Archive for the ‘Bhajan’ Category
This article is written by Arunkumar Deshmukh, 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.
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Blog Day : |
3750 | Post No. : | 14715 | Movie Count : |
4020 |
Today’s song is a devotional chorus song from an old film, ” Prithvi Putra”-38. HFGK indicates that it was a Mythological film. I could not get a clue anywhere what the story was about. The film was made by the film factory, Ranjit Movietone- where, at a time, at least 4 to 5 films used to be on the floors doing shooting, not counting if any team was on outdoor shooting schedule.
As per the available 1938 issues of Film India, when Prithvi Putra’s shooting was going on, some more film shootings, planning meetings and scheduling were underway at the same time. Films like Gorakh Aaya, Achhut, Sant Tulsidas, Taxiwali, The Cat (Billi) and Prof. Waman, M.Sc. were the films involved in the studio activity. It is sad that review of this film is not available to us since all issues of 1938 are not available on Internet.That review could have at least told us what the story of this movie was.
The director was Jayant Desai, Lyricist was P.L.Santoshi and Gyan Dutt was the music director. Gyan Dutt did 15 films for Ranjit , during his stint from 1937 to 1940 period. After him, it was Khemchand Prakash and after him it was Bulo C. Rani as Ranjit’s resident Music director.
The cast of the film was truly a Nationalistic combination, confirming how the film industry was actually a secular activity. Madhuri was a Christian, Billimoria was a Parsee, Mazhar khan was a Muslim, Kantilal was a Hindu and the other actors were also a mix of different religions.
One of the names in the cast is Waheedan Bai. Not much information is available on her. Her younger sister Sitara Bai aka Jyoti and her own daughter Nawab Banoo aka Nimmi were actresses. Waheedan Bai was from a Tawayef family. Her daughter Nimmi, had always denied this-understandably too, but Waheedan Bai’s name gave away the true story.
In the initial stage of the Indian films, whether silent or talkie, it was difficult to get girls from good families and background. Slowly this picture changed.When Talkie started many Tawaifs,singing girls and girls from such families joined films as they fulfilled the requirement of singing and looking good,in addition to their ease on Hindi/urdu language. At this time slowly many educated and girls from high society as well as middle class families started joining films.So,to distinguish these women from each others, a system of nomenclature was followed. All the Girls coming from singing families and Tawaif background added the suffix “Bai” to their names, like Jaddanbai,Waheedan bai,Zohrabai,Amirbai etc. The Anglo-Indian and middle class girls took the prefix of “Miss” like Miss Moti, Miss Rose, Miss Tara, Miss Ajmat, Miss Pearl etc. Those girls who were from high society were called Devi like Sabita Devi, Kamla Devi, etc. All Marathi actresses used their full names like Shanta Apte, Minaxi Shirodkar etc.
Another point, this nomenclature was only unofficial and traditional. So some Tawaif actresses took advantage of this to hide their roots. Like, Rampyari who was from a singing family of Hyderabad, sometimes called herself as Miss Rampyari.
There were 565 Princely states in India before Partition. Due to patronising of fine arts like music and dance by these Princes, a new class of Nautch Girls emerged in the 19th century. All Nautch Girls were not the same. Author Michael Kinnear, in his book “The Gramophone company’s first Indian Recordings 1899-1908 “, has explained the classification and Nomenclatures of these Nautch Girls. As per that, there were 4 types…
| Lowest Class…..IV | Name – Khanki | Prostitutes/Sex workers |
| Class III | Name – Kaneez | Daasi or servant |
| Class II | Name – Bai ji | Singing/Dancing |
| Class I | Name – Jaan | Top class singers |
They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai, Waheedanbai, Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan etc etc.
Waheedan Bai belonged to a small town Fatehabad, near Agra. Her father’s name was Basheer Khan. She was second among 4 sisters. The youngest was Sitara Bai aka Jyoti. Waheedan was a trained and good singer, but Tawayafs did not get social status, so she got married early to one Abdul Hakeem from Nasirabad, settled in Meerut. He had met Waheedan in a shrine in Agra, where she recited verses from Koran.
Soon after their marriage, his father, a contractor with Military, died and Hakim inherited the business. He was a novice and was cheated by his manager and they lost everything. The family moved to Calcutta to start a Leather business. Here also he failed. In Calcutta, their neighbour was director A.R.Kardar. Through his wife, Bahar, Kardar was contacted and he gave a small role to him in a film. Here again he got terrified and ran away, at the time of shooting.
Waheedan came forward and after hearing her singing, she was given a song in the film and it was recorded. Meanwhile Chandulal Shah offered her roles in his films. They shifted to Bombay and she joined Ranjit Movietone. Her first film was Toofani Toli-37. Prithvi Putra was just the second film. Her songs in her films were liked and became famous.She worked in other films like Prof. Waman,M.Sc.-38, Rikshawala-38, The Secretary-38 and Thokar-39.
She got acquainted with Mehboob Khan and he offered her lead role opposite Surendra in film Alibaba-40, a Sagar Movietone film initially, but later on sold to Ranjit of Chandulal Shah, in a game of gambling. Film Alibaba-40 was made in Hindi and Punjabi. The film songs became very popular. When Sagar merged into National Studios, she worked in film Sanskar-40.
Waheedan contracted T.B. and left films. She acted in only 8 films and sang 26 songs in 11 films-including her 8 films. She died in 1942.( based on information from Sagar movietone by Biren kothari ji and my notes)
Another name was Mazhar Khan in the cast of Prithvi putra-38. Khans have always dominated Hindi film industry, since Talkie films started. The very first Talkie, Alam Ara-31 also had the first actor singer W.M. Khan in it. The famous compiler and author, Shri Harish Raghuwanshi ji has enumerated as many as 57 names of Khans in Hindi films, in his book Inhe na Bhulana in Gujarati in 2003.
Mazhar Khan was born in 1907 in Dhar state. After matriculation, he joined Police force and rose up to Inspector’s rank. Due to attraction of becoming actor, he resigned from the job and reached Bombay.He went from studio to studio, in search of a job. Finally. Director B.P.Mishra from Imperial saw him and called for film roles. From 1927 to 1931, he worked in 19 silent films. His first Talkie was ‘ Noorjehan”-31 directed by Ezra Mir ( real name Edwyn Meyers). he went to Calcutta and worked in New theatres films with Sehgal and Begum Akhtar. He also acted in film Raat ka Raja-34, in which he reportedly did 8 different roles.After Sunehra Sansar-36 and some more films with other companies, he returned to Bombay and joined Ranjit, and later Minerva. His memorable film role was in Prabhat’s Padosi-41, in which he did the role of a Hindu pandit, while his Muslim friend’s role was done by Gajanan jahagirdar. Their roles were much appreciated in those periods.
In 1942 he started his own company, Asiatic pictures and then Mazhar Art productions. he produced and directed 6 films. he introduced actress Veena in film Yaad-42 and gave opportunity to Mukesh to sing in film Pehli Nazar- which made him very popular. Mazhar acted in 44 films. He married a Hindu girl, who did not convert after the marriage. They had 2 sons. Mazhar Khan died on 24-9-1950.
(adapted from wiki and Inhe na Bhulana).
Let us now listen to this melodious bhajan which is sung by chorus.
With this song, “Prithvi Putra”(1938) makes its debut in the blog.
Song- Jai Brijnandan Gopichandan Leelakaari Shyaam (Prithvi Putra)(1938) Singer-Chorus, Lyrics-P L Santoshi, MD-Gyan Dutt
Lyrics
Jai Brijnandan Gopichandan Leelakaari Shyaam
Jai Brijnandan Gopichandan,Leelakaari Shyaam
bhav bhaybhanjan ??niranjan sankathaari raam
bhav bhaybhanjan ??niranjan sankathaari raam
Jai Brijnandan Gopichandan Leelakaari Shyaam
cheerharaiyya laajrakhaiyya raas rachaiyya krishn kanhaiyya
cheerharaiyya laajrakhaiyya raas rachaiyya krishn kanhaiyya
sau sau baar pranaam
sau sau baar pranaam
jai avinaashi jag ke swaami
ghat ghat vaasi antaryaami
jai avinaashi jag ke swaami
ghat ghat vaasi antaryaami
sau sau baar pranaam
sau sau baar pranaam
Jai Brijnandan Gopichandan Leelakaari Shyaam
Jai Brijnandan Gopichandan Leelakaari Shyaam
- In: "Advice" song | Ameerbai Karnataki Manna Dey duet | Ameerbai Karnataki songs | Bhajan | Biography of artists | Biography of Directors | Duet | Guest posts | Manna Dey songs | philosophical song | Post by Arunkumar Deshmukh | Prayer | Rare song | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
- 2 Comments
This article is written by Arunkumar Deshmukh, 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.
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Blog Day : |
3748 | Post No. : | 14711 | Movie Count : |
4019 |
Today’s song is from film Sati Toral-47. This film was made by Laxmi Productions, Bombay and was directed by Nandlal Jaswantlal. The music was provided by a team of Hari Prasanna Das and Manna Dey. The song is sung by Amirbai Karnataki and Manna Dey. The lyrics were by Miss Kamal, B.A. This was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.
Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Administrative Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.
His first Talkie film as a Director was Pardesi Preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Nandlal directed, in all, 24 films-5 Silent and 19 Talkie films. Some of his well known films were Indira M.A.-34, Bambai ki billi-36, Sati Toral-47, Sanam-51, Anarkali-53 and Nagin-56. (adapted from indiancine.ma)
Music Director Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.
The cast of the film was Shobhana Samarth, Prem Adeeb, Sankata Prasad, Jeevan, Badri prashad, Rehana and others. Sankata Prasad was the elder brother of more famous character actor Kanhaiyalal, who entered film line first as a Lyricist only. Born in Banares in 1903, Sankata came to Bombay and joined Sagar Film company in 1929. From the beginning, he was a fixture in almost every silent and Talkie film of Sagar Film company, Sagar Movietone, National Studios and lastly Amar pictures. After the last connection, he became a free lancer. To be noted is a fact that Sankata Prasad is the only actor who worked in all 3 First Talkie films of Sagar Movietone, namely Veer Abhimanyu, Romantic Prince and Abul Hasan. His last film was Do Mastane-58. He acted in 65 films,in all.
Film Sati Toral -47 was based on a Folk Tale of Gujarat. Folk Tales are stories passed through generations by telling. They are built around Fairy Tales, Tall tales, Trick tales, Myths and Legends. The base of Folk tales is a true historical event , person or a story. Folk tales of loving couples have been very popular and have been subjects on which films in almost every language are made. Stories of Heer Ranjha, Mirza Sahiban,Sassi Punnu, Sohni Mahiwal, Momal Rano, Dhola Maru,Prithviraj Sanyogita, Bajirao mastani, Laila Majnu, Salim Anarkali, Shahjehan Mumtaz Mahal etc. are famous folk tales of lovers and films are made on them.
Similarly, Mythology and religious books provide plenty of scope for Folk tales. Several films are made in several languages on the folk tales of Satis in Hindu religion. Actually, 44 Talkie films are made, whose Titles contain the word ‘Sati’. The more popular Folk tales are on Sati Anusuya, Parvati, Ahilya, Anjani, Madalasa, Narmada, Mahananda, Pingala, Renuka, Savitri, Seeta, Sulochana, Toral, Vaishalini, Vijaya and Vimala to quote a few. Maximum 7 films are made on Sati Anusuya. As if only Sati is not enough, there are films like Mahasati Anusuya, Behula,Madalasa,Maina Sundari, Savitri, Tulsi and Tulsi Vrinda. You really must appreciate the creativity of Hindi film makers.
Like lovers and Religious persons, there are folk tales of Historical persons too, Like Rana Pratap ( and his Horse Chetak), Akbar, Shivaji, Amar singh Rathod, Razia Sultan, Chandbibi, Jhansi ki Rani, Birbal and Tenali Raman. Films have been made on most of these too.
Coming back to Film Sati Toral-47, I have not seen this film in Hindi or Gujarati, So, I was looking for the story of Toral. I found one on Wiki. There is a slightly different ( in details) story written by Amrit Ganger ji, the famous author in English and Gujarati on cinema and history. He has won the Gujarat Sahitya Academy Award too. This story is available on tellmeyourstory.in, for those who are interested.( I am happy to note here that I know Mr. Gangar and he has gifted me his latest book ” Walter Kaufmann in India 1934 – 1946″ ). So, here is the Sati Toral story from Wikipedia…
” Jesal, a young Kutchi Rajput, was a dreaded dacoit.
His brother’s wife once chided him that if he was truly brave, he should prove it by stealing Toral, an extraordinary mare belonging to a Saurashtra king. In the process of stealing Toral, Jesal’s hand got caught in a nail and his agonised cries brought the king running outside.Asked what he wanted, Jesal said “Toral”, not knowing that the queen too had the same name. The king, a devout daani (donor) who had sworn never to disappoint anyone, gave him three Torals – his queen, the mare and a sword by that name. But on the boat journey back home, Jesal realised that Toral was not an ordinary woman.
He was tormented by guilt at having taken away someone who, out of loyalty, did not even question her husband’s decision. It is said that the enlightened company of Queen Toral, remembered in Gujarati literature as a devotional poet who composed and sang songs, transformed Jesal completely and the two began spreading the message of God.
Their inseparable companionship as teacher and disciple is talked about, but in cautious tones. No one, not even the local scholars, wants to discuss the Jesal-Toral alliance as a man-woman relationship. “Even the Gujarati film Jesal-Toral did not suggest any such angle,” recalls photographer Vinay Thacker, who started his career in 1976 by selling photos of the twin samadhis outside the shrine.
However, people do accept their unusual affinity, which even death couldn’t change. It is said that when Jesal undertook samadhi, he called out to Toral from his grave to join him. Toral, who was travelling, heard his voice, came back to Anjar and immediately took samadhi.
Toral, the mare, too was buried outside the temple. A green and magenta chaddar now covers the equestrian grave. The destroyed roof of the shrine has been temporarily replaced with an asbestos sheet. ”
Today’s song is sung by Amirbai Karnataki and Manna Dey, with Chorus. HFGK does not indicate names of singers for this song, but the voices are unmistakable. This song is in Amirbai’s song list. Prof. Yadav, in his book ” फिल्म संगीतकार – सुवर्णयुगवाले” also mentions these two names for this song. This is quite a good song. “Sati Toral”(1947) makes its debut in the blog with this song.
Song-Chaar dinon ka hai ye mela re bhai(Sati Toral)(1947) Singer-Amirbai Karnataki, Manna Dey, Lyrics-Kavi Pradeep, MD-H P Das
Chorus
Lyrics
Chaar dinon ka hai ye mela re bhai
?? raha hai ??
hari ka sumaran kar le re
tera hoga bhala
mera hoga bhala
apne ?? ko bacha le
hai shaam ki bela
aur din dhala
khud ko kar de prabhu ke hawaale
door karega wo teri bala
apne man ka dhundhla darpan
apne man ka dhundhla darpan
tu hari bhajan se kar ujla
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
ab to hari ko sumar le re bhai ee
saari umar toone yoonhi ganwaai ee ee
yoonhi ganwaai
tera prabhu tere bheetar chhupa hai
tera prabhu tere bheetar chhupa hai
tu apne man ka deepak jala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
aaj yahaan par hai rain basera
aaj yahaan par hai rain basera
kaun jaane kal kahaan ho dera
is zindagi ka kya bharosa
ye jal ki dhaara hai silsilaa(?)
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
dil ka rakshak wo parmeshwar hai ae ae ae ae
unko is jag mein kiska darr hai
unko is jag mein kiska darr hai ae ae
kaun hai aisa ishwar ka banda
kaun hai aisa ishwar ka banda
ki jis ka sankat nahin tala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
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 : | 3747 | Post No. : | 14709 |
“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.
This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their influence on Indian music scene can be seen from the fact that lots and lots of songs used in HFM and elsewhere were their creations.
Two songs from the movie have been covered in the past.
Here is the third song from “Gopinath”(1948) to appear in the blog. This song is sung by Meena Kapoor. Meera bai (1498-1546), who lived more than four hunndred years ago is credited as the lyricist. This is the 37th song in the blog that is “penned” by Meera Bai !
Music is composed by Ninu Majumdar.
Picturisation shows this song being lip synced by Tripti Mitra, who was the wife of Shombu Mitra- well known as director of “Jaagte Raho”(1956). The young girl visible in the picturisation should be baby Zubeida.
Song-Main birhan baithhi jaagoon jagat sab sowe ri aali (Gopinath)(1948) Singer-Meena Kapoor, Lyrics-Meera Bai, MD-Ninu Majumdar
Lyrics
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithhi jaagoon
jagat sab sowe ri aali
dulhan baithhi rang mahal mein
motiyan ki lad pove
dulhan baithhi rang mahal mein
motiyan ki lad pove ae
ik dulhan hum aisi dekhe
ik dulhan hum aisi dekhe
ansuwan maala pove ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali
taare gin gin rain bihaani
sukh ki ghadi kab aave
taare gin gin rain bihaani
sukh ki ghadi kab aave ae ae
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
jab unhen darash dikhaave ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali
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.
| Blog Day : | 3692 | Post No. : | 14603 |
Mukesh and his Composers – 16
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Today 27 August, we remember Mukesh on his remembrance day.
My last post on his birthday (22 July) was about his collaboration with Bappi Lahiri. We remain with the Lahiri family in this post too as we discuss the songs sung by Mukesh for Bappi Da’s father Aparesh Lahiri.
There are probably more songs sung by Aparesh Lahiri than the films that he composed music for.
Not much information is available on the net and I request knowledgeable readers to write more on his composing career. From the little information, I could gather in connection with this post, I came across a Bengali film named Subhash Chandra (1966). Needless to say it is based on the life and times of one of the most adored and respected freedom fighters of India, Subhash Chandra Bose.
The film in Bengali language seems to have been quite popular from what I could understand. Mukesh who has sung about a dozen Bengali songs has one song in this 1966 particular film too. The same film was made in Hindi and seems to have disappeared without much popularity. In the Hindi version too, Mukesh has sung the same song with the same tune as the Bengali version.
[Ed Note: As per the Geet Kosh, the Hindi version of this film was released in 1978.]
This is the solitary song sung by Mukesh for Aparesh Lahiri and hence there will be no table in this post. 🙂
Evidently, there has not been much research by me in this post and I apologize for the same. However the details were sketchy and since it was the only sung by Mukesh for the said composer, I did not dig much into the career of Aparesh Lahiri.
Much of these details were provided to me by Shri Harish Raghuwanshi and I am thankful to him.
Before I conclude the post, I would like to repeat what a few noted and eminent personalities have said about Mukesh.
Salil Chowdhury: Each word from his lips was a pearl. No one could sing the way Mukesh did, with the right diction, inflexion and intonation. His vocal timbre was out of this world.
Raj Kapoor: I am just a body, Mukesh is my soul.
Anil Biswas: I have lost my son. (on Mukesh’s passing away)
Needless to say, the above quotes speak volumes about Mukesh; the man with the golden voice, playback singer par excellence and the noble soul.
The voice of Mukesh will forever continue to resonate in the world of music.
Song – Yahaan Radha Kund Hai Shyam Kund Hai (Subhash Chandra) (1978) Singer – Mukesh, Lyrics – Saraswati Kumar Deepak, MD – Aparesh Lahiri
Lyrics
jai radheshya..aa..aam
ra..aa.aadheshya..aa..aam
jai radheshya..aa..aam
yahaan radha kund hai
shyam kund hai
aur hai goverdhan
madhur
madhur bansi baaje
yahi to vrindavan
o babu yahi to vrindavan
bansi baar baar boley
radha radha radha
radha..aa..aa
radha..aa..aa..aa..aa
bansi baar baar boley
radha radha radha
radha naam bansi ne suron mein hai bandha
tabhi to kanhaiya baney
raadhika raman
madhur madhur bansi baaje
yahi to vrindavan
o babu yahi to vrindavan
jagat ke dukh ki kaanha suney baani
usi baani ko sun ke bani radha rani
huye radhika ke prem se. . .
pooran. . . mohan
madhur madhur bansi baaje
yahi to vrindavan
o babu yahi to vrindavan
yahan radha kund hai
shyam kund hai
aur hai goverdhan
jai radheshya..aa..aam. . .
ra..aa.aadheshya..aa..aam
jai radheshya..aa..aam. . .
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Hindi script lyrics (Provided by Sudhir)
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जय राधे श्या॰॰आम
रा॰॰आ॰॰आधे श्या॰॰आ॰॰आम
जय राधे श्या॰॰आम
यहाँ राधा कुंड है
श्याम कुंड है
और है गोवेर्धन
मधुर
मधुर बंसी बाजे
यही तो वृन्दावन
ओ बाबू यही तो वृन्दावन
बंसी बार बार बोले
राधा राधा राधा
राधा॰॰आ॰॰आ
राधा॰॰आ॰॰आ॰॰आ॰॰आ
बंसी बार बार बोले
राधा राधा राधा
राधा नाम बंसी ने सुरों में है बांधा
तभी तो कन्हैया बने
राधिका रमण
मधुर मधुर बंसी बाजे
यही तो वृन्दावन
ओ बाबू यही तो वृन्दावन
जगत के दुख की सुने कान्हा बानी
उसी बानी को सुन के बनी राधा रानी
हुये राधिका के प्रेम से॰॰॰
पूरन॰॰॰ मोहन
मधुर मधुर बंसी बाजे
यही तो वृन्दावन
ओ बाबू यही तो वृन्दावन
यहाँ राधा कुंड है
श्याम कुंड है
और है गोवेर्धन
जय राधे श्या॰॰आम
रा॰॰आ॰॰आधे श्या॰॰आ॰॰आम
जय राधे श्या॰॰आम
Mere devta mujhko dena sahaara
Posted on: August 25, 2018
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 : | 3690 | Post No. : | 14598 |
“Bandhan” (1956) was produced by D K Sarkar and directed by Hem Chandar for Sarkar Productions, Calcutta. This “social” movie had had Pradeep Kumar, Meena Kumari, Motilal, Achla Sachdev,Shashi Kala, David, Kammo, Nana Palsikar, Natwar,Minu, Bhupendra Kapoor, Leela Mishra, Sheikh, Sarita devi, Shivji Bhai, Pt Tuli, Ranu Mukherji, Asit Sen, Jahar Ganguly etc in it.
The movie had seven songs in it. One song has been coverd long ago (in 2011).
After the passage of seven years, here is the second song from “Bandhan” (1956) to appear in the blog. This song is sung by Lata and it is picturised on Meena Kumari. Rajinder Krishan is the lyricist. Music is composed by Hemant Kumar.
Mere devta mujhko dena sahaara (Bandhan)(1956) Singer-Lata, Lyrics-Rajinder Krishan, MD-Hemant Kumar
Lyrics
mere devta mujhko dena sahaara
kahin chhoot jaaye na ye daaman tumhaara
mere devta mujhko dena sahaara
kahin chhoot jaaye na ye daaman tumhaara
mere devta
tere raaste se hataati hai duniya
tere raaste se hataati hai duniya
ishaaro se mujhko bulaati hai duniya
na dekhoon main duniya ka jhoothha ishaara
kahin chhoot jaaye na ye daaman tumhaara
mere devta mujhko dena sahaara
kahin chhoot jaaye na ye daaman tumhaara
mere devta
siwa tere dil mein samaaye na koi
siwa tere dil mein samaaye na koi
lagan ka ye deepak bujhaaye na koi
tumhi meri naiyya ho
tumhi ho kinaara
kahin chhoot jaaye na ye daaman tumhaara
mere devta mujhko dena sahaara
kahin chhoot jaaye na ye daaman tumhaara
mere devta
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 : | 3684 | Post No. : | 14586 |
“Lajwanti”(1942), alias “Radio Singer” was directed y Hiralal R Doctor for Shree Ganesh Pictures, Bombay. This “social” movie had Ratanbai, Anuradha, Wazir Mohammad Khan, Ashiq Hussain, Fakir Mohammad, Ratan Modi etc in it.
The movie had ten songs in it. Singers and lyricists of these songs are not known.
Here is the first song from “Lajwanti”(1942) to appear in the blog. This song is a bhajan which is sung by an unknown female voice which sounds somewhat familiar. Lyricist is not known. Music is composed by Shyam Babu, who I assume is same as Shyam Babu Pathak.
I have an intuition that this female voice may be that of Ratanbai, the leading actor of this movie who was an actor singer. This blog has seven songs sung by her. On comparing the voice of this song with that of the seven Ratan Bai songs, I feel that the voice is same. So I have assumed this song to be sung by Ratan Bai.
I request our knowledgeable readers to throw light on the movie as well as on the identity of this voice.
With this rare song, “Lajwanti”(1942) makes its debut in the blog.
Song-Teri mahima aprampaar tu hai jag ka paalanhaar(Lajwanti)(1942) Singer-Ratan Bai, MD-Shyam Babu Pathak
Lyrics
Teri mahima aprampaar
tu hai jag ka paalanhaar
teri mahima aprampaar
tu hai jag ka paalanhaar
sooraj chandr jo raushni dete
saagar sarita bahte bahte
saare jag ko mahima kahte
sooraj chandr jo raushni dete
saagar sarita bahte bahte
saare jag ko mahima kahte
saare jag ko mahima kahte
tu hai jag ka khewanhaar
tero koi na paawe paar
tu hai jag ka khewanhaar
tero koi na paawe paar
phal phool main kya chadhaaun
deepak ko main kyun jalaaun
phal phool main kya chadhaaun
deepak ko main kyun jalaaun
teri bhakti kaise dhyaaun
teri bhakti kaise dhyaaun
tu hai jag ka paalanhaar
tero sabhi to hai sansaar
tu hai jag ka paalanhaar
tero sabhi to hai sansaar
teri mahima aprampaar
tu hai jag ka paalanhaar
teri mahima aprampaar
tu hai jag ka paalanhaar
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