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

Archive for the ‘Bhajan’ Category


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.

“Patit Paawan”(1955) was produced by Hemavati Sapru and directed by Vasant Painer for D K Films, Bombay. The movie had D K Sapru, Sulochana, Ulhas, Hamavati, Lalita Pawar, Bipin Gupta, Jeewan, Ranjan Haksar, Nand Kishore, Parshuram etc. in it.

The movie had eight songs in it. Two song have been covered in the past.

Here is the third song from “Patit Paawan”(1955) to appear in the blog. The song is sung by Sudha Malhotra and Mubarak Begam. Bharat Vyas is the lyricist. Music is composed by Jamal Sen.

I have not been able to get a word (or may be more) right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

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


Song-Jeewan ka tu ujiyaara hai (Patit Paawan)(1955) Singers- Mubarak Begum, Sudha Malhotra, Lyrics-Bharat Vyas, MD-Jamal Sen
Mubarak Begum + Sudha Malhotra

Lyrics

jeevan ka tu ujiyaara hai
rakhwaara bansi waara hai
jeevan ka tu ujiyaara hai
rakhwaara bansiwaara hai
saanwariya
morey saanwariya

do nainan ke deep jala ke
do nainan ke deep jala ke
geet preet ke gaaun main to
geet preet ke gaaun oon
mann ka mangal thaal sajaa kar
mann ka mangal thaal sajaa kar
prem ka bhog chadhaaun
mein aen prem ka bhog chadhaaun

main tera jeevan saathi
tu deepak hai main baati
main tera jeevan saathi hoon
tu deepak hai main baati hoon
saanwariya
morey saanwariya

tera mera saath puraana
tera mera saath puraana
janm janm ka naata mera
janm janm ka naata aa aa
pal pal tere geet raseele
pal pal tere geet raseele
praan papeeha gaata ho o
praan papeeha gaata

main bijali hoon tu baadal hai
main naina hoon tu kaajal hai
main bijli hoon tu baadal hai
main naina hoon tu kaajal hai
naagariya
morey saanwariya
jeevan ka tu ujiyaara hai
rakhwaaraa bansi waara hai
saanwariya
morey saanwariya

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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.

Toady’s song is from film ‘Achhoot’ (1940),sung by composer Gyan Dutt and singer actress Vasanti.

The second world war started from 1939, but its effects started being felt in India after 1940 only. The Government became alert and sensitive. Lots of restrictions were put on Imports and Exports. All exports to Germany and Japan were banned. Foreign travel came under Government microscope. Imports were restricted to only essential goods. Raw film stock came under Government control (and naturally became available freely in black market at exorbitant price). Taking advantage of the situation, Government declared that those film production houses who help Government in its war efforts, by making films with pro Govt. themes, would get raw film on priority.

Most production studios made films with Patriotic themes accordingly, spicing it with pro Govt dialogues to claim favours. Mahatma Gandhi ji too upped his efforts to Govt. in distress as much as possible by undertaking different Satyagrahas like the Salt Satyagraha, Burning of Foreign goods, Quit India Movement etc. At the same time Gandhiji took up movement against social evils to attract public support to his main cause.

One of the social evils, Gandhiji took up was entry of harijans in Hindu temples. He did satyagraha in Kerala, Nashik, Banares and some other places. Hindi film industry was alive to what was happening in the country and films on untouchability were made by big studios. Bombay Talkies produced ‘Achhoot Kanya’ in 1936 followed by Ranjit Movietone with their film ‘Achhoot ‘ in 1940. While ‘Achhoot Kanya’ had a sad ending, film ‘Achhoot’ had a happy ending.

Hindi film industry’s growth in the early years from 1920s to 1940s was contributed to by 2 major communities. One of them was the Gujarati businessmen who immediately identified this business as the future gold mine. The other major community was the local Marathi, who lent their brain and hard work to this industry. As the time went by, people from Punjab, UP, Bengal and other states of India joined hands to help this industry to prosper. However, till the mid 1950s it was the Gujarati Sethias who poured the finances. Financiers like Sampat Sheth, Gokuldas Pasta, Manik Sheth Patel, Chunilal Munim, Mangaldas Parekh, Abdulali Yusufali, Mohd Ali Rangwala, Chimanlal Desai, Bhogilal Dave, Mayashanker Bhatt etc. only supplied the money, but never dabbled in other departments nor did they learn anything about the film making, more than what was needed to get some profits.

One person, however, was different. CHANDULAL SHAH. He not only put crores of rupees in film making, but also learnt the technique and art of making films, direction, building organisations of producers, develop political connections and what not. He did everything that was needed to become a successful film maker and a leader in the industry. That is why Baburao Patel called him “Sardar”. Chandulal Shah made his company Ranjit Movietone, a force to recon with.

Chandulal Shah  belonged to Jamnagar-Gujrat. He was born on 13-4-1898. He was into the cotton trade and used to visit Bombay frequently. Later he started working in Bombay Stock Exchange. He used to visit the Laxmi Film Studios nearby to watch shootings.

On one occasion, the director of a silent film ‘Vimla’ (1925) fell very sick and on the recommendation of a solicitor friend, Chandulal Shah got an opportunity to to direct the remaining portion of the film. Impressed by his work style he was offered 2 more films. He left the Stock Exchange job and took up film line completely.

From Laxmi, he shifted to Kohinoor Film Company, where he met actress Gauhar Jaan Mamajiwala, who became his mate for the next 50 years till he died. Gauhar used to feature in his films. With Gauhar, he did ‘Gunsundari’ in 1927 and in 1934 (silent and talkie respectively).

This film was a tremendous hit and it helped them to establish their own film company, Ranjit Movies in 1929. In next 3 year’s time they made 39 silent films. After the advent of Talkie, they changed the name of Ranjit to Ranjit Movietone. Chandulal liked to do things only kingsize. Thus he established Ranjit studios with 4 large sound stages. He also hired around 300 people in the beginning. On average, they made 6 feature films every year. His studio was an assembly line production house. At any given time at least 5 to 6 films were being made in his studios. He had a big army of famous actors, writers, technicians, directors, music directors etc. on his payroll.

Actors like Gauhar Jaan, Bilimoria, Nirupa Roy, Motilal, Madhuri, Khursheed, and KL Saigal; music directors like Gyan Butt, Bulo C Rani, Khemchand Prakash etc.; lyricist and writers like Kidar Sharma, Pradeep, Saadat Hasan Manto and many others were on his payroll.

Chandulal was very proud of his empire and used to advertise “There are more stars in Ranjit than in the Heavens”. At the peak time,there were about 700 people employed in Ranjit and Government had opened a ration shop in the studio premises for the workers’ benefit ! Khemchand Prakash did 20 films in Ranjit, Gyan Dutt 15 films and Bulo C Rani did 10 films here.

From 1929 to 1963 Ranjit made 31 silent films, 120 Hindi talkie films, 1 Tamil and 1 Marathi film. Unfortunately, due to a major fire in the early 1950s, except 7 talkie Hindi films, all other films were destroyed without leaving any backup for them.

Chandulal Shah was an active person. Besides film making he took interest in many Cine Associations and also led delegations abroad. He was a keen gambler and a better, especially in horse racing and stock market. In 1944, in a single day he lost one crore twenty five lakh rupees in cotton betting and that was the beginning of his downfall. He had to mortgage all his and Gauhar Jaan’s properties, but it could not save Ranjit Studios from ruins. He returned to film direction to make money and his first film after a gap of 14 years was ‘Paapi’ (1953). It had the hit pair of those times – Raj kapoor and Nargis. For the first time Raj Kapoor did a double role. But the film flopped. Clearly the times were bad for Chandulal. All his kundali was topsy turvy ! He tried 3 more films, all failed. His last film was ‘Akeli Mat Jaiyo’ (1963). A man who once ruled an empire started travelling in local trains and bus.

Chandulal Shah died on 25-11-1975.

Gauhar Abdul Qayoum Mamajiwala was born on 19-11-1910 at Lahore in a family of Bohra Muslims of Saurashtra in Gujarat. Her family shifted to Bombay. She was beautiful, well educated, soft spoken and liked to read books. Soon she became proficient in Hindi, Urdu, English, Gujarati and Marathi. When her father’s business crashed and they had financial crisis, Homi Master, one of the family friends suggested that she work in films. Homi was a director in Kohinoor studios. She joined films at the age of 15 years and her first film (silent) ‘Fortune And Fools’ aka ‘Baap Ki Kamaai’ (1925) was a hit film. She had a two year contract with Kohinoor. Many of her films were hits.

Chandulal Shah, who was also directing films for Kohinoor, was attracted by her performance and gave her a role in ‘Typist Girl’ (1927), in which Sulochana (Ruby Myers) was the heroine. Thus started their partnership. Soon after the contract was over, a few people viz. Gauhar, Chandulal, Jagdish Pasta, hero Rajah Sandow and cameraman P Naik left Kohinoor and established Shree Sound studio producing films under the banner of Jagdish Films. Here they made 10 popular films and in 1929 separated to form their own Ranjit Studios.

Their first Silent film for Ranjit (shot in Krishna Studios) was ‘Pati Patni’. Very soon Ranjit had their own four shooting stages and well equipped studios. Ranjit’s first Talkie was ‘Devi Devyani’ (1931) in which Gauhar acted opposite Bhagwandas as the hero. Ranjit Studio became very big and films were made at the rate of one film every 16-20 days. They employed the best talent of the industry and Chandulal seemed to convert anything into gold, whatever he touched!

Gauhar was the partner, manager, producer and star actress of Ranjit. She maintained very good relations with her collegues and would use the common make up room with all other artists. She did 28 silent and 19 talkie films in her career. Her last film was ‘Achhut’ (1940), directed by Chandulal and the hero was Motilal. Chandulal Shah also stopped directing films for the next 14 years. Gauhar now only looked after the studios and Chandulal Shah. Though she was with Chandulal for 48 years, they never married. Actually, Chandulal was already married and had a son Naveen. His family stayed with him in Bombay, but Gauhar never objected to that. In 1944, Chandulal lost 1.25 crores in cotton trading in a single day and their fortunes changed. Everything, including their properties had to be mortgaged and sold later. Even in this crisis, Gauhar did not leave him and stayed attached till Chandulal Shah died in 1975.

Gauhar led the same cultured life away from the bustle of the film world from which she retired. She read a great deal, from philosophy to fiction, enjoyed historical novels and was an ardent moviegoer. She had a polished command of English, Urdu, Hindi, Gujarati and Marathi, and she enjoyed seeing foreign and Indian films. Her favorite foreign stars were Audrey Hepburn, Norma She­arer, Rita Hayworth, Frederick March and Clark Gable. Among Indian artistes she had a liking for Meena Kumari, Raakhee, Jaya Bhaduri, Sharmila Tagore, Sanjeev Kumar, Ami­tabh Bachchan and Rajesh Khanna. Her list of favorite directors in­cluded Cecil B de Mille, Samuel ‘Billy’ Wilder, William Wyler from Hollywood and amongst the Indian directors – Chandulal Shah, Hrishikesh Mukherjee, V Shanta­ram, Yash Chopra and Gulzar.

Gohar Mamajiwala died on 28-9-1985.

‘Achhoot’ aka ‘The Untouchable’  is directed by Chandulal Shah. He too had decided to quit direction and also active participation in film making. He was keen to concentrate on other activities like organisational responsibilities, cotton trade and his favourite addiction – betting. The film was promoted as a Nationalist film addressing Gandhi ji’s campaign against untouchability. The film was endorsed by Mahatma Gaqndhi and Sardar Patel, even before it was made. The cast of the film ‘Achhoot’ was Motilal, Gauhar, Sitara, Vasanti, Charlie, Dixit, Mazhar, Yaqub etc. Gauhar quit acting after this film, though she was still good looking. However, she wanted to concentrate on the management of Ranjit empire. The film’s story was….

In Shanti Nagar, Laxmi (Vasanti) lives with her parents. They are all untouchables. When there is a water shortage, the villagers prevent the family from taking water from  the only well, which is reserved for the upper castes. Disgusted and frustrated, Laxmi’s father embraces Christianity. Laxmi is adopted by a rich businessman, who takes her to city and gives her education. She (Gauhar) becomes modern and acceptable in high society. She is very friendly with the daughter of the businessman – Savita (Sitara). Problem arises when both girls fall in love with the same boy. To find a solution, the businessman sends Laxmi back to her village. She returns and meets her childhood saheli (Rajkumari) and boyfriend Ramu (Motilal). They are agitating for equal rights for harijans. Laxmi jumps into this and fights for harijans entry into village temple. There is a riot in which Ramu dies.

Villagers repent after Laxmi delivers a touching speech and as a redemption for their blunder, villagers open the doors of the Temple for Harijans. Laxmi wins the battle.(644)

This film has 9 songs. One song is already discussed and this is the second song. It is a good Bhajan. . .

 


Song – Deen Dukhi Ko Daan Diya To Kya Mila, Hari Ram Mila (Achhoot) (1940) Singer – Gyan Dutt, Vasanti, Lyrics – PL Santoshi, MD – Gyan Dutt
Gyan Dutt + Vasanti

Lyrics 

ram mila hari ram mila
ram mila hari ram mila
ram mila hari ram mila

deen dukhi ko daan diya to
kya mila
deen dukhi ko daan diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bhookhe ko jo ann diya to
kya mila
bhookhe ko jo ann diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

bure ka badla bhala diya to
kya mila
bure ka badla bhala diya to
kya mila
hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila hari ram mila
hari ram mila hari ram mila

hari ram mila to kya mila
is daas ko bhagwan mila
hari ram mila to kya mila
is daas ko bhagwan mila
is daas ko bhagwan mila
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
राम मिला हरी राम मिला
राम मिला हरी राम मिला
राम मिला हरी राम मिला

दीन दुखी को दान दिया तो
क्या मिला
दीन दुखी को दान दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

भूखे को जो अन्न दिया तो
क्या मिला
भूखे को जो अन्न दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

बुरे का बदला भला दिया तो
क्या मिला
बुरे का बदला भला दिया तो
क्या मिला
हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला हरी राम मिला
हरी राम मिला हरी राम मिला

हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
हरी राम मिला तो क्या मिला
इस दास को भगवान मिला
इस दास को भगवान मिला


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular 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.

#the Decade of Seventies – 1971 – 1980 #
————————————————
# Bhoole-Bisre Geet # 56 #
———————————————–—————-

Recently the blog had been going slow as both our bosses were occupied by some work or the other, blog related, as well as occupational and personal. 🙂  Taking a clue from the number of posts on the blog and later on clarified by Atul ji himself (about the housekeeping of the blog), I had also almost stopped sending mails for new contributions, reminder for old ones and others.

Now, few days back I got into touch with Atul ji to check if it is convenient now for him to review some posts. He immediately advised me that ‘I should do that’. Now, where to start and with which song/post? Was the big question. It always happens when I have to resume something on the blog after a gap. Though I may not be sending some contributions but the thought process and thinking of new posts/topics is always going in the mind. It becomes very difficult when we already have many many songs yet to be posted on the blog even if we consider them for the period 1930 to 1980s.

Given that the ‘Navratri’ festival is in progress, I decided to resume sharing with this song (pending for long, since 2013 🙂 ). It is a ‘Maata Bhajan’. It is from the 1974 movie ‘Aalingan’, sung by Mahendra Kapoor.

‘Alingan’ (alias ‘The Embrace’) is directed by CL Dheer for ‘Jasmine Films, Bombay’. It is produced by PP Javeri. The star cast of this ‘social’ movie incudes Romesh Sharma, Zahira, Suresh Chatwal, Anjana, Achala Sachdev, Nitin Sethi, Ashoo, Raji Sethi, Satyen Kappu, Chanda, Poonam, Vinod Sharma, Raj Verma, Nagar, Cando, Jugnu and Pompy.

The story and screenplay of this movie was written by Shashi Bhushan, and the dialogues were written by Sagar Sarhadi. Ramesh Ahluwalia had done the editing for this movie. This movie was passed by Censor Board on 27.03.1974.

The movie has total five songs (including the today’s two part song), four written by Jan Nisar Akhtar, and one by Naqsh Lyallpuri. As per HFGK Vol-V, the music for this movie was composed by Jaidev and Sapan Jagmohan. Asha Bhonsle, Manna Dey, Mahendra Kapoor and Mohd Rafi had given their voices to the songs in this movie. As per HFGK the song being presented today is written by Naqsh Lyallpuri.

Out of the five songs of this movie three songs have been posted on the blog so far. Today’s song is fourth song of this movie ‘Aaglingan’ to appear on the blog. When I initially shared this song in 2013 there was only one version (or part) of this song that I could locate at that time. Later after a gap of two years i.e. in 2015 I became aware of a second part of this song (which in the movie is an extension of the first part), having an unknown male voice along with Mahendra Kapoor who is main singer of the song. However HFGK Vol V does not mention this song in two parts and the name of the other singer (I guess it is Narendra Chanchal).

Now since the movie is available online I decided to watch it, because the link of the second part that I found in 2015 had become obsolete now and was not available. Though audio for both the parts was now available. I must say that the movie is interesting and one can watch it once. It did have its own highs and lows, but also touches some relevant issues like the individuals sacrificing their lives for the country and families serving the armed forces and where we have families whose generation after generation have been serving the armed forces and sacrificing their lives fighting wars.

Now as per the titles of this movie credits for ‘Music’ are to Jaidev only. I would request knowledgeable readers to throw more light on this.

So far we have three songs from this movie already posted on the blog. These are,

Pyaas Thi Phir Bhi Taqaaza Na Kiya
I am aware of this song since late eighties as it is in one of the compilation cassette of Manna Dey songs in my collection.

Hamaare Dil Ko Tum Ne Dil Bana Diya
In the above post Atul ji have mentioned the name of both Jaidev and Sapan Jagmohan, which I am sure he has taken from the information given in HFGK.

And, “Is Tarah Jaao Nahin

Coming back to the today’s song, a Goddess Durga bhajan, it happens at the end of the movie where the hero’s mother Achala Sachdev has organized a ‘Durga Pooja’ as our hero and heroine are getting marry. But one can see in the video of this song that the heroine has some different thoughts in her mind and she decides to run away from the marriage (and commit suicide). However the hero saves her and then it is there that the heroine explains the trauma she had gone through. And this brings us to the climax of the movie where the hero of the movie Romesh Sharma, heroine Zahira and Zahira’s mother (I am unable to identify the actress) get rid of Zahira’s step father, who is the villain in this movie. Again I am forgetting this actor’s name who I remember to have watched in many movies of those years.

All this happens while the pooja ceremonies are still in progress, and the ‘devotees’ are still praising the Goddess and singing this bhajan. As the hero and heroine happily join the ‘pooja’ after the villain’s end, we get to the extended version of this song which is part two of this song. I am also unable to identify the actor lip syncing in Mahendra Kapoor’s voice and I would request knowledgeable readers to identify this actor please.

Let us now listen to this beautiful composition, 

Maat Ang Chola Saaje Har Ek Rang Chola Saaje

Video

Audio (Part 1)

Audio (Part 2)

Song – Maat Ang Chola Saaje, Har Ek Rang Chola Saaje (Aalingan) (1974) Singer – Mahendra Kapoor, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan
Unidentified Male Voice
Chorus

 

Lyrics

Part i
hey maa

maa aa aa
maat ang cholaa saaje ae
har ek rang cholaa saaje
maat ang cholaa saaje
har ek rang cholaa saaje
maat ang cholaa saaje ae
har ek rang cholaa saaje

maat ki mahima dekho
jyot din raina jaage
maat ki mahima dekho
jyot din raina jaage
maat ang cholaa saaje
har ek rang cholaa saaje
maat ang cholaa saaje
har ek rang cholaa saaje

hey maa
hey maa aa
hey maa aa
tu odhe laal chunariyaa
gehnon se kare singaar
tu odhe laal chunariyaa
gehnon se kare singaar
sheron par kare sawaari
tu shakti ka avtaar
sheron par kare sawaari
tu shakti ka avtaar

tere tej bhare do naina
tere adhron pe muskaan
tere dwaare sees jhukaayen
kya nirbal kya balwaan

hey maa sheraa waaliye
paunawaaliye
hey maa
hey maa

tu odhe laal chunariyaa
gehnon se kare singaar
sheron par kare sawaari
tu shakti ka avatar

(The following does not appear in the video clip; it is taken from other versions available).

(———-
o o o o

tere hi naam ka maata
jagat mein dankaa baaje
tere hi naam ka maata
jagat mein dankaa baaje

maat ang cholaa saaje
har ek rang cholaa saaje
maat ang cholaa saaje ae
har ek rang cholaa saaje

maat ki mahima dekho
jyot din raina jaage
maat ki mahima dekho
jyot din raina jaage
maat ang cholaa saaje
har ek rang cholaa saaje
maat ang cholaa saaje
har ek rang cholaa saaje

———-)

hey maa
hey maa aa
hey maa aa aa

ooncha hai mandir tera
ooncha tera sthaan
ooncha hai mandir tera
ooncha tera sthaan
daani kya koi dooja
maa hoga tere samaan
daani kya koi dooja
maa hoga tere samaan

jo aaye shradhha leke
wo le jaaye wardaan
he maata tu bhakton ke
dukh sukh ka rakkhe dhyaan
o laatawaaliye
sherawaaliye
paunawaaliye
meri ya raaniye
maa
ooncha hai mandir tera
ooncha tera sthaan
daani ko kya koi dooja
maa hoga tere samaan
hey maa
hey maa
tere charnon mein aake
bhagya kaise na jaage
tere charnon mein aake
bhagya kaise na jaage
maat ang cholaa saaje
har ek rang cholaa saaje
maat ang cholaa saaje
har ek rang cholaa saaje
maat ki mahima dekho
jyot din raina jaage
maat ki mahima dekho
jyot din raina jaage
maat ang cholaa saaje
har ek rang cholaa saaje
maat ang cholaa saaje
har ek rang cholaa saaje

Part- 2

oonche mandrawaaliye maata teri sadaa hi
jai
paunawaaliye maata teri sadaa hi
jai
bol saanche darbaar ki
jai

maat ang cholaa saaje
har ek rang cholaa saaje
maat ang cholaa saaje
har ek rang cholaa saaje

maat ki mahima dekho
jyot din raina jaage
maat ki mahima dekho
jyot din raina jaage
maat ang cholaa saaje
har ek rang cholaa saaje ae
maat ang cholaa saaje ae
har ek rang cholaa saaje

hey maa aa
hey maa aa
hey maa aa aa
hey maa

mere dukhde door karo maa aa
mere sankat door karo o
mere dukhde door karo maa aa
mere sankat door karo o

mere saare kashta haro maa
meri vipadaa door karo
mere saare kashta haro maa
meri vipadaa door karo

meri vipadaa door karo maa
meri duvidhaa door karo
mere dukhde door karo maa aa
mere sankat door karo o

jeene ka saahas do maa
jeene ki shakti do

mere saare kashta haro maa
meri vipadaa door karo o

mere dukhde door karo maa
mere sankat door karo 0

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

भाग १
हे माँ
माँ आ आ
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात अंग चोला साजे ए
हर एक रंग चोला साजे

मात की महिमा देखो ओ
ज्योत दिन रैना जागे
मात की महिमा देखो ओ
ज्योत दिन रैना जागे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात अंग चोला साजे ए
हर एक रंग चोला साजे

हे माँ
हे माँ आ
हे माँ आ
तू ओढ़े लाल चुनरिया
गहनों से करे सिंगार
तू ओढ़े लाल चुनरिया
गहनों से करे सिंगार
शेरों पर करे सवारी
तू शक्ति का अवतार
शेरों पर करे सवारी
तू शक्ति का अवतार
तेरे तेज भरे दो नैना
तेरे अधरों पे मुस्कान
तेरे द्वारे सीस झुकाएं
क्या निर्बल क्या बलवान
हे माँ शेरा वालिये
पौनावालिये
हे माँ
हे माँ
तू ओढ़े लाल चुनरिया
गहनों से करे सिंगार
शेरों पर करे सवारी
तू शक्ति का अवतार

हे माँ
हे माँ
हे माँ
ऊंचा है मंदिर तेरा
ऊंचा तेरा स्थान
ऊंचा है मंदिर तेरा
ऊंचा तेरा स्थान
दानी क्या कोई दूजा
माँ होगा तेरे समान
दानी क्या कोई दूजा
माँ होगा तेरे समान

जो आये श्रद्धा ले के
वो ले जाए वरदान
ए माता तू भक्तों के
दुःख सुख का रखे ध्यान
ओ लाटावालिये
शेरांवालिये
पौनावालिये
मेरी या रानिये
माँ
ऊंचा है मंदिर तेरा
ऊंचा तेरा स्थान
दानी क्या कोई दूजा
माँ होगा तेरे समान
हे माँ
हे माँ
तेरे चरणों में आ के ए
भाग्य कैसे न जागे
तेरे चरणों में आ के ए
भाग्य कैसे न जागे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात की महिमा देखो ओ
ज्योत दिन रैना जागे
मात की महिमा देखो ओ
ज्योत दिन रैना जागे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात अंग चोला साजे ए
हर एक रंग चोला साजे

भाग २

ऊंचे मंदरावालीये माता तेरी सदा ही जय
पौनावालिये माता तेरी सदा ही
जय
बोल सांचे दरबार की
जय

हे माँ आ
हे माँ आ
हे माँ आ आ
हे माँ
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात की महिमा देखो ओ
ज्योत दिन रैना जागे
मात की महिमा देखो ओ
ज्योत दिन रैना जागे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मात अंग चोला साजे ए
हर एक रंग चोला साजे
मेरे दुखड़े दूर करो माँ
मेरे संकट दूर करो ओ
मेरे दुखड़े दूर करो माँ
मेरे संकट दूर करो ओ
मेरे सारे कष्ट हरो माँ
मेरी विपदा दूर करो
मेरे सारे कष्ट हरो माँ
मेरी विपदा दूर करो
मेरी विपदा दूर करो माँ
मेरे सारे कष्ट हरो
मेरी विपदा दूर करो माँ
मेरे सारे कष्ट हरो

जीने का साहस दो माँ
जीने की शक्ति दो

मेरे सारे कष्ट हरो माँ
मेरी विपदा दूर करो ओ
मेरे दुखड़े दूर करो माँ
मेरे संकट दूर करो ओ


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.

“Dooj Ka Chaand”(1964) was directed by Nitin Bose for Filmasia, Bombay. The movie had Ashok Kumar, Bharat Bhushan, B saroja Devi, Chandrashekhar, Ratna, Ulhas, Murad, Ifthikar, raj Kumar, Parshuram, Prabhat Kumar, Radheshyam, Mirza Musharraf, Chaman Puri, Polson, Tiwari, Shah, Abhimanyu, Mahavir, Sharma, Ravikant, Tanveer, Nimbalkar, N Kashmiri, Padhi, Puttu, Agha, Sulochana, Azra, Preetibala, Jeewankala, Madhumati, Rani, Leena, tuntun etc in it.
Read more on this topic…


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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.

Hullo to all in Atuldom

Today’s post is under instructions from my husband- Peevesie’s Dad. Oh yes, he is a silent-satulite (a term coined by team Atulites when referring to spouses of Atulites, the term has no geographical or scientific connotation and will be found only in Atulite-lingo 🙂 ). He had asked me to write a post after we returned from a pilgrimage of Sabarimala, which is the abode of Swami Ayyappa. And as far as possible I fulfil every farmaish/ request of his (actually the children, Peevesie more than her brother, rag the two of us for going out of our way to fulfil each other’s requests- there have been no demands between the two of us only requests).
Read more on this topic…


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.

“Jai Singh”(1959) was directed by D Yoganand for R R Productions, Madras. It was the dubbed version of Telugu hit movie “Jaysimha”(1955). The movie had N T Ramarao, Waheeda Rehman, Anjali Devi, S V Rangarao, Relangi, Ghummadi, Kantha Ro, K V S Sharma, Rajnala, Rushyendra Mani etc in it.
Read more on this topic…


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.

Wandering into the world of movies of 1930s and 40s gives me immense pleasure. Digging for difficult to find information about old films, directors, music directors, singers or actors is an interesting challenge for me.While on a chase for such information, I frequently come to dead ends and then have to seek another road to gaining knowledge. It is very sad that in our country, documentation about films of 1930s and 40s is very poor.
Read more on this topic…


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.

“Kuchh Naya”(1948) was directed by Ninu Majumdar for Shanti pictures, Bombay. This “social” movie had Ramesh Arora, Sudha Rao, Ramesh Sinh, Purnima Chaudhary, R S Dubey, Tribhuwan Sinha, Sharad Rao, Master Prakash etc in it.
Read more on this topic…


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Jaidev Ki Non-Filmi Suraavali – 04
—————————————————-

Chhaya Ganguly is an ardent disciple of Madhurani, guru to so many other contemporary ghazal singers.

As mentioned earlier, Jaidev ji was so much impressed by Chhaya Ganguly’s voice and its tonal quality, much different from the prevalent style of most of the contemporary singers. He decided to make a devotional album suited to Chhaaya’s voice. The album ‘Bhakti Sudha’ was published by SaReGaMa (originally HMV, and then RPG) in 1983. It contains eight melodious devotional songs. Today’s post is the second Bhajan from this album to be introduced here on our marvellous musical blog. This Bhajan is written by blind poet Surdas-ji.

This Bhajan is set in the typical Boul music from Bengal. This one is one of the most popular bhajans of Surdas. I have not been able to hear two three words in the last stanza. Please will someone help me?

Chhaya Ganguly’s renderings charged with emotions, divine abandon and melody do full justice to the rich contents of the original verses. Her haunting and sensitive style lingers in the mind long after the last note has faded away.

 


Song – Nath Mohe Ab Ki Ber Ubaaro (Chhaaya Ganguly NFS) (1983) Singer – Chhaaya Ganguly, Lyrics – Soordas, MD – Jaidev

Lyrics

naath mohe..e..e
naath mohe..e..e mohe..e..e
naath mohe
ab ki ber ubaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
naath mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
 
tum naathan ke naath swami
daata naam tihaaro
daata naam tihaaro
tum naathan ke naath swami
dataa naam tihaaro
dataa naam tihaaro
karam-heen janam ko andho
karam-heen. . .
karam-heen janam ko andho
mo te kaun nakaaro
nakaaro
mo te kaun nakaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
ubaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro

teen lok ke tum prati-paalak
teen lok ke tum prati-paalak
main hun daas tihaaro
teen lok ke tum prati-paalak
main hun daas tihaaro
taari jaati kujaati shyam tum
taari. . .
taari jaati kujaati shyam tum
mo par kirpa dhaaro
dhaaro
mo par kirpa dhaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
ubaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
 
shudra patit tum taare ramaapati
shudra patit tum taare ramaapati
ab naa karo jiya gaaro
shudra patit tum taare ramaapati
ab naa karo jiya gaaro
soordas saacho tab maane
soordas
daata. . .
soordas saacho tab maane
jo h’ve mam nistaaro
nistaaro
jo h’ve mam nistaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
ubaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
mohe ab ki ber ubaaro
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

नाथ मोहे॰॰ए॰॰ए
नाथ मोहे॰॰ए॰॰ए मोहे॰॰ए॰॰ए
नाथ मोहे
अब की बेर उबारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो
नाथ मोहे अब की बेर उबारो
मोहे अब की बेर उबारो

तुम नाथन के नाथ स्वामी
दाता नाम तिहारो
दाता नाम तिहारो
तुम नाथन के नाथ स्वामी
दाता नाम तिहारो
दाता नाम तिहारो
करमहीन जनम को अन्धो
करमहीन॰॰॰
करमहीन जनम को अन्धो
मो ते कौन नकारो
नकारो
मो ते कौन नकारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो
उबारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो

तीन लोक के तुम प्रति-पालक
तीन लोक के तुम प्रति-पालक
मैं हूँ दस तिहारो
तीन लोक के तुम प्रति-पालक
मैं हूँ दस तिहारो
तारी जाती कुजाति श्याम तुम
तारी॰॰॰
तारी जाती कुजाति श्याम तुम
मो पर किरपा धारो
धारो
मो पर किरपा धारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो
उबारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो

शूद्र पतित तुम तारे रमापति
शूद्र पतित तुम तारे रमापति
अब ना करो जियो गारो
शूद्र पतित तुम तारे रमापति
अब ना करो जियो गारो
सूरदास साँचो तब माने
सूरदास
दाता॰॰॰
सूरदास साँचो तब माने
जो ह्वै मम् निस्तारो
निस्तारो
जो ह्वै मम् निस्तारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो
उबारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो
मोहे अब की बेर उबारो


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.

Today(21st August 2017) is the last Monday of the holy month of Shrawan, in the Southern, Western and some Eastern states of India. For the rest of India the Saawan month had ended on the 7th August itself. Today’s Shiv bhajan is from the film Shri Ganesha janma-1951.
Read more on this topic…


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13700 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13759

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3761

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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