go to Nand Baba’s home and lodge complaints with Yashoda. This exchange to is covered in many bhajans and episodes that are cute and heartening.

So what or Who is this flute? Some readers may know. Yes, as per narration given in some scriptures, this flute is none other than an incarnation of Shiva Himself. All I can say is that these matters are of the Divine, and are beyond our logic and comprehension. They need to be read and heard in wonder, and then to savor the multitude of sentimental flavors that are enmeshed in all this Grand Design. The more that we think and say about it, the more there remains to be thought and said about it.

The bhajan being introduced today is bringing up yet another flavor of the scores of sentiments that make up this wondrous pageantry. Gopis are even envious of the flute. And they begrudge it, that it always remains close to Kanha, and He so lovingly takes care of it, and He carries it everywhere with Him, even when He is asleep, it is with Him, and then He touches it by His lips, and creates the magic that disturbs their peace and comfort. After all the jealous complaints, they eventually end up praising the fortune of the flute. And they ask of it in wonder – Oh so what all penance and self-flagellation has it gone through, to be rewarded such a position of eminence, with the One that they all adore and covet.  And the words are

ए री बांस की बांसुरिया, तूने कौन कौन तप किन्हो री

Ae Ri Baans Ki Baansuria, Tu Ne Kaun Kaun Tap Kino Ri

Translations

bansi
bansi naam hai, kaahu dhareo sareer
taan taan ki dor su, khinchat hai mann mein

ari kshama kar muraliyaa, padi hain tere paayen
aur sukhi sun hot hain, maha dukhi hum hain

O Eminent Flute
Your name is ‘bansi
O why did you have to exist
With the power of the tones that emanate from you
The insides of our heart are pulled and wrenched

O please, please forgive us,
We fall at your feet in reverence
Others who may listen, may get pleasure from this music
But us. . . ?
Your sound makes us so unhappy and disturbed

 

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar

O Eminent Flute of Brij
You are the One who is so dear to Him
And we are the simple milkmaids of Brij
May these stories be sung in the three worlds
The tales of the flute and the milkmaids

There is a small personal incident associated with this bhajan that I would like to share. A senior patriarch (not in this world now) in the extended family was a very spiritual and learned person and I have had the good fortune of sitting and listening from him one on one, many times. Once I took this bhajan with me to play it for him. He had never heard this one before. As the play reached the second stanza and the words came “bansi aur brij naar “, he uttered the words “Jai Ho” three times, and I looked at him and his eyes were streaming. A little later I asked him about it, and he replied – “Bansi Aur Brij Naar – there is nothing higher than this in Krishna Bhakti”.

This is a non film bhajan that was recorded way back in 1961. That is all the information that I have been able to gather. No names are listed for the songwriter and the composer of this bhajan. The 78 rpm record is Columbia label GE 39008.

I have heard this song from the days of radio listening while still at school. But now this bhajan seems to have been forgotten by the radio waves. I tried searching for this on line and was really amazed to locate pages where netizens are waiting for this song to be located and uploaded.

A very rare song now, uploaded today. Listen to this baritone sound of CH Atma’s voice from sixty years ago.

[Author’s Note: This series – ‘The Many Colors of Love’ got initiated 20th May, 2013, eight years and 4 days ago. It continued on through 2013, 14 and 15, and 29 episodes were published, the 29th coming online on 9th March, 2015. And then there was complete silence on this topic. Six years – that is too long a gap by any standards. There was a rare blip in 2019 when the 30th episode of this series got published on 20th March, 2019. However, that post, although very much within the theme of this series, came about more towards getting the songs of film ‘Bobby’ completed and getting that film Yippeee’d. And then again, another long silence.

Readers and friends have probably come to the conclusion that the series was more or less complete. But the truth is far from that. In the sequence in which I had laid out the ‘Colors of Love’, after having done the 29th episode, the next topic I come to on the list is ‘Love Divine’. Telling you all the truth, it is this topic that tied up my grey cells in a bind and dried up the juices of creativity. Whenever I used to think to start writing this episode, my mind would just sputter and stop working, not knowing where to make a start. The article that you are reading today is probably the 4th revamped and revised version that I have attempted over the years. And another truth from the heart, I am still not fully satisfied with what I have written. There are many branch avenues that I wanted to explore and write about, but all are not coming together at once. And of course, the length of the article itself has become somewhat daunting.

The series still has three or four more songs to go, more like closing remarks on the ‘Colors of Love’. But yes, this post is the one that has taken the most energy. In a way I am glad that I am finally ahead of this milestone. But as I said before, getting this version of this episode completed still leaves me with a discontentment – that there is more to it. Well, maybe some other posts and other songs that may help fill the gaps within my mind, in the days to come.

So yes, we move forward, and hopefully conclude soon the list of flavors that I had originally planned.]

 

Song – Ae Ri Baans Ki Baansuriya (NFS – CH Atma) (1961) Singer – CH Atma, Lyrics – [Unattributed], MD – [Unattributed]

Lyrics

ae ri baans ki bansuriyaa

ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri
ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

bansi
bansi naam hai
kaahu dhareo sareer
taan taan ki dor su
khinchat hai mann mein
ari kshama kar muraliyaa
padi hain tere paayen
aur sukhi sun hot hain
maha dukhi hum hain
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

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

ए री बांस की बांसुरिया

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री
अए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

बंसी
बंसी नाम है
काहू धरेयो सरीर
तान तान की डोर सूं
खींचत है मन में
अरी क्षमा कर मुरलिया
पड़ी हैं तेरे पाएँ
और सुखी सुन होत हैं
महा दुखी हम हा॰॰एं
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

तू है ब्रिज की मुरलिया
हम हैं ब्रिज की नार
तीन लोक में गाइए
बंसी और ब्रिज नार
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री


This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4557 Post No. : 16150

#The Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # 118 # (A tribute to Singer Krishna Kalle)
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‘Sapne Suhaane-1974’ was a ‘social movie’ directed by A.K. Chalukya for ‘Kalpit Chitra, Poona’. It had Kalpit, Soni, Sharma, Arvind, Shefali, Mohan Jery, Mohan Shery, Sundar, Firoza, Lakiram, Master Kalpit, and Padma Chavan (in guest appearance). This movie introduced Anil, Rawal, Suresh, Bina, Suryakant, Gaekwad and Lalsingh Chouhan.

‘Sapne Suhaane-1974’ had three songs. All ere written by Hasrat Jaipuri. Music was composed by Shamji Ghanshamji.

This movie was passed by Censor Board on 05.11.1974.

One song from this movie was posted on the blog on 23.07.2013. Our inhouse encyclopedia Shri Arunkumar Deshmukh Sir provided the following information in comments section;

SAPNE SUHANE-1974 was truly an obscure movie.
It was produced by Kalpit Chitra Poona, directed by A.K. Chalukya and the music was by Shyam ji Ghanashyamji (One person-not a jodi), for the lyrics by Hasrat Jaipuri. There were only 3 songs in it.
The cast was full of newcomers (all probably debutants or one film actors), like Kalpit, Soni, Sharma, Arvind, Shefali, Firoza, Luckyram, Anil, Raval, Suresh Beena, Suryakant etc.
The story was of a Motor mechanic who dreams of becoming a film actor. He tells his beloved, who is working as a maid with a seth ji, that he will go to Bombay and return only after becoming an actor. Soon he realises the valley between Sapne suhane and the reality

Today we are presenting the second song from this movie which is sung by Krishna Kalle.

Krishna Kalle (18.12.1940 – 15.03.2015) was a known name in Kannada and Marathi Film Music, in addition to Hindi Film Music.

Let us now listen to today’s song …

Audio

Song-Ae bansi bajaiyya (Sapne Suhaane)(1974) Singer-Krishna Kalle, Lyrics-Hasrat Jaipuri, MD-Shamji Ghanshamji

Lyrics

ae bansi bajaiyyaa aa aa aa
aa aa aa
ae bansi bajaiyyaa aa

ae bansi bajaiyyaa
kya tujhe iski khabar hai
dukhiya tere charnon mein hai
aur tujhpe nazar hai
ae bansi bajaiyyaa aa aa aa aa

main saans ki maalaa pe
tera naam japoon hoon
main saans ki maalaa pe
tera naam japoon hoon
jis haal mein rakkhe mujhe
us haal mein khush hoon oon oon
mujh par bhi nazar daal
tera dhyaan kidhar hai
dukhiya tere charnon mein ae hai
aur tujhpe nazar hai
ae bansi bajaiyyaa aa aa aa aa

tujhse koi shikwaa naa
ye fariyaad hai sun le ae
tujhse koi shikwaa naa
ye fariyaad hai sun le
qismat meri barbaad thhi
barbaad hai sun le ae ae ae
jab tu hai mere saath to
kis baat ka darr hai
dukhiya tere charnon mein hai
aur tujhpe nazar hai
ae bansi bajaiyyaa aa aa aa aa


This article is written by Sadanand Kamath, a fellow enthusaist 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4514 Post No. : 16067

Today, November 26, 2020 is the 31st Remembrance Day of Chand Usmani (03/01/1933 – 26/11/1989). She excelled in the roles of a suffering woman – as a wife, a sister and later as a mother. Though she was a fan of Hindi films in her teens, she did not think about an acting career in Hindi films. Her first preference was to complete her higher education in keeping with her family tradition. But her fate was written to be an actress.

Chand Usmani (Full name: Chandbibi Khanam Usmani) was born in a well-educated Pathan family in Agra. After completion of her Matriculation examination in 1949, she came to Mumbai on holiday and was staying with her relatives. During her stay in Mumbai, she saw an advertisement of the Kardar-Kolynos-Teresa Talent Contest which she participated just for a fun. She was surprised when she was selected for the participation in the contest. She was more surprised when, in the final round, she was selected as a runner-up in the contest. Producer-director A R Kardar was one of the sponsors and judges for the contest.

Even though Chand Usmani was a runner-up in the contest, A R Kardar was impressed by her presentations in the contest. He offered her the lead role in ‘Jeewan Jyoti (1953) produced by him and directed by Mahesh Kaul. Her lead actor was Shammi Kapoor for whom it was his debut film as well. The film was a box office failure but Chand Usmani’s role of a suffering wife was appreciated by the critiques.

I had watched Chand Usmani’s debut film ‘Jeewan Jyoti’ (1953) a few years back. Her performance in the role of a suffering wife of Shammi Kapoor was so natural that it did not occur to me at that time that this was her first film. With this film, Chand Usmani got type-casted for the role of a suffering wife and a suffering sister in almost all of her subsequent films of 1950s. She was a discarded wife in otherwise light comedy film, ‘Baraati’ (1954), a suffering beloved of Bharat Bhushan and a sister of villain Pran in ‘Amaanat’ (1955), an innocent flower girl in ‘Baap Re Baap’ (1955), a blind girl in ‘Rangeen Raaten’ (1956), Dilip Kumar’s sister in ‘Naya Daur’ (1957) and Rajendra Kumar’s sister in ‘Do Behanen’ (1959).

Some of the melodious songs pictuirsed on Chand Usmani in her films of 1950s in which she had lead/second lead roles are as under:

Film Song Singer
Jeewan Jyoti (1953) tasweeren banti hai kiranon se chhanti hain Asha Bhosle-Shammi Kapoor
Baaraati (1954) aa phir se mere pyaar ki kismat sanwaar de Lata Mangeshkar
Amaanat (1955) meri wafaayen tumhaari jafaayen Asha Bhosle
Baap Re Baap (1955) raat rangeeli chamke taare aaja sajanwaa Asha Bhosle
Rangeen Raaten (1956) ham jaage jag soye ri aali Lata Mangeshkar
Do Bahenen (1959) jhuk jhuk jhola khaaye re badariya Lata Mangeshkar -Mahendra Kapoor

Chand Usmani’s early films in which she got lead roles did not fare well at the box office except ‘Baap Re Baap’ (1955). She had to switch over to supporting roles by the end of the 1950s and thereafter. Some of her films in the 1960s with supporting roles were ‘April Fool ‘(1964), ‘Haqeeqat’ (1964), ‘Kohra’ (1964), ‘Anita’ (1967), ‘Khilona’ (1970), ‘Pehchaan’ (1970), ‘Khel Khel Mein’ (1975), ‘Kaadambari’ (1976), ‘Yaaraana’ (1981) etc. She got the Filmfare Award for the best supporting actor for her role in ‘Pehchaan’ (1970). From mid-70s through 80s, she did elderly roles.

Chand Usmani had a long and active filmy career till her last, spanning over 3 decades during which she worked in around 125 films. Her last released film was ‘Lohe Ke Haath’ (1990) though a couple of her delayed films were released later than 1990.

In an old interview of her in the TV programme, ‘Phool Khile Hain Gulshan Gulshan’, Tabassum had ‘chided’ Chand Usmani that she did not do any ‘acting’ in most of her films because she was in reality depicting her own personality. This may be the reason that in most of her films, Chand Usmani’s performances looked natural and convincing. Even in the midst of acting as a suffering woman, she portrays the role of a warm-hearted person with her innocent smiles. In the same interview, Chand Usmani said that she had two regrets which remained with her throughout in her life. First, she did not complete her higher education and second, she did not get chance to do variety of roles in the films.

Chand Usmani was acquainted with Mukul Dutt, when she was working in Bimal Roy’s ‘Prem Patra’ (1962) for which he was Assistant Director to Bimal Roy. Subsequently, they got married. Mukul Dutt directed box office hit films like ‘Aan Milo Sajna’ (1970), ‘Raaste Ka Pathhar’ (1972), ‘Chhalia’ (1973), etc. However, he could not carry the success as director in his subsequent films. He also intermittently worked as lyricists in many Bangla films during 1965-2002.

Chand Usmani died of cancer on November 26, 1989 at the age of 56 leaving behind her son and the husband.

On the occasion of 33rd Remembrance Day of Chand Usmani, I am presenting a song, ‘matwaali muraliya baaji re aadhi raat’ which is picturised on her in the film ‘Zindagi Aur Hum’ (1962). The song is rendered by Lata Mangeshkar on the words of Pandit Shivkumar which is set to music by Roshan.

I like the picturization of the song which gives me a feel of a real rural atmosphere. Just observe how natural Chand Usmani looks while throwing grains to pigeons.

In the beginning of the song under discussion, actors who appears on the screen are Naina, Dinesh and thereafter Nalini Jaywant. When prelude music is played, the song heard in the background is the theme song of the film which is intermittently heard in the background in low sound. The tune of the song under discussion is melodic and both the prelude as well as the interlude music are in keeping with the devotional mood of the song.

With this song, all the six songs (including a two-part song) of ‘Zindagi Aur Hum’ (1962) have been covered in the Blog.

Video Clip:

Song-Matwaali muraliyaa baaji re aadhi raat (Zindagi Aur Hum)(1962) Singer-Lata, Lyrics-Pt Shiv Kumar, MD-Roshan

Lyrics

matwaali muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat

soyi thhi main apni atariya
soyi thhi main apni atariyaaa
sapne mein dekhi pi ki nagariya
soyi thhi main apni atariyaaa
sapne mein dekhi pi ki nagariya
chaunk padi ho
chaunk padi aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat

soyi gaam soyi gaam ki galiyaan
soyi gaam soyi gaam ki galiyaan
soyi sangee soyi rangreliyaan
soyi rangreliyaan
soyi gaam soyi gaam ki galiyaan
soyi sangee soyi rangreliyaan
soyi rangraliyaan
dhoom machi ho
dhoom machi aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat
le gayi sudh budh chheen muraliya
kar gayi mann ko leen (?) muraliya
jaadu bhari ho
jaadu bhari aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4341 Post No. : 15643 Movie Count :

4309

“Hare Krishna”(1974) was directed by K Kameshwar rao for Mukesh Enterprises, Madras. This movie which wsas a mythological movie. had Hema Malini, Jaylalitha, N T Ram Rao, Jamuna, Devika, Rama Prabha, Kanta Rao, S V Ranga Rao, Nag Bhushanam, Rukmini, Satyabhama etc in it.

From the star cast, it appears that the movie was dubbed from a South indian movie. I request our knowledgeable readers to throw light on the picturisation of the movie. The star cast is very interesting of course as it contains two actors who became Chief Ministers of two south Indian states.

This movie had five songs in it. Here is the first song from “Hare Krishna”(1974) to appear in the blog. The song is sung by Suman Kalyanpur and Rafi. B D Mishra is the lyricist. Music is composed by S N Tripathi.

Only the audio of this Radha- Krishna song is available. I reuest our knowledgeable readers to throw light on the picturisation of this song. My guess is that this song was picturised on Hema Malini and N T Rama Rao. But I could be wrong.

Lyrics of this song were sent to me by Nitin Shah.

With this song. Hare Krishna”(1974) makes its debut in the blog.


Song-Bansi ki dhun sun balmu (Hare Krishna)(1974) Singers-Suman Kalyanpur, Rafi, Lyrics-B D Mishra, MD-S N Tripathi
Both

Lyrics(Provided by Nitin Shah)

bansi ki dhun sun balmu
pyaar mein naachke main to jhoomoon
moh liya is man ko
toone maadhav in nainan ko
hey maadhav in nainan ko

tore hi nainan mein chhupoon
aa tere milan ko main tadpoon
nand kishore ki priye tu u
jhankaar more man ki tu
jhankaar more man ki tu

o o o o o
aa ha ha ha ha
aaa aaa aaa aaa
aaa aaa aaa aaa

vrindaavan ke gokul gaanv ka
tu hai salona sundar saanwra
vrindaavan ke gokul gaanv ka
tu hai salona sundar saanwra
sakhiyon ke sang raas rachaavat
hai mujhko priy ati bhaaya
hai mujhko priy ati bhaaya
vrindaavan ki na to sakhiyaan ab wo
ek tuhi hai saathi ab to
vrindavan ki na to sakhiyaan ab wo
ek tuhi hai saathi ab to
hey sajni ee ee ee ee
hey sajni
ras rang ki baaton se
main ho chuka tumhaara ab to
main ho chuka tumhaara ab to
tore hi nainan mein chhupoon
aa tere milan ko main tadpoon oo

o o o
bansi ki dhun sun balmu
pyaar mein naachke main to jhoomoon
bansi ki dhun sun balmu
pyar mein naachke main to jhoomoon
moh liya is man ko
tune maadhav ke nainan ko

haan re maadhav ke nainan ko


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4294 Post No. : 15548

“Piya Milan Ki Aas” (1961) was directed by S N Tripathi for Vijay Films. J S Cashyap was the producer. The movie had Ameeta, Manoj Kumar, Sunder, Pratima Devi, Jeevan, Nalini Chonker, Daisy Irani, Indira Bansal, Polson, S. N. Tripathi etc in it.

The movie had eight songs in it. Seven songs from the movie have been covered in the past.

Here are the details of these songs:-

S N Song Song number in blog Date of posting
1 Chaandi kaa gol gol chandaa 2482 22-May-2010
2 Man ki gagariyaa mein tu chamkaa 4744 3-Oct-2011
3 Picnic mein tictic karti aayi maston ki toli 5448 13-Feb-2012
4 Doley doley mere jeewan ki naiyya 7597 4-Mar-2013
5 Piya milan ki aas 9634 28-Mar-2014
6 Gham chhodo ye saare zamaane ka 14492 16-July-2018
7 Chhuri bagal mein hai munh mein raam 15467 5-Mar-2020

Here is the eighth and final song from “Piya Milan Ki Baas”(1961) to appear in the blog. This song is sung by Lata. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

The song is picturised as a dance song on Ameeta playing Radha. Manoj Kumar plays murli playing Lord Krishna is this Radha Krisha roothhna manaana song.

With this song, all the songs from the movie have been covered and “Piya Milan Ki Baas”(1960) joins the list of movies that have been YIPPEED in the blog. This movie becomes the 1200th movie to be YIPPIED in the blog.


Song-Manmohan murli teri bairan ban gayi (Piya Milan Ki Aas)(1961) Singer-Lata, Lyrics-Bharat Vyas, MD-S N Tripathi

Lyrics

Manmohan murli teri bairan ban gayi haay
baje t raadha baawri
na baje to man akulaaye

suno ik din ki baat
thhi wo poonam ki raat
suno ik din ki baat
thhi wo poonam ki raat
Radha baithhi thhi jamuna ke teer
badi man mein adheer
bhare nainon mein neer
nahin aaye salone saanwre
akulaane lage naina baawre
kabhi boli sakhi
dekh bholi sakhi
tere murli waale shyaam aa gaye
tere man ke mohan shyaam aa gaye
tere sapnon ke ghanshyaam aa gaye

to Raadha boli
Raadha boli
Raadha boli

Raadha boli
Raadha boli
bade jee tum aaye ho
jaise hum ko tumhaare bin chain nahin
apni murli mein ras bhar laaye ho
jaise hum ko tumhaare bin chain nahin
Raadha boli
bade jee tum aaye ho
jaise hum ko tumhaare bin chain nahin
Raadha boli

bahe nainon se neer
kya tumhaare liye
uthhe tan man mein peer
kya tumhaare liye
chhoote hirday ka dheer
kya tumhaare liye
laage birha ka teer
kya tumhaare liye
mera dukhda
bada dukhda mitaane aaye ho
jaise hum ko tumhaare bin chain nahin
apni murli mein ras bhar laaye ho
jaise hum ko tumhaare bin chain nahin
Raadha boli
bade jee tum aaye ho
jaise hum ko tumhaare bin chain nahin
Raadha boli

koi karta ho maan to ajee tumko kya
koi karta ho maan to ajee tumko kya
jaaye birhan ki aan to ajee tum ko kya
koi kho daale Praan to ajee tumko kya
koi de daale jaaan to ajee tumko kya
jab khud ko
jab khud ko padi tab aaye ho
jaise hum ko tumhaare bin chain nahin
apni murli mein ras bhar laaye ho
jaise hum ko tumhaare bin chain nahin
Raadha boli
bade jee tum aaye ho
jaise hum ko tumhaare bin chain nahin
Raadha boli


This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3890 Post No. : 14923

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 16
————————————————

15 songs have been covered so far in the ‘ten-year challenge’ on the blog so far and this will be the 16th post in the series.

As we proceed in this journey, it is getting more and more interesting at least as far as I am concerned. I was not associated with the blog ten years ago, so my browsing through the blog for posts of those days give me an interesting singh on the way posts were appearing on the blog ten year ago. My first comment on the blog would appear on the blog on 15.09.2009.

This process of visiting or revisiting or re-revisiting brings back memories associated with those movies or songs that were covered those days. Some of these movies are those which I have watched when I was growing and some are when I was already a grown up (:) ) person, like from 1989 onwards.

Coming back to the movies of songs that were presented on 13.03.2009 we have the following list;

‘Naiyya-1979’
‘Zakhmee-1975’
‘Saajan-1969’
‘Chitchor-1976’
‘Parwaana-1971’
‘Haqeeqat-1964’
‘Bandhan-1940’
‘Dushman-1939’

All the movies except ‘Saajan-1969’ have achieved ‘all songs covered’ (Yippeeee:) ) status on the blog.

I remember to have watched ‘Saajan-1969’ either during mid-seventies or in late seventies. And since then two songs from this movie were always in my memory and nostalgic for me. Both of these songs viz. ‘resham ki dori’ and ‘saajan saajan pukaaroon galiyon mein’ have already been posted on the blog.

Today’s song is a classical based song where Asha Parekh is performing on a stage. Watching this reminds me of many of her classical dance-based performances in other movies, and which I think were a regular feature in the movies she acted in given her prowess in classical dance.

When I initially checked the songs from ‘Saajan-1969’ I thought I had come across a longer version of this song (or maybe I am mistaken) , but finally at the time of drafting this article I could locateonly a shorter video link.
However, I looked for the audio of this song which has two stanzas, though only one stanza is there in the in movie available online. Knowledgeable readers are requested to throw more light on this. Or maybe, I guess, this song was edited in the movie.

‘Saajan-1969’ was produced and directed by Mohan Sehgal for ‘Delux Films, Bombay’. It had Asha Parekh, Manoj Kumar, Om Prakash, Shabnam, Sulochana, Madan Puri, Jagirdar, Sapru, Raj Mehra, S.P. Sinha, Jankidas, Brahm Bharadwaj, Shammi, Lata Bose, Murad, Iftekhar, Ratan Gaurang, Mirajkar, Parasram, and Narmada Shankar.

This movie had total seven tracks including one music track and one multiple version song. All songs in this movie were written by Anand Bakshi and music was composed by Laxmikant-Pyarelal.
So far four songs (including one multiple version song) from this movie have been covered.

Today’s song is the fifth song from this movie being posted and that would leave us with only one song remaining to be posted from this movie to take it to the ‘Yippeeee land’ 🙂 (however this remaining song doesn’t seem to be available either on video or audio, we need to search and check or knowledgeable readers can advice and throw more light on this)

Let us now enjoy today’s song …

Audio (Full)

Video (Partial)

Song-Baansuri tihaari Nandlal (Saajan)(1969) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Baansuri tihaari Nandlal
Bani mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Ye paas tere bairan
Hoon door main sajaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa

Bansi ko tu honthhon se lagaaye
Bansi ko tu honthhon se lagaaye
Man tadpaaye
Mora jee tarsaaye
Kaahe ko maine tose neha lagaaye ae
Kaahe ko maine tose neha lagaaye
Ye jag maine chhoda
Bani main joganiya
Baansuri
Baansuri ee
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa

Kehne lage hain mohe birhan saare
Kehne lage hain mohe birhan saare
Ye do naina more birhaa ke maare
Baat nihaare teri saanj sakhaare ae
Baat nihaare teri saanj sakhaare
O raat bhar jaagoon main ban ke chandaniya
Baansuri
Baansuri ee
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Ye paas tere bairan
Hoon door main sajaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Mori sautaniyaa
Mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa

———————————-
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————-
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
ये पास तेरे बैरन
हूँ दूर मैं सजनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया

बंसी को तू होंठों से लगाए
बंसी को तू होंठों से लगाए
मन तडपाये
मोरा जी तरसाए
काहे को मैंने तोसे नेहा लगाए ए
काहे को मैंने तोसे नेहा लगाए
ये जग मैंने छोड़ा
बनी मैं जोगनिया
बांसुरी
बांसुरी ई
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया

कहने लगे हैं मोहे बिरहन सारे
कहने लगे हैं मोहे बिरहन सारे
ये दो नैना मोरे बिरहा के मारे
बाट निहारे तेरी सांज सखारे ए
बाट निहारे तेरी सांज सखारे
ओ रात भर जागु मैं बन के चंदनिया
बांसुरी
बांसुरी ई
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
ये पास तेरे बैरन
हूँ दूर मैं सजनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
मोरी सौतनिया
मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया


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.

Blog Day : 3733 Post No. : 14678

“Shyaam Tere Kitne Naam”(1977) was produced by Vinod Kumar and A Narang and directed by Shantilal Soni. All these days I was undr the impression that the movie was a Rajshree Production movie !

The movie had Sachin, Sarika, Meena T, Manhar Desai, Bharat Bhooshan, Shyama, Jalal Agha, Sunder etc in it.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Shyaam Tere Kitne Naam”(1977) to appear in the blog. The song is sung by Jaspal Singh, Aarti Mukherji and chorus. Anjaan is the lyricist. Music is composed by Ravindra Jain.

The song is picturised as a dance song on Sachin, Sarika and many others.

Audio

Video

Song-Jamuna kinaare baje shyaam ki baansuriya (Shyaam Tere Kitne Naam)(1977) Singers-Jaspal Singh, Aarti Mukherji, Lyrics-Anjaan, MD-Ravindra Jain
All Chorus
Male chorus
Female chorus
Aarti Mukherji + Chorus
Jaspal Singh + Aarti Mukherji

Lyrics

ho o o
aa aa aa

jamuna kinaare baje shyaam ki baansuriya
shyaam ki baansuriya baje shyaam ki baansuriya
shyaam to hai raadha ka baawra
shyaam to hai raadha ka baavra
ho o kaanha ke rang rangi raadha baawariya
raadha ke rang ranga saanwra

saanvra
saanvra

saanvra
saanvra

jamuna kinaare baje shyaam ki baansuriya
shyam ki baansuriya baje shyam ki baansuriya

gokul mein
gokul mein
shor macha
shor macha
kahaan gayin gwaalan ki chhoriyaan
kahaan gayin gwaalan ki chhoriyaan
ghar angna
ghar angna
bisra ke
bisra ke
mohan sang raas rachen goriyaan
mohan sang raas rachen goriyaan
o o sab mein samaake sabse aankhiyaan churaake
raadha ke sang chala saanwra

saanwara saanwara
o ho ho
saanwara saanwara
o ho ho
jamuna kinaare baje shyaam ki baansuriya
shyaam ki baansuriya baje shyaam ki baansuriya

o o o o
o o o o
o o o o

raadha ki
raadha ki
paayal se
paayal se
bandhi jaise murli ki taan re
bandhi jaise murli ki taan re
kaanha ki
kaanha ki
murli mein
murli mein
base jaise raadha ke praan re
base jaise raadha ke praan re
o o o
raadha ke jaisi koi dooji na premika

kaanha sa premi nahin doosra
saanwra saanwra
o ho ho
saanwara saanwara
o ho ho
jamuna kinaare baje shyaam ki baansuriya
shyaam ki baansuriya baje shyam ki baansuriya


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.

Blog Day : 3664 Post No. : 14534

“Police” (1944) was directed by Shanti Kumar for Prakash Pictures, Bombay. The movie had Prem Adib, Ratnamala, Jeewan, Ranjana, Shahnawaz, Amirbai Karnataki, Badri Prasad, Baby Tara, Shakir, Athavale, Laxman, Alaknanda, Kesri etc in it.

The movie had thirteen songs in it. One song has been covered in the past.

Here is the second song from “Police”(1944) to appear in the blog. The song is sung by Amirbai Karnataki. Ramesh Gupta is the lyricist. Music is composed by Pannalal Ghosh.

Amirbai Karnataki acted in the movie, so under normal circumstances, one can conclude that the song was picturised on herself. I notice that Amirbai Karnataki and Parul Ghosh sang lots of songs in the movie, so Amirbai Karnataki may or may not have sung all her songs for herself, unless she played a lead role in the movie. I request our knowldgeable readers ro throw light on the matter. I have assumed that the song was picturised on herself.

I have not been able to get a few words right in the lyrics. i request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Baaj rahi kis oar muraliya (Police)(1944) Singer-Amirbai Karnataki, Lyrics-Ramesh Gupta, MD-Pannalal Ghosh

Lyrics

Baaj rahi kis oar muraliya
baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar
jeewan naiyya dagmag doli
jeewan naiyya dagmag doli
uthhi ghata ghangho or or
jeewan naiyya dagmag doli
uthhi ghata ghanghor
chali pawan lahraati gaati
chali pawan lahraati gaati
naach uthha man mor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar

sun murli singhaasan dola
sun murli singhaasan dola
goonj uthhi chahun oar
sun murli singhaasan dola
goonj uthhi chahun oar
sansaari ka jeewan dola
sansaari ka jeewan dola
bhai suhaani bhor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar

dharti(?) naacho
meera naache
suni ghani chitchor
dharti(?) naacho
meera naachi
suni ghani chitchor
surdas kshe ?? naache
surdas ?kahe ? naache
lagi prem ki dor
lagi prem ki dor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar


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.

Blog Day : 3611 Post No. : 14403

“Jaadugar Daaku”(1962) was directed by Chandrakant for Joy Films, Bombay. This movie had Jairaj, Jabeen, Maruti, Bela Bose, Madhumati, Ram Mohan, Samson, Babu Raje, Shree Bhagwan, Helen, tiwari, Tuntun, Ratnamala, Mridula, Uma, Anwari Bai, Moolchand, Dubey, Ajeet, Ghani, Mohammad ali, Babubhai, arvind, Mulla, Pahalwan etc in it.

The movie had six songs in it. One song is covered in the past.

Here is the second song from “Jaadugar Daaku”(1962) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. music is composed by S N Tripathi.

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


Bansi na baja ra jiya na tadpa re (Jaadugar Daaku)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-S N Tripathi

Lyrics

o o o
o o o
o o o
o o
o o
o o o

bansi na baja re
jiya na tadpa re
teri har taan pe
nikle meri jaan
haaye
bansi na baja re
jiya na tadpa re
teri har taan pe
nikle meri jaan

o o o
o o o
o o o
o o o
sun sun ke dhun teri main daudi daudi aaun re
sun sun ke dhun teri main daudi daudi aaun re
masti mein dil jhoom uthhe
besudh si ho jaaun re
tera pyaar tadpa ke ban baitha anjaan re
nikle meri jaan
haay
bansi na baja re
jiya na tadpa re
teri har taan pe nikle meri jaan
haaye
bansi na baja re
jiya na tadpa re
teri har taan se nikle meri jaan

o o o
o o o
o o o
o o o
ye pehli pehchaan teri
jaane kya rang laayegi
ye pehli pehchaan teri
jaane kya rang laayegi
kis anjaane manzil par ye dhadkan le jaayegi
main bhi hoon deewaani dil bhi hai naadan re
nikle meri jaan
haaye
bansi na baja re jiya na tadpa re
teri har taan pe nikle meri jaan
haaye
bansi na baja re jiya na tadpa re
teri har taan pe nikle meri jaan


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.

Blog Day : 3558 Post No. : 14270

“Holiday in Bombay”(1963) was directed by P L Santoshi for Yugchhaaya, Bombay. This movie, described as a “social” movie, was an entertaing comedy movie in fact. The movie had Shashi Kapoor, Vijaya Chaudhary, Rajendranath, Naseem Bano, Dhumal, P Kailash, Ulhaas, Randheer, Sulochana Chatterji, Rajan Haksar, Jeewankala, Ram Kumar, Renu Makkad, Heera Sawant, Kundan, B B Bhalla, D Dilip, Nazeer Kashmiri, Hublikar, Laxmi Chhaaya etc in it.

The movie had eight songs in it. Six of these songs have been covered in the past.

Here is the seventh song from “Holiday in Bombay”(1963) to appear in the blog. HFGK is silent about the identity of the singers as well as the lyricist.

Listening to the song, it is clear that the song is sung by Rafi, Balbir and chorus. Video of the song is available which shows that this song is lip synced by Shashi Kapoor and Rajendranath in a get together situation. This song is supposedly a Lord Krishn bhajan but it is actually an “expression of love” song sung by our hero and his side kick for their respective love interests.

The uploader has mentioned Anjaan as the lyricist and I have gone with that.

Music is composed by N Datta.

I request our knowledgeable readers to help identify the various actors who are visible in the picturisation of the song.


Song-Ratnaare matwaare raswaare kajraare nainwaa tihaare(Holiday in Bombay)(1963) Singers-Rafi, Balbir, Lyrics-Anjaan, MD-N Datta
Both
Chorus

Lyrics

aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
ratnaare matwaare
raswaare kajraare
nainwa tihaare
jaadu mohpe daare
gori jaadu mohpe daare
jaadu mohpe daare
gori jaadu mohpe daare
ehe ratnaare matwaare
raswaare kajraare nainwa tihaare
jaadu mohpe daare
gori jaadu mohpe daare

jaadu mohpe daare
gori jaadu mohpe daare

jab tu nikle apne ghar se
jab tu nikle apne ghar se
man mora dekhan ko tarse ae
man mora dekhan ko tarse
bacha najariya saare nagar se mud mud mohe nihaare
aha
ratnaare matwaare
rasware
kajraare
nainwa tihaare
jaadu mohpe daare
gori jadu mohpe daare
jaadu mohpe daare
gori jaadu mohpe daare

manhaari tanhaari
raswaari ati pyaari
manhaari tanhaari
raswaari ati pyaari

bansuri tihaari
bansuri tihaari

manhaari tanhaari
raswaari ati pyaari
manhaari tanhaari
raswaari ati pyaari
bansuri tihaari
bansuri tihaari

manhaari tanhaari raswaari ati pyaari bansuri tihaari
jaadu mohpe daare
kaanha jaadu mohpe daare
jaadu mohpe daare
kaanha jadu mohpe daare

oy ratnaare matwaare
raswaare kajraare
nainwa tihaare jaadu mohpe daare
gor jaadu mohpe daare
jaadu mohpe daare
gori jaadu mohpe daare

anjaane mein aa bas gayi tu
anjaane mein aa bas gayi tu
roop se tan man ko kas gayi tu
roop se tan man ko kas gayi tu
naagan ban dil ko das gayi tu
ab tu hi zahar utaare

haay haay
ratnaare matwaare
raswaare kajraare nainwa tihaare
jaadu mohpe daare
gori jaadu mohpe daare
jaadu mohpe daare
gori jaadu mohpe daare
ratnaare matwaare
raswaare kajraare
manhaari tanhaari
raswaari ati pyaari

manhaari tanhaari
raswaari ati pyaari

bansuri tihaari
bansuri tihaari
manhaari tanhaari
raswaari ati pyaari

manhaari tanhaari
raswaari ati pyaari
bansuri tihaari
bansuri tihaari

manhaari tanhaari
raswaari ati pyaari
bansuri tihaari

jaadu mohpe daare
kaanha jaadu mohpe daare
jaadu mohpe daare kaanha
jaadu mohpe daare


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 over THIRTEEN years. This blog has over 16600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2021) 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.

Total number of songs posts discussed

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Movies with all their songs covered =1280
Total Number of movies covered=4520

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Active for more than 4000 days.

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