Archive for the ‘bidaai song’ Category
Jaa Ri Laadli Apne Ghar Ko
Posted on: November 23, 2022
- In: "Doli" song | bidaai song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Geeta Dutt - Meena Kapoor NFS | Geeta Dutt songs | Geeta Dutt- Meena Kapoor duet | Guest posts | Lyrics contributed by readers | Meena Kapoor songs | NFS | Post by Sudhir | Rare song | Songs of 1950s (1951 to 1960) | Songs of 1952 | Wedding song | Yearwise breakup of songs
- 1 Comment
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.
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5241 | Post No. : | 17238 |
Today we celebrate a combined anniversary of two singers. Two singers who were contemporary, two singers who were very good friends, two singers whose voices were considered almost similar. It is the birth anniversary of Geeta Dutt (nee Roy), and the remembrance day of Meena Kapoor.
23rd November – Geeta Ji was born in the year 1930 in Idilpur village (now in Bangladesh), into a zamindar family. In early 1940s, they moved to Calcutta (now Kolkata) and then to Bombay (now Mumbai) in mid 1940s. The same date in 2017, Meena ji passed away in Kolkata, after some years of illness. She was in Delhi till 2003, the year when Anil Da (Anil Biswas) passed away, and then she moved to Kolkata.
Geeta ji started her singing career in 1945, with the film ‘Aadhaar’ under the music direction of SN Tripathi. Her last released film is ‘Anubhav’ from 1971, and then ‘Midnight’ from 1972, which remained unreleased.
Meena ji started her career in 1946. Two films with her playback singing were released that year – ‘Door Chalen’ under the music direction of KC Dey, and ‘Eight Days’ under the music direction of SD Burman. Her last singing assignment is recorded for the 1965 film ‘Chhoti Chhoti Baaten’, with music by Anil Biswas.
As I thought of writing a combined post for these two singing ladies, I tried to search for a duet sung by them. As per the Geet Kosh, I am able to locate only three duets they have sung. Two of them are already posted here on our blog. The first one is from the film ‘Aadhi Raat’ (1950) – “Main Ne Balam Se Poochhaa Miloge Kahaan”, and the second one is from the film ‘Jalte Deep’ also from 1950 – “Aayi Milan Ki Raat Karo Meethhi Meethhi Baat”. The third duet listed in Geet Kosh is from 1951 film ‘Ghaayal’. The song is “Tera Kisi Pe Aaye Dil…”. This song is not yet posted on our blog. And for good reason. This song is not yet traceable in public domain. The funny thing is that the song on the ‘palat’ (other) side of the record (GE 8739) is very much available – “Dil Toota Hua, Pal Pal Tujhe Pukaare” (singer is Meena Kapoor) and also posted on our blog. But as I started inquiring yesterday evening from my trusted circle of collector friends, all of the replied that this song is somehow not yet available.
But then today late morning, I got information about two other duet songs of this pair, which was very heartening. Just as a side, film ‘Ghaayal’ of 1951 has one other song in which the voices of these two ladies appear. However, this one is a trio song accompanied by GM Durrani. It is a long song, on both sides of the record (no. GE8740) which means it is about 6 minutes long. I was actually preparing to use this trio song for today’s post, but then I got two responses from two dear friends, both sharing information about one duet song each. Very interesting development indeed.
First I got to see a message from dear Gajendra Khanna ji (Bengaluru based) in which he shared info about another duet song. This one is from the 1948 film ‘Hip Hip Hurray’ (aka ‘Chaube ji’) and the song title is “Hum Jaan Gaye Jaan Gaye Jaan Gaye Ji”. The Geet Kosh does not list the singer names for this song. I tried to confirm this information, checking with another dear friend Zafar Bhai (based in Delhi-6), and he sent me the image of the record of this song. The reason that GK does not list the singer names is because the record itself does not carry these names. On checking back with Gajendra Ji, he shared with me the audio of the song, and said that the identification is based on the voices on the track. So we found another duet song.
And then almost immediately Zafar Bhai also responded with an additional song. This turns out to be a NFS duet, that makes it all the more rare. The fact that there are really very rare duet NFS songs (of any pair of singers), being able to locate one with these two voices, which have otherwise also not sung too many songs together, makes is rarer than rare.
I decided to go ahead with this NFS song, and dear Zafar Bhai immediately obliged by posting it on YouTube. All the additional delays that bring this post to almost 9 pm in the evening, are my doing. :D) :D)
The lyrics of this song are from the pen of Madhukar Rajasthani, an eminent poet of his time. Music is from the mind of Vedpal Verma, one of the lesser heard names in Hindi films, who has otherwise a notable portfolio of 70 songs from about a dozen films (this info is till 1980, and there may be more work done by this MD beyond 1980).
The song is a ‘bidaai’ song. A hoary tradition of this land – a song that is sung to bid farewell to a new bride as she starts her journey to a new home, a new family and a new life partner. The words are so wonderfully appropriate. My identification of the voices is that the first stanza is in the voice of Geeta ji and the second stanza is in the voice of Meena ji. I may be wrong, as I am not a good judge of voices. The record label unmistakably carries both names. In case my identification is in error, please let me know and I will make necessary changes.
In the beginning of the song there are a few lines that have been recited by an unidentified male voice. Could it be the poet himself? I cannot say.
Two very beautiful voices, and two very beautiful ladies. Good friends, but singing together only occasionally. Enjoy this very rare treat of an NFS duet song, with lots of thanks to Zafar Bhai for making my day.
Song – Jaa Ri Laadli Apne Ghar Ko (NFS) (1952) Singer – Geeta Roy (Dutt), Meena Kapoor, Lyrics – Madhukar Rajasthani, MD – Vedpal Verma
Lyrics
kaisa milan ye kaisa bichhudna
kaisa milan ye kaisa bichhudna
kaisi jag ki reet re
kaisi jag ki reet
de di bida mohe hanste hanste
de di bida mohe hanste hanste
kaise hain ye meet
goonj raha kaanon mein ab tak
wahi vidaai geet
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli
oo oo oooo
bachpan ke sab sangi saathi
bachpan ke sab sangi saathi
bhulat naahin bhulaaye
man chhoda babul ki nagri
man chhoda babul ki nagri
tan doli mein jaaye
tan doli mein jaaye
door kahin wo le ke bansi
baar baar ye gaaye
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli
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Hindi script lyrics (Provided by Sudhir Kapur)
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कैसा मिलन ये कैसा बिछुड़ना
कैसा मिलन ये कैसा बिछुड़ना
कैसी जग की रीत रे
कैसी जग की रीत
दे दी बिदा मोहे हँसते हँसते
दे दी बिदा मोहे हँसते हँसते
कैसे हैं ये मीत
गूंज रहा कानों में अब तक
वही विदाई गीत
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली
ओ ओ ओ
बचपन के सब संगी साथी
बचपन के सब संगी साथी
भूलत नहीं भुलाए
मन छोड़ा बाबुल की नगरी
मन छोड़ा बाबुल की नगरी
तन डोली में जाये
तन डोली में जाये
दूर कहीं वो ले के बांसुरी
बार बार ये गाये
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली
Sonwa ke pinjra mein
Posted on: July 31, 2022
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.
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5126 | Post No. : | 17075 |
Today 31st July we remember the ‘divine voice’ of Hindi Film Music Late Shri Mohd Rafi Sahab on his Remembrance Day and pay our tributes to him on this blog.
Mohd Rafi left this world on 31st July 1980. Forty-two years have passed since he left this world. But, for the music lovers, not a single day passes without his voice ‘singing’ around us …
On this blog there have been many passionate, heartfelt, lovable posts on Rafi Saab in the past and they will continue in the future too.
I am not going to write about Rafi Saab’s voice, his songs or his personality and the many incidences which have been known to us about his generosity and all.
I would like to pay my tributes today to Rafi Saab by presenting one of his songs which touched me very much. I had come across this song during the month of January this year when it was being played on ‘Vividh Bharati’. I can now guess that it must be around 14th January the ‘Remembrance Day’ of music director Chitragupt ji. This programme was dedicated to him. Since then, I had listened to this song many times. Not only the singing of this song, but the whole composition is ‘simply great’ in terms of its lyrics and music. Lyrics for this song are by Shailendra ji.
This song is from the Bhojpuri movie or rather the ‘first Bhojpuri movie’ ‘Ganga Maiyya Tohe Piyari Chadhaibo-1962’.
So far, two songs from this movie have been posted on the blog.
This movie made its’ debut on the blog on 23.04.2015 with its song ‘kaahe bansuriya bajaule re sudh bisraule’.
This post was presented by Shri. Sudhir jee and I would like to reproduce here what he has mentioned about this movie in his post.
This is the first Bhojpuri film that was made in India. An interesting anecdote behind its creation. At an film awards ceremony in late 1950s, the then President of India, Babu Rajendra Prasad, who hails from Bihar, spoke with Nazir Hussain, the renowned character actor, also from Bihar. The president queries why not make films in Bhojpuri language. In fact, Nazir Sb was already preparing a script for a Bhojpuri film, with this title. He promised the president that it will happen soon.
Nazir Husain discussed the script with Bimal Roy, but he did not express any great amount of interest in the project. A later chance meeting with Bishwanath Prasad, a businessman and a film distributor and exhibitor in Bihar, led to a more interested commitment, and the film was launched with financing from the businessman. The film was completed in 1962. A special screening was arranged for the President, before the public release. The film was released to public in 1963.The title of the film refers to a tradition in Bihar that says, ‘Mother Ganga, I will offer you the auspicious yellow sari’. The word ‘piyari’ represent the yellow sari. The tradition is that people will pray to Mother Ganges, and place their wish to her, in their prayers. On the fulfilment of their wishes, they will make an offering the auspicious yellow sari, to Mother Ganges.
“Ganga Maiyya Tohe Piyari Chadhaibo-1962” was directed by Kundan Kumar for ‘Nirmal Pictures’.
It had Kumkum, Aseem Kumar, Nazir Hussain, Tiwari, Mishra, Helen, Leela Mishra, Bhagwan Sinha, Tun Tun, Mangala Prasad, T.N. Sinha, Keshav Rana, Amal Sen, Kesarbai, Mastram, Bhushan Tiwari, Daya Devi, Dubey, Kumari Padma and others.
This movie had six songs (including one multiple version song) written by Shailendra and composed to music by Chitragupt.
Lata Mangeshkar, Suman Kalyanpur, Usha Mangeshkar, and Mohd Rafi had given their voices to the songs in this movie.
Today’s song is sung by Rafi Saab and on screen it is played in the background when the heroine of the movie Kumkum is getting married. Also seen the picturisation of this song is Leela Mishra, Nazir Hussain, Aseem Kumar, and many other artistes.
This song sung by Rafi Sahab is the only song sung by him in this movie (as per the list of songs and singers mentioned for them in HFGK Vol-IV (1961-1970).
Let us now listen to this heart wrenching song sung by none other than Rafi Sahab.
(I would also like to given here a brief translation of this song mentioned on a You Tube link by a enthusiastic reader
Shut in a cage of gold, the bird’s heart is sad, the branch of the tree is broken, the nest is scattered, and the blue sky is lost forever. With tear filled eyes the mute bird, the beloved daughter of her mother, is going away to an unknown place. O my father these pearls of my tears I leave behind with you. Her friends kept shedding tears as the hunter took the bird away. My dear forget about me and let go off all the hopes of our meting again.
Video
Audio
Song-Sonwa ke pinjra mein (Ganga Maiyya Tohre Piyari Chadhaibo)(1962) Singer-Rafi, Lyrics-Shailendra, MD-Chitragupta
Lyrics
sonwa ke pinjra mein
band bhail haaye raam
chirayi ke jiyawa udaas
toot gayile daaliyaa
chhitar gayile khotwaa
toot gayile daaliyaa
chhitar gayile khotwaa
chhoot gayile neel re aakaash
sonwa ke pinjra mein
band bhail haaye raam
chirayi ke jiyawa udaas
chhal chhal naina nihaare
chup chirayi
chalali bideswa re maiyya ke duaarui
chhal chhal naina nihaare
chup chirayi
chalali bideswa re maiyya ke duaarui
aansooaa ke motiyaa nisaani more
baabulaa
aansooaa ke motiyaa nisaani more
baabulaa
dhari gayile ham tohre paas
sonwa ke pinjra mein
band bhail haaye raam
chirayi ke jiyawa udaas
bilkhat rahi gayili sang ke saheliyaa
le gayil baandh ke nithur re baheliya
bilkhat rahi gayili sang ke saheliyaa
le gayil baandh ke nithur re baheliya
more man mitwaa bhula de ab hamraa ke
more man mitwaa bhula de ab hamraa ke
chhodi de milan ke tu aas
sonwa ke pinjra mein
band bhail haaye raam
chirayi ke jiyawa udaas
This article is written by Sadanand Kamath, 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 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.
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Blog Day : |
4835 | Post No. : | 16618 |
koi aaghe aaghe thhi venu vaay chhe
Thus sang the Nightingale of Gujarat, Kaumudi Munshi, who is regarded as the pioneer in popularising the semi-classical non-filmy songs in Gujarati.
Today, October 13, 2021 is first Remembrance Day of vocalist, Kaumudi Munshi, the Gujarat Kokila who regaled her Gujarati admirers spread all over the world with her beautiful renditions of semi-classical non-film songs. She sang in the genres of bhajans, ghazals, thumris, dadras and other forms of ‘sugam sangeet’ in Gujarati and Hindi for over 6 decades.
I had watched the videos of the facilitations to Kaumudi Munshi on the occasion her 90th birth day, held sometime in 2019 during which she also rendered a few of her popular non-film songs. She looked hale and hearty even in her 90s with clear diction. Unfortunately, she became one of the victims of Covid and left for her heavenly abode in the early morning of October 13, 2020 at the age of 91. Aakashvaani, Rajkot paid a special tribute to Kaumudi Munshi by playing some of her non-filmy Gujarati songs on the same day.
Kaumudi Munshi (1929 – 13/10/2020) was the sixth child of Kunwar Nandlal Munshi and Anuben Munshi, born in Varanasi in a landlord family. Her forefathers belonged to Vadnagar in Gujarat but they had settled in Varanasi 6-7 generations back. Hence the family members mostly spoke in Hindi. Because of the servants in the house who spoke in Awadhi and Bhojpuri, she was proficient in speaking these dialects also.
From the childhood, Kaumudi was exposed to classical music as there used to be regular musical soirees in her house. After completion of graduation in music from Banaras Hindu University in 1950, she came to Mumbai where her brothers were settled. Her maternal uncle and Gujarati laureate, Ramanlal Desai and his son Akshay Desai helped her in pursuing a career in music. Akshay Desai taught her Gujarati in which she was not proficient due to her upbringing in Varanasi.
After passing the audition test, Kaumudi Munshi joined All India Radio (AIR) as a singer in 1951. Starting as a chorus singer, she graduated to singing solo songs on AIR, mostly composed by Ninu Mazumdar, the music director of Hindi films of 40s and early 50s who was also a music producer in AIR. This relationship developed into her marriage with Ninu Mazumdar in 1954.
Generally, training for vocalists in classical music starts in the childhood so that by the time, they attain adulthood, they are well trained to perform as concert vocalists. But in the case of Kaumudi Munshi, though she was interested in classical music, her family did not encourage her as singing was not regarded as honourable career for a girl. However, after the marriage, Ninu Mazumdar encouraged her to take a formal training in Hindustani classical music as a vocalist. She had two options to take training – Siddeshwari Devi, the thumri queen and Begum Akhtar, the ghazal queen. Kaumudi Munshi chose Siddeshwari Devi over Begum Akhtar purely from the logistic point of view as the former was staying in Varanasi and Kaumudi had the parental house in Varanasi.
During 1955-60, Kaumudi Munshi mostly stayed in Varanasi for her training and accompanied Siddeshwari Devi on her concerts and the music conferences. Later, she also took training from Ustad Taj Ahmed Khan for ghazal singing.
After returning to Mumbai in early 1960s, she concentrated on singing thumri, dadra, ghazal, bhajan, and folk songs mainly from Uttar Pradesh and Gujarat. Most of her songs were composed by her husband, Ninu Mazumdar though she also worked with other music director like Avinash Vyas, Dilip Dholkiya, Ajit Merchant etc. She sang semi-classical songs mainly in Gujarati and Hindi Probably, Kaumudi Munshi may be the first to popularise the Hindustani semi-classical songs in Gujarati. She also composed and sung children’s songs both in Hindi and Gujarati.
Kaumudi Munshi’s association with Hindi films was very limited. It started and virtually ended in 1954 with two films – ‘Bhai Saheb’ (1954) and ‘Teen Tasveeren’ (1954) for which her husband, Ninu Mazumdar was the music director. The reason was that she started singing in Hindi films only after her marriage with Ninu Mazumdar in 1954. In the same year, she left for Varanasi to be the disciple of Siddeshwari Devi. After her return to Mumbai in early 1960s, she and her husband concentrated on non-filmy semi-classical and folk songs though she sang in two Hindi films, ‘Shola Aur Shabnam’ (1961) and ‘Raja Aur Rank’ (1968) besides singing a song in a Bhojpuri film ‘Bidesiya’ (1963).
On the occasion of the first Remembrance Day of Kaumudi Munshi, I have chosen one of her songs from the film ‘Teen Tasveeren’ (1954). The song is ‘kar ke singaar chali, saajan ke dwaar chali’. The song is in two parts. The part of the song sung by Kaumudi Munshi and chorus is written by Prem Dhawan while remaining part-1 and the full pat-2 of the song sung by Ninu Mazumdar is mainly based on Sant Kabir Das’s nirgun bhajan.
‘Teen Tasveeren’ (1954) was a very obscure film with not so well-known cast. I have no idea about the story of the film. Hence, it is difficult to know the context in which the song under discussion was picturised. What I can surmise is that while the first part of the song rendered by Kaumudi Munshi and Chorus is pre-wedding ‘bidaai’ song, the part of the song sung by Ninu Mazumdar which continues in Part-2 is, in the broader context of ‘bidaai’ from this world. In a way, part-2 of the song is philosophical. The word, ‘saajan’ has been used metaphorically to mean the Lord of the universe in Ninu Mazumdar’s version.
The broad meaning of the Ninu Mazumdar’s version of the song is as under:
O clever woman, be ready with make-up and the best dresses. You have to go to the God’s house. Do wash, bathe and braid your hairs. There is no returning from God’s house where the shroud will be of earth; the bed will be of earth and thus you will have to get united with the earth.
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Note: The life sketch of Kaumudi Munshi is based on https://www.kaumudimunshi.com/about.html and the video of her interview taken in Gujarati on the occasion of her 90th birthday celebration.
Audio Clip (Parts-1&2):
Song-Kar ke singaar chali saajan ke dwaar chali (Teen Tasweeren)(1954) Singers-Kaumudi Munshi, Ninu Majumdar, Lyrics-Kabeer, MD-Ninu Majumdar
Chorus
Lyrics
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Part-1
————————-
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
chhanan chhanan mori ghunghroo baaje
jhanan jhanan paayaliyaa re
jhanan jhanan paayaliyaa
chhanan chhanan mori ghunghroo baaje
jhanan jhanan paayaliyaa re
jhanan jhanan paayaliyaa
sanan sanan gaaye re pawan ghan
ghanan ghanan baadaliyaa
sanan sanan gaaye re pawan ghan
ghanan ghanan baadaliyaa
o o o o o o
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
dhin ta thai thai
dhin ta thai thai
dhin dha ki ta dhaki ta dha
dhin ta thai thai
dhin ta thai thai
dhin ta thai thai
dhin dha ki ta dhaki ta dha
dhaki ta dha
ta thai thai
gori teri saajan kaun albela
khel kahaan preet ka khela aa
gori teri saajan kaun albela
khel kahaan preet ka khela
o o o o o
mujhse na poochho
poochho in nainan se..ae
jaane ye kya kah baithe ae saajan se
thhaam ke mori bainyyaan
chupke se bole sainyaan
thhaam ke mori bainyyaan
chupke se bole sainyaan
ab raha jaaye na akela
o o o o o o
saj dhaj ke naar chali
ban ke bahaar chali
chatura albe..li
kar ke singaar chali
saajan ke dwaar chali
chatura albe..li
kar le singaa….ar
chatura albeli ee ee
saajan ke ghar jaana hoga
kar le singaa….ar
————————–
Part-2
————————–
kar le singaa….ar
chatura albeli ee ee
saajan ke ghar jaana hogaa
kar le singaa…aar
naha le dho le
sheesh gunthha le
naha le dho le
sheesh gunthha le
phir wahaan se nahin aana hogaa…aa
saajan ke ghar jaana hogaa
kar le singaa…ar
chatura albeli..ee ee
saajan ke ghar jaana hogaa
kar le singa….ar
mitti odhaawan mitti bichhaawan
mitti odhaawan mitti bichhaawan
mitti mein mil jaana hogaa…aa
mitti mein mil jaana hogaa
mitti mein mil jaana hogaa
Daaman se bandh gayi choli re
Posted on: September 11, 2021
This article is written by Sadanand Kamath, 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 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.
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Blog Day : |
4803 | Post No. : | 16570 |
‘Chunariya’ (1948) was produced under the banner of Kuldeep Pictures of Lahore-based Kuldeep Sehgal which was his first film in Mumbai after partition. The film was directed by Ravindra Dave. The story, dialogues, screen-play and lyrics were written by Mulk Raj Bhakri. The production controller was his brother, Lekh Raj Bhakri. The star cast included Manorama and Wasti in the lead role with Randhir, Pran, Sophia, Cuckoo, Narbada Shankar, Mehdi Raza, Chand Burque, Baij Sharma etc in subsidiary roles.
It is interesting to note as to how the box office success of ‘Chunariya’ (1948) helped the career revival of some of the displaced persons from the Lahore film industry. Most of them had shifted to Mumbai after partition in 1947 almost penniless. Although the film was produced by Kuldeep Sehgal, according to character actor Janaki Das, it was Mulk Raj Bhakri along with his brother, Lekh Raj Bhakri who organized the actors and the crew, mostly among the displaced from Lahore film industry. Later, both Bhakri brothers floated their own film production companies and became producers/director.
The film’s director, Ravindra Dave was also a displaced person from Lahore film industry who came to Mumbai along with his brother Ramnarayan Dave and their maternal uncle, Dalsukh Pancholi. ‘Chunariya’ (1948) was his first directorial film in Mumbai. Ravindra Dave also floated his own film production company and became the producer-director of Hindi and Gujarati films. The acting career of Manorama and Pran, both from Lahore, took off in Mumbai from the success of ‘Chunariya’ (1948).
Music Director, Hansraj Bahl who started his career as the music director in Mumbai with ‘Pujaari’ (1946), was on the downhill after the continuous failures of about half-a-dozen films. He bounced back with good compositions of the songs for ‘Chunariya’ (1948) some of which became popular. Although, Geeta Dutt was the main female playback singer for the film, it was Lata Mangeshkar’ song, dil-e-naashaad ko jeene ki hasrat ho gayi tumse which became very popular. Similary, Mohammed Rafi’s song, sab kuchh lutaaya hamne aakar teri gali mein also became very popular.
‘Chunariya’ (1948) has the distinction of becoming a film in which Asha Bhosle sang her first song in Hindi film, ‘saawan aaya re saawan aaya jaage more bhaag’ along with Geeta Dutt and Zohrabai Ambalewaali in this film. However, according to Raju Bharatan who wrote Asha Bhosle’s musical biography, Asha Bhosle sang her first Hindi film song, ‘gareebon ke data gareebon ke waali’ in ‘Andhon Ki Duniya (1947) along with Zohrabai Ambalewaali. Unfortunately, as of now, both the songs are not available on any of the video sharing platforms. There may be some story as to why many on-line articles on Asha Bhosle consider the song in ‘Chunariya’ (1948) being her first Hindi film song rather than her song from ‘Andhon Ki Duniya’ (1947).
‘Chunariya’ (1948) had 10 songs – all written by Mulk Raj Bhakri of which 8 songs have already been covered on the Blog. The remaining two songs were not available on video sharing platforms for quite some time. Very recently, I am able to get mp3 clip of one of the two ‘missing’ songs which I have uploaded on a video sharing platform.
I am presenting the 9th song, ‘daaman se bandh gayi choli re, meri sakhi paraayi ho li re’ which is rendered by Geeta Dutt and chorus. From the wordings of the lyrics, it is apparent that it is a ‘Bidaai Song’ sung by bride’s friends.
Audio Clip:
Song-Daaman se bandh gayi choli re (Chunariya)(1948) Singer-Geeta Dutt, Lyrics-Mulkraj Bhakri, MD-Hansraj Bahl
Chorus
Lyrics
daaman se bandh gayi choli re
choli re daaman se
ho daaman se bandh gayi choli re
daaman se bandh gayi choli re..ae
choli re daaman se
ho daaman se bandh gayi choli re
em>mori sakhi paraayi ho li re..ae
ho li re daaman se
ho daaman se bandh gayi choli re
baabul kaa ghar chhod sakhi
kar pi kaa ghar aabaad
hoooooooo
piya prem mein kho na jaana
hamein bhi rakhna yaad
man har lenaa
saanwariya kaa
aa aa aa aa aaa
bol ke meethhi boli re..ae
boli re daaman se
ho daaman se bandh gayi choli re
daaman se bandh gayi choli re..ae
choli re daaman se
ho daaman se bandh gayi choli re
pi charanan mein baith sakhi
tum swarg ka sukh nit paana
ho ooo oo
unki charan dhool ka nis din
maathhe tilak lagaana
haan haan
har raat teri bane deewaali
ee ee ee ee eee
har din ho tera holi re
holi re daaman se
ho daaman se bandh gayi choli re
daaman se bandh gayi choli re..ae
choli re daaman se
ho daaman se bandh gayi choli re
Maiyya mere bhaiyya na aaye re
Posted on: May 3, 2021
- In: bidaai song | Brother Sister song | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Missing the loved ones | Series of articles | Songs of 1970s (1971 to 1980) | Songs of 1978 | Wedding song | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
- 2 Comments
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.
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Blog Day : |
4672 | Post No. : | 16347 | Movie Count : |
4439 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XXXII: Year 1978
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In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1978.
In 1978, 115 Hindi movies containing 558 songs were released. Lata Mangeshkar got to sing in 46 of these movies and she sang 90 songs in these movies. So Lata Mangeshkar’s voice was heard in 40 % of the movies released in 1978. Her voice was heard in 16.1 % of the songs appearing in the movies of 1978.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1978 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Aahuti | Laxmikant Pyarelal | 3 | 3 | 1 | 1 | 0 | 1 | Anand Bakshi |
| 2 | Aakhiri Daaku | Kalyanji Anandji | 0 | 2 | 2 | 0 | 0 | 0 | Anjaan |
| 3 | Anjaam | Kalyanji Anandji | 0 | 1 | 1 | 0 | 0 | 0 | Nandi Khanna |
| 4 | Anjaane Mein | Kalyanji Anandji | 0 | 2 | 2 | 0 | 0 | 0 | Gulshan Baawra |
| 5 | Azaad | R D Burman | 1 | 3 | 2 | 1 | 0 | 0 | Anand Bakshi |
| 6 | Badalte Rishtey | Laxmikant Pyarelal | 1 | 1 | 0 | 1 | 0 | 0 | Anjaan |
| 7 | Besharam | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Yogesh |
| 8 | Bhola Bhaala | R D Burman | 1 | 1 | 0 | 1 | 0 | 0 | Anand Bakshi |
| 9 | Daakoo Aur Jawaan | Laxmikant Pyarelal | 1 | 1 | 0 | 0 | 1 | 0 | Anand Bakshi |
| 10 | Des Pardes | Rajesh Roshan | 2 | 2 | 1 | 1 | 0 | 0 | Amit Khanna |
| 11 | Devtaa | R D Burman | 3 | 3 | 1 | 2 | 0 | 0 | Gulzar |
| 12 | Dil Aur Deewaar | Laxmikant Pyarelal | 2 | 2 | 0 | 1 | 1 | 0 | Anand Bakshi |
| 13 | Dillagi | Rajesh Roshan | 3 | 3 | 2 | 1 | 0 | 0 | Yogesh |
| 14 | Dil Se Mile Dil | Bappi Lahiri | 0 | 1 | 1 | 0 | 0 | 0 | Amit Khanna |
| 15 | Do Musaafir | Kalyanji Anandji | 0 | 1 | 0 | 1 | 0 | 0 | M G Hashmat |
| 16 | Don | Kalyanji Anandji | 1 | 1 | 0 | 1 | 0 | 0 | Anjaan |
| 17 | Do Shikaari | Chitragupta | 0 | 1 | 1 | 0 | 0 | 0 | Jaan Nisaar Akhtar |
| 18 | Ganga Ki Saugandh | Kalyanji Anandji | 2 | 2 | 2 | 0 | 0 | 0 | Anjaan |
| 19 | Ghar | R D Burman | 4 | 4 | 2 | 2 | 0 | 0 | Gulzar |
| 20 | Heeralal Pannalal | R D Burman | 1 | 1 | 0 | 0 | 0 | 1 | Majrooh Sultanpuri |
| 21 | Karmyogi | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Verma Malik |
| 22 | Kasme Vaade | R D Burman | 0 | 1 | 0 | 1 | 0 | 0 | Gulshan Baawra |
| 23 | Khoon Ki Pukaar | Bappi Lahiri | 1 | 5 | 3 | 2 | 0 | 0 | Gauhar Kanpuri (3) Hasrat Jaipuri (2) |
| 24 | Main Tulsi Tere Aangan Ki | Laxmikant Pyarelal | 2 | 2 | 1 | 0 | 1 | 0 | Anand Bakshi |
| 25 | Mehfil | Shankar Jaikishan | 0 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 26 | Mera Rakshak | Ravindra Jain | 1 | 3 | 1 | 2 | 0 | 0 | Ravindra Jain |
| 27 | Muqaddar Ka Sikandar | Kalyanji Anandji | 3 | 3 | 1 | 1 | 0 | 1 | Anjaan (2) Prakash Mehra (1) |
| 28 | Naalaayak | Kalyanji Anandji | 0 | 1 | 1 | 0 | 0 | 0 | Verma Malik |
| 29 | Nasbandi | Kalyanji Anandji | 0 | 1 | 1 | 0 | 0 | 0 | Indeewar |
| 30 | Naukri | R D Burman | 0 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
| 31 | Phaandebaaz | R D Burman | 1 | 2 | 0 | 2 | 0 | 0 | Anand Bakshi |
| 32 | Phaansi | Laxmikant Pyarelal | 1 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 33 | Phool Khile Hai Gulshan Gulshan | Laxmikant Pyarelal | 1 | 1 | 1 | 0 | 0 | 0 | Rajinder Krishan |
| 34 | Prem Bandhan | Laxmikant Pyarelal | 1 | 2 | 0 | 2 | 0 | 0 | Anand Bakshi |
| 35 | Qaanoon Ka Shikaar | Meena Mangeshkar | 0 | 1 | 1 | 0 | 0 | 0 | Yogesh |
| 36 | Raam Kasam | Sonik Omi | 1 | 1 | 0 | 1 | 0 | 0 | Verma Malik |
| 37 | Saawan Ke Geet | Laxmikant Pyarelal | 0 | 2 | 1 | 1 | 0 | 0 | Majrooh Sultanpuri |
| 38 | Satyam Shivam Sundaram | Laxmikant Pyarelal | 4 | 4 | 4 | 3 | 0 | 1 | Pt Narendra Sharma (4) Anand Bakshi (1) Vithhal Bahi Patel (1) Unknown (1) |
| 39 | Shalimar | R D Burman | 1 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
| 40 | Swarg Narak | Rajesh Roshan | 1 | 1 | 1 | 0 | 0 | 0 | Anand Bakshi |
| 41 | Toote Khilaune | Bappi Lahiri | 1 | 1 | 1 | 0 | 0 | 0 | Kaifi Azmi |
| 42 | Trishna | Kalyanji Anandji | 1 | 1 | 1 | 0 | 0 | 0 | Anjaan |
| 43 | Trishul | Khayyam | 6 | 6 | 1 | 4 | 0 | 1 | Sahir Ludhianvi |
| 44 | Tumhaare Liye | Jaidev | 2 | 2 | 2 | 0 | 0 | 0 | Naqsh Llayalpuri |
| 45 | Tumhaari Kasam | Rajesh Roshan | 1 | 2 | 1 | 1 | 0 | 0 | Anand Bakshi |
| 46 | Vishwanath | Rajesh Roshan | 2 | 3 | 2 | 1 | 0 | 0 | Vitthal Bhai Patel (1) M G Hashmat (1) Anjaan (1) |
| Total | 46 movies | 12 MDs | 58 | 90 | 48 | 34 | 3 | 5 | 22 lyricists |
Lata Mangeshkar worked with 12 music directors and 22 lyricists in these 46 movies released in 1978. This year, Laxmikant Pyarelal the most prolific music directors with Lata, had composed 484 songs in HFM with Lata Mangeshkar by the end of 1978. Shankar Jaikishan with 449 songs in the voice of Lata Mangeshkar were in the second position. Kalyanji Anandji with 292 songs and C Ramchandra with 274 songs ere the next most prolific. Other top music directors for Lata Mangeshkar were Chitragupta (239), R D Burman (195), Madan Mohan (193), S D Burman (179), Roshan (144), Naushad (136), Hemant Kumar (127), Anil Biswas (120), Husnlal Bhagatram (108), Vasant Desai (104) and Salil Chaudhary (104). Together these fifteen music directors composed 3148 songs out of 4275 songs that Lata Mangeshkar had sung in Hindi movies till end of 1978. The top nine lyricists till end of 1978 for Lata Mangeshkar were Rajinder Krishan (552),Anand Bakshi (466), Shailendra (361), Majrooh Sultanpuri (353), Hasrat Jaipuri (297), Prem Dhawan (201), Bharat Vyas (191), Shakeel Badayuni (189), and Sahir Ludhianvi (147). These nine lyricists had penned 2724 songs sung by Lata Mangeshkar till that time.
Lata Mangeshkar collaborated with music director Meena Mangeshkar for the first time in movies of this year. Lyricists Nandi Khanna and Prakash Mehra got to collaborate with Lata Mangeshkar for the first time in movies released this year.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1978 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 102 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 188 | 211 | 130 | 68 | 12 | 1 | |
| 1960 | 48 movies | 139 | 166 | 102 | 50 | 12 | 1 | |
| 1961 | 44 movies | 125 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 118 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 103 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 122 | 133 | 91 | 31 | 8 | 3 | |
| 1965 | 42 movies | 83 | 91 | 71 | 17 | 1 | 2 | |
| 1966 | 49 movies | 104 | 133 | 110 | 14 | 8 | 1 | |
| 1967 | 44 movies | 92 | 106 | 67 | 38 | 8 | 3 | |
| 1968 | 33 movies | 83 | 84 | 59 | 19 | 5 | 1 | |
| 1969 | 43 movies | 77 | 97 | 67 | 27 | 2 | 1 | |
| 1970 | 54 movies | 86 | 130 | 84 | 39 | 3 | 4 | |
| 1971 | 52 movies | 105 | 126 | 71 | 52 | 3 | 0 | |
| 1972 | 62 movies | 96 | 151 | 86 | 60 | 3 | 2 | |
| 1973 | 60 movies | 92 | 138 | 94 | 37 | 3 | 4 | |
| 1974 | 55 movies | 69 | 104 | 66 | 33 | 0 | 5 | |
| 1975 | 45 movies | 60 | 90 | 50 | 35 | 3 | 2 | |
| 1976 | 41 movies | 57 | 97 | 53 | 39 | 1 | 4 | |
| 1977 | 50 movies | 44 | 96 | 59 | 27 | 8 | 2 | |
| 1978 | 46 movies | 58 | 90 | 48 | 34 | 3 | 5 | |
| Total upto 1978 | 1406 movies | 3437 | 4275 | 2916 | 1096 | 194 | 87 |
It can be seen from the table of 1978 that Lata Mangeshkar sang 90 songs in 46 movies released in 1978.
58 songs sung by Lata Mangeshkar in movies of 1978 have been covered in the blog. That leaves us with 32 songs from movies of 1978 that are yet to be covered.
All Lata Mangeshkar songs from 25 movies of 1978 are already covered in the blog. So 32 Lata Mangeshkar songs from 21 movies of 1978 are still available to be discussed.
Alphabetically “Aakhiri Daaku”(1978) is the first movie of 1977 that offers us Lata Mangeshkar songs to cover in the blog.
“Aakhiri Daaku”(1978) was produced by Shanti Sagar and directed by Prakash Mehra for Art Makers, Bombay. The movie had Vinod Khanna (in and as Aakhiri Daaku),
Randhir Kapoor, Rekha, Reena Roy, Achla Peters aka Achla Sachdev, Ranjeet, Jai raj, Sujit Kumar, Helen, Ram Mohan, Ram Sethi, Mumtaz Begum, Pankaj, Agha, Birbal, Bhushan Tiwari, Goga Kapoor, Mohan Sherry, Braham Bhardwaj, C.L.Kavish, Viraj, Dham Mota, Master Sajid, V.Gopal, Dulari, Randhir etc in it.
Friendly appearances:Keshto Mukherjee and Paintal ere in friendly appearances and Padmini Kapila had made a guest apearance.in the movie.
The movie had four songs in it. Two of these four songs are sung by Lata Mangeshkar. None of these songs have been covered so far.
Here is a Lata Mangeshkar solo song from “Aakhiri Daaku”(1978). The song is penned by Anjaan. Music is composed by Kalyanji Anandji.
The song is picturised as a bidaai song playing in the background, where the bride is missing her brother. The song picturisation shows Padmini Kapila (playing the bride), Achala Sachdeva (mother of bride), Vinod Khanna, Agha, Rekha, Randhir Kapoor,Pankaj, Ram Mohan etc.
Lyrics of the song and other details were sent to me by Prakashchandra.
Audio (Partial)
Video (Full)
Song-Maiyya mere bhaiyya na aaye re (Aakhiri Daaku)(1978) Singer-Lata, Lyrics-Anjaan, MD-Kalyanji Anandji
Lyrics(Provided by Prakashchandra)
dwaarey sajee
baaraat to
angnaa roney ae lagee shehnaayi rey
aayee vidaayi to
behana se
rooth gayaa aaa kyun bhai rey ae
maiyyaa mere
bhaiyyaa na aaye ae ree ee ee
kaahey mere bhaiyya na aaye ae ree ee
ke bhaiyyaa binaa aaa aaa aaa
ke bhaiyya binaa
maiyya meri doli eee
kaun uthhaaye ae ae ree ee ee
maiyya mere bhaiyya na aaye ae ree ee ee
aisey vidaa ho behnaa na koyi
doob gayaa dil
aankh yoon royee
bhulaa ke aisey ae ae ae
bhulaa ke aisey behnaa ko bhai ee
kaahey rulaaye ae ae ree ee
maiyyaa mere
bhaiyya na aaye ae ree
khoyaa kahaan maa
deepak woh teraa
khoyaa kahaan maa
deepak woh teraa
jis ke binaa ghar
angnaa aa andheraa
andhere tere ae ae ae
andhere tere
angnaa mein deepak
kaun jalaaye ae ae ree ee
maiyyaa mere
bhaiyyaa na aaye ae ree eee
ke bhaiyyaa binaa aaa aaa aa
ke bhaiyya binaa
maiyya meri doli eee
kaun uthhaaye ae ae ree ee eee
maiyya mere
bhaiyya na aaye ae ree ee ee
- In: Akhil Sachdeva Songs | Background song | bidaai song | Daughter Father song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Gurmukhi Script Lyrics by Gajendra Khanna | Harshdeep Kaur Songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Post by Ava Suri | Songs of 2010s (2011 to 2020) | Songs of 2020 | Yearwise breakup of songs
- 9 Comments
This article is written by Ava Suri, 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.
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Blog Day : |
4285 | Post No. : | 15334 | Movie Count : |
4282 |
Let me tell you a bit about the background of this post. My nephew works as an RJ for a radio station and he has a slot called ‘Golmaal Gagan ne bol diya to bol diya‘, which is an audio review of latest movies. The way things are these days I am sure he goes through a lot of pain watching substandard movies. He praised a recently released movie called ‘Jawaani Jaaneman’ (2020). After listening to his review of this film I decided to watch it. Just as I was mulling over when to go to watch the movie, I got a message from our fellow Atulite Avinash. He wanted me to write up a bidaai song that was used in the film. Very kindly, he even sent me the lyrics of the song to help me.
There are many a slip between the cup and the lip, they say. There was a strike on uber cabs in my tricity on the day I was to go to see the movie. The strike went on for many days. One thing led to another and I was unable to watch the movie. Today I logged into Amazon Prime to check out what they were offering. On a whim, I looked to see if this movie had started streaming yet. Viola! It was there. I just spent my quarantine afternoon watching the film.
‘Jawa’ni Jaaneman’ stars Saif Ali Khan as Jazz, a Punjabi settled in London. He is an estate broker and not hugely successful. He believes in YOLO [You-Only-Live-Once] and spends his time partying hard and scoring with girls. He is at that awkward age that is on the cusp of elderliness. He needs root touch ups, dark glasses even at night to hide his wrinkly eyes and spectacles to read. Yet he wants to continue his unfettered lifestyle. A couple of girls rebuff him as an oldie, but many girls continue to fall for him, so he is happy. Into this walks a young girl, Tia, who claims to be his daughter. She turns his life upside down.
Tia is very ably played by Alaya Furniturewala, daughter of Pooja Bedi. She gets her looks from her mother, bindaas attitude from her grandmother Protima Bedi and acting chops from her grandfather, Kabir Bedi. She livens the movie up with her lovely performance as a girl in search of her father. Tabu plays the mother of Tia. Her performance was top notch as usual, though it saddened me deeply to see her showing her age. Farida Jalal plays Jazz’s mother; she is wasted, if you ask me. She barely has a part. Not that she disappointed, I wanted to see more of her. I loved Kumud Mishra as Jazz’s older brother Dimpy. His part is small but he was so good in it.
I thought Saif is not his usual self in this movie. To be frank I have not seen too many recent movies. I have seen Saif in his earlier films and found him quite engaging. He looks the part, for sure. He is believable as a swinger in his forties. But playing the tumba every time the camera pans on Saif, to remind us that he is Punjab da Puttar, becomes a bit off putting. In my opinion, the movie had a slow start which picks up steam once Saif introduces his daughter to his family. It ends up nicely, if a bit predictably.
The song under discussion here is a bidaai song. Traditionally sung when the bride is about to leave her maternal home after marriage, here it is used when Tia has a fight with her father and decides to leave with her mother. Though Saif’s acting was largely lackluster, during this song his expressions were on point. Alaya shone as usual as a heart broken girl leaving her father after a tiff.
The opening of this song has been taken from a popular Punjabi song sung by the inimitable Surinder Kaur – “Madhaniyan, Haaye O Mere Daadeya Rabba, Kinnaan Jammiyaan Kinnaan Ne Lai Jaaniyaan“. It is a cry of despair by the bride at being cast out by her parents, her brothers and sisters-in-law.
Harshdeep Kaur is no stranger to us, having won several awards and being dubbed ‘Sufi ki Sultana’. I love most of the songs sung in her rich voice. Here too, her lovely voice tugs at our heart strings.
I am trying to attempt a translation of the song. I am not sure I am up to it, so please excuse my gauche efforts.
| haaye o mere daadeya rabba kinnaa jammeya kinnaa ne lai jaaneya haayeinj lagdaa mainu haan jinve rusiyaa saara jahaanteri ankh daa taara vagge paani khaara kyun pichchhe aye mudna roye aangan vehda mere baabula mere athroo jaande meri marzi na muskaandi aye jinve pura ghar tere naal gayaa naa aahat naa koi dastak hai inj lagdaa mainu haan teri ankh daa taara kyun pichchhe hai mudna roye aangan vehda kalla hoya kalla hoya
|
oh god you are so tough on me, those who gave birth to me are sending me awayi feel the whole world has turned its face from methe star of your eyes is crying bitter tears why should i look back my father my desires have stopped smiling my whole house is empty, i feel as if the whole world the star of your eyes why look back on the home and courtyard cry out i am left all alone
|
Song – Mere Baabula Mere Baabula, Tera Lakht e Jigar Ajj Challeya (Jawwani Jaaneman) (2020) Singer – Harshdeep Kaur, Akhil Sachdeva, Lyrics – Shailender Singh Sodhi (Shellee), MD – Gourov-Roshin
Lyrics (Provided by Avinash Scrapwala)
(Based on Video Version)
hmm hmm hmm hmm
ho o o o o
hmm hmm hmm mm mm
hmm hmm
haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaaan haaye
haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaaan aa aa aa haaye
enj lagdaa mainu haan
jinven ruseyaa saara jahaan
teri aakh daa taara
vagge paani khaara
kyun pichhe ae mudna
dil aisaa ae tuteyaa
roye aangan vehda
nai lagna pheraa aa aa aa aa
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
nazraan mila
aj bin doli turr challiyaan
mere baabula
mere baabula
tera lakht e jigar aaj challeya
aa aa aa
mere athroo jaande sukkde ve ae ae ae
te pair ne jaande rukde ve ae
mere athroo jaande sukkde ve
te pair ne jaande rukde ve
meri marzi na muskaandi ae
te qismat payi aazmaandi ae
haaye ae ae ae
enj lagdaa mainu haan
jinven ruseyaa saara jahaan
teri aakh daa taara
vagge paani khaara
kyun pichhe ae mudna
dil aisa ae tuteyaa
roye aangan vehda
nai lagna phera aa aa aa aa
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
nazraan mila
aj bin doli turr challiyaan aa
mere baabula
mere baabula
tera lakht e jigar aj challeya
aa aa aa
jinven pura ghar tere naal gayaa aa aa
har rut har mausam saal gayaa aa
jinven pura ghar tere naal gayaa
har rut har mausam saal gayaa
naa aahat naa koi dastak hai
ghar bin tere bematlab hai
haaye ae ae ae
enj lagdaa mainu haan
jinven rusiyaa saara jahaan
teri aakh daa taara aa
vagge paani khaara aa aa
kyun pichchhe hai mudna
dil aisa hai tuteyaa
roye aangan vehda
nai lagnaa pheraa aa aa aa aa
kalla hoya kalla hoya
mera lakht e jigar aj challeyaa
kalla hoya kalla hoya
mera lakht e jigar aaj challeyaa
kalla hoya kalla hoya
mann da manzar tur challeya
kalla hoya kalla hoya
mera lakht e jigar aaj challeyaa
aa aa aa aa aa
haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaan hai ae ae ae ae
———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
(विडियो पर आधारित)
हम्म हम्म हम्म हम्म
हो ओ ओ ओ ओ
हम्म हम्म हम्म मम्म मम्म
हम्म हम्म
हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए
हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए
एञ्ज लग्दा मैंनूँ हाँ
जिंवें रुसेया सारा जहाँ
तेरी आक्ख दा तारा
वग्गे पानी खारा’
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
नज़राँ मिला
आज बिन डोली टुर्र चल्लीआँ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ
मेरे अत्थरू जांदे सुकदे वे ए ए ए
ते पैर ने जांदे रुकदे वे ए
मेरे अत्थरू जांदे सुकदे वे
ते पैर ने जांदे रुकदे वे
मेरी मर्ज़ी ना मुस्कान्दी ए
ते क़िस्मत पई अज़्मांदी ए
हाए ए ए
एञ्ज लग्दा मैंनू हाँ
जिंवें रुसेया सारा जहाँ
तेरी अक्ख द तारा
वग्गे पानी खारा
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
नज़राँ मिला
आज बिन डोली टुर्र चल्लीआँ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ
जींवें पूरा घार तेरे नाल गया आ आ
हर रुत हर मौसम साल गया आ
जींवें पूरा घार तेरे नाल गया आ आ
हर रुत हर मौसम साल गया आ
ना आहट ना कोई दस्तक है
घार बिन तेरे बेमतलब है
हाए ए ए ए
एञ्ज लग्दा मैंनू हाँ
जिंवें रुसेया सारा जहाँ
तेरी अक्ख द तारा
वग्गे पानी खारा
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
कल्ला होया कल्ला होया
मन दा मंज़र टुर्र चल्लेया
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ आ आ
हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए ए ए ए
———————————————————-
Gurmukhi script lyrics (Provided by Gajendra Khanna)
———————————————————-
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ
ਹੋ ਓ ਓ ਓ ਓ
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਮ੍ਮ ਮ੍ਮ
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ
ਹਾਏ ਓ ਮੇਰੇ ਡਾਡਿਯਾ ਰੱਬਾ
ਕਿੰਨਾਂ ਜਮਿਯਾਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਨਿਯਾਂ ਹਾਏ
ਹਾਏ ਓ ਮੇਰੇ ਡਾਡਿਯਾ ਰੱਬਾ
ਕਿੰਨਾਂ ਜਮਿਯਾਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਨਿਯਾਂ ਆ ਆ ਆ ਹਾਏ
ਇੰਜ ਲੱਗਦਾ ਮੈਨੂੰ ਹਾਂ
ਜਿਵੇਂ ਰੁਸਿਯਾ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ
ਕਯੂੰ ਪਿੱਛੇ ਏ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਏ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇੜਾ
ਨਹੀਂ ਲਗਣਾ ਫੇਰਾ ਆ ਆ ਆ ਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤੇ ਜਿਗਰ ਅਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤੇ ਜਿਗਰ ਅਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਨਜ਼ਰਾਂ ਮਿਲਾ
ਅੱਜ ਬਿਨ ਡੋਲੀ ਤੁਰ ਚਲੀਆਂ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ
ਮੇਰੇ ਅਥਰੂ ਜਾਂਦੇ ਸੁੱਕਦੇ ਵੇ ਏ ਏ ਏ
ਤੇ ਪੈਰ ਨੇ ਜਾਂਦੇ ਰੁਕਦੇ ਵੇ ਏ
ਮੇਰੇ ਅਥਰੂ ਜਾਂਦੇ ਸੁੱਕਦੇ ਵੇ
ਤੇ ਪੈਰ ਨੇ ਜਾਂਦੇ ਰੁਕਦੇ ਵੇ
ਮੇਰੀ ਮਰਜ਼ੀ ਨਾ ਮੁਸ੍ਕਾਂਦੀ ਏ
ਤੇ ਕਿਸਮਤ ਪਯੀ ਆਜ਼ਮਾਂਦੀ ਏ
ਹਾਏ ਏ ਏ ਏ
ਇੰਜ ਲਗੱਦਾ ਮੈਨੂੰ ਹਾਏ
ਜਿਵੇਂ ਰੁਸਿਯਾ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ
ਕਯੁਂ ਪਿੱਛੇ ਏ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਏ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇੜਾ
ਨਹੀਂ ਲਗਨਾ ਫੇਰਾ ਆ ਆ ਆ ਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਨਜ਼ਰਾਂ ਮਿਲਾ
ਅੱਜ ਬਿਨ ਡੋਲੀ ਤੁਰ ਚਲੀਆਂ ਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ
ਜਿੰਵੇਂ ਪੂਰਾ ਘਰ ਤੇਰੇ ਨਾਲ ਗਯਾ ਆ ਆ
ਹਰ ਰੁਤ ਹਰ ਮੌਸਮ ਸਾਲ ਗਯਾ ਆ
ਜਿੰਵੇਂ ਪੂਰਾ ਘਰ ਤੇਰੇ ਨਾਲ ਗਯਾ
ਹਰ ਰੁਤ ਹਰ ਮੌਸਮ ਸਾਲ ਗਯਾ
ਨਾ ਆਹਟ ਨਾ ਕੋਈ ਦਸਤਕ ਹੈ
ਘਰ ਬਿਨ ਤੇਰੇ ਬੇਮਤਲਬ ਹੈ
ਹਾਏ ਏ ਏ ਏ
ਇੰਜ ਲਗੱਦਾ ਮੈਨੂੰ ਹਾਂ
ਜਿੰਵੇਂ ਰੁਸਿਆ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ ਆ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ ਆ ਆ
ਕਯੁਂ ਪਿੱਛੇ ਹੈ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਹੈ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇਹੜਾ
ਨਹੀਂ ਲਗਣਾ ਫੇਰਾ ਆ ਆ ਆ ਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੰਨ ਦਾ ਮੰਜ਼ਰ ਤੁਰ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ ਆ ਆ
ਹਾਏ ਓ ਮੇਰੇ ਦਾਦਿਆ ਰੱਬਾ
ਕਿੰਨਾਂ ਜੰਮਿਆਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਣੀਆਂ ਹਾਏ ਏ ਏ ਏ
This article is written by Raja, 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 : | 4030 | Post No. : | 15147 |
It is that day of the year again.
The 31st of July.
A date that doesn’t need any reminder for lovers of HFM.
Of all the days in the calendar, a few stand out – and the 31st of July is one of them.
For it is the death anniversary of one of the most loved and respected figures of the Hindi film industry, Mohammad Rafi, respectfully referred to as Rafisaab.
Today on his 39th death anniversary, we on this blog, remember him with great fondness and respect.
I’ve written about Rafisaab many times here on this blog. In fact, there’s no one I have written about more than about Rafisaab.
To be honest, there really isn’t anything more for me to say that I haven’t already said before.
How I, growing up in a Kishore-dominated era, fell in love with Rafisaab’s voice.
How I’ve done all-nighters listening to Rafisaab songs, completely losing track of time.
How much I respect Rafisaab for being such a good human being, inspite of having the power to abuse his position, if he had wanted.
I’ve written about all this – and more. And I don’t want to bore readers here by repeating stuff.
Not that I get bored of writing about Rafisaab. Never. When I don’t ever get bored of listening to his voice, how can I possibly get bored of writing about him? It is such a pleasure, and an honour, to write about Rafisaab.
So whether I have any new material or not, I will write about Rafisaab – even if it is only a few lines. That is the very least I can do for someone who has given me so much joy in life. And on his Remembrance Day, I just have to write a few lines for him – to thank him for everything.
Different people make a mark in this world for different reasons. Not all leave a legacy of course, but I doubt even those who do, have any idea of the magnitude of the legacy they would leave behind. And its endurability.
I doubt Rafisaab thought about all this when he was alive. He was a simple man, happy to earn his living through the one profession that he loved, and knew he was loved for – singing. Even for that, he was humble enough to always point upwards, to God, to suggest He was to thank for everything.
Rafisaab was very soft-spoken. For all his animation while singing, he was an extremely shy person in conversation and avoided interviews. Which is also why there are very few interviews of him available out there. It is our loss, but then that was the person he was. At least we have his songs, and anecdotes of those who knew him with us.
Rafisaab was devoted to his profession – he would do riyaaz for hours. He enjoyed spending time with his family. And enjoyed playing badminton. And good food. A man who always had a smile on his lips, who never thought ill for others – on the contrary, he went out of his way to help others.
A simple man – but what a legacy!
One that he would never have imagined during his lifetime.
Even today, 39 years after he is gone, there isn’t a day when his songs are not playing on radio. There isn’t a day when HFM lovers from around the world are not listening to his songs on whatever device they have. Today, thanks to technology, we have access to music on demand.
Yes, Rafisaab has enriched the lives of millions by his sheer voice. And that, for decades. And, I am sure, will continue for decades too. Such is the love people have for Rafisaab. It transcends generations.
This is another aspect that makes me really happy for him. It is great to see young generations today, even teenagers, listen to Rafisaab’s songs. Of course, their music interests are current too – and they should be. But from what I’ve seen, many of them are still happy to listen to old HFM songs – and Rafisaab, of course. Which is why I say Rafisaab’s voice transcends generations.
In my own case, I know my next generation is also very fond of Rafisaab. My niece’s husband invariably plays Rafisaab songs in his car. Not just for me, but for himself too. Not that my niece complains. She is herself very fond of Rafisaab. 🙂 They like current songs too, but Rafisaab is a fixture in their car. Especially 1960s songs like “dil ke jharoke mein”, “pukaarta chala hoon main” and “deewana hua baadal”. I swear, I did nothing to influence them – it all happened by itself. 🙂 Actually, my niece’s father-in-law is also a Rafisaab fan, so maybe that played a role too.
Now my niece has a kid – he is not even 3, but I have a feeling he will also soon be listening to Rafisaab. 🙂
I will not be surprised if this is the story in many other families too. I hope it is – then Rafisaab’s legacy is in safe hands.
Rafisaab deserves nothing less. A person with such a divine voice, a person who had such a good heart, who did good for so many, deserves every little bit of love and respect he gets.
I always have a warm feeling, and feel energized, when I discuss, or write about, Rafisaab. His songs immediately come to my mind, THAT voice, those intonations in the rendering. I get lost, happily so, thinking about his songs.
I can keep going on and on, but then I will be repeating what I’ve written in the past. And will be boring the readers. 🙂
So I’ll just move on to the song for today.
This is from Jaani Dushman (1979). A decade right up my sleeve, given that I’m a 1970s boy. Avinashji, himself a huge Rafisaab fan, sent me the lyrics and requested me to do a write-up.
By the late 70s, Rafisaab had regained his place in public mindspace. The first half of the decade had been totally dominated by Kishore Kumar (inspite of a few Rafisaab hits). But by the mid-70s, Rafisaab began coming back. I remember Laila Majnu (1976) songs being a success. A year later, he had chartbuster hit songs in Amar Akbar Anthony (1977), Hum Kisise Kam Nahin (1977) and Apnapan (1977), to mention just three films.
And so he continued, with hits in Abdullah (1980) and Karz (1980), right until his untimely death.
Jaani Dushman (1979) was during his revival phase.
The film has the popular, foot-tapping Rafisaab-Asha Bhosle duet “tere haathon mein pehna ke chudiyaan”, but also the song of today “chalo re doli utthao kahaar” (which comes multiple times in the film, if I remember right), was popular too.
The film itself is a multi-starrer in keeping with the trend of the time. Those were the days of multi-starrers – many commercial films had two or more lead heroes and heroines. JD went a step further, and must be considered a mother of multi-starrers – it had at least 5 “heroes” – Jeetendra, Sanjeev Kumar, Vinod Mehra, Shatrughan Sinha and Sunil Dutt. And Rekha, Reena Roy, Bindiya Goswami, Neetu Singh and Sarika amongst the “heroines”. Other movies of that era that were multi-multi-starrers that come to mind are Naagin (1976) and the Burning Train (1980).
I remember seeing the film at the time, but given my pathetic memory, I don’t remember too much of it. I do remember that it was meant to be a horror film of sorts, where a monster is supposed to murder every newly-wed bride. Something like that.
The songs of the film were quite popular, and the film too did well I think.
“Chalo re doli utthao kahaar” is a background song, picturised during the bidaai of a daughter as she leaves her parents’ home. It is a typical Rafisaab song – he was very good at emotional, background songs of this type. With their ebbs and flows.
Talking of emotional, background songs, am reminded of Ravi, the composer of songs of Waqt (1965) saying he had insisted with the Chopras on Rafisaab singing “waqt se din aur raat”, though Mahendra Kapoor, and not Rafisaab, was generally their preferred singer. He had said that this song would suit Rafisaab more than anyone else.
Similarly Kalyanji Anandji picked Rafisaab to sing a couple of lines as background song in that death scene in Muqaddar Ka Sikandar (1978) – “zindagi to bewafa hai, ek din thukraayegi”. Anandji said in an interview that he was a bit embarrassed to ask Rafisaab to sing those lines, because he had no other song in the film, and it was only a couple of lines. But he wanted them to be in Rafisaab’s voice. Without the slightest ego, Rafisaab rendered those lines with his usual high standards.
L-P, ever loyal to Rafisaab, even during Kishore Kumar’s peak, used him to render the emotional background song “nafrat ki duniya ko chhod ke” of Haathi Mere Saathi (1971) even though Kishore Kumar sings the songs picturised on Rajesh Khanna.
This song for today is also an L-P composition. I request you to please listen to this song – and remember Rafisaab today.
Rafisaab, you will always be in our hearts. The years roll by, but the love and respect does not diminish one bit. For what you’ve given the world, millions are ever grateful to you.
Personally, I can’t thank you enough, hence this post as a humble tribute.
(As mentioned above, lyrics for today’s song have been provided to me by Avinashji. I thank him for providing me these lyrics).
Video
Audio
Audio (Longer)
Song-Chalo re doli uthhaao kahaar piya milan ki rut aayi (Jaani Dushman)(1979) Singer-Rafi, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Chorus
Lyrics (Provided by Avinash Scrapwala)-Based on audio link
Hmm hmm hmm
Hmm hmm hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm hmm hmm
Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Hmm hmm hmm
Hmm hmm hmm hmm hmm
Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Pi ki nagri le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Hmm hmm hmm
Hmm hmm hmm hmm hmm
Jin nainon ki ee tu hai jyoti
Un nainon se ae barse moti
Daawaa nahin hai
koi Zor nahin hai
Beti sadaa hi paraayi hoti
Jaldi naihar se le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Chhaayi hai dekho hariyaali ee ee
Aayi hai rut khushiyon waali ee
Har aasha parwaan chadhi ee ee ee
Din hai Dashehra
Raat deewaali ee
Galey daal baahon ka haar
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Tan maike man teri nagariyaa
Ud jaaun main Ban ke badariyaa
Chaand nagar ko Chali chakori ee ee
Pyaasi hoon milan ki sanwariyaa
Mere sapne sajaao
Qahaar
Piya milan ki rut aayi ee
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Sooni padi ee
Bhaiyya ki ee haveli
Vyaakul behnaa aa
Rah gayi akeli ee
Jin sang naachi
Jin sang kheli ee
Chhoot gayi wo o
Sakhi Saheli ee
Ab naa deri lagaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Piya milan ki rut aayi
Piya milan ki rut aayi ee
—————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————–
हं हं हं
हं हं हं हं ह
हं हं हं
हं हं हं
हं ह
हं हं हं
हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
हं हं हं
हं हं हं हं ह
हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
पि की नगरी ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
हं हं हं
हं हं हं
हं हं ह
जिन नैनों की तू है ज्योति
उन नैनों से बरसे मोती
दावा नहीं है
कोई जोर नहीं है
बेटी सदा ही पराई होती
जल्दी नैहर से ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
छायी है देखो हरियाली ई ई
आई है रुत खुशियों वाली ई
हर आशा परवान चढ़ी ई ई ई
दिन है दशहरा
रात दिवाली ई
गले डाल बाहों का हार
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
तन मयके मन तेरी नगरिया
उड़ जाऊं मैं बन के बदरिया
चाँद नगर को चली चकोरी ई ई
प्यासी हूँ मिलन की सांवरिया
मेरे सपने सजाओ
कहार
पिया मिलन की रुत आई ई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
सूनी पड़ी ई
भैय्या की ई हवेली
व्याकुल बहना आ
रह गयी अकेली ई
जिन संग नाची
जिन संग खेली ई
छूट गयीं वो ओ
सखी सहेली ई
अब ना देरी लगाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
पिया मिलन की रुत आई
पिया मिलन की रुत आई ई
Doli Ho Doli
Posted on: April 10, 2019
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 : | 3918 | Post No. : | 14981 |
“Raajput”(1982) was produced by Musheer Riaz and directed by Vijay Anand for M R Productions, Bombay. This “social” movie had Dharmendra,Hema Malini,Rajesh Khanna, Vinod Khanna, Ranjeeta Kaur, Tina Munim,Rehman, Ranjeet, Nazir Hussain, Om Shivpuri, Indrani Mukherjee, Iftekhar, Purnima, Murad, Mohan Sherry, Prem Sagar, Tej Sapru, Brahma Bhardwaj, Harbans Darshan M Arora etc in it.
The movie had six songs in it. Four songs (including one muliple version song) has been covered in the past.
Here is the fifth song from “Raajput”(1982) to appear in the blog. This song is sung by Rafi and female chorus. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.
The song is a bacround song which is picturised as a bidaai song. The picturisation shows Hema Malini is a doli, with this song being played in the background. The picturisation shows Rajesh Khanna (the bridegroom), alongwith Tej Sapru (his father) and other members of Barat party. In a distance Dharmendra is seen astride a horse.
Lyrics of this song were sent to me by Prakashchandra. He points out that he audio of this song is longer than the video by one stanza and more. Lyrics are as per the full audio version.
Audio( Full)
video(Partial)
Song-Doli ho doli (Raajput)(1982) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Female Chorus
Lyrics(Provided by Prakashchandra)
doli ho doli ee
ho doli
doli ho doli ee
jab jab guzri tu iss dagar se
bichhdaa koyee humjoli ee
doli ho doli
ho doli
doli
ho doli ee
maayad ri laadli
baabaa sa ri pyaari
chhod peehar ye le chaali ee
maayad ri laadli
baabaa sa ri pyaari
chhod peehar ye le chaali ee
tu kyaa jaaney
kaun suhaagan
tu kyaa jaaney
kaun suhaagan
tu kyaa jaaney
kaun abhaagan
jo baithha bas uss ko uthhaayaa
apne raste ho li ee
doli
ho doli
ho doli
doli ho doli ee
ik aangan tu phulwaa baante
ik aangan bikhraaye kaante
tere aagey peechhe dukh sukh
kheley aankh michauli ee
doli ho doli
ho doli
doli ho doli ee
maayad ri laadli
baabaa sa ri pyaari
chhod peehar ye le chaali ee
jag mein aissaa kyun hota hai
ik hanstaa hai
ik rotaa hai
tujh se kitni baar ye poochhaa
tu ik baar na boli ee
doli ho doli
jab jab guzri
tu iss dagar se
bichhdaa koyee humjoli ee
doli ho doli
doli ho doli ee
Mudke na dekho dilbaro
Posted on: October 8, 2018
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3734 | Post No. : | 14679 | Movie Count : |
4012 |
I was told by my mother that my father was very fond of Hindi films. He was a fan of V Shantaram and Shanta Apte. He would visit Mangalore (now Mangaluru) just to watch a newly released Hindi film. This was in early 40s, when travelling from my native place (Mulki) to Mangaluru – about 25 kms of distance – was itself an adventure. It used to take almost the whole day. So to watch a film in a theatre in Mangaluru, it was necessary to stay overnight in the city.
Our family shifted to Bombay (Mumbai) in around Diwali time in 1951 as my father had got a job in the city. On week days, he was busy with his office work. On Sundays, he would often visit the Fort area where some of his friends from the native place had also shifted. They were part of his amateur musical drama troop in the native place where my father was associated as a music composer. So almost on all Sundays, my father would be with his friends for rehearsal of songs for the musical plays in Konkani and Kannada languages which would be staged during some kind of festivities. So I had no occasion to see films with my parents during 1952-53.
Unfortunately, in July 1954, my father passed away at the age of 42 after a brief period of illness. So the entire responsibility for sustenance of the family fell on my mother. Spending money on watching the films in theatres was the least priority. But as a rule, my mother allowed us to see one film a year in the theatre. As a result, I remember the names of most of the films which I watched during 1954-64.
As far as my memory goes, the first Hindi film which I watched in a local theatre was ‘Samaaj’ (1954). I do not remember anything about the film except that I saw a big poster of the film as we entered the theatre premises. The next was ‘Insaaniyat’ (1955) which I saw in a local but different theatre. Again I do not remember much of the film except the Zippy, the ape and a song apni chhaaya mein bhagwan bithha le mujhe, sung on the screen by Dilip Kumar. I still remember that during the show, bed bugs in the theatre bothered us a lot.
1956 was a bonus year for me as I got opportunity to see two films – ‘Bhai Bhai’ (1956) and ‘Jhanak Jhanak Paayal Baaje’ (1955). I do not remember as to who took us for ‘Bhai Bhai’ (1956). I remember most part of the film as well as some songs. I was impressed with Kishore Kumar’s acting and his song mera naam abdul rahman. But today, this would be my least preferred song compared to all other songs in the film. This was the film in which I started believing that Ashok Kumar was a drunkard in his ‘real life’ because of his drunkard’s acting in the film.
‘Jhanak Jhanak Paayal Baaje’ (1955) was my first film which I saw in a theatre located in the city. My maternal uncle has taken me for this film at Metro theatre (Dhobi Talaao) where it had run for more than a year. We had gone for 3.00 – 6.00 pm show. It gave me a great feeling watching my first colour film.
When the show was over at 6.00 pm, we came out of the theatre and found that all the roads were deserted. There were many policemen on the roads. One policeman told my uncle that a curfew has been clamped in this area. We were permitted to walk on the left footpath of the road leading to VT (Chhtrapati Shivaji Maharaj Terminus) railway station. We came to know later that some people had died in a police firing on a big morcha of Sanyukta Maharashtra Samiti which was demanding a separate Maharashtra State.
My cousin (who was about 15 years elder to me) had got a good job in Mumbai. One day, he told us that he would sponsor to take our entire family as well as a few other relatives to a magnificent theatre to watch a film. The theatre was Liberty and the film was ‘Champakali’ (1957). It was really a magnificent theatre compared to all other theatres I had visited earlier. There was wall to wall carpet probably laid on some soft material as we felt that we were walking on foam mattresses. I do not recall much about the film except one song, chhup gaya koi re door se pukar ke.
I am not able to recall as to which films I saw in 1958 and 1959. Probably, I may not have got to see any film. By 1960, I, my brother and my two cousins had become the fan of Shankar-Jaikishan. Those days, we used to consider O P Nayyar as SJ’s ‘rival’. Now I feel that we ourselves had created this ‘rivalry’ in our mind. Those days, it was thought that the song, tin kanastar peet peet kar gala phaad kar chillaana composed by S-J was aimed at O P Nayyar and we all believed this to be true because it suited us being the fan of S-J. When I listened to this song recently, I felt that it was more of a general observation about copying western tunes with loud orchestration. In fact, this song can be treated as a satire on the current state of Hindi film music.
Anyway, 1960 our entire family went to see ‘Dil Apna Aur Preet Paraayi’ (1960) in a local theatre. I enjoyed not only the songs but the film itself. A couple of scenes got engraved in my mind while watching the film. First, I felt very sad about Meena Kumari’s predicament in the song, ajeeb daastaan hai ye. Second, it amused me when after the end of the dream sequence song, mera dil ab tera o sajna, Raj Kumar was holding the handle of the door of an ambulance and dancing as if he was holding the hand of Meena Kumari.
In 1961, it was ‘Roop Ki Rani Choron Ka Raja’ (1961), again S-J film. We have gone to see this film mainly for its songs. I do not remember about the story of the film. In 1962, I and my younger brother had gone to stay with our cousins during our summer vacation by which time they had shifted to a new resident at Byculla. S-J was still our favourite. We got permission from our aunt to see ‘Aashiq’ (1962) which was running at Ganesh Talkies at Lalbaug. We travelled from Byculla to Lalbaug by tram. The queue for the current ticket (3.00 – 6.00 pm show) was long. We stood in the queue. As we came nearer to the ticket window with just about 10 persons ahead of us, the ‘House Full’ board was displayed. We were hugely disappointed.
After some discussion, we decided to stand in the queue for the next show (6.00 – 9.00 pm). While taking this decision, we were oblivious of the fact that our aunt will get worried if we did not reach home by evening. We watched the film and enjoyed the songs. When we returned home at around 9.30 pm, our cousins got a good dressing down from my aunt. She thought that it was a handiwork of her younger son whereas in reality, it was a collective decision.
I am not able to recall as to which film I saw in 1963. It is quite possible that there was no occasion for me to see any film. In 1964, I got an opportunity to see ‘Sangam’ (1964) with one of my relatives in a local theatre. Except for o mehbooba tere dil ke pass hai and dost dost na raha, all other songs sounded a shade lower in quality than what S-J had composed for ‘Jis Desh Mein Ganga Behti Hai’ (1960). I also did not much enjoy watching the film.
By this time, I and my elder cousin had defected to Laxmikant-Pyarelal camp while my younger brother and younger cousin continued to be the fan of S-J. There used to a lot of musical discussion between us mainly on S-J versus L-P. Sometime it would reach a flashing point. In 1965, I had got a job. My elder cousin had shifted to Pune to complete his Engineering degree. With this, our L-P vs. S-J rivalry naturally came to an end.
‘Waqt’ (1965) was the first film which I saw from my own money as I had got a job. From 1965 and 1969, I had watched in the theatres one film almost every week-end (either afternoon show on Saturdays or Matinee show on Sundays). In Economics, there is a law of diminishing marginal utility. This law seemed to have applied to my week-end film watching. Over a period of time, I developed a diminishing interest in films and by 1972, I had almost given up visiting theatres for films. The reason could be that I had been seeing all types of films, many of them could be categorised as craps.
Since then, I visit theatres to watch only those films which my wife wished to see, which had good reviews and I have a liking for the subject of the film. In this process, now we end up watching on average 3-4 films in a year.
‘Raazi’ (2018) was the last film I and my wife saw in a multiplex sometime in May 2018. During the show, one of its songs overwhelmed me so much that it lingered in my mind for a long time. I felt that I should present this song as a part of the article. The song is ‘ungli pakad ke tune chalna sikhaaya thha na’ sung by Vibha Saraf, Harshdeep Kaur and Shankar Mahadeven.
This song takes me to the golden period of Hindi film music in terms of its composition, lyrics and picturisation .. Harshdeep Kaur’s soulful rendition of her part in the song brings out the emotional bond between a father and a daughter.
The song starts with a Kashmiri couplet which is a part of Kashmiri folk song of bidaai:
bae chhasay khanmaej koor
deu mey rukhsat myane bhaijaano
[I am your darling daughter. Come, it is time to bid farewell to me, o brother].
Music Directors, Shankar-Ehsan-Loy has used mostly Kashmiri musical instruments like rabab, dotara and esraj to give a feel of the song from the Kashmir valley.
This is the song which would make any father to shed tears after listening because of its soulful music and lyrics. After all, it has been written by Gulzar who must have had the same pain at the time of the marriage of his daughter, Meghna Gulzar, the director of the film.
Video Clip:
Song-Mudke na dekho dilbaro (Raazi)(2018) Singers-Harshdeep Kaur, Shankar Mahadevan, Vibha Saraf, Lyrics-Gulzar, MD-Shankar Ehsan Loy
Chorus
Harshdeep Kaur+Chorus
Lyrics
bae chhasay khanmaej koor
deu mey rukhsat myane bhaijaanon
bae chhasay khanmaej koor
deu mey rukhsat myane bhaijaano
bae chhasay khanmaej koor
ungli pakad ke toone
chalna sikhaaya thha na
dehleez oonchi hai ye
paar kara de
baba main teri mallika
tukda hoon tere dil ka
ikk baar phir se dehleez
paar karaa de
hmm hmm hmm
mudke na dekho dilbaro
dilbaro..o
mudke na dekho dilbaro
mudke na dekho dilbaro
dilbaro..o
mudke na dekho dilbaron
fasalein jo kaati jaayen
ugti nahi hain
betiyaan jo byaahi jaayen
mudti nahin hai
o o fasalein jo kaati jaayen
ugti nahi hain
betiyaan jo byaahi jaayen
mudti nahni hai
aisi bidaai ho to
lambi judaai ho to
dehleez dard ki bhi
paar kara de
baba main teri mallika
tukda hoon tere dil ka
ikk baar phir se dehleez
paar kara de
mere dilbaro…..on
barfein galengi phir se
mere dilbaro……on
fasalein pakengi phir se
tere paaon ke tale
meri duaa chale
duaa meri chale
baba main teri mallika
tukda hoon tere dil ka
ek baar phir se dehleez
paar kara de
mudke na dekho dilbaro
dilbaro..o
mudke na dekho dilbaro
mudke na dekho dilbaro
dilbaro..o
mudke na dekho dilbaro
mudke na dekho dilbaro
dilbaro..o
mudke na dekho dilbaro
Chali apne ghar ko Shakuntala
Posted on: August 31, 2018
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.
| Blog Day : | 3696 | Post No. : | 14613 |
Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.
The year 1942 was an eventful and Milestone year for Hindi film industry.
It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.
Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.
Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.
Begum Akhtar made her rare appearance in film Roti-42.
Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.
Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.
Madhubala debuted as Baby Mumtaz in Basant-42.
This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.
film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.
Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.
Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.
Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.
Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.
This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.
After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.
In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”
The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !
Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.
Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.
( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )
Audio (without dialogues)
Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai
Lyrics
is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho
hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala
??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do
madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge
gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye
kya
aap sab yahin se laut jaayenge
main tum sabko phir kab dekhoongi
baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba
jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali
beti
samay ho gaya
chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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