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

Archive for the ‘Bhajan’ Category


This article is written by Peevesie’s Mom, 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 :

4377 Post No. : 15722 Movie Count :

4334

Hullo Atuldom

‘Lav Kush’ (1997) is a story of the twin children of Devi Seeta and Lord Rama. They were born after Seeta is banished to the jungle in Uttar Ramayana i.e. the last chapter of the epic ‘Ramayana’. Lord Rama is unaware of the birth of his sons in Sage Valmiki’s ashram where Seeta is taken care of, and the children grow up as ‘muni kumars‘ who are trained to be proficient in military skills as well.

There have been many movies and serials in almost all the Indian languages, with ‘Luv Kush’ as the central theme. A search for ‘Lav Kush’ or ‘Luv Khush’ on google comes up with 10 results or 10 instances when the story has been used by the entertainment world in the form of movies animation series and TV series (there may have been more). The last of these was an animation series for children in 2012.

The first time the story was used was may be in 1951, a movie by Nanabhai Bhatt where Nirupa Roy was Seeta and Prem Adib was Ram. Then There was a movie in 1967 where Jayshree Gadkar played Seeta to Ashim Kumar’s Ram. There was a short film by K A Abbas in 1972 with Lav Kush as the story. ‘Lav Kush’ in 1974 spoke Telugu. There was a ‘Lav Kush’ in 1997 with Jaya Prada as Seeta and Jeetendra as Ram. Interesting trivia about this movie is that Jayshree Gadkar (Seeta of ‘lAV kUSH’ 1967) played Kaushalya. In fact Jayshree Gadkar has played Kaushalya in the TV series ‘Lav Kush’/ (1988) as also the ‘Ramayana’ Doordarshan serial.

Now the regular followers of this blog may be wondering why I have taken up this part of ‘Ramayana’. Well, last week I saw a movie on one of the satellite channels. When I discovered it, I saw the cute boys – Master Adil and Baby Shrestha playing Lav and Kush – regaling the courtiers of Ayodhya by their rendition of the Ramayana. But they get angry when they come to know that Seeta Mata has been banished by Ram and they question him about his being addressed as ‘maryada purushottam‘. They walk out of Ayodhya and go straight to their mother and report all that they saw in Ayodhya. They are pacified by sage Valmiki and I jolted into “Who is playing Valmiki?”

I mean, I was used to seeing that actor as a badman, good friend, benevolent grandfather, strict father, uncle, even a war-veteran but never had I thought that this versatile actor had done a mythological role. I have heard stories of how people of a certain generation never gave their children this popular actor’s name. I am sure the readers have guessed that I  am referring to Pran Saab.

So we have Pran Krishan Sikand (12 february 1920 – 12 July 2013) who played a wide variety of roles beginning with playing the hero to Noor Jehan in ‘Khandaan’ of 1942, going on to play a badman in umpteen movies and then changing track to become ‘Malang Chacha‘ in ‘Upkaar’ (1967).

Personally, I first saw him as a strict father to Rishi Kapoor in ‘Bobby’ (1973) and then as a grandfather trying to get familiar with his grand children in ‘Parichay’ (1972). Though ‘Parichay’ was an earlier film and I may have seen it in the theatre as a child in arms, but I sure I saw it with full awareness when Bombay Doordarshan telecast it on their Sunday evening show. In fact I may have seen many of his pre-70s movies on the television and got scared too of the characters he portrayed.

Some of his scenes are forever etched in the mind; like the one in ‘Guddi’ (1971) where he tells Utpal Dutt – “It is a pleasure getting beaten by a person like Dharmendra, imagine I have been beaten up by heroes half my size”. (I tried to locate this scene as a video clip on YouTube but failed, because the punch of the dialogue gets lost-in-translation). That scene in ‘Don’ (1978) where he is escaping from the goons with his children and is confronted by Amitabh – an outstanding  scene. But the most memorable scene (IMHO) is the one from ‘Zanjeer’ (1973)  where he faces the inspector played by Amitabh for the first time. There are many such memorable scenes that I am sure, are the personal favorites of the blog-followers.

Similarly every one will have a favourite song which has been filmed on Pran Saab. “Phir Na Kehna Micheal Daroo Pee Ke Danga Karta Hai“; “Bolega To Bologe Ke Bolta Hai“; “Yaari Hai Imaan Mera“; “Kasamein Vaade Pyaar Wafa Sab Baatein Baaton Ka Kya“; “Jeevan Ke Din Chhote Sahi Hum Bhi Bade Dilwale“; or the evergreen “Do Bechare Bina Sahaare Dekho Poochh Poochh Kar Haare“. There are also songs where the heroine, with the help of the hero, has made Pran Saab sing and dance and make a buffoon of himself- “Dil Ki Umangein Hain Jawaan“; and can one forget him in that song from “Half Ticket” where he says “Aake Seedhi Lagi Dil Pe Jaise Katariya“.

It is very easy to visualize him as a sage only thing is I was unaware of this movie or the fact that he played the Valmiki, that is why I was pleasantly surprised. And he had a song here too. Now that means it has to be on our blog too. Here it is sung by Suresh Wadkar, written by Dev Kohli and Raam Laxman is the music composer. It comes towards the end of the movie when Seeta has heard that Ram is undertaking the ‘Ashwamedha Yagya‘ and she is wondering how it can be undertaken in the absence of the better half. And Sage Valmiki sings this to make her see the reality of Ram.

A few thoughts crossed my mind as I was seeing this video to jot the lyrics: never seen Pran in this getup (this I have already said), there is an earnestness seen when he does the alaap part of the song, his expressions explain why he had had such a long run in the movies.

Remembering Pran Saab on his anniversary.

Video

Audio

Song – Karo Nahin Sandeh Ram Par  (Lav Kush) (1997) Singer – Suresh Wadkar, Lyrics – Dev Kohli, MD – Raam Laxman

Lyrics 

aaaa aaaaa

ram ram ram

karo nahin sandeh ram par
karo nahin sandeh
karo nahin sandeh ram par
karo nahin sandeh
sada raha hai sada rahega aaaaaa
aaaaa aaaaaaaa 
aaaaa aaaaaa aaaaaa
sada raha hai sada rahega
tum par unka nae..ae..ae..aeh
karo nahin sandeh ram par
karo nahin sandeh

ek vachan hai ek karm hai
ek ram ka baan
ek vachan hai ek karm hai
ek ram ka baan
ek patni ka vrat hai unka aaaaa
aaaaa aaaaaa aaaa
ek patni ka vrat hai unka
karein jagat kalya..aa..aan
karo nahin sandeh ram par
karo nahin sandeh

yadi ve dharm tyag dein apna
chhand badal de gaayan
aaaaa
yadi whe dharm tyag de apna
chhand badal de gaayan
janm vyarth ho jaaye mera
aaaaaa aaaaaa aaaa
aaaaaaa aaaaaa
janm vyarth ho jaaye mera
vyarth meri ramaya..aa..aa..n
karo nahin sandeh ram par
karo nahin sandeh
sada raha hai sada rahega
tum par unka nae..ae..h
karo nahin sandeh ram par
karo nahin sandeh

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

करो नहीं सन्देह राम पर
करो नहीं सन्देह
करो नहीं सन्देह राम पर
करो नहीं सन्देह
सदा रहा है सदा रहेगा
आsssss
आssss आssssssss
आssss आsssss आsssss
सदा रहा है सदा रहेगा
तुम पर उनका ने॰॰ए॰॰ए॰॰एह
करो नहीं सन्देह राम पर
करो नहीं सन्देह

एक वचन है एक कर्म है
एक राम का बाण
एक वचन है एक कर्म है
एक राम का बाण
एक पत्नी का व्रत है उनका
आsssss
आssss आsssss आ
एक पत्नी का व्रत है उनका
करे जगत कल्या॰॰आ॰॰ण

यदि वे धर्म त्यागी दें अपना
छंद बादल दे ज्ञान
आsssss
यदि वे धर्म त्यागी दें अपना
छंद बादल दे ज्ञान
जन्म व्यर्थ हो जाये मेरा
आssss आsssss आsssss
आssss आssssssss
जन्म व्यर्थ हो जाये मेरा
व्यर्थ मेरी रामायण

करो नहीं सन्देह राम पर
करो नहीं सन्देह
करो नहीं सन्देह राम पर
करो नहीं सन्देह


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 :

4377 Post No. : 15721 Movie Count :

4333

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 96#
—————————————

In the mission of covering ‘movies with same title’ on the blog, today’s song introduces ‘Har Har Mahadev-1974’, which is making its debut on the blog today with this song. We already have a movie ‘Har Har Mahadev’ of the year ‘1950’ on the blog.

‘Har Har Mahadev-1974’ a ‘mythological movie’ was directed by Chandrakant for ‘Joy Films’. Chandrakant was also the producer of this movie. It had Dara Singh, Jayshree Gadkar, Padma Khanna, Uma, Aruna Irani, Sujata, Gopi Kishan, Satyajeet, Abhi Bhattacharya, Randhawa, Shahu Modak, Asit Sen, Babu Raje, Arvind Pandya, Azad, Master Tito, Suryakumar, Ratnamala, Himmat Singh Chauhan, Dilip Dutt, Vishwas Kunthe, Hercules, Polsan, Moolchand, Rajrani, Saudagar Singh, Jagdish Raj, V.Gopal, Pal Sharma, Radheshyam, Rinku, Narmada Shankar, Anil Kumar, Dhanraj Pehalwan, Minal Mehta, Uma Khosla, Manjiri Desai, Devyani Thakkar, Sarita Devi, Shri Bhagwan, Sitaram, Shery, Kedar Saigal, Thakur G.S. and others. Sumitra Devi made a special appearance in this movie.

Story of this movie was written by Pragji Dosa and dialogues were written by Ramesh Pande. Editing of this movie was done by Ram Khade and Vithoba Surve.

This movie had as many as seven songs in it written by Kavi Pradeep and music composed by Kalyanji-Anandji. Singers Lata Mangeshkar, Mahendra Kapoor, Aziz Nazan and Kanchan had given their voices to the songs in this movie.

This movie was passed by censor board on 22.08.1974.

Dara Singh played the role of Mahadev in this movie. Today 12th July 2020 is the eighth remembrance anniversary (19.11.1928- 12.07.2012) of this most loved personality of Indian Cinema.

He is mostly remembered and loved for the mythological character of ‘Hanuman’, he also played Bhagwan Shiv in some of the movies viz. ‘Tulsi Vivaah-1971’, ‘Hari Darshan-1972’, and ‘Har Har Mahadev-1974’ (as per information available on ‘wiki’).

Remembering him today on his Remembrance Day and paying our tributes to him with this song picturised on him where he as Mahadev is seen in his ‘dhyan mudra’ while Jayshree Gadkar as devi Parvati is also seen.

This song a ‘shiv stuti bhajan’ is sung by Mahendra Kapoor and on screen it is lip sync by Babu Raje (playing ‘Narad muni’ here) and another actor whom I am unable to identify. There are many other artists who are performing in this wonderful song.

Let us now enjoy this song written by Kavi Pradeep ji in this auspicious month of ‘shraavan’ which is already in progression in some parts of the country and about to begin in next week in other parts of the country.

With this song ‘Har Har Mahadev-1974’ makes its debut on the blog.

Video

Audio

Song-Bolo Shiv Shambhu Shambhu bam bam bam (Har Har Mahadev)(1974) Singer-Mahendra Kapoor, Lyrics-Kavi Pradeep, MD-Kalyanji Anandji
Chorus

Lyrics

bolo shiv shiv shambhu
bam bam bam

bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam

ho bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam

are gaao re ae ae ae
ye naam hardam
ye naam hardam
jab tak hai ae
bhaai dam mein dam
bhaai dam mein dam
ho bolo shiv shiv shambhu
bam bam bam
ho bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam

hey pralaynkar
bheem bhayankar
hey prabhushankar swaami ee
he prabhushankar swaami ee
he vishweshwar
he parmeshwar
ishwar antaryaami ee
ishwar antaryaami ee
ye dhun hai ae ae ae
uttam anupam
uttam anupam
saare jag ke ae
yahi pitaa param
yahi pitaa param
ho bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam

shiv akaam hai
dayaa dhaam hai
shiv ka naam hai sanyam
shiv ka naam hai sanyam
shivji hain mukti
shivji hain shakti
shivji hain bhakti ka sangam
shivji hain bhakti ka sangam
shiv mahimaa aa aa aa
mat samjho kam
mat samjho kam
mit jaayenge duniyaa ke gham
duniya ke gham
ho bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam
ho bolo shiv shiv shambhu
bam bam bam

ho bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam
ho bolo shiv shiv shambhu
bam bam bam
ho bolo shiv shiv shambhu
bam bam bam
ho bolo shiv shiv shambhu
bam bam bam
ho bolo shiv shiv shambhu
bam bam bam
ho bolo shiv shiv shambhu
bam bam bam
ho bam bam bam
bam bam bam
bolo shiv shiv shambhu
bam bam bam
bolo shiv shiv shambhu
bam bam bam

————————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)

बोलो शिव शिव शम्भू
बम बम बम

बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम

हो बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम

अरे गाओ रे ए ए ए
ये नाम हरदम
ये नाम हरदम
जब तक है ए
भाई दम में दम
भाई दम में दम
हो बोलो शिव शिव शम्भू
बम बम बम
हो बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम

हे प्रलयंकर
भीम भयंकर
हे प्रभुशंकर स्वामी ई
हे प्रभुशंकर स्वामी ई
हे विश्वेश्वर
हे परमेश्वर
इश्वर अन्तर्यामी ई
इश्वर अन्तर्यामी ई
ये धुन है ए ए ए
उत्तम अनुपम
उत्तम अनुपम
सारे जग के
यही पिता परम
यही पिता परम
हो बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम

शिव अकाम है
दया धाम है
शिव का नाम है संयम
शिव का नाम है संयम
शिवजी है मुक्ति
शिवजी है शक्ति
शिवजी है भक्ति का संगम
शिवजी है भक्ति का संगम
शिव महिमा आ आ आ
मत समझो कम
मत समझो कम
मिट जायेंगे दुनिया के ग़म
दुनिया के ग़म
हो बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम
हो बोलो शिव शिव शम्भू
बम बम बम

हो बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम
हो बोलो शिव शिव शम्भू
बम बम बम
हो बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम
हो बोलो शिव शिव शम्भू
बम बम बम
हो बोलो शिव शिव शम्भू
बम बम बम

हो बम बम बम
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम
बोलो शिव शिव शम्भू
बम बम बम


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 :

4364 Post No. : 15691 Movie Count :

4324

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 93 # Remembering Lyricist Gauhar Kanpuri
—————————————–—————————————–
(#Music Composer-Singer-Bappi Lahiri # 3)

In one of my posts on the blog I had mentioned that the month of ‘June’ had many important days or anniversaries of film personalities (and the team members of this blog too).

Today 29th June is the ‘Remembrance Day’ of lyricist Gauhar Kanpuri. He passed away in the year 2002. He was active during the decade of seventies and thereafter till his death in 2002.

As per information available online he wrote lyrics for many songs of Hindi movies (more than one hundred fifty songs for around fifty-six movies). The detailed information about his filmography needs to be compiled. Also, I could not find much detailed information about his biography. (I would request knowledgeable readers to throw more light on the information available on him).

He wrote the famous title song of ‘Saawan Ko Aane Do-1979’, then songs for the movies like ‘Zakhmee-1975’, ‘Do Khiladi-1976’, ‘Phir Janam Lenge Ham-1977’, ‘Haiwaan-1977’, ‘Dada-1978’, ‘Dulha Bikta Hai-1982’, ‘Woh Jo Haseena-1983’, and many others, and including ‘Baazigar-1993’ of the nineties.

I may have missed some of his movies where the songs were popular, but then, as I said above, the list of his filmography needs to be compiled from authentic sources.

Today’s song is from the movie “Shikshaa-1978”. All songs for this movie were written by him. Music was composed by Bappi Lahiri.

I have mentioned it in my earlier post here that there are many Bappi Lahiri compositions before early eighties or his ‘pre-Himmatwaala period which are very nice and needs to be discussed here. And in this case like in this movie ‘Shikshaa-1978’ we have the frequently heard ‘yaari hai phoolon se meri yaari hai’ sung by Bappi Lahiri and the gem ‘teri chhotisi ek bhool ne’ sung by Yesudas and other songs.

But, for today’s presentation I have selected this beautiful ‘Raam ‘Bhajan’ sung by Chandrani Mukherjee which I think was a lesser heard song from this movie. I was also not aware of this song till few weeks before and had not heard it earlier. And when I listened to it first time and second time and more it keeps growing on and I liked this song very much.

Gauhar Kanpuri has a long association with Bappi Lahiri and most of his works have compositions by Bappi Lahiri.

For this post I have compiled his list of movies with Bappi Lahiri in the decade of 1971 to 1980 where they had nine movies together;

Sno. Title Year Date Lyricist BLOG
1 Nanha Shikari 1973 16.04.1973 S.H. Bihari, Yogesh, Gauhar Kanpuri Y
2 Zakhmee 1975 15.05.1975 Gauhar Kanpuri Y
3 Sangraam 1976 21.12.1976 Gauhar Kanpuri, Hasan Puri Y
4 Haiwaan 1977 03.10.1977 Gauhar Kanpuri, Hasrat Jaipuri, Pradeep Roychaudhari, Amit Khanna, Dada Ji Y
5 Phir Janam Lenge Ham 1977 23.06.1977 Gauhar Kanpuri Y
6 Pratima Aur Paayal 1977 03.09.1977 Rajkavi Tulsi, Shivkumar Saroj, Indeevar, Gauhar Kanpuri
7 Khoon Ki Pukaar 1978 29.05.1978 Hasrat Jaipuri, Gauhar Kanpuri Y
8 Shikshaa 1978 28.12.1978 Gauhar Kanpuri
9 Jaan E Bahaar 1979 10.08.1979 Gauhar Kanpuri Y

“Shikshaa-1978” was directed by S. Ramnathan for ‘New Horizon Films, Bombay’. It had Rajkiran, Benjamin Gilani, Shashi Saxena, Jagdeep, Iftekhar, Urmila Bhatt, Pinchoo Kapoor, Krishna Dhawan, Surendra Kumar, Vikrant Taneja, Viju Khote, Brijen Mohan, Babbanlal and others. This movie introduced Sushma Verma, Master Sandeep and Bina Banerjee.
Bhagwan, Mukri, Jairaj, Shobha Khote, Pilu Wadia and Ritu Kamal made a guest appearance in this movie.

This movie had total five songs plus one music track as mentioned in HFGK Vol-V (1971-1980). The lyrics for the songs (all songs) were penned by Gauhar Kanpuri.

As mentioned above music was composed by Bappi Lahiri (assisted by Bansari Lahiri, Anil & Arun).

Arti Mukherjee, Anuradha Paudwal, Bappi Lahiri, Chandrani Mukherjee, Shailendra Singh and Yesudas had given their voices to the songs in this movie.

This movie was passed by Censor Board on 28.12.1978.

Let us now enjoy today’s song – a soulful rendition by Chandrani Mukherjee and lip synced on screen by Bina Banerjee. Also seen in picturization of this song are Benjamin Gilani, Rajkiran, Master Sandeep and others.

With this song the movie “Shikshaa-1978” makes its debut on the blog…

Audio

Video

Song-Jehi vidhi raakhe Raam tehi vidhi rahiye (Shiksha)(1978) Singer-Chandrani Mukherjee, Lyrics-Gauhar Kanpuri, MD-Bappi Lahiri
Chorus

Lyrics

jehi vidhi raakhe raam
tehi vidhi rahiye
jehi vidhi raakhe raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

ham to khilaune maati ke hain
nirbal aur kamzor
ho ho ho o o o o o
ho o ho o
ham to khilaune maati ke hain
nirbal aur kamzor
haare koyi maane yaa naa maane ae ae
uske haathon hai sabki dor
honi hoke rehti hai
koyi laakh machaaye shor
raaamaa
jehi vidhi raakhe raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

tan ki ye doori hai majboori
tum to ho man ke saans
o ho ho o
o o o o o
ho o ho o
tan ki ye doori hai majboori
tum to ho man ke saans
swaami saanson ke har taar mein tum ho o
jeewan ke saathi tum hamaar
aanaa jaana
milnaa bichhadnaa
hai daataa ke haath
raamaa
jehi vidhi raakhe ae raam
tehi vidhi rahiye
sukhon ko jo apnaa kahiye
dukhon ko bhi sahiye
raamaa aa
jehi vidhi raakhe raam
tehi vidhi rahiye

raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam
raam siyaa raam
raaja raam
jai jai raam

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
जेहि विधि राखे राम
तेहि विधि रहिये
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

हम तो खिलौने माटी के है
निर्बल और कमज़ोर
ओ हो ओ
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
हम तो खिलौने माटी के है
निर्बल और कमज़ोर
हारे कोई माने या ना माने ए
उसके हाथों है सबकी डोर
होनी होके रहती है
कोई लाख मचाये शोर
रामा
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

तन की ये दूरी है मजबूरी
तुम तो हो मन के साँस
ओ हो ओ
ओ ओ ओ ओ
ओ ओ ओ ओ
तन की ये दूरी है मजबूरी
तुम तो हो मन के साँस
स्वामी साँसों के हर तार में तुम हो ओ
जीवन के साथी तुम हमार
आना जाना
मिलना बिछड़ना
है दाता के हाथ
रामा
जेहि विधि राखे राम
तेहि विधि रहिये
सुखों को जो अपना कहिये
दुखों को भी सहिये
रामा आ
जेहि विधि राखे राम
तेहि विधि रहिये

राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम
राम सिया राम
राजा राम
जय जय राम


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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:

4361 Post No. : 15685

Hindi Songs in Bangla Film – 32
———————————-

The folk singer I am discussing here is from Assam. She has no direct or indirect connection to the soils of Bihar, Jharkhand and Uttar Pradesh. Yet her fans from these states has given her the title of ‘Bhojpuri Queen’. It is not that she has consciously chosen to sing in Bhojpuri. The fact is that it is one of the music recording companies who made her to sing Bhojpuri songs.  Again, the title ‘Bhojpuri Queen’ to her would give an impression that she has restricted her singing mainly to Bhojpuri songs. But it is not so. She has been in her professional music scene since 2001 rendering nearly 9000 songs in 30 different languages/dialects of India. She has also done the playback singing in Hindi, Bhojpuri, Bangla, Assamese, Tamil and Marathi films, beside acting in some films. She is a folk musicologist and has done extensive research on the history of folk music especially in the Bhojpuri region.

I am referring to Kalpana Patowary (b. 27/10/1978) who has been endowed with a rich and powerful voice capable of singing in high octaves with ease. She was born in Sorbhog town in Barpeta district of Assam. Her father, Bipin Patowary, a folk singer himself and working for AIR (Aakashvani), Guwahati, gave Kalpana the initial training in Kamrupiya and Gaolporiya folk singing of Assam. She also learnt Baul singing from Naren Das. After completing her graduation in English literature from Cotton College, Guwahati, Kalpana enrolled in Bhatkhande College of Music, Lucknow from where she completed her Sangeet Visharad.

Even though Kalpana Patowary has been performing on the stage since her childhood, her professional music journey started in 2001 when after marrying Pervez Khan, her school-mate and neighbour in Assam, she shifted to Mumbai. She learnt Hindustani classical music from Ustad Ghulam Mustafa Khan of Rampur-Sahaswan Gharana in Mumbai. The first music album recorded by Kalpana Patowary was in 2001 which was a remix of popular Hindi songs. Her first Bhojpuri song album  “Na Hum Se Bhangiya Pisaai’ae Ganesh Ke Papa” released in 2002 made her very popular among the Bhojpuri speaking population. With this popularity, she sang for the first time in a Bhojpuri film, ‘Sasura Bada Paisewala’ (2004) after which she became a regular playback singer of Bhojpuri films. She expanded her command over Bhojpuri songs by singing non-film folk songs in Puria, Pachra, Kajri, Birha, Sohar, Chaita and Nautanki genres. She traveled extensively in Bhojpuri speaking regions to study the folklore of the region. She was the first woman singer to sing and record a Chhapraihiya Purvi folk style song which was hitherto a male preserve.

In June 2012, Kalpana Patowary launched her music cum documentary album ‘The Legacy of Bhikari Thakur’ which was released by a British recording company, Virgin EMI Records. It received popularity all over the world, especially from in those countries having a sizeable Bhojpuri speaking population. It was a sort of Kalpana Patowary’s tribute to Bhikari Thakur who is regarded as ‘Shakespeare of Bhojpuri literature’. In addition, she also recorded documentary musical albums like ‘The Sacred Scriptures of Monikut’ and ‘Anthology of Birha’. She is the first singer to sings a Khadi Birha folk song for Coke Studio.

Kalpana Patowary as a playback singer in Bhojpuri films has faced criticism from some quarters for popularising Bhojpuri film songs with raunchy lyrics. She has defended herself by saying that in the initial period of her career in Bhojpuri film music, she was not well-versed with Bhojpuri dialect and the meanings. Also, she has pointed out that it is the writers of the songs who have to take care of the raunchy wordings. Also, she says that if the song was obscene than how did the Censor Board not take objection?

One of the effects of such criticism on Kalpana Patowary seems to be that she has become more determined to study the folklore of Bhojpuri region and popularise such folk songs not only all over India but also all over the world. Hence, during the last five years or so, she has been devoting much of her time in folklores of not only the Bhojpuri region but also of Bihar, Jharkhand, Uttar Pradesh, West Bengal, and North-Eastern States. She has also started her focus on devotional songs of these states.

It is in this background that Kalpana Patowary seems to have lapped up an opportunity by singing a devotional song “Chain Kahaan Prabhu Bin Manwa” in the film ‘Har Har Byomkesh’ (2015) which is picturised on herself.  The song is written by Sutapa Basu which is set to music by Bickram Ghosh. The song in the video clip is partial as picturised in the film. The audio clip has got the full song.

The details of the film and the story have been given in my earlier article on the song – “Roothe Sajan Kaise Manaawe Ho Rama“.

—————————————————————————————————————————————————————–

Acknowledgements: The profile and other information on Kalpana Patowary is based on her interviews which appeared in some newspapers, magazines and also on Rajya Sabha TV. Information on her musical journey is also based on info from her website, http://singerkalpana.blogspot.com/

 

Video

Audio

Song – Chain Kahaan Prabhu Bin Manwa (Har Har Byomkesh) (2015) Singer – Kalpana Patowary, Lyrics – Sutapa Basu, MD – Bickram Ghosh

Lyrics

chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
mann ki aankh se aansoo nikle
mann ki aankh se aansoo nikle
tan ki aankh rowe na
tan ki aankh rowe na
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
 
saagar paar kiya bajrangi..ee..ee
bajrangi ee..ee..ee
saagar paar kiya bajrangi
prabhu ke naam sahaayi
naam lewe to door ho peeda
naam lewe to door ho peeda
door howe kathinaayi
door howe kathinaayi
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
 
naam sahaare kaam sawaare..ae
naam sahaare kaam sawaare
mann ho mail kabhi na
main ho mail kabhi na
naam ke upar aur kachhu naahin
naam ke upar aur kachhu naahin
bhoole to ab nahin jeena
bhoole to ab nahin jeena
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa

mann ki aankh ke aansoo nikle
tan aankh rowe na
tan aankh rowe na
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa

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

चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
मन की आँख से आँसू निकले
मन की आँख से आँसू निकले
तन की आँख रोवे ना
तन की आँख रोवे ना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा

सागर पार किया बजरंगी॰॰ई॰॰ई
बजरंगी॰॰ई॰॰ई॰॰ई
सागर पार किया बजरंगी
प्रभु के नाम सहाई
नाम लेवे तो दूर हो पीड़ा
नाम लेवे तो दूर हो पीड़ा
दूर होवे कठिनाई
दूर होवे कठिनाई
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा

नाम सहारे काम सवारे॰॰ए
नाम सहारे काम सवारे
मन हो मैल कभी ना
मन हो मैल कभी ना
नाम के ऊपर और कछु नाहीं
नाम के ऊपर और कछु नाहीं
भूले तो अब नहीं जीना
भूले तो अब नहीं जीना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा

मन की आँख से आँसू निकले
तन की आँख रोवे ना
तन की आँख रोवे ना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा


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 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:

4361 Post No. : 15684

Today’s song, rather a beautiful Bhajan, is from the film Bhagwat Mahima-55. Earlier 3 songs/Bhajans of this film are discussed here, so it will be the 4th Bhajan from this film to appear here.

The film was made by Filmistan. It was directed by a veteran All-rounder Vithaldas Panchotiya and the music was composed by Hemant kumar- who was famous for creating Bhajans in films.

Hemant Kumar’s associaton with Filmistan started with the film Anand math-52. Director Hemen Gupta recommended his name to S.Mukherjee at that time. Having heard Hemant’s name for his Bangla songs, Mukherjee accepted his name. Earlier C Ramchandra had left Filmistan during the making of film Shabistan-51, due to the interference of his old tormentor Bibhuti Mitra, the film Director.(He was called for the film Anarkali again, after Basant Prakash had left halfway).

Hemant did many films for Filmistan like Shart-54, Samrat-54,Nagin-54, Jagriti-54, Bhagwat Mahima-55 and Durgesh nandini-56. When Hemant was asked to make music for the film Nagin, an interesting event happened. S.Mukherjee had never worked with Master Bhagwan, but he had immense faith in Bhagwan’s Music sense. Most times Mukherjee used to ask Bhagwan’s advice on song tunes of his films. One day, C Ramchandra hosted a party at his bungalow-Sai prasad, Dadar, to celebrate Silver jubilee of film Albela. When the party was in full swing, on the IIIrd floor terrace, Mukherjee called Bhagwan aside and asked him to come with him to the ground floor. Bhagwan was surprised, but without questioning, he accompanied him to the ground floor. There he saw a young man with a Harmonium. Mukherjee said,” Dada, listen to these tunes and give me your opinion.” Then he turned to that young bespectacled man and asked him to play his song tunes. After listening to the tunes, Bhagwan looked excited and said,” My God, kya superb tunes hai ye. Sab gaane hit honge”. That was Hemant Kumar with Nagin Tunes ! Needless to say that Mukherjee passed all tunes.

The decade of 1950s, besides being a part of the “Golden Era” of Hindi film music, also was a very favourable period for Religious films. This was a decade in which maximum number of Mythological/Religious films were made – a record number of 124 films in 10 years’ time. This gave an unprecedented average of One film every month for 10 years at a stretch ! This was a period when joint families still existed and there were many senior citizens in almost every family-who were keen on seeing religious films. The TV had not yet arrived and stage dramas were relegated to the second place in entertainment for families.

During the 1960s and the 1970s, the number of Religious films dwindled, as a variety of topics were handled by films – including the New Wave films, which focused on different issues of the Middle class Indians.

Film Bhagwat Mahima-55 was based on Bhagwat Puran stories. Out of all the 18 Puranas of Hindu religion, Bhagwat Puran is the most popular and most read scripture. It contains 18000 Shlokas in 12 Cantos or Chapters and has stories about Lord Shri Krishna and his devotees. Bhagwat puran has 3 main sections, which emphasize about 1) Bhakti Yog or the Spiritual path to God, 2) Dnyaan Yog or the Wisdom Path and 3) (Nishkaam) Karm Yog or the Virtuous Action Path (without expecting fruits thereof). The entire Puran is about Krishna from his birth to his exit from this world and stories about events and people connected with him throughout his Mortal life.

Hemant Kumar (16-6-1920 to 26-9-1989) excelled in religious films, with his melodious music,often sung in his own voice. Looking at his career statistics, he was more successful as a Singer in Hindi films than as a Music Director. He sang 320 songs in 173 films, while he gave music to only 55 films, composing 423 songs, in his career. I simply love his songs, especially his duets with Lata and Geeta Dutt.

When he first came to Bombay in 1951 to score music for film Anand Math-52, he had a problem with Hindi language pronunciations. As a professional, it is to his credit that he tried hard and successfully corrected his Hindi, while retaining the characteristic Bangla sweetness in his voice. Lata had once said,” when Hemant Kumar sings, you feel a Sadhu is singing !”. Hemant Kumar usually wore a Dhoti and Kurta. His voice was typically different and by nature he was a thorough Gentleman.

The director of this film was Vithaldas Panchotiya. Except those readers, who have a knowledge of early era Hindi films, it is unlikely that other readers might have even heard this name. In the early era, when the studio system was firmly established, the artistes employed by the studio had no specific duties. Anybody and everybody had to do what was needed by the company. Due to this many capable artistes became all rounders in film making.

Vithaldas Panchotiya was certainly one such person. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !

Born in October 1906 in Vadnagar in Gujarat, he followed his father’s footsteps. His father worked in stage dramas and toured with the drama company. From the age of 8 years Vithaldas started acting in dramas. Later he joined Calcutta’s Alfred Drama company, owned by Madon Theatres Limited. He worked on a salary of Rs. 35 pm. While working in dramas, he established his own Gujarat Film company and produced 12 silent films in 10 years. Vithaldas first acted in silent film ‘ Dhruv charitra’-1921. He learnt dance and music too. He acted , directed, sang songs and gave music also. He acted in Talkie film ” Muflis Ashiqe”-1932, claimed to be India’s first comedy film. He acted, sang and composed music for this film.

Being a staunch Gandhian, he used to participate in rallies etc. Some of his films were Hindustan-32, Insaf ki Tope-34, Gaibi Gola-35 ( he was the writer and the director too.He gave a break to Baby Noorjahan in this film.), Khudai Khidamadgar-37 aka Garib ki Tope, Takdir ki Tope-38 etc . As per one source, he acted in 35 films, directed 10 talkie films, sang 8 songs, gave music to 1 film and wrote Lyrics to 2 films. Additionally story, dialogues and screenplay writing were also done by him. Some of his films were, Shaikh chilli-37, Khush naseeb-46, Prabhu ki maya-55, Ghar ki numaish-49, Karmaveer-38, Raman-54, Jagriti-54, Hum sab chor hain-56, Basant 60, Bhagvat mahima etc.

I find it very difficult to know exactly how many films he did in various capacities in the 1930s, as there are conflicting claims by him and Master Fida Hussain. In a few cases the details in HFGK and what he claims, gets contradicted. Some of his films in the 40s are Ramanuj-43, Giribala-47, Grihalaxmi-48, Ghar ki Numaish-48 ( released only in 1962, with the title ‘ Jai ho muhabbat ki ‘ )

Thanks to information and statistical data provided by Shri Harish Raghuwanshi ji of Surat, we know that his Filmography consists of a total 11+ 26 films. The break up is-

11 silent films
25 Talkie films as Actor and 1 film as a writer only.
9 films as a Director
2 films as Lyricist and
2 films as Music Director
As per Muvyz data, he sang 37 songs in 8 films.

from 1951 to 1960, he did 13 films- mostly ( 9) for Filmistan. He directed 2 of them. After 1960 his work was reduced. The death of his 3 sons broke him emotionally. As a true Gandhian, it was his dream to make a film- Gandhi Sangram- on mahatma Gandhi. He had done all the spade work and the Muhurat of shooting was also done on 2-10-1987, The Government had promised finance. Even Rajiv Gandhi promised him that. However nothing came to him and he died on 30-10-1996, with his dream unfulfilled.

His daughter Shradha used to work in Gujarati films. She too died in a Train accident in 2000. Her daughter Deepshikha is an actress.

The story of the film Bhagwat Mahima-55 is……

Nagar Seth, a rich man living in one of the gayest cities of India, had everything he wanted in life with one exception. And that was his having no children. His wife, Shanta, consoled him by saying that it was better not to have a child rather than have one who would ruin the fair name of the family by his mis-deeds. She narrated to her husband the story of Sukhram who served his son for three generations in the forms of a bull, a dog and a serpent, even though he could have gone to heaven without doing this service. His son, however, ill-treated the father throughout. Anyway, the story failed to impress Nagar Seth.

One day Shri Jagat Guru Shankaracharya happened to pass through the town. Shanta, who was a disciple of his, requested him to console her husband. In doing so, Shankaracharya narrated a story from the Immortal Classic, Shrimad Bhagvat, wherein Atmadev, also placed in similar circumstances, prayed for a child. Doing penance, Atmadev had `darshan of Narad Muni who gave him a fruit saying that his wife would beget a noble son if she ate the fruit. . Atmadevs wife had no faith in miracles and, on the advice of her sister, Ganga, gave the fruit to her cow.
Ganga, who was expecting a baby, offered her child to Dhundhuli (Atmadevs wife) for some consideration. Thus, Atmadev was made to believe that Ganga’s child was his own. He was named Dhundhukari.

At the same time, the cow which had eaten the fruit, also gave birth to a son who was human in every feature except his ears which were shaped like cows. This boy was also brought up by Atmadev and named “Gokarn”.

Both the boys grew up together and, in due course, became young men. Gokarn, who led a pious and righteous life, became a learned and famous man. Dhundhukari, on the other hand, grew up in bad ways and became the terror of the town. . One day, Dhundhukaris real father, i.e.Ganga’s husband, told Atmadev about his son’s real identity. This so much upset Atmadev that he went away into the forest. There, later, he lost his life.

Champa, a helpless girl and one of the many victims of Dhundhukari, conspired with some of her friends and killed Dhundhukari. Because of his manifold sins, he then became a wandering ghost. . Gokarn, who had now become a Mahatma, was at Gaya offering `Pind Dan to his deceased father when he learned about Dhundhukari’s fate. To relieve him of his ghostly existence, Gokarn offered `Pind Dan not once, but 108 times. Still, he was not successful. He then offered prayers to Suryadev on the advice of learned pandits. Suryadev, pleased with the prayers, blessed Gokarn and asked him to recite Shrimad Bhagvat for the salvation of Dhundhukari’s ghost.

Today’s Bhajan is sung by Hemant Kumar. It is a very good Bhajan rendered equally nicely by Hemant Kumar. I like it very much. You too will.


Song-Digant Nath devta anant roop sohta (Bhagwat Mahima)(1955) Singer- Hemant Kumar, Lyricist-Sarswati Kumar Deepak, MD- Hemant Kumar

Lyrics

om Japakusuma Samkaasham Kashyapeyam Mahadhyuthim
?? Tamorim Sarva Paapaghnam Pranathosmi Divakaram

Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata

kripaalu Ravi kripa karo
kripaalu Ravi kripa karo
dayaalu Ravi daya karo
mahaan ye ?? tu
ke tum karo ??te
Digant Nath devata

suna rahe digant ke
anant ?? bhairavi
saja rahe ho tum nishaan
vishw bhar ki aarti
dukhon se ?? mukti do
ubaarne ki yukti do
sabhi ke paap taap ko
prabhu tumhi sanwaarte
Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata
Digant Nath devata aa aa
Digant Nath devata 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 :

4354 Post No. : 15670 Movie Count :

4316

Hindi Songs in Bangla Film – 30
———————————-

In my last article, I had covered a fictional character, ‘Byomkesh Bakshi’,  created by the writer Sharadindhu Bandopadhyay on which TV serials and films have been made. While writing the article, I recalled that Satyajit Roy has written stories on his fictional character, ‘Feluda’ who is also a detective and investigator. He had directed two Bangla feature films based on ‘Feluda’ stories – ‘Sonar Kella’ (1974) and ‘Joy Baba Felunath’ (1979). It will be interesting to note as to how these two detective characters differ in their style of investigations which I will come to it later.

Satyajit Ray had once said that he made a living by writing children’s stories and from their publications rather than earning from his films.  His stories of ‘Feluda’ were first published in children’s magazine ‘Sandesh’ and later published as books. He had said that since his childhood, he was hooked to stories of Sherlock Holmes and inspired him to write the Indianised version of Sherlock Holmes- both culturally and temperamentally. Satyajit Roy wrote 35 stories of Feluda which were published between 1965 and 1995.

In all the Feluda stories, there are some characters who are part of almost all the stories. Detective and investigator, Feluda (real name: Prodosh Chandra Mitter) is the Indian equivalent of Sherlock Holmes. Feluda’s cousin, Topshe (real name: Tapas Ranjan Mitra) is equivalent of Dr Watson. Feluda’s friend Jatayu (real name: Lalmohan Ganguly) is a writer of crime thrillers who has often been depicted as a comical character.  In addition, there are characters like  Maganlal Meghraj, a villain who is an important part in some of the Feluda stories.

I have watched most of Byomkesh Bakshi’s stories on T V serials. So, I have fairly good idea as to how the main characters of Byomkesh and his assistant, Ajit have been depicted on screen.  But in regards to Feluda stories, my only exposure is Satyajit Roy’s two films mentioned above. Based on these sources and also reading summaries of few other stories, the some comparison between two detective stories of  Byomkesh Bakshi and Feluda  is attempted.

  1. Feluda stories are targeted towards children and teenagers though even the adults may also like. The investigations mostly centre around thefts of manuscripts, antique, artifacts items, kidnapping etc. Byomkesh stories are at a higher level of intelligence in solving cases and therefore meant for adults. The investigations are mainly related to murders arising out of property disputes, greed, revenge, adultery etc. Hence, there will be at least one or more female characters in the story. In Feluda stories, female characters hardly find place.
  2. Feluda is a tall, handsome and athletic person. He is a bachelor. He carries weapons with him and will not be averse to using strong arm methods. Byomkesh Bakshi is a bespectacled dhoti-clad detective and investigator who likes to be called as ‘Satyanweshi’ (Truth-seekar). He is a married man.  He rarely uses weapons or resorts to violent methods during his investigation.
  3. Most of Feluda stories are set outside Kolkata as he is a travel buff. Byomkesh gets most of the cases of investigation in around Kolkata.
  4. Feluda is accompanied in his work by his cousin, Thopse, a teenager who helps in recording the events during the investigations. The other accomplish is a writer of detective stories with his penname, Jatayu. He is more into bringing comical reliefs with his jokes gone wrong and with some silly questions. Byomkesh is acccompanied by his wife, Satyabati and Ajit who is also a writer.

Of the two Feluda films which Satyajit Ray directed, I gave preference for ‘Joy Baba Felunath (1979) which was available with English sub-titles. The gist of the story is as under:

Feluda (Saumitra Chatterjee) along with his cousin, Thopse (Siddharth Chatterjee) and the writer-friend, Jatayu (Santosh Dutta) are on a visit to Varanasi for a holiday. While on a stroll to ghats of Varanasi along with the hotel manager, they meet  Ambika Ghoshal who is introduced by the hotel manager to Feluda. Ghoshal revealed that the antique idol of Ganesh has been stolen and his father does not want to report the theft to police as he has no faith in police investigation. Feluda agrees to investigate the matter to solve the case.

During the course of his investigations, he visits Ghoshal family house and meets the father of Ambika Ghoshal  He finds him and Ambika Ghoshal’s minor son interested in reading detective stories. He also meets Bikash (Biplab Chatterjee), a member of Ghoshal family but no relation to them. He also comes to know that Maganlal Meghraj (Utpal Dutt) who had visited Ghoshal on the previous day to buy the antique Ganesh idol but Ghoshal had refused to sell. Maganlal is actually a trader in antique items and artefacts and the Machhlibaba, the fake sadhu is a front for him in his illicit business. So, Maganlal is the first suspects.

But there are others in the Ghoshal family who could also be suspects. Ambika Ghoshal was in debt as his business was down. He has, therefore, some motivation to sell the Ganesh idol to raise the money. Bikash had planned to go back to his native place as he did not like to stay with Ghoshal family for long doing house-hold chores. However, he did not have money to quit Ghoshal family. Lastly, Feluda meets the aged Shashibabu, an Durga idol maker who is making the idol of Durga in Ghoshal house for the ensuing Durga Pooja.

Feluda suspects the role of Bikash in Ganesh idol theft especially when he is suddenly planned to visit his native place. Feluda confronts Bikash by taking him at gun-point to a secluded place where he spills the beans. Feluda had already kept the police informed who takes him to the custody.

The fact of the case was that while painting the Durga idol, Shahsibabu finds a Ganesh idol falling from the mouth of the tiger’s idol. He takes the idol to Bikash fearing that he would be branded a thief. Bikash comforts him and assure him that he would handle the issue. But instead of handing over the Ganesh idol to Ghoshal family, he sells it to Maganlal for partly sum. Since Shashibabu knows that Ganesh idol has been found, Maganlal gets him killed.

Now it is the turn of Maganlal who has to be caught red-handed. For this, Feluda disguises himself as Machhlibaba and sits on the ghat along with his devotees. As expected, Maganlal comes with the Ganesh idol in the guise of a gift to Machhlibaba and hands over to him. The police team was already watching from the nearby place. He is caught red-handed with the Ganesh idol. He gets arrested. The case is solved. At the outset, there is not much suspense in the story as Maganlal was a suspect from the very beginning.

There is, however, a twist in the story, not about the suspects, but about the end of the story. When Maganlal had visited Ambika Ghoshal for buying the Ganesh idol, he has given him a friendly banter with a tone of a threat that he would have the idol even if Ghoshal does not sell him. This was heard by Ambika Ghoshal’s minor son. So, he reports the matter to his grandfather who asks him as to what he would do under such a circumstance since he is an avid reader of detective stories. The grandson says that he would keep the Ganesh idol in the mouth of the idol of Tiger which Shashibabu is painting. So, in reality, in the beginning, there was no theft of Ganesh idol but it has been safely kept in the mouth of a tiger idol.

There is a further twist in the story. When Feluda is handing over the recovered Ganesh idol, he reveals to the grandfather that the Ganesh idol is a fake one and it will not fetch even 1000 rupees. So where is the real antique Ganesh idol? The grandfather keeps mum.  Feluda gives the answer  that he knows from his source that the real antique Ganesh idol has been kept in the safe deposit locker of a bank by the grandfather.

Even though this film is a suspense thriller, as is the case with all other films of Satyajit Ray, the film is an audio-visual treat. He has a penchant for details around the scenes of the shooting and creating the period atmosphere. For example, when Feluda visits to meet the father of Ambika Ghoshal, in the background, an old record player is playing a  thumri of Kesarbai Kerkar. “Kaahe Ko Daari” (1936). On the second time, a ghazal, “Pee Ke Hum Tum Chale” (1909) sung by Zohrabai Agrewali is played in the background.

The ghats and narrow lanes of Varanasi have been beautifully captured. Of all the main actors, I liked the performance Utpal Dutt the most. He has been projected as a ruthless trader who can go to any extent without having to use strong-arm tactics. His stern warning through his expressions and short dialogue delivery are enough to create fear of him.

‘Joy Baba Felunath’ (1979) has only two songs, one each of bhajans of Meera Bai and Soordas. I am presenting a Meera bhajan “Mohe Laagi Lagan Guru Charanan Ki”. The song is sung by Reba Muhuri which is set to music by Satyajit Ray.

Reba Muhuri (1930 – 15/05/2011) was Hindustani classical vocalist who was born in Krishnanagar in Nadia district of West Bengal. Her father, Amiyanath Sanyal was a musicologist from whom she learnt music during her childhood. At the age of 16, Reba got married to an army officer. But her musical journey continued. She was mainly trained by Badi Motibai in Banaras. She also got guidance from Siddheshwari Devi, Rasoolan Bai and Begum Akhtar. She specialised in Khayal, Thumri and Bhajan. She had given concerts in India and abroad.

The song picturization situation is that while strolling on the Varanasi ghats, Feluda and his two associates find a gathering of devotees where one of the devotees is singing while there are visitors taking blessing of Sadhu Machhlibaba who is in fact a conduit for Maganlal for smuggling antiques and artefacts out of India.

The audio clip contains the full bhajan while the bhajan on the video clip is interrupted by dialogues. Hence the continuity of the song on the video clip is lost.

It is better to listen to the audio clip to get a spiritual feelings.

 

Audio

Video

Song – Mohey Laagi Lagan Guru Charnan Ki (Joy Baba Felunath) (1979) Singer – Reba Muhuri, Lyrics – Meerabai, MD – Satyajit Ray

Lyrics

aa aa aa aaaaaa
aa aa aa aaaa
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
 
charan bina ab kachhu nahi bhaawe
charan bina ab kachhu nahi bhaawe
jag maaya sab sapanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
guru charanan ki
 
bhav saagar sab sukh gayo hai……..ai…..ai
bhav saagar sab sukh gayo hain
fikar nahi mohe
fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
 
meera ke prabhoooo…oo  
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
giridhar naagar
meera ke prabhu giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
 
meera ke guroooooooo
giridha…r naagar
giridhar naagar
meera ke guru giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
charanan ki

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

आ आ आ आsssss
आ आ आ आss
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की

चरण बिना अब कछु नहीं भावे
चरण बिना अब कछु नहीं भावे
जग माया सब सपनन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
गुरु चरणन की

भव सागर सब सूख गयो है॰॰ए॰॰ए
भव सागर सब सूख गयो है
फिकर नहीं मोहे
फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की

मीरा के प्रभु॰॰उ॰॰उ
मीरा के प्रभु गिरधर नागर
मीरा के प्रभु गिरधर नागर
गिरधर नागर
मीरा के प्रभु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की

मीरा के गुरु॰॰
गिरधर॰॰र नागर
गिरधर नागर
मीरा के गुरु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
चरणन की

 


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 :

4345 Post No. : 15652

“Shyam Ki Jogan”(1957) was produced by K Bakshi and directed by S P Kalla for K B Films, Bombay. This obscure devotional movie had Shahu Modak, Sulochana, B M Vyas, Kamal Mehra, Kammo, Ratnamala, ramesh Sinha, Jagdev, C S Dubey, Mehru, Baby Lata, Jeewan Kala, Funny Walker, Praveen, Maruti etc in it.

The movie had eight songs in it.

Two songs from the movie have been discussed in the past. Here is the third song from “Shyam Ki Jogan”(1957) to appear in the blog. This song is sung by Geeta Dutt. S P Kalla is the lyricist. Music is composed by Narayan Dutt.

Only the audio of this song is available which sounds like a Meera bhajan (though S P Kalla is credited for the lyrics). I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Main to prem deewaani ho gayi re(Shyaam Ki Jogan)(1957) Singer-Geeta Dutt, Lyrics-S P Kalla, MD-Narayan Dutt

Lyrics

main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

man panchhi ki ghaayal paankhen
man panchhi ki ghaayal paankhen
janam janam ki pyaasi aankhen
dhoondh rahi ghanshyaam se
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam

saans ke taar mein bas gaya sai
saans ke taar mein bas gaya sai
amar milan ki jyot jagaayi
alakh japoon yahi kaam re
mera shyaam ki jogan naam
main to prem deewaani ho gayi re ae
mujhe duniya se kya kaam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam re ae
mera shyaam ki jogan naam


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 article marks the 1100th lyrics contribution by Prakashchandra in the blog.

Blog Day :

4341 Post No. : 15644

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 34
—————————————————————————

The rate of posting of songs in the blog ten years ago was quite similar to the present day rate of posting, even though things were obviously much different in 2010 than what they are now. This day ten years ago (6 june 2010) was a Sunday, when the final of French open tennis tournament was played and Rafael Nadal won his fifth French open title defeating Robin Söderling of Sweden in straight sets. Now a days, no sporting events are taking place.

I find it interesting to note that the world was suffering from the pandemic of Swine Flu between January 2009 till August 2010. But India was not affected as badly as we are today affected with Corona Virus. There was no lockdown of any kind those days, though night running of trains was suspended in Naxalite affected Orissa-Jharkhand-West Bengal region (SE Rly) those days after Maoist insurgents caused derailment of Jnaneshwari express on 28 may 2010. 148 passengers had died in this ghastly accident near Jhargram.

Three songs were posted in the blog on 06.06.2010:-

Song Movie title-Year Remarks
Deewaane aa zaraa nazrein milaa Badaa Aadmi-1961 All songs covered on the blog
Jawaab nahin gore mukhde par til kaale kaa Kangan-1959 All songs covered on the blog
Aaja mere meet re sun ke mere geet re Jahaan Sati Wahaan Bhagwaan- 1965 02 of 05 songs covered

As can be seen, only one movie out of the above three movie still has a few songs left to be covered. In other words, it is the only candidate for “Blog Ten Year Challenge” today.

This movie, “Jahaan Sati Wahaan Bhagwaan”(1965) was directed by Satish Kumar for K S Pictures, Bombay. This bhakti pradhaan movie had Prithviraj, Anita Guha, Mahipal, Krishna Kumari(North), B.M.Vyas, Sulochana Chatterji, Mohan Choti, Niranjan Sharma, Minaxi, Madhumati, Babloo, Praveen Paul, Habib, Mishri Lal, S.K.Sham, Shri Bhagwan, R.S.Dube, Santosh Kumar, Polson, Dinesh, Dalda, Shyam,and child stars Rippy, Rikky, Pinky etc in it.

The movie had five songs in it Two songs from the movie have been covered in the past.
Here are their details:-

Song Posted On
Din Beete ladakpan ke 12.03.2010
Aaja mere meet re sun ke mere geet re 06.06.2010

Today’s song is the third song from this movie to be posted on the blog. This song is sung by Asha Bhonsle. This movie had two lyricists, viz B D Mishra and Madhukar Rajasthani but the lyricist of this song is not known. Music is composed by music director trio Lala Asar Sattar.

The song is picturised as a Lord Shiv Stuti dance song on Anita Guha and others. Among others, Meenaxi and Shirley can also be seen.

Catalyst behind this “Blog Ten Year Challenge” song was Avinash Scrapwala. He got Prakashchandra’s lyrics and also provided the Devnagri script lyrics of the song, while Lyrics of this song were sent by Prakashchandra. This happens to be his 1100th lyrics contribution in the blog. Quite an achievement by Prakashchandra. Our congratulations to this silent and prolific “Kasturi Mrig” contributor to the blog.

Audio

Video

Song-Meri paayal jhanke baar baar (Jahaan Sati Wahaan Bhagwaan)(1965) Singer-Asha Bhonsle, Lyrics-Unknown, MD-Lala Asar Sattar

Lyrics (Provided by Prakashchandra)

aaaa
aaaa aaa aaa
aaaa aaaa
aaaa

meri paayal jhanke baar baar
meri paayal jhanke baar baar
natraaj tumhaare aangan mein
natraaj tumhaare aangan mein
meri paayal jhanke baar baar
meri paayal jhanke baar baar

heera moti sonaa chaandi
kachhu naahin maangoon main
darshan dete raho
bas yahi maangoon main
bhakti ke jal se ye
charan pakhaaroon main
ankhiyon ke do diyon se
aarti utaaroon main
aarti utaaroon main
meri paayal jhanke baar baar
meri paayal jhanke baar baar
natraaj tumhaare aangan mein
natraaj tumhaare aangan mein
meri paayal jhanke baar baar
meri paayal jhanke baar baar

bholibhaali baalaa hoon main
chaturaayee jaanoon na
bhalaa kya hai buraa kya hai ae
abhi pehchaanoon naa
dekho prabhu ji koi
mohey bharmaaye naa
sat ka ujaala mere
jeevan se jaaye naa aa
jeevan se jaaye naa aa
meri paayal jhanke baar baar
meri paayal jhanke baar baar
natraaj tumhaare aangan mein
natraaj tumhaare aangan mein
meri paayal jhanke baar baar
meri paayal jhanke baar baar

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————

आ आ आ
आ आ आ
आ आ s s s s

मेरी पायल झनके बार बार
मेरी पायल झनके बार बार
नटराज तुम्हारे आँगन में
नटराज तुम्हारे आँगन में
मेरी पायल झनके बार बार
मेरी पायल झनके बार बार

हीरा मोती सोना चांदी
कछु नाहीं मांगू मैं
दर्शन देते रहो
बस यही मांगू मैं
भक्ति के जल से ये
चरण पखारूँ मैं
अंखियों के दो दियों से
आरती उतारूं मैं
आरती उतारूं मैं
मेरी पायल झनके बार बार
मेरी पायल झनके बार बार
नटराज तुम्हारे आँगन में
नटराज तुम्हारे आँगन में
मेरी पायल झनके बार बार
मेरी पायल झनके बार बार

भोलीभाली बाला हूँ मैं
चतुराई जानूं ना
भला क्या है बुरा क्या है ए
अभी पहचानूं ना
देखो प्रभुजी कोई
मोहे भरमाये ना
सत का उजाला मेरे
जीवन से जाए ना
जीवन से जाए ना
मेरी पायल झनके बार बार
मेरी पायल झनके बार बार
नटराज तुम्हारे आँगन में
नटराज तुम्हारे आँगन में
मेरी पायल झनके बार बार
मेरी पायल झनके बार बार


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.

Blog Day :

4340 Post No. : 15640

It is 8am, on Friday, the 5th June, 2020. We are onto the 157th day of the year, and running through the 23rd week.

It is also the full moon day today – the Purnima, as per the lunar calendar. It is the last day today of the month of Jyeshtha. From tomorrow, the month of Aashaad with commence.

It is Kabir Jayanti today, the day of the birth of Sant Kabir Das, one of the main architects of the Bhakti Movement in the 15th century India.

The other important associations of today’s date are – it is the World Environment Day today, as the per the calendar of the United Nations. The other lesser known association for today is – International Day for the Fight against Illegal, Unreported and Unregulated Fishing. As I checked the internet there are a few more very interesting associations of today’s date, no doubt being driven by business considerations. 🙂

It is the International Doughnut Day today, and one is encouraged to bring home their favorite variety of this sugar-rich bakery item. Other notable celebrations for today – it is the Hot Air Balloons Day, the Fish and Chips Day, Moonshine Day, Co-working Day, and also the day to acknowledge the Long Term HIV Survivors. Of these listed above, let me clarify that the Moonshine day has nothing to do with moonlight or moon gazing. The ‘moonshine’ referred to here is Scotch whisky, and today is the day to celebrate the history of this distinctly flavored and the most notorious of alcoholic beverages. The word ‘moonshine’ here has a historical association dating back to the times when production and trade of this beverage was not legal. It was smuggled around during the night – hence the phrase ‘moonshining’ as it relates to illicit activities in the dark of night. The persons involved with this unlawful activity were called ‘moonshiners’ or ‘moonrakers’.

Notable Indian cinema associations for today – it the birth date of film producer Mukesh Bhatt.

Yesterday, 4th June, we got the sad news of the passing away of the famous director Basu Chatterji. I am sure all have enjoyed the wholesome entertainment provided by his films,

Basu Chatterji
RIP
10 Jan 1930 — 04 Jun, 2020

1969     Sara Akash
1972     Piya Ka Ghar
1974     Rajnigandha
1974     Uss Paar
1975     Chhoti Si Baat
1976     Chitchor
1977     Khatta Meetha
1977     Priyatama
1977     Safed Jhooth
1977     Swaami
1978     Chakravyuh
1978     Dillagi
1978     Do Ladke Dono Kadke
1978     Tumhaare Liye
1979     Baaton Baaton Mein
Etc.

=======

The influence of the writings of Sant Kabir Das on the religious and spiritual ambiance of this land, can never be understated. His message stands tall and proud in a social milieu where many a divisions based on religion, caste, social status etc. have been hammered into our society. An unlettered son in a family of weavers, rose to become one of the most learned and wise teachers, not just of his own era, but for all times to come.

Life of Kabir Das is mostly known from legends that abound, rather than from any documented history. It is agreed by historians that he was born into a Muslim family of traditional weavers. His thirst for knowledge was intense, and he was determined to be led by a learned Guru. Those times were of the Bhakti movement across the length and breadth of this land. In the holy city of Varanasi, the most learned teacher was acknowledged to be Swami Ramanand, whose list of disciples reads like the Who’s-Who of the Bhakti movement.

Kabir Das’ initial efforts to become a disciple were fraught with difficulties of caste and religion, and Swami Ramanand refused to take him in as a student. Knowing the daily routines of the one whom he had already accepted as his teacher in his mind, one day Kabir Das went early morning while the dawn was still dark, to the bathing ghats on the banks of River Ganga, and lay down on the steps from where his trusted master would be alighting down towards the water. In the darkness, Swami Ramanand’s foot touched Kabir Das, and the learned master instinctively uttered the words ‘Ram Ram’. Kabir Das took this utterance as the Guru Mantra and took the touching by the master’s feet as the initiation. The Guru-Shishya relation was established. Later historical descriptions clarify that Swami Ramanand did accede to bring Kabir Das into his inner circle of students.

Kabir Das’ daily routine was his traditional working as a weaver, and a small gathering in the evening outside his hut abode, of people who would come to listen to his daily sermons. He did not sermonize, as in speaking / lecturing, but he sang – the poems and the couplets he would be composing during the day, as his hands worked on the looms and shuttles, creating fabric out of thread. His poems and his philosophy is so much the richer, as he attempts to explain the mysteries of life and existence using the weaving paradigm.

The film ‘Mahatma Kabir’ was released in 1954. The film was produced by MS Ahluwalia under the banner of New Premier films, and it was directed by Gajanan Jagirdar. The lead role of Kabir Das was played by Surendra. The rest of the cast of the film is Sulochana, Jagirdar, Randhir, Lalita Pawar, Rajkumar, Munshi Khanjar, Maqbool, Aruch Tarapur, Radheshyam, Heera Sawant, Fazal, Chandabai, Shiraz, Ghosh, Babu, Madan Puri, Chaman Puri, Lohana, snd Master Indrajeet.

The film has 12 songs, some of which are the original poems of Kabir, and the rest are songs written by Chandra Shekhar Pandey, Ehsan, Izhar Malihabadi, Pt Narendra Sharma, and Safdar ‘Aah’. The music composition is by Ani Biswas. The song presented today is written by Chandra Shekhar Pandey and is sung by CH Atma.

The words are not original as written by Kabir Das, however the words and composition quite closely match with his traditional verses. The song tells about the blessings of the Lord, as they unendingly descend like rain upon each one of us. And some of us are afraid to get wet, and try to rescue themselves from this shower of munificence. The voice of CH Atma brings out the poignancy of the message in these verses.

An interesting side note here – we are hearing the voice of CH Atma on this blog after a gap of more than 3 years now.

 

Song – Ram Ras Barse Re Manwa Ram Ras Barse  (Mahatma Kabir) (1954) Singer – CH Atma, Lyrics – Chandra Shekhar Pandey, MD – Anil Biswas

Lyrics

ram ras barse re manwa
ram ras barse
re mann chaatak kyon tarse
re mann chaatak kyon tarse..e..e
ram ras barse re manwa
ram ras barse..e..e

boond boond mein daya hari ki
bare ambar se
boond boond mein daya hari ki
bare ambar se
kyon tu chhupa hai ot mein pagle
kyon tu chhupa hai ot mein pagle
bheejan ke darr se..e..e
ram ras barse re manwa
ram ras barse..e..e

kaam krodh mad lobh moh ka
chakra hata sar se
kaam krodh mad lobh moh ka
chakra hata sar se
prem neer mein bheej baawre
prem neer mein bheej baawre
bheetar baahar se..e..e
ram ras barse re manwa
ram ras barse..e..e

virtha dol raha ban ban mein
poochhat dar dar se..e..e
virtha dol raha ban ban mein
mann mandir mein ram basey hain
mann mandir mein ram basey hain. . .
kyon na charan parse..e..e
ram ras barse re manwa
ram ras barse
re mann chaatak kyon tarse
re mann chaatak kyon tarse..e..e
ram ras barse re manwa
ram ras barse..e..e

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

राम रस बरसे रे मनवा
राम रस बरसे
रे मन चातक क्यों तरसे
रे मन चातक क्यों तरसे॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए

बूंद बूंद में दया हरी की
बरसे अंबर से
बूंद बूंद में दया हरी की
बरसे अंबर से
क्यों तू छुपा है ओट में पगले
क्यों तू छुपा है ओट में पगले
भीजन के डर से॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए

काम क्रोध मद लोभ मोह का
चक्र हटा सर से
काम क्रोध मद लोभ मोह का
चक्र हटा सर से
प्रेम नीर में भीज बावरे
प्रेम नीर में भीज बावरे
भीतर बाहर से॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए

विरथा डॉल रहा बन बन में
पूछत दर दर से॰॰ए॰॰ए
विरथा डॉल रहा बन बन में
मन मंदिर में राम बसे हैं
मन मंदिर में राम बसे हैं॰ ॰ ॰
क्यों ना चरण परसे॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे
रे मन चातक क्यों तरसे
रे मन चातक क्यों तरसे॰॰ए॰॰ए
राम रस बरसे रे मनवा
राम रस बरसे॰॰ए॰॰ए


This article is written by Peevesie’s Mom, 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 :

4323 Post No. : 15611

Hullo Atuldom

These days we have people from all walks of life connecting with each other over video calls, chat groups coming together on various online platforms etc. Similarly there are people who are going ‘live’ on Facebook and YouTube. On these ‘live’ days they showcase their talents in singing and dancing etc. I have watched a few and must say, rather admit, that this period of Lock-down is helping everyone rediscover their passion in singing and other art forms. All the best to all of them

Some videos of these ‘live’ acts are doing the rounds on the social media called Whatsapp. My husband forwarded me one such video which had the South Indian stalwart SP Balasubramaniam singing one of his popular songs from the 1979 Telugu movie ‘Shankarabharanam’.

That movie had some great songs which were based on Carnatic Ragas and told the story of an exponent of classical music Sankara Sastri (JV Somayajulu) and his ardent fan cum disciple Tulsi (Manju Bhargavi). The movie was written and directed by K Viswanath, had music by KV Mahadevan and lyrics were by V Sundararama Murthy. K Viswanath later remade this movie in Hindi as ‘Sur Sangam’ in 1985.

The Hindi version had Girish Karnad and Jaya Prada playing the roles of Pandit Shivshankar Shastri and Tulsi. The film made its debut on the blog on 19th May, 2013 with the song “Mai Ka Piya Bulaave Apne Mandirva“. (In that sense, it is like a seven-year challenge. 🙂 )

Our dear Sudhir ji had posted one song from this movie on the occasion of World Music day in 2017 “Aaye Sur Ke Panchhi Aaye“. The movie has eleven songs in all with “Aaye Sur Ke Panchhi Aaye” appearing as two parts in the movie. Then we also have the song Dhanya Bhaag Sewa Ka Awsar Paaya which was shared by Khyatiben in July 2014 as part of the build up to the 10000th post. Sudhir ji then later wrote a heartfelt tribute to Girish Karnad in his post on the song “Hey Shiv Shankar Hey Karunakar” last year.

I feel Sudhir ji has given us a good biography of Girish Karnad in his post last year. So I shall go directly to the next song from this film. In this song we see the Shastri ji teaching a small boy a classical bhajan. He is unaware that the boy is actually the son of his fan/disciple Tulsi. He feels that the little boy has a lot of potential to take over the mantle from him. In fact the second anatara shows the child singing what he has learnt from the guru and the mother envisions the guru himself. The song is in the vocals of the Mishra brothers – Rajan and Sajan Mishra, with Lata Mangeshkar. Lyricist is Vasant Dev with Laxmikant-Pyaarelal as the music composers. I must admit here that I have no knowledge about the Raag or Taal that this song is in. I expect knowledgeable readers to help here.

Thinking of the versatile actor Girish Karnad today on his 82nd birthday.

Song – Jaaun Torey Charan Kamal Par Vaari  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lata Mangeshkar, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal
Rajan-Sajan Misra + Lata Mangeshkar

Lyrics 

jaa..aaun torey charan kamal par vaari
o ho 
jaaun torey charan kamal par vaari
hey gopal govind murari
hey gopal govind murari 
sharnaagat hoon dwaar tihaare
jaaun torey charan kamal par vaari
jaa..aaun torey charan kamal par vaari

kitna ghana bana andhiyaara
kitna ghana bana andhiyaara
ghulta mai saara ka saara
ghulta mai saara ka saara 
tu hi mera ek adhaa..aa..aar
aa a a aa aaaa aaaa
ga re pa ga dha pa
dha pa ga re ga pa dha re
re ga ga re sa dha pa ga re
ga pa dha pa re
sa dha ga pa
ga dha pa ga
pa ma ga re
ma ga re sa
re ga re ga pa dha pa
sa dha pa ga re sa
tu hi mera ek adhaar
sharanaagat hoon dwaar tihaare
jaaun torey charan par vaari
jaa..aaun torey charan par vaari

sana nana nana nana
sana nana pawan jhakora aata
sana nana pawan jhakora aata
haara mann tapta gabraata
haara mann tapta gabraata
toot raha saanson ka taar
aaaaaa aaa
toot raha saanson ka taar 
sharanasgat hoon dwaar tihaare
jaaun torey charan kamal par vaari
jaa..aaun torey charan kamal par vaari

morpankh ki kiran jaga kar
jaga kar
morpankh ki kiran jaga kar
adharon par muskaan uga kar
adharon par muskaan uga kar 
har le mann ki piir apaa..aa..aar
sa re sa ga sa pa
sa dha sa pa dha pa ga re
sa dha sa
har le mann ki piir apaar
sharanaagat hoon dwaar tihaare
jaa..aaun torey charan kamal par vaari
hey gopal govind murari
sharanaagat hoon dwaar tihaare
jaaun torey charan kamal par vaari
jaa..aaun torey charan kamal par vaari

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

जाऊँ तोरे चरण कमल पर वारी
ओ हो
जा॰॰आऊँ तोरे चरण कमल पर वारी
हे गोपाल गोविंद मुरारी
हे गोपाल गोविंद मुरारी
जाऊँ तोरे चरण कमल पर वारी
जा॰॰आऊँ तोरे चरण कमल पर वारी

कितना घना बना अँधियारा
कितना घना बना अँधियारा
घुलता मैं सारा का सारा
घुलता मैं सारा का सारा
तू ही मेरा एक आधार
आ आ आs आsss आsss
ग रे प ग ध प
ध प ग रे ग ध प रे
रे ग ग रे स ध प ग रे
ग प ध प रे
स ध ग प
ग ध प ग
प म ग रे
म ग रे स
तू ही मेरा एक आधार
शरणागत हूँ द्वार तिहारे
जाऊँ तोरे चरण कमल पर वारी
जा॰॰आऊँ तोरे चरण कमल पर वारी

स न न न न न न
स न न न पवन झकोरा आता
स न न न पवन झकोरा आता
हारा मन तपता घबराता
हारा मन तपता घबराता
टूट रहा साँसों का तार
आsssss आss
टूट रहा साँसों का तार
शरणागत हूँ द्वार तिहारे
जाऊँ तोरे चरण कमल पर वारी
जाऊँ तोरे चरण कमल पर वारी

मोरपंख की किरण जगा कर
जगा कर
मोरपंख की किरण जगा कर
अधरों पर मुस्कान उगा कर
अधरों पर मुस्कान उगा कर
हर ले मन की पीर अपा॰॰आर
स रे स ग स प
स ध स प ध प ग रे
स ध स
हर ले मन की पीर अपार
शरणागत हूँ द्वार तिहारे
जाऊँ तोरे चरण कमल पर वारी
जाऊँ तोरे चरण कमल पर वारी
जा॰॰आऊँ तोरे चरण कमल पर वारी


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 ELEVEN years. This blog has over 15700 song posts by now.

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

Important Announcement

(© 2008 - 2020) 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

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

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