Archive for the ‘Devotional song’ Category
Agar Mil Gayi Mujh Ko Raah e Madina
Posted on: July 31, 2019
This article is written by Nahm, 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 : |
4030 | Post No. : | 15150 |
Mohammed Rafi : The Incomparable (II) – Song No. 13
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Remembering Mohammed Rafi Sahab on his 39th death anniversary :
No need to keep a reminder in the mobile. I come across Rafi Sahab’s name or reference to or one of his songs every day. The figure is at 2955/4845 on the blog’s stats page. The excel sheet of Rafi Sahab’s songs that I have says total 5373 songs. The difference between the two figures is more than 500 songs.
The excel sheet does not feature the song “Ye Sitaare Hain Motiye Ke Phool” from Shohrat (1949), which is my post for this anniversary in 2018. The excel sheet has these two songs additional in for the film “Ganga Jamuna”(1961).
| Bailan Ki Jodiayan Sab Jaane Man Ki Batiyan | Ganga Jamuna | 1961 | Mohd Rafi | Naushad Ali | Shakeel Badayuni |
| Chal Chal Ri Goriyaa | Ganga Jamuna | 1961 | Mohd Rafi | Naushad Ali | Shakeel Badayuni |
The above two are actually small snippets of songs which are used in the film, unlike some songs which are deleted from the films. “Chal Chal Ri Goriya…… Nadiya Kinaare Mora Gaon” is a chorus of Rafi Sahab and a female voice (sounds like Shamshad Begum to me). The video clips of both these songs are available on youtube. It is debatable, if these can be treated as songs.
I remember that ‘Bluefire ji’ had commented in the blog some years ago that there are hundreds of small snippets of songs / couplets composed by Chitragupt and others which Rafi Sahab sang, mostly in mythological films which do not find a mention in Geet Kosh. It is possible that most or all of these snippets are included in the excel sheet that I refer to.
Rafi Sahab has a wide range of religious songs – naats, qawwaalis etc in his body of work, apart from the bhajans. These non-film religious songs and naats are a treat for Rafi Fans. I have chosen a naat as the commemorative post for today’s occasion. I am giving the lyrics as per the recorded version. There is a live show recording also available, which is a more lengthy and full of energy, no doubt to enhance the enjoyment of the audience watching it live, but the lyrics are basically same. The recorded version is also very endearing rendition of this traditional naat, the composer is not mentioned anywhere. Only the lyricist name is available as Nirang Sambhali. It is rendered in a traditional tune of naat, used by quite a few music directors for their songs including Madan Mohan.
It expresses the yearning to visit Makkah and Madina and perform Hajj.
INTRODUCTION OF HAJJ:
‘Hajj’ is one of the five pillars of Islam. It is a journey to the heart. The yearly flood of pilgrims from the remotest places of Islam has been a remarkable means of spiritual renewal for distant communities which are thus brought closer to manifest the centre of Islam. Historically, the pilgrimage has been a means of knitting together the many races and nations that make the muslim community, and there is no other event on earth that can compare with it.
Hajj is obligatory upon those who can ‘make their way’ to Makkah Sharif. That is to say that the requirement is not absolute, but incumbent upon those whose health and means permit it, and who in doing so, do not compromise their responsibilities towards their families.
Hajj relates to the life of test and trials lived by Prophet Hazrat Ibrahim (PBUH) and his son Prophet Hazrat Ismail (PBUH) in the vicinity of Makkah.
INTENTION OF HAJJ:
The most important factor of Hajj is the intention to perform the Hajj only to please Allah and fulfill his command. It should not be mixed up with even the slightest worldly interest.
BEFORE STARTING JOURNEY OF HAJJ :
Before starting the journey for Hajj, make you conscience feel you are going for Hajj because the Almighty Allah is pleased with you and has paved the way for you to perform Hajj. Give alms (sadqa) to the needy, and request your neighbors, friends and relatives to excuse you for your shortcomings and misbehavior towards them. This is in effect an attempt to compensate those you have ever cheated or treated badly, willfully or unintentionally. A smallest of aberration hurting fellow human beings is counted as bad deeds. So try and make amends before leaving for hajj.
It is a matter of beatitude and blessedness to us that we have been granted the opportunity to perform Hajj, falling in the month of August this year. So it’s the granting of a dear wish to find our way to ‘makkah and madina’ aka ‘raah e madina’ in the ‘Naat’.
On this momentous occasion I am remembering this great surah from the Quraan called Surat ul Rahman – a very famous and one of the most beautiful surah of the Quraan. Salient feature is the repetition of the aayah which broadly translates to ‘which of the favours, gifts and wonders of the Master, are you both (man and Jinn) going to be in denial of’.
I am giving a brief translation of this beautiful surah which is compiled from different sources. The ‘aayaah‘ of the Quraan are in Arabic and according to the scholars, cannot be perfectly translated so as to convey the grace and the messages perfectly – so some of the beauty is bound to be lost in translation.
Ar-rahmaan (The Beneficent):
I seek Allah’s protection from shaitaan, the accursed one.
In the name of Allah, the most gracious, the most merciful.
The most beneficent, taught the Quraan.
Created man, and taught him eloquence.
The sun and the moon (move) by precise calculation.
And the stars and trees prostrate, and the heaven He raised.
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth He laid out for the creatures.
Therein is fruit and palm trees, having sheaths of dates.
And grain having husks and scented plants.
So which of the favours of your Lord would you deny ?
He created man from clay like that of pottery,
And He created jinn from smokeless flame of fire.
So which of the favours of your Lord would you deny ?
The Lord of two East
And the Lord of two West,
He released the two seas, meeting (side by side).
Between them is a barrier,
(So) neither of them transgresses.
So which of the favours of your Lord would you deny ?
From both of them emerge pearl and coral,
So which of the favours of your Lord would you deny ?
And to Him belong the ships,
(With the sails) elevated in the sea like mountains.
So which of the favours of your Lord would you deny ?
Everyone upon the earth will perish,
And there will remain the countenance of your Lord,
Owner of majesty and honour.
So which of the favours of your Lord would you deny ?
All that is within the heavens and earth entreat Him
EverydayHe exercises (universal) power.
So which of the favours of your Lord would you deny ?
We will attend to you, O you two dependents (man and jinn).
So which of the favours of your Lord would you deny ?
O company of jinn and mankind,
If you are able to pass beyond the regions
Of the heavens and the earth, then pass.
You will not pass except, by authority (from Allah).
So which of the favours of your Lord would you deny ?
There will be sent upon you
A flame of fire and smoke,
And will not defend yourselves.
So which of the favours of your Lord would you deny ?
And when heaven is split asunder
And becomes rosy like red hide,
So which of the favours of your Lord would you deny ?
Then on that day none will be asked
About his sin among men or jinn,
So which of the favours of your Lord would you deny ?
The criminals will be known by their marks,
And they will be seized by the forelocks and the feet.
So which of the favours of your Lord would you deny ?
This is hell, which the criminals deny,
They will go around between it and scalding water,
Heated (to the utmost degree)
So which of the favours of your Lord would you deny ?
But for he who has feared, the standing before his Lord,
Are two gardens.
So which of the favours of your Lord would you deny ?
Having (spreading) branches.
So which of the favours of your Lord would you deny ?
In both of them are two springs, flowing.
So which of the favours of your Lord would you deny ?
In both of them are of every fruit, two kinds.
So which of the favours of your Lord would you deny ?
They are reclining on beds whose lining are of silk brocade,
And the fruit of the two gardens is hanging low.
So which of the favours of your Lord would you deny ?
In them are those of modest gaze,
Untouched before them by man or jinn-
So which of the favours of your Lord would you deny ?
As if they were rubies and coral.
So which of the favours of your Lord would you deny ?
Is the reward for good (anything) but good ?
So which of the favours of your Lord would you deny ?
And beside them both (in excellence)are two (other) gardens
So which of the favours of your Lord would you deny ?
Dark green (in color) with foliage.
So which of the favours of your Lord would you deny ?
In both of them are two springs, spouting.
So which of the favours of your Lord would you deny ?
In both of them are fruit and palm trees and pomegranates.
So which of the favours of your Lord would you deny ?
In them are found good and beautiful –
So which of the favours of your Lord would you deny ?
Fair ones reserved in pavilions –
So which of the favours of your Lord would you deny ?
Untouched before them by men or jinni –
So which of the favours of your Lord would you deny ?
Reclining on green cushions and fine carpets.
So which of the favours of your Lord would you deny ?
Blessed is the name of your Lord,
Owner of majesty and glorious honor.
God Almighty speaks the truth.
The Quraan, by admission is a book of guidance and there are signs in it for all mankind. The uniqueness of the Surat-ul-Rahmaan, is that here the Almighty is talking to or about both men and jinn. There are two seas, there are two easts and two wests, also there are two gardens and beside them there are again two gardens in Jannah. This description of jannah or paradise comes after the description of destructions and annihilation of all that is on earth. Because Jannah is for those who is conscious of the fact that one day he is to stand before the Lord, Almighty God and answer for the deeds committed during the lifetime. Whoever is conscious of this will be afraid of the hellfire and take care during the life on earth not to have to see it first hand. The description should be enough to make mankind want to avoid the hellfire. This life on earth is really a test for us and how we fare in this test is depends on how much we imbibe and obey the guidance. The hereinafter is the eternal existence for which we carry our deeds from this earth, to the day of judgment. To be aware is to beware and be prepared as result. As a forewarning, Surah Rahaman is an excellent lesson. A ‘rehemat’ (divine mercy, divine blessing, kindness).
I have always held the belief that the purpose of all religion is to regulate human behavior. Seems to jell with what the the Almighty says in the above surah :
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth he laid out for the creatures.
Here is the ‘naat’ of ‘aqeedat’ (devotion) and ishq-e-nabi.
(Live)
(Recorded)
Song – Agar Mil Gayi Mujh Ko Raahe Madina (NFS – Mohammed Rafi) (19??) Singer – Mohammed Rafi, Lyrics – Nirang Sambhali, MD – [Unattributed]
Lyrics
agar mil gayee mujh ko
raah-e-madinaa
mohammed ka naqsh-e-qadam
choom loongaa
agar mil gayee mujh ko
raah-e-madinaa
mohammed ka naqsh-e-qadam
choom loongaa
aqeedat se kaabe mein
sar ko jhukaa kar
nigaahon se baab-e-haram
choom loongaa
jo taiy kar ke aayenge
raah-e-madinaa
milaa loonga main unn ke
seene se seena
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
meri zindagi sirf
ishq-e-nabi hai
jo gham mujh ko iss mien
milaa wo khushi hai
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
agar dil ko hai kuchh
nabi se aqeedat
kisi din to jaagegi
meri bhi qismat
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke
qadam choom loongaa
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke
qadam choom loongaa
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Hindi script lyrics (Provided by Sudhir)
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अगर मिल गई मुझको
राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अगर मिल गई मुझको राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अक़ीदत से काबे में
सर को झुका कर
निगाहों से बाब ए हराम चूम लूँगा
जो तय कर के आएंगे राहे मदीना
मिला लूँगा मैं उनके
सीने से सीना
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
मेरी ज़िंदगी सिर्फ इश्क़ ए नबी है
जो ग़म मुझको इस में
मिला वो खुशी है
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
अगर दिल को है कुछ
नबी से अक़ीदत
किसी दिन तो जागेगी
मेरी भी क़िस्मत
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
This article is written by nahm, 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 : | 3944 | Post No. : | 15020 |
Mohammed Rafi : The Incomparable (II) – Song No. 11
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Songs of religious fervor are an integral part of hindi films. This was more prevalent upto 80’s, than I think the trend went downhill. In recent decades this type of songs have made a return in the mainstream film with spectacular bhajans and philosophical/religious flavor.
In Mohammed Rafi Sahab total output of around 5000 songs, I can guess this genre of bhajan/religious/philosophical/naats/qawwali’s accounts for 7-8 % . This is my conservative guess work, this might well turn out to be 10%.
I began this series ‘Mohammed Rafi: The incomparable ‘ with this song . In the revival of the series Part – II so far there was no such song. ‘A – Z of Rafi Songs” series also began with a bhajan .
The holy month of ‘Ramadhan’ is beginning tomorrow. This month is a period of ‘Barakah’ where the almighty’s blessings and sawaab for the believers ibaadat is manifold. I am not mentioning the “na’ymat” that the Allah (swt) has bestowed on the mortals for the worldly needs. The material things and luxuries that we all ask for and get from Allah (swt) are all “faani” (faani – will end one day) and are finite in nature. Allah’s Rehmat and the ability to give/forgive is limitless, infinite. It is our asking ability that is finite. If this simple thing is understood by us mortals, none of us will be jealous of each other. Jealousy is something which is always there among peers or people who are close/known to each other or in the same social circle. No one is ever jealous of the celebrities or those who are far away from us. People need to look far and beyond of their immediate circle’s to realize that God Almighty has so much to give and he has spread the blessings far and beyond. Than what one has to do is ask him to bless us too, becoz his capacity to give is so much far and beyond of what our imagination’s limits will take us. We can also ask him to give us far and beyond of where our imagination is able to imagine. See there is hope here and light at the end of the tunnel.
This is great motivational pitch for counseling people who are dejected due to any reason. If and when I encounter such people, I make it a point to tell them that look towards the whole mankind, how much God Almighty has blessed the people all over the world. People do seemingly impossible things, have achieved so much. Do you think all this happened without the will of God? So, what is your problem? So keep trying and ask of the Almighty. Have faith and trust that the Almighty has blessed the others and he will bless you too.
The song no. 11 I am presenting here is from the film Aalam Ara (1956). This would be the first remake of the first talkie film of India. The lyricist is Shewan Rizvi and the composer if A. R.Qurieshi. Mohammad Rafi Sahab is in element in this religious nazm and telling the story of a youg boy’s quest for the deeds that take him closer to ‘Imaan’ and to the eternal tranquility of heaven. This quest in exemplified in the boy’s wish to keep ‘Roza’ as an obedience and prayer. This story goes on to tell how the child insists on observing the fast and how the parents try to counsel him, thinking in their affection for him that he is too young. Then on to how the child is young and frail, falls down due to dizziness His heart stops beating and he dies.
The parents are both distraught and unable to bear the blow. Just than a ‘Faqeer’ comes to the door asking for food to break the fast. The faqeer is actually a farishta (angel) who has been sent by Allah (SWT) to rescue. This is divine intervention and the farishta keeps his hand on the boys chest and recites something. The child open his eyes and thus alive again. It’s a miracle, the boy and the parents are thus rewarded by the Almighty’s barakah and no harm comes to the believers and the steadfast.
It is said that the age of miracles is long over and there are no more miracles to be found in the present era. In the present context, this story would simply mean that the child’s heart had stopped and a few seconds or minutes later he was given first aid and the heart started beating and a life was thus saved. What is relevant and of utmost importance is the timely action of the faqeer in giving the necessary first aid to the child.
Similarly, may Allah(SWT) help us all in the times of need, this is a prayer. We all have seen several instances of such divine intervention, when help comes from unexpected source and our difficulty or problem is solved. People are known to have come out of dire situations in various strata of life. Even Maradona had a goal by “Hand of God”.
The lesson here is to believe in the ‘Rehmat’ of Allah (SWT) and always treat each other with respect and love. Because we don’t know when and who are destined to be our ‘Rehmatkafarishta’.
Song-Karta Hai Ek Raavi Ye Dilsoz Ye Bayaan (Aalam Aara)(1956) Singer-Rafi, Lyrics-Shewan Rizvi, MD-A R Qureshi
Lyrics
karta hai ek raavi ye dilsoz ye bayaan
ramzaan ke mahine ki mash-hoor daastaan
mulk-e-yemen meinn ladka thha ek aatth saal kaa aa
charcha thha shehr shehr mein
jis ke jamaal ka aa
rozaa khudaa ke naam pe rakkhne ka shauq thha
ramzaan ka jo chaand nazar uss ko aa gayaa aa
kehne lagaa ye maan se ke rozaa rakkhoongaa main
mujh ko jagaana raat ko sehri karoongaa main
bachche ki baat ka na kiya maan ne kuchh khayaal
ladkaa jo subah uttha to uss ko huaa malaal
samjhaaya maan ne aye mere dilbar na kar malaal
rozaa nahin hai farz abhi tujhpe mere laal
maasoom dil pe thes lagi maan se yoon kahaa
ammi suno ye kehtaa hai Quraan mein khudaa aa
roze ki bhookh pyaas ka jo gham utthaayegaa
uss rozaadaar ko na jahannum jalaayegaa
quraan ka nuzool issi maah mein huaa
tauba qubool kartaa hai iss maah mein khudaa aa
al-qissa raat aayi to woh jaagta rahaa aa
kehna kisi ka kuchh na suna roza rakh liya
sehri wo karke so gayaaaur so ke jab utthaa
bete ka maatha choom ke maadar ne ye kahaa aa
rozaa na rakh sakegaa tu zid apni chhod de ea
de doongi apna rozaa tujhe rozaa tod de ea
ladka ye bolaa khaana main hargiz na khaaungaa
apne khudaa-e-paak ko kya munh dikhaaungaa
dopehar dhal ke asr ka jab waqt aa gayaa
paani begair pyaas se khushk ho gayaa galaa aa
seene mein saans ruk gayi chakkar sa aa gayaa
kamsin thha nazneen thha chakra ke gir padaa
harkat jo dil ki band hui aankh jhuk gayee
nabzen idhar rukin to udhar saans ruk gayee
maa ne kahaa pukaar ke maasoom chal diyaa
aftaar ki khushi se bhi mehroom chal diyaa
maan baap laash dekhte thhe apne laal ki
maiyyat padi thhi saamne ek aatth saal ki
aakhir ko rozaa kholne ka waqt aa gayaa
donon ne gham mein bete ke khaaya na kuchh piyaa
nagaah dar pe aa ke sawaali ne di sadaa aa
saayil ki shakl mein thha farishtaa khadaa huaa
aawaaz di ke le lo faqeeron ki tum duaa
main bhi hoon rozaadaar do Allah ke naam ka
jis dam suni faqeer ki donon ne ye sadaa aa
aftaar ko jo rakkhaa thha saayil ko de diyaa aa
saayil ne bheekh le ke kahaa maajra hai kya
maatam hai ghar mein kaisaa yeh mujh ko bhi do bataa aa
saayil ko apne saath pidarghar mein le gayaa
farzand ke janaaze ko laa kar dikhaa diyaa aa
bachche ki laash dekh ke saayil ne kuchh padhaa aa
seene pe haath rakh ke ye murde ko di sadaa aa
ae nanhe rozaadar tu ab rozaa khol le
ghamgeen maan khadi hai zara maan se bol le ae
jumbish labon pe hone lagi aankh khol di ee
bachche ko zinda dekh ke maadar lipat gayeeee
saayil ye keh ke aankhon se rooposh ho gayaa
bhejaa huaa main aaya thha parwardighar ka aa
thha imtihaan ka waqt museebat ki ye ghadi
jo usspe jaan dete hain marte nahin kabhi eeee
marte nahin kabhi …..
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3890 | Post No. : | 14922 |
Today’s song is from film Arab ka Sitara-1946. Produced and directed by Nanubhai Vakil, under his own banner- Roshan Pictures, it was a costume drama film,eulogising the greatness of Islam and how sincere 5-time Namaz pleases Allah- the Supreme power.The 10 songs of the film were written by Shevan Rizvi and were composed by the One Film Music Director S Qureshi.
Sometimes I wonder, there was a time when this film industry was thickly populated with Muslim artistes in every field-acting, production,direction or composing music…still there were really not many films on Muslim backgrounds made. There is a sizable and rapidly growing portion of Muslim population in India, still,if you count films based on Muslim issues or Muslim backgrounds,they may not account for more than 1 to 2 % of the total film production.
It is not only the Muslim films, but films on other minorities like Christians,Parsis, Jains,Budhists, Sikhs too are not much represented in our films. It is very sad that such films are not made, though the figures and history tells us that such films were quite successful at the Box Office.
Muslim films are in Two categories. One, films made on Historical Muslim characters like Akbar, babar, Humayun, Shahjehan, Jehangir, Razia Sultan, etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-both types. To my surprise,I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying,since I do not know the story lines of every film, still the number will not go beyond 70-80 films, despite ruthless stretching !
The point I want to make here is that not many Muslim social movies are made in India ,over the years. One of the earliest such a film was Najma-43,I think. One very very explosive Muslim social film,made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story,it is a very very hot story.I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. may be you will be attacked or thrown out of the society. But remember,I am doing this film,because I want our people to improve on par with others. If you want,you can reject the film even now. Think and tell me before we start shooting. “Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release,the film did evoke violent reactions from a section of the Muslim society but it subsided slowly. Before Partition, Fazli brothers were known to make Muslim social films.
Some other Muslim socials I remember are Zeenat,Dil hi to hai,Bahu begum,Dastak,Garm hava,Bazar,Anjuman,Naseem, the Triology by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza,Junoon,Benazir,Gazal,Chhote nawab.Then there were Barsaat ki raat,Nikah,Shatranj,mehboob ki Mehendi,Umrao Jaan,Paakiza,Mere mehboob,Chaudhavi ka chaand,Anwar, My name is Khan,Bombay etc. Surely,there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.
Being from Hyderabad, when it was a Nizam ruled state, I had a closer view of Muslim culture and even had some close Muslim friends in school and college. Though my early education in the 40s was in Urdu, over a period, I have lost the touch with Urdu- may be due to ‘ atrophy of disuse’ !
When I learnt that one of my friends, Shri P Kamalakar aka Kamlakar Pasupuleti, has written a book on Muslim films, I was very eager to have a copy. Last week I got my copy of his book ” Forgotten movies on Muslim Culture 1933-1947 “.
The book is an authentic chronicle of 30 films made on Muslim culture- social, historical and costume dramas based on imaginary events and stories. Kamlakar ji is an Urdu Scholar and had a superb enviable collection of film materials in Urdu, which he collected during his early life in Hyderabad. Now, he has been settled in US for a very long time. He has earlier published 2 books, based on this material, which are real Gems for students of old films, like me.
This new book too is exclusively based on documents like film booklets, reviews and News items in papers, books etc, all in Urdu. All this makes the book very well documented and authentic too. This is a treasure trove of early Indian movies, fit to be preserved for posterity. The original Urdu material is also given in the book.
Today I have selected a song from one of the films discussed in this book,namely, Arab ka sitara-46. Though the book’s title says 1933 to 1947, only one film of 1947 (Mulaqat-47) features in this book. As far as my information goes, films like Abida, Dard, Ek Roz, Elaan, Gul e Bakavli, Hatimtai, Kasam and Mirza Sahiban, all made in 1947, were also with Muslim culture background. These films do not feature in this book. One reason could be that due to Partition-pre and post activities, most films, passed by Censors in 1947 could not be released in 1947 itself for obvious reasons. Obviously, there were no reviews, articles or comments etc on these films in the newspapers. All these films got released in 1948 and thus are not included in this book. Of course, this is my surmise, based on facts.
I know for sure that the most famous and daring Muslim culture film ” Elaan” was censored in 1947 on 11-3-1947 ( certificate no. 35351) but was actually released only on 20-2-1948 in Super Cinema, Bombay. I thank Harish Raghuwanshi ji to confirm my surmise by facts, within lightning time, after my query today itself.
In any case, the book is not without errors. No book is without errors-in this subject- including my own book also. This is because, history and facts get updated every now and then, with newer evidence coming to light through many sources.
Film Arab ka sitara-46 was directed by Nanubhai Vakil. He was the fittest person for such type of B and C grade costume dramas- in which he specialised. It is no surprise that in his 20 Silent and 70 Talkie films just ONE film was a social film-Kya yeh Bambai hai-1959.
Nanubhai Vakil was born in Valsad in Gujarat in the year 1904. In his family there were many Advocates including his father,so their family name itself became Vakil, instead of their original surname Desai. Nanubhai came to Bombay to study Law. He completed his B.A. LL.B from Wilson College, Bombay but he did not join his family profession. Instead he was attracted towards the film world.
He joined Sharada films as a screenplay writer and later joined Ranjit films as a Director. He directed 18 silent films for Ranjit studios. However, it was Sagar Movietone which gave him the first opportunity to direct his first Talkie film. It was the First Gujarati Talkie film, “Narsimh Mehto” in 1932. After this there was no looking back. He opted for and became an expert in directing only Fantasy,Stunt and Costume films.
In his career from 1929 to 1973 period,he directed 20 silent and 70 Talkie films -all stunt and fantasy films, except one social film Kya yeh Bambai hai in 1959.
He was associated with Mohan pictures for a long time and directed 18 films for this company. During this period he also married his Heroine Sarojini ( real name Roshan Jehan alias Ranee). They had one daughter-AZRA, who too became an actress. Sarojini was actress Indurani’s elder sister.
Unlike most of his colleagues ,who had no formal school education ,Mr Vakil was highly educated ,being B.A.L.L.B. in those days.Since beginning,he was attracted to Fantasy & Arabian Night movies.He believed that,the audience visits the cinema hall, to experience some thing,which he has not seen in his real life. He wants to be entertained & to forget the harsh realities of the outer world. Fantasy/ Costume movies transports him to an imaginary world of King & Queens, where beside the crafty Vazir, he finds gorgeous girls dancing, the handsome,manly & brave hero,rescues the pretty damsel from the clutches of evil magician. The movie comes to an end and the viewers come out from the theater,happy & satisfied, since evil doers have been eliminated & brave man living happily with the petite gal, in their fairy land.
Bulbul E Bagh,Rashk E Laila, Fakhr E Islam, Gulshan E Alam, Kumud Kumari were his earlier movies. In 50s & 60s,few of his movies were,Shan E Hatim, Khul Ja Sim Sim, ShanE Khuda, Idd Ka Chand, Noor Mahal, Flying Rani, Alam Ara Ki Beti, Bansri Bala, Hatim Tai Ka Beta etc.He made remakes of many movies like Lal E Yaman, Alam Ara (Twice in 1956 & !973) & Hatim Tai Ki Beti in 1940 & 1955.During his five decades long career,he made movies with in a small budget ,with less paid actors. Nanu Bhai Vakil had two productions Companies viz Desai Films & Vakil Production. All his movies had no connect with the present. Elite & pseudo intellectuals avoided to even discuss his movies, but Vakil Sahab had a dedicated audience consisting of common public,less privileged & so called front benchers,who enjoyed his brand of cinema.
His films included less known stars like Sarojini, Navin chandra, Rafiq, Prakash, Gulnar, Daljit, Chitra etc. He also worked with Zubeida, Yakub, Jal Merchant,Jaddanbai,Shanta Hublikar, Nimmi, Veena, Jairaj, Shakila,Nirupa Roy, Nadira, Mehmood, Shobhana Samarth, Nirmala,her husband Arun Ahuja etc. His MDs were also little known. However, Music Director A.R.Qureshi ( the famous Tabla Nawaz Alla Rakha-father of Zakir Hussain) gave music to his 18 films.
He never mixed with film folks and spent his life aloof. He quietly died on 29-12-1980 at Bombay.
The story of film Arab ka Sitara-46 ( as given in the book) was…….
Anwar is a devout Muslim following 5 times Namaz, without fail. From a common soldier, he becomes Commander in Chief and then the king of his state. He is advised by his Vazier to go to neighbouring country to spread Islam. Accordingly, Anwar reaches that kingdom. Here he falls in love with the Princess Arifa. In his love she converts to Islam. When the king comes to know this, he arrests Arifa and Anwar. When Anwar is tortured for days, he exhibits his immense faith on Islam and The Allah. The king is impressed and he too coverts to Islam. Arifa and Anwar are married. Anwar forgets his 5 times Namaz in his joy and is punished immediately.
The Prime Minister rebels and with an army to support him, arrests Anwar, Arifa and the King. In the jail, Anwar starts his 5 times Namaz. A good hearted Namazi frees them. Anwar realises his mistakes and all of them strictly follow 5 times Namaz. All obstacles are removed, the rebels run away from the kingdom. The King is reinstated and all the kingdom is converted to Islam, thus Anwar proves the power of Namaz.
The cast of the film was Amirbai Karnataki, Prakash, Cuckoo, Rafiq, Ansari, Agha Shapoor etc etc. The song is sung by Rafi and Amirbai Karnataki with gusto and it had become quite popular among the Muslims in that period.
Song-Macha di dhoom duniya mein Islaam ke deewanon ne (Arab Ka Sitaara)(1946) Singer-Rafi, Lyrics-Shewan Rizvi, MD-S Qureshy
Rafi + Amirbai Karnataki
Lyrics
Macha di dhoom duniya mein
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein
islaam ke deewaanon ne
Macha di dhoom duniya mein
haan aan aan aan
mita ke kufr ki hasti
ee ee ee ee ee
basa ke ae
jalwon ki basti
ee ee ee
haan aan aan aan
mita ke kufr ki hasti
ee ee
basa ke ae
jalwon ki basti
ee ee ee ee ee ee
jala di noor ki shama
jala di noor ki shama
tauheed ke parwaanon ne
jala di noor ki shama
tauheed ke parwaanon ne
Macha di dhoom duniya mein
islaam ke deewaano ne
Macha di dhoom duniya mein
haan aan aan aan
jhanda ye sabz rang ka
aa aa aa aa
bajta hai jiska danka
aa aa aa
jhanda ye sabz rang ka
bajta hai jiska danka
aawaaz sun ke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
aawaaz sunke jiski
dhun sabko laagi rab ki
padha kalma Muhammad ka
padha kalma Muhammad ka
insaanon ne be-deenon ne
padha kalma Muhammad ka
insaanon ne be-deenon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein
haan aan aan aan aan
zameen pe jab hua gul
la ilaaha il lallah
sitaaron se jawaab aaya
Muhammad ya rasool allah
kya
macha di dhoom duniya mein
macha di dhoom duniya mein
islaam ke deewaanon ne
islaam ke deewaanon ne
islaam ke deewaanon ne
macha di dhoom duniya mein
islaam ke deewaanon ne
macha di dhoom duniya mein
Radhe Krishna Bol Mukh Se
Posted on: January 9, 2019
- In: Bhajan | Bhajan cum western song | Devnagri script lyrics by Avinash Scrapwala | Devotional song | Guest posts | Krishn Bhajan | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Post by Avinash Scrapwala | Rajesh Khanna songs | Rajesh Khanna songs by Mahendra Kapoor | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 2 Comments
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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Blog Day : |
3827 | Post No. : | 14832 | Movie Count : |
4056 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 78 # Singer – Mahendra Kapoor #
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Today 9th January is the birth anniversary of Singer Mahendra Kapoor (9 January 1934 – 27 September 2008). Had he been alive today he would have been eighty-five years old.
On today’s occasion here is a song from the 1972 movie ‘Maalik’ sung by Mahendra Kapoor and composed by Kalyanji -Anandji. Lyrics are by Rajinder Krishan.
I have vague memories of watching this film on ‘Doordarshan’ and do not remember it now. In my childhood I had been hearing this song ‘Kanhaiyya Kanhaiyya Tujhe Aana Padega’ on loud speakers during the ‘Janmashtami’ festival. This song was very popular in those years. And after watching this movie ‘Maalik’ on ‘Doordarshan’ around 1983-1985, I came to know it was from this movie. However today on the occasion of birth anniversary of Singer Mahendra Kapoor, I am presenting herewith another Krishna song from the same film.
‘Maalik’ was directed by A Bhim Singh for Bharat Movies, Madras. It was produced by Vasu Menon. It had Sharmila Tagore, Rajesh Khanna, Deven Verma, Sonia Sahni, Bipin Gupta, Shivraj, Umesh Sharma, NS Bedi, Prem Kumar, Kabir Kumar, Baby Pinki and Ashok Kumar (in a special appearance). Story for this movie was written by Balamurugan. Dialogues of this movie were written by Rajinder Krishan (who also wrote the lyrics for all songs in this movie). Editing of this movie was done by A Paul Doraisingam. NS Bedi was also the dialogue director of this movie. This movie was passed by the Censor Board on 26.10.1972.
Rajesh Khanna played a different role in this movie from what was expected from him then and that too when he was on the peak of his career. May be because of that the movie didn’t fare well at the box-office, and may be because people might not have like to watch Rajesh Khanna in this type of role.
Our group of friends then who were the fans of Rajesh Khanna, did not like this movie much when we watched it on ‘Doordarshan’ then in 1983-85. And I remember next day we had discussed this movie and Kaka’s role in it at length. (But that is the matter for another article on Rajesh Khanna series. 🙂
The brief about this movie ‘Maalik-1972’ as given on IMDB is as below;
Rajesh and Savitri are in love, and soon they get married. They soon realize that they have a number of differences, the main one being that while Rajesh is a devout Hindu and worships Lord Krishna, Savitri does not believe in God. This leads to a number of arguments, yet both continue on with their married life. Soon a child is born to them. Unfortunately, the child is born without hands and legs. Both are anguished by this, and decide to placate God by visiting various places of worship all over India, little knowing that the truth lies elsewhere.
This movie has total thirteen songs as listed in HFGK Vol-V (1971-1980). Out of these thirteen songs, the singer’s name has not been mentioned for one song. Out of the remaining twelve songs we have one solo sung by Kishore Kumar, one solo by Lata Mangeshkar, three solo songs sung by Mahendra Kapoor and seven duets of Mahendra Kapoor with Lata Mangeshkar. That way, including the multiple version songs we have Mahendra Kapoor’s voice in as many as ten songs in this movie.
There was one movie made with the same title as ‘Maalik’ in ‘1958’. Five songs from this 1958 movie are already posted on our blog.
Today ‘Maalik’ of 1972 makes its debut on the blog. Here is this first song from this movie appearing here which is sung by Mahendra Kapoor and chorus.
Let us now listen to the today’s song in the voice of Mahendra Kapoor and chorus.
Radhe Krishna bol mukh se
tero kya laage re mol
Song – Radhe Krishna Bol Mukh Se (Maalik) (1972) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishna, MD – Kalyanji Anandji
Lyrics
aaaa aa aa aa
radhe krishna bol mukh se ae
radhe krishna
bol mukh se
radhe krishna bol
tero
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol
ho ho o o o
radhe krishna bol mukh se
radhe krishna bol tero
kya laage re mol
tero
kya laage re mol
(western dance music)
pee le shyam naam ka pyaala
aa aa aa aa
pee le shyam naam ka pyaala
aur ho ja saancha matwaala
aur ho ja saancha matwaala
girdhar ke rang mein rang ja
re rang ja
tero
kya laage re mol
tero
kya laage re mol
tero
kya laage re mol
(western dance music)
natwar se preet lagaa le
ae ae ae ae
natwar se preet lagaa le
chhavi sundar man mein basaa le ae
chhavi sundar man mein basaa le
bansi ki dhun mein kho ja re kho ja
tero
kya laage re mol
tero
kya laage re mol
ho ho o o
radhe krishna bol mukh se
radhe krishna bol mukh se
radhe krishna bol
mukh se re
radhe krishna bol
(western dance music)
radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol
(western dance music)
radhe krishna bol
radhe krishna bol
(western dance music)
radhe krishna bol
radhe krishna bol
radhe krishna bol
radhe krishna bol
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Hindi script lyrics (Provided by Avinash Scrapwala)
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आ आ आ आ
राधे कृष्ण बोल मुख से ए
राधे कृष्ण
बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो ओ ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
(पाश्चात्य संगीत)
पी ले श्याम नाम का प्याला
आ आ आ आ
पी ले श्याम नाम का प्याला
और हो जा सांचा मतवाला
और हो जा सांचा मतवाला
गिरधर के रंग में रंग जा
रे रंग जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
(पाश्चात्य संगीत)
नटवर से प्रीत लगा ले
ए ए ए ए
नटवर से प्रीत लगा ले
छवि सुन्दर मन में बसा ले ए
छवि सुन्दर मन में बसा ले
बंसी कि धुन में खो जा रे खो जा
तेरो
क्या लागे रे मोल
तेरो
क्या लागे रे मोल
हो हो ओ ओ
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल मुख से
राधे कृष्ण बोल
मुख से रे
राधे कृष्ण बोल
(पाश्चात्य संगीत)
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
(पाश्चात्य संगीत)
राधे कृष्ण बोल
राधे कृष्ण बोल
(पाश्चात्य संगीत)
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
राधे कृष्ण बोल
Tere banenge bigde kaam
Posted on: July 26, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3660 | Post No. : | 14526 |
“Aangan”(1959) was directed by O P Datta. This movie had Rehman, Amita, Chand Usmani, Agha, Leela Mishra, Gulab, Badri Prasad, Indira Bansal, Ramavtar, Sabita Chatterji, Vijaybala, Jugnu, Kesarbai, Bazid Khan, Shantaram, Prijbhushan, Master Raja etc in it.
The movie had nine songs in it that were penned by three lyricists.
Two songs have been covered in the past. Here is the third song from this movie to appear in the blog. This song is sung by Manna Dey and chorus. Pt Indra Chandra is the lyricist. Music is composed by Roshan.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this bhajan.
Song-Tere banenge bigde kaam ho sun bhai aatmaaraam(Aangan)(1959) Singer-Manna Dey, Lyrics-Pt India India, MD-Roshan
Chorus
Manna Dey +Chorus
Lyrics
tere banenge bigde kaam
ho sun bhai aatmaaraam
tu kar le chaaron dhaam
ho sun bhai aatmaaraam
idhar hai ganga udhar himalay
beech mein badrinath
bolo bhai badrinath ki jai
dharm arth aur kaam moksh
chaaron phal inke saath ho
tere banenge bigde kaam
tere banenge bigde kaam
ho sun bhai aatma raam
jo koi paave jagannath ka
jootha bhaat prasaad ho
jootha bhaat prasaad ho
bolo bhai jagannath ki jai
chala jaaye baikunth ko seedha
koi na pakde haath ho
koi na pakde haath ho
tu bhaj le raadhe shyaam
tu bhaj le raadheshyam
ho sun bhai aatmaraam
dakshin desh rame rameshvar
mandir khambh hazaar ho
mandir khambh hazaar ho
bolo bhai shiv shankar ki jai
visvanath viswambher shankar
bhaje to beda par ho
bhaje to beda par ho
le in charnon ko thhaam
le in charnon ko thhaam
ho sun bhai aatmaraam
sone ki ye puri dwarka
man aanand badhaaye ho
man aanand badhaaye ho
bolo bhai krishanchandr ki jai
baanjh hari ho jaaye daadi
pota god khilaaye ho
pota god khilaaye ho
kul badhe amar ho naam
kul badhe amar ho naam
ho sun bhai aatmaaraam
tere banenege bigde kaam
ho sun bhai aatmaram
raam ji raam
ho sun bhai aatmaraam
- In: Devnagri script lyrics by Avinash Scrapwala | Devotional song | Guest posts | Kavi Pradeep solo songs as a singer | Kavi Pradeep songs as a singer | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Multiple version song | Post by Avinash Scrapwala | Songs of 1970s (1971 to 1980) | Songs of 1975 | Theme song | Title song | Yearwise breakup of songs
- 2 Comments
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 #
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# Bhoole-Bisre Geet # 58 # Remembering Singer-Poet – Kavi Pradeep #
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Today (11th December, 2017 is the nineteenth ‘Remembrance anniversary’ (06.02.1915 – 11.12.1998) of Ramchandra Narayanji Dwivedi whom we fondly remember and whose name has been engraved in the history of Indian Cinema and Poetry as Kavi Pradeep.
On this occasion here is a song from “Jai Santoshi Maa-1975” which is penned by Kavi Pradeep (he has written all the six songs for this movie) and also lent his voice to the background version of this (today’s) song in the movie.
“Jai Santoshi Maa” was produced by Satram Rohra for ‘Bhagyalakshmi Chitra Mandir, Bombay’ and directed by Vijay Sharma.
It had Ashish Kumar, Kanan Kaushal, Rajnibala, Bela Bose, Asha Potdar, Leela Mishra, Manhar Desai, B.M. Vyas, Rajan Haksar, Kundan, Neelam, Padmarani, Lata Arora, Johny Whisky, Surendra Mishra, Dilip Dutt, Uma Dutt, Tiwari, Dubey Trilok Kapoor, Anand Marathe, Shri Bhagwan, Mahipal, and Anita Guha as ‘Santoshi Maa’.
Bharat Bhushan makes an ‘guest appearance’ in this movie.
The seventies was a very special decade for Hindi movies. It saw the emergence of the first superstar of the industry and later on the rise of an angry young man on screen. Action films, formula films, multi starrer movies came to the fore in this decade. Story presentation and action underwent changes from the earlier decades. Towards the end of the decade, we found disco music entering in Hindi film music in a big way.
This decade also saw one of the greatest mythological hit of all times viz. ‘Jai Santoshi Maa’ in 1975.
Released in the same year as Sholay, this was a low budget movie but later on created records for collection. I have blurred memories about tales that many women started ‘santoshi maata vrat’ after watching this movie.
All the songs of this movie were very popular. Today’s song in particular holds a special nostalgic value for me.
I was just above 7 years old at that time. I remember that we watched both Sholay and Jai Santoshi Maa on the same day at Akola. I remember the name of the theatres. ‘Shalini’ talkies, which had that typical theatre like built inside and ‘Manek’ talkies – one of the old in the city and still maintained well and spacious.
Today when I checked the release dates of both these movies, I find that “Jai Santoshi Maa” was passed by Censor Board on 28.05.1975 and “Sholay” was passed by Censor Board on 12.08.1975).
The song being presented today has two versions. One version is sung by Kavi Pradeep and the other by Mahendra Kapoor with chorus in both of them. music is given by C. Arjun and lyrics are by Kavi Pradeep ji.
This song, oozing with devotion and spirituality has a calming effect on me and it puts me at peace. No wonder that this is a song that I like to listen to again and again.
(Note: – In HFGK Vol-V this song is mentioned as appearing at number two and six, which normally should be in the order of appearing of the songs in the movie. However, I would like to mention here that this needs to be corrected in HFGK as in the movie this song appears at number one and two respectively in the voices of Mahendra Kapoor and Kavi Pradeep.
HFGK mentions the song ‘main to aarti utaaroon re’ at number one while in the movie it comes at number number five. And, at number six is the last song of the movie ‘madad karo he… madad karo santoshi maata’).
Let us now listen to this wonderful song …
Version I
Audio
Version II II (Video)
Song-Yahaan wahaan jahaan tahaan mat poochho kahaan kahaan (Jai Santoshi Maa)(1975) Singer-Kavi Pradeep/ Mahendra Kapoor, Lyrics-Kavi Pradeep, MD-C Arjun
Lyrics
Version I
——————–
Jai Santoshi maa aa aa
Jai Santoshi ee maa aa aa
Jai Santoshi maa aa aa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Badi man bhaawan
Nirmal paawan
Prem ki ye pratimaa
Apni Santoshi Maa
Apni santoshi maa
Is devi ki dayaa ka hamne ae ae
Adbhut phal dekha aa
Ho o o adbhut phal dekha
Ho o o
Pal mein palat de ye bhakton ki ee
Bigdi bhaagya rekha aa
Bigdi bhaagya rekha
Badi balshaali
Hmm hmm
Mamtaa waali
Hmm hmm
Badi balshaali
Mamtaa waali
Jyoti punj ye maa
Apni Santoshi Maa
Apni santoshi maa
Ye maiyya to bhaav ki bhookhi ee
Bhakti se bhaave
Ho o o bhakti se bhaave
Ho o o prem poorwak jo koyi pooje
Man waanchhit paave ae
Man waanchhit paave
Mangal karni
Hmm hmm
Chintaa harni
Hmm hmm
Mangal karni
Chinta harni
Dukh bhanjan ye maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
——————————-
Version II (Mahendra Kapoor & Chorus)
———————————
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Jal mein bhi
Thal mein bhi
Chal mein
Achal mein bhi
Atal vital mein bhi maa
Apni Santoshi Maa
Apni Santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Badi anokhi chamatkaarini
Ye apni Maai
Ye apni maai
Ye apni maai
Raayee ko parbat kar sakti
Parbat ko raayee
Parbat ko raayee
Parbat ko raayee
Dwaar khulaa
Darbaar khula hai ae ae
Aao behan bhaai
Iske dar par
Kabhi daya ki kami nahin aayi
Daya ki kami nahin aayi
Pal mein Nihaal kare
Dukh ka nikaal kare
Pal mein nihaal kare
Dukh ka nikaal kare
Turant kamaal kare maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Is Amba mein Jagdamba mein
Ghazab ki hai shakti
Ghazab ki hai shakti
Ghazab ki hai shakti
Chinta mein doobey huye logon
Kar lo iski bhakti
Kar lo iski bhakti
Kar lo iski bhakti
Apna Jeevan saunp do isko o
Paa lo re mukti
Sukh sampati ki daataa
Ye maa kya nahin kar sakti
Maa ye kya nahin kar sakti
Bigdi banaane waali
Dukhde mitaane waali
Bigdi banaane waali
Dukhde mitaane waali
Kasht hataane waali maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Gaurisut Ganpati ki beti
Ye hai badi bholi
Ye hai badi bholi
Ye hai badi bholi
Dekh dekh kar iska mukhda
Har ik dishaa doli
Har ik dishaa doli
Har ik dishaa doli
Aao re bhakton ye maataa hai ae
Sab ki hamjoli
Jo maangoge tumhen milega
Bhar lo re jholi
Suno re bhaai
Bhar lo re jholi
Ujjwal Ujjwal
Ho nirmal nirmal
Ujjwal Ujjwal
Nirmal nirmal
Sundar sundar Maa
Apni Santoshi Maa
Apni santoshi maa
Yahaan wahaan jahaan tahaan
Mat poochho kahaan kahaan
Hai Santoshi Maa
Apni Santoshi Maa
Apni santoshi maa
Apni Santoshi Maa
Apni santoshi maa
————————————
———————————————————-
Lyrics in Devnagri Script (Provided by Avinash Scrapwala)
———————————————————-
Version I (Kavi Pradeep)
———————————————————-
जय संतोषी माँ आ आ
जय संतोषी ई माँ आ आ
जय संतोषी माँ आ आ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
बड़ी मन भावन
निर्मल पावन
प्रेम की ये प्रतिमा
अपनी संतोषी माँ
अपनी संतोषी माँ
इस देवी की दया का हमने ए ए
अद्भूत फल देखा आ
हो ओ ओ अद्भूत फल देखा
हो ओ ओ
पल में पलट दे ये भक्तों की ई
बिगड़ी भाग्य रेखा आ
बिगड़ी भाग्य रेखा
बड़ी बलशाली
हम्म हम्म
ममता वाली
हम्म हम्म
बड़ी बलशाली
ममता वाली
ज्योति पुंज ये माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
ये मैय्या तो भाव की भूखी ई
भक्ति से भावे
हो ओ ओ भक्ति से भावे
हो ओ ओ प्रेम पूर्वक जो कोई पूजे
मन वांछित पावे ए
मन वांछित पावे
मंगल करणी
हम्म हम्म
चिंता हरनी
हम्म हम्म
मंगल करणी
चिंता हरनी
दुःख भंजन ये माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
————————————–
Version II ( Mahendra Kapoor)
—————————————
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
जल में भी
थल में भी
चल में
अचल में भी
अतल वितल में भी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
बड़ी अनोखी चमत्कारिणी
ये अपनी माई
ये अपनी माई
ये अपनी माई
राई को परबत कर सकती
परबत को राई
परबत को राई
परबत को राई
द्वार खुला
दरबार खुला है
आओ बहन भाई
इसके दर पर
कभी दया की कमी नहीं आयी
दया की कमी नहीं आयी
पल में निहाल करे
दुःख का निकाल करे
पल में निहाल करे
दुःख का निकाल करे
तुरंत कमाल करे माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
इस अम्बा में जगदम्बा में
ग़ज़ब की है शक्ति
ग़ज़ब की है शक्ति
ग़ज़ब की है शक्ति
चिंता में डूबे हुए लोगो
कर लो इसकी भक्ति
कर लो इसकी भक्ति
कर लो इसकी भक्ति
अपना जीवन सौंप दो इसको
पा लो रे मुक्ति
सुख सम्पति की दाता
ये माँ क्या नहीं कर सकती
माँ ये क्या नहीं कर सकती
बिगड़ी बनाने वाली
दुखड़े मिटाने वाली
बिगड़ी बनाने वाली
दुखड़े मिटाने वाली
कष्ट हटाने वाली माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
गौरीसूत गणपति की बेटी
ये है बड़ी भोली
ये है बड़ी भोली
ये है बड़ी भोली
देख देख कर इसका मुखड़ा
हर इक दिशा डोली
हर इक दिशा डोली
हर इक दिशा डोली
आओ रे भक्तो हए माता है ए
सब की हमजोली
जो मांगोगे तुम्हे मिलेगा
भर लो रे झोली
सुनो रे भाई
भर लो रे झोली
उज्जवल उज्जवल
निर्मल निर्मल
सुन्दर सुन्दर माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
यहाँ वहाँ जहां तहां
मत पूछो कहाँ कहाँ
है संतोषी माँ
अपनी संतोषी माँ
अपनी संतोषी माँ
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).
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