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

Archive for the ‘Devotional song’ Category


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

Blog Day : 4751 Post No. : 16490

Mukesh and his Composers -21
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Did Mukesh act in ‘Uss Paar’ (1944)?

The correct and factual answer along with credible proof to the above question is of historical importance as it refers to the first ever payback rendered by Mukesh.

If Mukesh has not acted in the film, then apparently it will be his first playback.

If he has acted in some capacity, then there are again two possibilities.

  1. He was a side actor and the duet with Kusum was featured on him only.
  2. He had a role in the film, but said duet was picturized on someone else.

One song from ‘Uss Paar’ (1944) has been covered on the blog and it is in fact, the elephant in the room.

Sudhir ji in his extraordinary series ‘The voice of Mukesh’ has covered this duet with Kusum Mantri and has considered it to be the first playback of Mukesh.

All indications are that Mukesh did not act in the movie, but undeniable proof is yet to surface.

Coming to the next post in this series, we take up the career of Mukesh with composer-singer Bulo C Rani today.

Yes, I agree that Bulo C Rani had nothing to do with ‘Uss Paar’ (1944) as it was composed by Feroz Nizami.

But then while searching for some information on Bulo C. Rani, I happened to refer to the book Hindi Film Song by Ashok Da. Ranade. In his description of the works of Bulo C. Rani, Ashok ji in his book on p. 226 says about the film ‘Moorti’ (1945).

In it “badariya baras gai” – which was Mukesh’s first song as the composer often claimed with pride – won popularity.

There we go again. Was Bulo C Rani implying ‘Uss Paar’ duet of Mukesh was not his first playback. Since Bulo C. Rani was very much part of HFM during 1944 -1945, he must have known about Mukesh’s actor-singer songs to take the credit of composing the first song (playback) of Mukesh.

Matters get more complicated with Mukesh with many firsts such as first song, first playback, first popular song etc. And before all these we have his six NFS which he recorded in 1939 at Delhi before coming to Bombay.

When the question referred in the very first line of this post is addressed satisfactorily with proof, I intend to write a separate post on the many firsts of Mukesh with a detailed table.

Coming to the discussions on today’s collaboration, I am happy to bring forth the many memorable and sweet songs that Mukesh sang under the baton of Bulo C Rani.

Before I go into the details of the songs, here is a brief and bullet point summary on the life of Bulo C Rani much of it from the book referred above.

  • He was born on 6 May 1920 in Hyderabad Sindh and his originally name was Bulo Chandiramani Ramchandani.
  • He came to Bombay in 1942 with DN Madhok and joined Ranjit Films to assist Kemchand Prakash.
  • In his initial part of film career, he sang a few songs under different composers.
  • He is credited for composing for the first Sindhi film Abana (1958)

Apart from the above, I request interested readers to apprise themselves of the life and career of the composer with the following three links in which the respective authors have done enough and valuable research.

 

S.No Name of song Movie (Year of release) Co-singer if any Lyricist
1 Badariya baras gayi uss paar Moorti (1945) Khursheed and Hamida Bano Pt Indra Chandra
2 Haseeno se haseeno ko Moorti (1945) Pt Indra Chandra
3 Maana ke tum haseen ho Moorti (1945) Pt Indra Chandra
4 Pardesi dhola Prabhu Ka Ghar (1945) Mohantara Pt Indra Chandra
5 Jaa parwaane jaa Rajputaani (1946) Hamida Bano Pt Indra Chandra
6 Kiye jaa pyaar Rajputaani (1946) Pt Indra Chandra
7 Kaise bataaun unse Anjuman (1948) Shamshad Begam Majrooh Sultanpuri
8 Woh teer kaleje par Anjuman (1948) Majrooh Sultanpuri
9 Unki gali mein aaye hum Nazaare (1949) Rajinder Krishan
10 Armaan bhara dil toot gaya Wafa (1950) Lata Hasrat Jaipuri
11 Aansoo bhaavo tum udhar Pyaar Ki Baaten (1951) Geeta Roy Majrooh Sultanpuri
12 Mast chaandni jhoom rahi Pyaar Ki Baaten (1951) Geeta Roy M L Khanna
13 Ae Momino Suno Ye Kahani Abdullah (1960) Shewan Rizvi
14 Ham bhi kho gaye hain Madam Zorro (1962) Kamal Barot Shewan Rizvi
15 Main hoon deewaanaa Haqdaar (1964) Prem Warbartani

The above table provides the complete table of songs composed by Bulo C Rani and sung by Mukesh. It appears, Mukesh was the favorite singer of the composer especially in the late forties and early fifties. Why the composer used Mukesh sparingly in the sixties is not clearly known.

Some beautiful ghazals and delightful duets were the hallmark of the combo. The melodious songs are well known to avid music lovers and I am avoiding describing them again.

As usual, Shri Harish ji has confirmed, correctness of the above table and added useful information that Mukesh sang for the composer, two more duets with Asha Hargunani for a Sindhi film Naqli Shaan (1972) with lyrics by Krishna Rahi.

  1. Ankh Phadke Dil Dhadke
  2. Haseen Raat Aa Mast Aa Fizaa

Out of the 15 songs enlisted above only one from the film ‘Abdullah’ (1960) remains to be covered on the blog and is presented in this post.

 

Song – Ae Momino Suno Ye Kahaani Namaaz Ki  (Abdullah) (1960) Singer – Mukesh, Lyrics – Shewan Rizwi, MD – Bulo C Rani

Lyrics (Provided by Sudhir)

ae momino suno ye kahani namaz ki
hai hum pe farz bandagi banda nawaaz ki
ae momino suno ye kahani namaz ki

mulk e arab me ek haseena thi nek naam
karti thi apne rabb ki ibadadat wo subh o sham
usko namaaz padne ka bachpan se shauk tha
ik waqt ki namaaz bhi karti na thi kaza
nanha sa ek laal tha us paak baaz ka
gurbat me shukr karti thi wo beniyaaz ka
masoom bachcha bhookh se rota jo beqarar
pani pila pila ke thapakti thi bar bar
guzre isi tarah jo museebat me teen saal
shauhar ke dil me uspe safar ka hua khayal
shauhar ki bat sun ke wo majboor ho gayi
do dil ki ye judaai thi manjur ho gayi

biwi ko rota chhod ke jab ghar se wo chala
masoom bachcha baap se apne lipat gaya
samjha ke maa ne god me bachche ko le liya
wo chup rahi to ashqon ne haafiz khuda kaha
nikla ghareeb ghar se ghareeb ul watan hua
jungle ki tez dhoop me aur bhookh me chala
nagaah ek daku ki us par padi nazar
zalim ne mara zulm se ek teer taak kar
lagte hi teer dil pe wo chakra ke gir pada
waake mein teen waqt the duniya se chal basa
daaku karib aaya use dekhne laga
bhai ko murda dekh ke wo tharthara gaya
roya lipat lipat ke biraadar ki lash se
sar phodta tha apni hi bhai ko mar ke

kehta tha ro ke haaye ye kya maine kar diya
bhai ka khoon apne hi daman me bhar diya
munh peet’ta hua wo sehar ki taraf chala
bhabhi ko apne kehne ko pur dard maajra
ae momino suno ye kahani namaz ki

masroof har namaaz mein wo ek zaat thi
go din ki bhookh mein bhi thi mashgool e bandagi
daaku ne raah zal mein yaa shauhar ke bhai ne
tab aa ke tod daale ummeedon ke aaine
kehne laga suhaag tera maine le liya
apne hi haathon qatl biraadar ko kar diya
daaku gunehgaar ko rehban ko dekh le
khoon se bhara hua mere daaman ko dekh le
ye sun ke cheekhi aur wo behosh ho gayi
duniya se bekhabar wo gaflat mein so gayi
roi tadap ke khwaab mein shauhar ko dekh kar
dil tukde tukde ho gaya dilbar ko dekh kar
nanhe ka baazu thaam liya dil ko thaam kar
kehne lagi ke le chalo shauhar ki laash par
al qissa roti peet’ti pahunchi wo laash par
kadmon pe sar ko rakh diya shauhar ko dekh kar
fariyaad rabb se karne lagi ho ke beqaraar
utri falak beewi koi sun ke ye pukaar
haathon mein ek jaam tha munh par naqaab thi
rehmat baras rahi thi charaafa hijaab ki
wo beewi boli is pe chhidak de ye jaam tu
aur padh ke is se pooch le allah ka naam tu
paani chhidak ke naam e khuda us pe dam diya
kudrat khuda ki dekhiye wo murda jee utha. . .

ye dekh kar lipat gayi shauhar se wo ghareeb
kehne lagi ke mil gaya mujh ko mera habeeb
daaman pakad ke beewi ka phir poochhne lagi
tum kaun ho khudaara bata do ye raaz bhi
wo beewi boli main hi khuda ki namaaz hoon
maalik ki bandgi hoon barkat ka raaz hoon
apne namaazion ki main bigdi banaati hoon
apne namaazion pe main rehmat lutaati hoon
gaayab hua ye keh ke farishta namaaz ka
padh kar namaaz dekho karishma namaaz ka

padh kar namaaz dekho karishma namaaz ka. . .


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.

Blog Day :

4751 Post No. : 16489

Eid ul Azha mubarak ho, to all friends and readers.

It is generally believed that faith and logic are two different things.  What is faith?  Basic premise of faith would be the belief in God.  The conviction that there is a Supreme Power who holds the strings of all things in the universe.  After all the world is a stage and we all are actors.  Shakespeare said it, but it is nothing but the truth.  All of us are here for a set number of days, playing our designated roles, doing things we are destined to do, amassing good deeds and bad deeds.  As we complete the life circle and leave this mortal world, the soul does go somewhere, where else it will go but to the creator?  Logic has no option but to agree that the creator is in best position to answer the question, what is the purpose of creation?  If there was no creator, nothing makes sense in the whole existence. Science can give answers till a certain point and that is that. Logic starts where science gives up.   And sound logic points to God, the Creator, the Sustainer, the one who says “be” and it is.

I quote here some of the verses from the Glorious Quran.

“O Mankind, indeed we have created you male and female, and made you peoples and tribes that you may know one another. Indeed, the most noble of you, in the sight of Allah is the most righteous of you. Indeed, ALLAH is (all) knowing and (well) acquainted.” –  49:13

“And (O Muhommad) say: My Lord forgive and have mercy, for you are the best of all who show mercy.” –  23:118

“O mankind, there has come to you, a convincing proof (Prophet Muhammad) from your Lord and we send down to you a manifest light (this Quran).” – 4:174

“And whoever is guided is only guided for [the benefit of] himself.” – 27:92

“And for those who fear Allah, He will make their path easy.” – 65:4

“Allah never changes the condition of people until they change what is in themselves.” – 13:11

“And put thy trust in Allah. And enough is Allah as a Disposer of affairs.” – 33:3

“Take care of your souls.” – 5:105

“Do not ridicule others, perhaps they may be better than you.” – 49:11

“If you are thankful, I will increase my blessings upon you.” – 14:7

“So remember me, I will remember you.” – 2:152

“He knows what is in every heart.” – 67:13

“Verily, with every hardship comes ease.” –  94:5

“Allah does not burden a soul beyond that it can bear.” – 2:286

“Do not lose hope, nor be sad, for you will overcome them, if you are among the believers.” – 3:139

“We will test you in fear, hunger, loss of wealth life & fruit, but give glad tiding to the patient (steadfast).” – 2:155

“Call upon me, I will respond to you.” – 40:60

“Indeed, Allah is with those who abide him and those who are doers of good.” -16:128

“Allah will provide for him from a quarter from where he had no expectation. And whosoever puts all his trust in Allah, He will be enough for him. Allah is in command and he has set a measure for all things.” –  65:3

“And worship your Lord until there comes into you the certainty/inevitable (death)” – 15:99

“You prefer the life of this world. Although the hereafter is better & more lasting.” 87:16-17

“And we have certainly beautified the nearest heaven with stars.” – 67:5

“The Pharoah’s wife said (Pray) My lord, build for me near you a house in paradise.” –  66:11

These ‘Aayaat’ are part of different Surah (Chapters) in the Quran, revealed at different times to the Prophet Mohammad (PBUH) (570-632 CE), during his Prophethood years (610-632 CE).  Mohammed (PBUH) was unlettered with no formal education, and had rarely traveled outside of Makkah, before his migration (Hijraah) to Madinah.   All ‘Aayaat’ of the Holy Quran were revealed to him, via the Angel Jibraeel (AS) at different times and in context of different situations. They were delivered as signs and guidance. These ‘Aayaat’ were then related by the Prophet (PBUH) to his companions (Sahaba), who recorded them in writing.  All of these ‘Aayaat’ were recorded in the Prophet’s life time. It was collated/arranged in a meticulous way, in the form of different Surah’s of the Quran during the reign of Hazrat Abu-Bakr (RA) (573-634 CE), the first Khalifa, in the present compilation. Hazrat Umar (RA) had a great contribution in this process.  There is great detail available about how the procedure was done, with verification of at least 2 witnesses that the Aayat is indeed written down in the presence of the Prophet.  Different Surah’s are also classified as ‘Makkih’ and ‘Madnih’, those revealed before migration to Madinah and after.

How simple and easy, is the faith and the true path, can be discerned in these quotes. How wise is the counsel, for all situations? It answers some of the basic questions bothering the mankind, with intellectuals, philosophers, thinkers having scratched their heads for all these millennia.  I have tried to collate them in an order, so it is in the order of creation, faith, trust, thankfulness, the true way of living, easy way of functioning as a creation, hope, the hereafter, the quest for heaven, how it is near and then the last one speaks of the wife of one (Pharoah-who denied the existence of Allah and declared himself as God) can ask (pray) for the highest level in Jannah (Paradise). It means, its available for everyone, one only has to seek it and ask for it, whatever and whoever you are.  This may not be the best way of saying it, and if I have erred, may Allah (SWT) forgive me.

A brief definition of Jannah with a prayer:

Jannah, where there will be no sickness, no pain, no difficulty, no separation, no loss.

Jannah, its beauty such that no mind could even ever comprehend.

Jannah, where those you love are waiting for you.

Jannah, where your Allah is waiting for you.

Jannah, which is never ever going to end.

Remind yourself that this is the decree of Allah and in his decisions is hidden kindness. Remind yourself that it is not just going to be okay, but it is going to be worth it.

Dear heart, please just remind yourself that your Allah is with you. Please don’t ever forget that.

Your Allah is with you. Your Allah will never leave you.

He knows of your condition. He is aware of your struggle.

And not a single moment of this going by unrewarded.

Allah knows that you are scared, and it is okay to be scared.

Keep trusting your Allah. Don’t lose hope in His mercy.  He is right here with you.

Feel it and treasure it.

———————————————————————————————————

On a different note, this is what Allama Iqbal has to say:

Sajdon ke ee’waz firdaus mile ye baat mujhe manzoor nahi
Be-laus i’baadat karta hoon banda hoon tera mazdoor nahi

 Ee’waz or I’waz means in return of, and ‘Firdaus’ is Jannat/heaven/paradise in persian.

What Iqbal means is :

I am not doing salutations / ibaadat (supplication) and itaa’at (obedience / submission to the will of Almighty), so that you grant me heaven in return. My prayers are pure, as I am your slave and not a paid servant.

This is, but the highest point of devotion, that the pious seek.

One of those pious, righteous, seekers of the divine favour, was Umar Farooq (RA) (584-644 CE). Umar bin Khattab was the second Khalifa of the Khulfa-e-Rashideen. The status of Umar Farooq, as a Sahaba, companions of the Prophet (PBUH), as among the beloved and respected Khalifa, can be ascertained from the fact of his being one of the “Ashra Mubashra”.  “Ashra Mubashra” are the 10 exalted ones among the Sahaba, who were given the ‘Good News’ or ‘Glad Tidings’.  What would be the ‘Good News’ who have the clear idea of the purpose of creation, life and death?  It is the achievement of securing a place in ‘Jannah’.  So, by divine declaration, those 10 were given the Good News, that a place is secured in Jannah for them. The magnificent ten include all four Khulfa-e-Rashideen.  Umar Farooq (RA)’s significance as a Khalifa and his role in the spread of Islamic empire much beyond the Arabian Peninsula is indisputable and incomparable.  One more significant and important contribution of Umar Farooq (RA), is the introduction of Islamic calendar i.e. the Hijri calendar.  There is a great deal to learn from his story, for he was one of the major detractors of the Prophet for a long time.  But once he accepted that Mohammed is indeed the Messenger of Allah, and came into the fold of Islam, blessed by the Allah (SWT) and rose to great heights that he did.

 I have read up a lot in recent days, so that I could give some accurate and concise information in this post.  But if I go on, this post will never finish.

So, I will move to the song, which is a non-film song sung by Mukesh. The song is composed by Iqbal and lyricist is Shadaab Minai.  Shadaab Minai is probably making a debut here with this song.  The song is talking in detail of an incident i.e. a qissa during the reign of Umar Farooq (RA), the second Khalifa.

Tally of music director, lyricist and singer in the blog so far as follows:

 

Iqbal

23

Shaadaab

2

Mukesh

797

932

Unless the Shadaab in the stats page is the same as Shadaab Minai, otherwise this is the first song written by Shadaab Minai in the blog.

This is a rare song, which I think few people may have heard before.  I was not aware it until a few months ago, when it was shared by someone on WhatsApp.

 

Song – Hai Bahut Mashoor Ye Qissa Umar Farooq Ka (Mukesh – NFS) (1970), Singer – Mukesh, Lyrics – Shadaab Minai, MD – Iqbal

Lyrics

hai bahot mash-hoor ye qissa
Umar Farooq ka
aaj bhi duniyaa mein hai
charcha Umar Farooq ka

jab khilaafat ka sharf
haasil hua Farooq ko
momino ki fikr rehti thhi sadaa Farooq ko
kaam aate thhe har ek
majboor ke Hazrat Umar
shauq se karte thhe khud
har ek ki khidmat Umar

phirte phirte ek din
pahunche Umar ek ghar ke paas
dekhte kya hain
wahan baithhi hai ek aurat udaas
degchi chulhe pe thhi aur
ro rahe thhe us ke laal
jab kiya Hazrat Umar ne ja ke
aurat se sawaal
ro rahe hain kis liye bachche
yeh kya hai maajra
bhook se rote hain ye bachche
ye aurat ne kaha
bole Hazrat degchi mein
pak raha hai kya kaho
kis liye ghamgheen ho
jo kuchh bhi hai dukhda kaho

boli wo aurat ke paani se bhari hai degchi
kyun ke main bachchon ko behlaati hoon
is soorat se hi
uff taraste hain ye bachhche daane daane ke liye
kuchh nahi hai mere paas in ko khilaane ke liye
teesre din ka hai faqaa
mere bachchon par huzoor
mera koyi bhi yahaan wali nahin
nazdeek-o-dur
roye uss ko dekh kar iss haal mein
Hazrat Umar
aa gaye fauran hi bait-ul-maal mein Hazrat Umar
aata kapda ghee chhuaare aur raqam le kar Umar
ghamzada aurat ke ghar ki simt daude jaldtar
peetth par dekha Umar ke bojh to bola ghulaam
bojh uttha kar mujh ko chalne deejiye aye nek naam
ye Umar bole agar ye bojh main de doon tujhe ea
hashr ke din kya sazaa dega na jaane rab mujhe
de diya dukhiya ko sab saamaan la kar aap ne
aur khilaaya sab ko khaana pakaa kar aap ne

khaa liya bachchon ne aurat ne khaana jis ghadi
ho gaye Hazrat Umar khush dekh kar un ki khushi
aap ko de kar duaaen phir ye aurat ne kaha
kaash mil jaata koyi ham ko khalifa aap sa
ham gariboon ki Umar koyi khabar rakhte nahin
a’iysh mein hain mast dukhiyon par nazar rakhte nahin
le ke dukhiya ki baaton ka asar Hazrat Umar
khaamoshi se laut aaye apne ghar Hazrat Umar

subah us aurat ko Faarooq ne bulwa liya
aur wazifa us ka bait-ul-maal se jaari kiyaa
ho ke sharminda phir Umar ne aurat se kaha
dukh bahot pahunchaa hai tum ko
meri ghaflat se sada
tum mujhe kar do mu’aaf
itni hai meri iltejaa aa
tum jo mujh ko bakhsh do
bakhsh de mujh ko khudaa aa

saari duniyaa mein hai charcha
har kahin Farooq ka
koyi bhi insaaf mein
saani nahi Farooq ka
koyi bhi insaaf mein
saani nahi Farooq ka


This article is written by Arunkumar Deshmukh, 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

Blog Day :

4722 Post No. : 16433

Today’s song is from a Mythological film- Shri Krishna Bhakti-1955. Made under the banner of Combined films Traders, Bombay, it was directed by the Wizard of Trick scenes- Babubhai Mistry. MD was my favourite- Chitragupta. All the 8 songs of this film were written by G S Nepali.

Hindu religion describes how the 10 Avatars of Lord Vishnu (Dashavataar) actually represent the Evolution of the Human race. The 10 Avatars were…

1. Matsya….Life started from water.
2. Kachha(Tortoise)…. First Amphibian who learned to live both in Sea and on Land.
3. Varaah (The Boar)….Life solely on Land.
4. Narsimha….Half qualities of Animal and half of Human.
5. Waman….Developing Humans.
6. Parshuram….Human ruled by Emotions
7. Shri Ram….Perfect Human being.
8. Shri Krishna….Survival amongst the opposition.
9. The Buddha….Extreme stage of Sacrifice
10. Kalki….End of Anarchy and present set up, to start a New Age all over again….Yet to come.

The most popular among these are, of course, Ram and Krishna. But what was the necessity of these Avatars at all ? Answer to this is in Bhagwad Geeta. BHAGAVAD GITA is one of our cultural heritage books. It is a part of Mahabharat and is also a part of Bramhopnishad-which is a scripture on Yogas.

This is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay- who had the divine power of seeing the war at Kurukshetra- to describe him the war happenings. Sanjay starts and in the course of his reporting, the entire Geeta too is narrated.

Without going into the details further, enough to stress that Lord Shrikrishna explains to Arjuna that, whenever there is a decline of Dharma and righteousness, He takes birth from age to age (sambhavami yuge yuge), to protect the virtuous, destroy evil-doers and to reestablish Dharma and righteousness.

This is described in the IV chapter, stanzas 7 and 8 in Bhagavad Gita thus-

“Yada Yada Hi Dharmasya
Glanirva Bhavathi Bharatha,
Abhyuthanam Adharmaysya
Tadatmanam Srijami Aham’.

Bhagavad Gita (Chapter IV-7)

“Whenever there is decay
of righteousness O! Bharatha
And a rise of unrighteousness
then I manifest Myself!”

Praritranaya Sadhunam
Vinashaya Cha Dushkritam
Dharamasansthapnaya
Sambhavami Yuge-Yuge.”

Bhagavat Gita (Chapter IV-8)

“For the protection of the good,
for the destruc­tion of the wicked and
for the establishment of righteousness,
I am born in every age.”

Indian filmmakers have made several films on the stories associated with these two Avatars- Ram and Krishn. Lord Ram has always been hailed as the “Purushottam” or the complete man. Personally, I feel that Characters like Shri Ram are not suitable for this age. For today’s times, the best suited is Krishna. While Ram taught us how to rule righteously, Krishna taught us how to win over the Villains and be successful. In today’s context, Krishn-Niti is more suitable,I aver. When your righteous living is in danger due to evil forces, you can not remain like a Purshottam. You will need to adopt Krishn Niti for survival. The best difference between these two can be explained by this Shlok.

Shri Ram – Ahinsa Parmo Dharmah….There is nothing greater than Non violence.

Shri Krishna – Dharma Hinsa tathaiva cha….You are justified to pick up arms for a just cause.

For the last 100 odd years, we were taught only the first part, but now we realise the second part is more suitable for our survival, in these times. Krishna Niti says, there is nothing wrong to adopt unconventional methods if your Right Cause is facing strong opposition. Lord Krtishna’s life was full of interesting episodes and therefore I like Krishna more than Ram, for his relevance to modern times.

Today’s song is from a film which depicts the story of a Krishn Bhakt. It is about how the devotee is saved from imminent death. The story of the film is….

In a village lives a boastful Bramhin Balbhadra Shastri and Cheta-the Krishn Bhakta Harijan. One day Cheta invites several Sadhus for food, whom Balbhadra had insulted. At the time of meals, the Sadhus get more than enough food. At the same time, food from Balbhadra’s house disappears. This enrages Balbhadra Shastri. On Janmashtami day, Shanti- Balbhadra’s daughter serves Prasad to Seva, son of Cheta. Balbhadra is very angry and hits Seva. He becomes unconscious. Same time the Idol in the temple disappears miraculously. People are afraid and request Cheta to invoke God to come back. Cheta sings a Bhajan and Seva comes alive and at the same time the Temple idol returns. All the people start hailing Cheta.

Balbhadra is very angry and decides to kill Cheta, but in the melee, instead of Cheta, Balbhadra kills his own daughter Shanta. Balbhadra accuses Cheta of her murder and takes him to court. Cheta is sentenced to death. On the day of execution, when Cheta is singing a bhajan while on way to the Gallows, suddenly, Shanta comes running and explains that the killed girl was someone else and she was kidnapped. Cheta is freed. Balbhadra repents and Cheta is honoured as a Great Krishn Bhakt.

The great Editor and special effect-Trick scene expert Babubhai Mistri ( 5-9-1918 to 20-12-2010), in the beginning, was an assistant with Prakash pictures.Prakash was making a film “Khwabon ki Duniya”- 37, based on the famous novel “The Invisible Man” by H.G.Wells,1897.The shooting started but the basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood.

Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process, Babubhai also earned a nickname of ‘kaala dhaaga‘ (black thread) for the rest of his life, in the film industry.

Babubhai directed 49 Hindi films-mostly B and C grade Mythologicals, Costume, and Historical films. He also directed 1 Telugu and 9 Gujarati films. His first film as a director was Muqabala-42. Surprisingly he started off with a social film, but there was a valid reason. The initial Poster Painter had developed into a skilled Editor and trick scene expert, by his own hard work, encouraged by the Wadia brothers. The film was an unusual film of a story of twin sisters. Wadias wanted Babubhai to do something which will make the film stand out from all other such films.

Directed by Babubhai Mistry, it was the last movie of Fearless Nadia for Wadia Movietone. She had a double role of twin sisters: good Madhuri and bad Rita.
This film was First in India to use Split-screen method for double roles, where both sisters could cross each others, shake hands and talk together. The other attraction was the Night club set, which, in case of police Raid, could be converted into a respected residence in few minutes. It was a great fun to watch these two things.
A happy ending picture, but to see and hear the laboured Hindi dialogues of Madhuri (good Nadia) was another treat.

Today’s song is a bhajan by Mohd. Rafi and chorus.


Song- Ganga mein nahin Jamuna mein nahin (Shri Krishn Bhakti)(1955) Singer- Mohd. Rafi, Lyricist- G S Nepali, MD- Chitragupta
Chorus

Lyrics

Ganga mein nahin
Jamuna mein nahin
mehlon mein nahin
kutiyon mein nahin een een een
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin

kyun naam na lekar dhan jode
kaudi ke liye naataa tode
kyun naam na lekar dhan jode
kaudi ke liye naataa tode

sone mein nahin chaandi mein nahin
sone mein nahin chaandi mein nahin
heere mein nahin moti mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin

chupke se ro(?) man ki maala
chupke dekhe murli waala
chupke se ro(?) man ki maala
chupke dekhe murli waala

jantar mein nahin mantar mein nahin
jantar mein nahin mantar mein nahin
dharti mein nahin saagar mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin

paataal gagan jal mein thhal mein
muskaata hua ?? pal mein
paataal gagan jal mein thhal mein
muskaata hua ?? pal mein

mandir mein nahin teerthon mein nahin
mandir mein nahin teerthon mein nahin
Geeta mein nahin Vedon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin
mehlon mein nahin
kutiyon mein nahin
jahaan yaad karo Bhagwaan wahin
jahaan yaad karo Bhagwaan wahin


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4697 Post No. : 16388

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#the Special Voices of the Decade (1971-1980) – 8 # Usha Mangeshkar #
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Welcome all to the eighth article in this series. Today’s voice is Usha Mangeshkar.
Today’s voice needs no introduction as all of us like minded people are aware about her family members and how she joined her elder sisters in singing for movies.
We are also aware of how she has carved a niche for herself among the many singers who ruled the hearts of millions of cine goers and HFM lovers in all these years.

A detailed write-up about Usha Mangeshkar has already been done by our inhouse encyclopedia Shri Arun ji in his post here.

I am reproducing the following text from his write-up (with his due permission) here.

Born on the 15th of December 1935, at Sangli, Usha is the 4th and the youngest sister of Mangeshkars. The line-up is very regular-exactly 2 year’s difference in the ages of the siblings-
Lata born in 1929
Meena born in 1931
Asha born in 1933
Usha born in 1935
Hridaynath born in 1937.

When master Deenanath died in 1942, Lata, all of 13 years, had to act and sing in films to earn money for the family. Meena, not so keen on singing chose to stay at home and look after the Mother and young Usha and Hridaynath. Asha joined her sister in acting, singing and earning money for the family. Usha was just 7-year-old, so she too remained at home. Besides singing, she was interested in Painting, so she took lessons from the famous painter of those days, M.R. Achrekar. In addition, she also continued learning Music from Pt. Tulsidas Sharma, K. Mahavir and Sushant Maharaj.

When Asha left suddenly and went away-in 1948- with Ganpatrao Bhonsle, twice her age, the family got a terrible jolt. The financial responsibility now fell only on Lata Mangeshkar. At the age of 19 years, Usha decided to start earning herself by singing in films and C. Ramchandra gave her the break with a song” Bhabhi aayee” from ‘Subah ka Tara’-1954. Her very first song became so popular that she was flooded with children’s song offers. Her next popular song was ‘Aplam chaplam’ from Azaad, also by C. Ramchandra.

Usha Mangeshkar’s voice was thereafter used for many children songs. For me, the oldest memory of her children song is the song from ‘Waapas-1969’ which I have presented on the blog and the song is ‘jhunjhuna jhunjhuna’.

Thereafter as I get involved more with Bollywood songs, I became aware of many of her earlier songs. Like when I came into the contact with this blog, and became a Sahir fan, I got to listened her duet song with Asha Bhonsle from the ‘1955’ movie ‘Devdas’ i.e., ‘o albele panchhi tera door thhikaana hai’.

She also got to sing many duet songs with her sister and other female singers in HFM. Many of such duets have been popular and are favorites of music lovers.

And then come the most important period of her singing careers which the ‘decade of seventies 1971-1980’.

During these years, her voice not only featured in many songs but her many songs become popular too. It will not be inappropriate to say that her singing career was at its ‘peak’ during the years of ‘seventies’. That was for Hindi as well as Marathi movies.

For Marathi movies her voice was there in every Dada Kondke movie which became ‘Jubilee Hits’. I remember many songs from such movies that were frequently played on loudspeakers everywhere during festivals and other programs.
Also, the songs from the movie ‘Pinjara-1972’ went on to became huge hits with her voice appearing in six of the nine songs in this movie. Music for this movie was composed by Ram Kadam.

In 1975 came the movie ‘Jai Santoshi Maa’ which was big hit and so were its songs. Usha Mangeshkar’s voice featured in three of the seven songs in this movie. All the three songs sung by her were popular among the masses. Music for this movie was composed by C. Arjun. The song ‘Main to aarti utaaroon re Santoshi Maata ki’ became hugely popular and it remained her all time big hit and highlight of her Hindi movie singing career.

In 1977 came the movie ‘Inkaar’ and its song ‘mungdaa mungdaa main gud ki dali’ was a runaway hit and it was also the favorite of almost each orchestra programs happening then.

I would also like to mention few of her songs here which I like very much.

‘Sainaath tere hazaaron haath’ from ‘Shirdi Ke Sai Baba-1977’,

‘ye jeena hai angoor ka daanaa’ from the movie ‘Khatta Meethha-1977’,

‘mujhe pyaar ka tohfaa de ke’ from the movie ‘Kaalaa Patthar-1979’, which was not included in the movie,
‘sultaanaa sultaanaa mera naam hai sultaanaa’ from the movie ‘Taraanaa-1979’,
And in the later years songs like ‘goron ki naa kaalon ki’, the unforgettable ‘shaam rangeen huyi hai tere aanchal ki tarah’ … There might be other notable songs too which I might be missing here.

And that is the reason that Usha Mangeshkar, because of the many songs of her in the seventies, and many nostalgic moments for us, people like me, who were growing in the seventies, is the voice in this series.

And I must mention here the today’s song which is the very special song for me, as it still has the same effect on me, whenever I listen to it or watch it on the video or other video media.
When I was noting it down for this post and watching it I still get the goose-pimples, because of the singing of this song, the overall composition and the picturization of this song, that is embedded in my mind since my childhood. Specially the landing of Santoshi Maa in the ‘mrityu-lok’ from the ‘swarg-lok’ 😊

So, even if Usha Mangeshkar had sung only this song, she would still have the voice for me in this series for the nostalgia associated with this song for me.

This song is from the 1975 movie ‘Jai Santosh Maa’. Lyrics are by Kavi Pradeep and music is composed by C. Arjun.

On screen this song is lip synced by Kanan Kaushal and many others with Anita Guha as Santoshi Maa can be seen in the picturization of this song.

“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 a ‘guest appearance’ in this movie.

This movie was passed by Censor Board on 28.05.1975 and that is exactly the same day forty-six years back. I checked, it was Wednesday on this date and may be the movie was released the coming Friday after that. (Knowledgeable readers can throw more light on this).

(Editor’s note- The movie was released on 15 August 1975, which was a friday-and India’s independence day. Another movie called “Sholay”(1975) was also released on the same day.)

Today is Friday and what a better day to present this song today.

Let us now listen to this wonderful song…

I hope you like the song as I do. 😊


Song-Madad karo Santoshi maata(Jai Santoshi Maa)(1975) Singer-Usha Mangeshkar, Lyrics-Kavi Pradeep, MD-C Arjun

Lyrics

Madad karo he
Madad karo he
Madad karo Santoshi maata aa
Madad karo Santoshi maata
Meri izzat ka sawaal hai maa
Aaj nibhaana apna naata aa
Maata
Maata aa
Madad karo Santoshi maata aa aa
Madad karo Santoshi maata

Mere liye zindagi aaj
Talwaar ki dhaar bani hai ae
Talwaar ki dhaar bani hai ae Maa
Mere liye jeewan ki har ek nas
Ab angaar bani hai ae
Ab angaar bani hai Maa
Mujhe chita mein aag jala do o
Mujhe chita mein aag jala do
Ae mere bhagya vidhaata
Maata
Maata aa
Madad karo Santoshi maata o o
Madad karo Santoshi maata

Mujhse mat roothho janani meri
Bigdi baat banaao o
Meri bigdi baat banaao o o
Maa
Mere maathe se kalank ka
Kaala daag mitaao o
Kaala daag mitaao maa
Siva tumhaare koi sahaaraa aa
Siva tumhaare koi saaharaa
Mujhe nazar mein ae nahin aata aa
Maata
Maata aa
Madad karo Santoshi maata
Aa aa
Madad karo Santoshi maata

Hey jadamba taaro mujhko
Duniya de rahi taanaa aa
Yeh duniya de rahi taanaa aa
Maa
Imtehaan lene ko khada hai
Dushman ban ke zamaana
Dushman ban ke zamaana aa
Maa
Aaj kahin badnaam naa howe ae
Aaj kahin badnaam naa howe
Mera tumhaara yahaan naata aa
Maata aa
maata aa
Madad karo Santoshi maata aa aa
Madad karo Santoshi maata
Aa aa
Madad karo hey
Madad karo hey


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.

This is the 1400th post by Sudhir.

Blog Day :

4693 Post No. : 16378

 

The Many Colors of Love #31 – Love Divine
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And so wrote the scribe

खाक को बुत, और बुत को देवता करता है
इन्तहा ये है के बंदे को खुदा करता है इश्क़

Khaak Ko But, Aur But Ko Devta Karta Hai
Inteha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq

Such a profound statement with a hugely significant implication – words are written by Sahir. Whether you read them in the flow of the entire set of lyrics, or just these two phrases, the import of these words cannot be diminished. And a more grand effect is achieved in rendition. Roshan Sb has put this to a melody that one cannot pulls oneself away from the flow, as line after line is being rendered by Rafi Sb. And finally, the effect of the rendition itself, as the continuous flow of singing gains momentum, the crescendo is rising, and Rafi Sb takes these two line progressively higher from octave to octave – to the most important message in this entire qawwali – “बंदे को खुदा करता है इश्क़ ” – “That Love Elevates Man to the Degrees of God”. This phrase is the ultimate climax – in all aspects – the rising crescendo of the music, the heightening pitch of the singer’s voice, the increasingly fervent clapping of the accompaniment singers, and the magnificent declaration about Love and God – all converging on the heights wherefrom one cannot go any further. For the message delivered is the ultimate statement to be made in this creation, in this existence – that Love Elevates.

All faiths, all beliefs, all creeds – have one thing in common. They all acknowledge something superior, a higher power that be – because none can otherwise explain the existence of these universes and the presence of the self on this planet. It is Voltaire who has said – “If God did not exist, it would be necessary to invent Him”. Yes, there is so much that we do not understand and so much that cannot be explained by the intellect, that finally even the non-believers cannot extract themselves out of the argument to explain existence.

Where is the story of creation? Every creed has its own, and in every such story there is a higher power that be, which is acknowledged as the authority responsible. The Humans being a visibly cognizant entity (चेतन) in this creation which is so manifestly non-cognizant (जड़) – this question indeed arises in the curious awareness of the self – why am I here? And the answer given by every system of belief is a variation of – “Man Must Return to His Maker”.
I remember another famous qawwali –

रस्ते अलग अलग हैं ठिकाना तो एक है
मंज़िल हरेक शख्स को पाना तो एक है

Raste Alag Alag Hain Thikaana To Ek Hai
Manzil Har Ek Shakhs Ko Paana To Ek Hai

“That paths may be many, yet the destination is the same.”
“And to the Divine must we return”

Theological systems have a life and existence of their own. Most people will follow one or the other that already exists. Once in a while, in a millennium, will come a person or a thought that will bring forth a new theology. Over the ages and across the history of mankind, one after another, newer and different belief systems have appeared, and each has its own existence, its own history, its thoughts, teachers and following.

And then, there is love. No, not as simply as it is just said. An emotional enigma, an anonymous obscurity, supposedly an inscrutable element that forms a significant constituent of what this larger conundrum of ‘creation’ is. An element yes, the basic, most primeval foundational piece. Tagore, in all his wisdom, was moved to write thus – “Love is an enduring mystery because it has nothing else to explain it“.

We can write and express it in a multitude ways, and indeed that has been done across the history. And yet, it remains universally undefined, and there always is yet another expression that attempts to. Through the history of mankind, this attempt has been made many millions of times. And as many millions of times poets, philosophers, lovers, thinkers, believers, and yes, the disbelievers too, have talked about it. And yet, in every age, in every culture, in every generation, every individual mind still continues to ask this question. The same minds continue to discover new definitions and new flavors. Adam and Eve wondered about it, as they looked upon the tree of the forbidden fruit. Brahma, the creator of the universe, was so enamored by his own creation of the feminine form, that he forsook his lotus seat as the creator God, and ran after Her. Lord Shiva was so captivated with the Mohini incarnation of Lord Vishnu, that he too left his abode in Kailash, and in pursuit of that vision. The renowned Sufi poet, Rumi thus wrote “Love is the astrolabe of God’s mysteries”.

Some say God is Love. Some others say Love is the link from Man to God. Yet others say Man who has realized Love, has realized God. Philosophers have written that Love is the basis of this Creation. Others have surmised that Love is the sustenance of this Creation. Another thought is that Love is the path to God. Such a multitude of concepts, ideologies and aesthetics thinkers have thought about and postulated. Some others say Love is an axiom. In the process of philosophical or logical differentiation, an axiom is a self evident truth that stands by itself. It cannot be further simplified or partitioned, or be established from more basic and elemental concepts. An axiom always just is. I recall the cover page of one of the most popular worldwide English editions of the Bible. The cover page simply says “The Greatest Is Love”. No other words, not even the word ‘Bible’ is printed on the cover page. It simply says “The Greatest Is Love“, and that’s it.

This is surely an axiom. A summary outcome of years and aeons of distillation of the human thought that has examined the emotions and expressions to bare bones, and then from the remnants of all that is stirred in the crucibles of the collective human psyche comes this extraction so short, so sweet and so sublime. And from this emerge some very stunning implications, the most significant of them being that Love is greater than God. And suddenly one has to pause, pull the brakes on this whirling carousel of thoughts and expressions and stare in wonder and amazement at this startling conclusion – “The Greatest Is Love, Even Greater Than God Himself”.

There is this play of Love that permeates every thought, every event, every concept, and everything that populates this universe at the physical as well as the non physical and the metaphysical levels of existence. The cycles of existence of the universe – the cause, the sustenance and the eventual assimilation – each one of these is an act of love. The cause of creation occurs when the alone Supreme Soul has a desire to share. That sharing is an expression of Love. The sustenance of the universe is the desire to maintain and keep well the creation – once again it is an act of Love. And the eventual assimilation – no, not the destruction, but more a dissolution of this game of universe, and the assimilation of all the souls back into the primal super soul. Once again, an act of love – an embrace that outweighs any level of proximity – the ultimate sharing of love. The ultimate conversation of love is the tête-à-tête of the souls – as they say, Soulmates. In our bhakti discourses, it is the ‘आत्म निवेदनम्’ (‘atma nivedanam’), the ultimate propinquity of love, the highest stage of meeting of the souls.

Love and God – the ultimate triumphs of realization in this mystery of existence, the magnum opus of individual endeavor and accomplishments. After propounding all the values of human existence, and teaching about all the good and bad in life, every faith, every religion finally talks about Love, about Love and God, about Love Divine, about the Divinity of Love.

This Divine Love is expressed and manifest in countless episodes that are scattered across the length and breadth of the scriptures of our Sanatan Dharm. In the Varaha Avatar – manifestation of Vishnu in the form of a tusked Boar, Vishnu battles with Hiranyaksh and vanquishes him. Then he dives into the waters of the Cosmic Ocean, into which Hiranyaksh had hidden Bhoodevi (Goddess Earth). He picks Her up on his tusks, and brings her out of the waters of the netherworld. In this episode there are brief shlokas wherein Vishnu in the form of Varaha tells Bhoodevi – “My Dear, it has been such a long time that you have cuddled as such in my arms, and I have carried you”.

During the episode of Sagar Manthan, Goddess Lakshmi appears as one of the outcomes of the churning of the Cosmic Ocean. There is an argument as to who would she belong to. Short of a battle, good sense prevails and all agree that Lakshmi should herself select her consort. And Lakshmi puts the flower garland on Vishnu.

In this same episode, Vishnu also appears as Mohini, the incarnation as a beautiful woman. And Shiva who is also present, is so enamored by Her beauty that He immediately has a charming attraction for Her and pursues Her. This affiliation recurs many more times as different episodes are narrated in different books.

When Vishnu appears in the avatar of Narsimhadev, and vanquishes Hiranyakashipu, His demeanor is so frightful, and He is so angry even as the inanimate body of Hiranyakashipu is lying in his lap, that none of the Gods and Sages present have the courage to approach Him. Not even Sage Narad who has the liberty to approach Vishnu whenever and wherever. Not even Goddess Lakshmi, His wife. Then Brahma and Narad request the child Prahlad to approach Narsimhadev. With his childlike innocence, Prahlad presents himself to the infuriated and ferocious half lion manifestation. And lo, in a moment, the anger of Narsimhadev evaporates and is immediately replaced by effusive love for his Bhakt.

Episodes and encounters of love are numerously present in the narration of Vishnu’s avatars as Ram and Krishna. The beauty of Ram is so divine that numerous Sages and village belles express their desire to serve Him as His wife. He declines, for in this avatar as Ram, He has a vow to be the husband of just one, and that is Seeta. But then He gives a boon to all such seekers that in his future incarnation as Krishna, He would accept their desires and betroth them. Therein lies the reason behind the Sixteen Thousand One Hundred and Eight wives of Krishna, as well as the occurrence of the phenomenal and Divine Raas Leela.

In the pageantry of the Sanatan Dharm theology, two entities are identified as beyond creation. They are Shiva and Vishnu. These are the only two for whom no stories of origin can be found, no details of parentage have ever been documented. In every episode, in every tale, the description of their physical appearance is always the same. There is no ageing across time. There is no dissolution at the time of Pralaya or Maha Pralaya. On the occasion of Maha Pralaya even Brahma completes his existence of 100 years (Brahma years, vastly different from the concept of earth years) and dissolves back, awaiting the next cycle of creation.

Vishnu and Shiva exist beyond the time and space, beyond the nothing and anything of this created universe. Their abodes are beyond time and they remain even when everything else disappears at the end of creation. It is nearly impossible for the human mind to even imagine what would be beyond the infinity of time and space as we comprehend it. In a manner of speaking, They represent the two basic forces, the two fundamental concepts that are the source of everything of any kind of nature that is, was, or will be, but They Themselves are apart from this creation. It is interesting to note that this concept of two basic forces pervades many other civilizations and many other theologies. The philosophies of further east have this representation as Yin and Yang, the two fundamental forces that are the basis of all creation. The Buddhist philosophy has the concept of Purush and Prakriti, and that everything else exists or is created through the interactions of these two. Even the scientists pursuing research on the theories of Modern Physics are making efforts towards what they call as the Grand Unified Theory of Physics, in which they propose that there exist only two basic forces in this physical universe and everything else in this visible measurable universe can be computed and extracted from the interplay of the equations of these two basic forces.

The scriptures of Sanatan Dharm abound with narrations of many flavors which describe the interplay between these two fundamental identities, and everything else that comes from them. There are narrations where Parvati, the Consort of Lord Shiva is represented as an incarnation of Vishnu. Then we have other narration where Radha ji is represented as an incarnation of Shiva.

The Ardhnaarishvar manifestation of Shiva, in which the left side of His being transforms into the female form, and He is blessed with being male and female form together in one presence. As per the narrations, Shiva got so smitten with the beauty of Mohini swaroop of Vishnu, that he continuously meditated on that beautiful form. As a result He earned the boon from Vishnu that Mohini would co-exist in the same physical body with Him. That is how the Ardhnaarishvar manifestation of Shiva came about.

Narrations abound in our scriptures of the purity of relationships of Love between Radha and Krishna, between Seeta and Ram, between Parvati and Shiva. However, in the most basic terms, it is all the interplay of the two basic forces of Vishnu and Shiva. And now I will touch upon one more aspect of Divine Love – the Love of Gopis of Vrindavan for the Child Krishna.

I have mentioned little earlier in this article, about the rationale behind the episode of Raas Lila during the appearance of Krishna on this earth, about the boon many learned Sages and women folk of villages received from Ram, when they approached Him with their desires to serve Him as His wives. Close to the end of Dwaapar Yug, when Krishna appeared on this land, these blessed souls all incarnated in Brij as Gopis, the milkmaids. The propensity of their earlier attraction to Ram, transformed in this life into an attachment of devotion to Child Krishna.

There are numerous narrations from many scriptures about the pastimes of Krishna in Gokul, Nandgaon and Vrindavan. Many of these episodes, including the Divine Raas Leela, are played out as interactions between Gopis and Child Krishna. The tales are endless. About Gopis craving for a view of Krishna, His pranks to trouble them as they go about their daily chores, about stealing butter and curd from their homes, about breaking the earthen pots (matkis) containing milk and butter, about the Gopis making Krishna dance just for getting some buttermilk and curd from them, even getting His face embellished with bits of cow dung to get more butter from them, and many many more.

There is a very interesting thread that weaves through all these episodes and pastimes, all the way up to the Raas Leela. And that thread is the flute that Krishna always carries with him, no matter what. This flute, made from a small stick of bamboo, is inseparable from Krishna. It is his eternal partner during the manifestation of all his pastimes while in Brij.

Krishna’s flute playing is remarkably Divine. At will, He can call for all the cows, or all the peacocks, or all the monkeys, or all his playmates and friends. And yes, when He plays the flute for that purpose, it is also to call all the Gopis. The ones so beckoned, are mesmerized by the music of the flute and as if a piece of iron is pulled by a magnet, so will the called ones respond to the call of the flute and in a trance just come to Him.

Gopis are attracted by His flute playing. Their attachment and their affectionate loyalty to Child Krishna is such that they would immediately give up whatever it is that they are doing, answer this call of devotion and converge wherever Krishna is. But when the music is over and the spell dissipates, they are also upset and annoyed that He has such power over them, that He will call them over whenever. There are small episodes of narration of such quarrels between Gopis and Krishna, and also complaints by Gopis to Yashoda.

Taking this narration further, we are also told that the Gopis are also cross with the flute itself. Just a small piece of bamboo and it has such a mesmerizing power over them. They even complain to the flute itself. Sometimes they slyly steal the flute and hide it. Then the little Kanhaiya is distraught, and he pleads with the Gopis to return it. There are some very beautiful bhajans and descriptions that depict this back and forth exchange between Kanha and the Gopis. And then, another step, the Gopis will go to Nand Baba’s home and lodge complaints with Yashoda. This exchange to is covered in many bhajans and episodes that are cute and heartening.

So what or Who is this flute? Some readers may know. Yes, as per narration given in some scriptures, this flute is none other than an incarnation of Shiva Himself. All I can say is that these matters are of the Divine, and are beyond our logic and comprehension. They need to be read and heard in wonder, and then to savor the multitude of sentimental flavors that are enmeshed in all this Grand Design. The more that we think and say about it, the more there remains to be thought and said about it.

The bhajan being introduced today is bringing up yet another flavor of the scores of sentiments that make up this wondrous pageantry. Gopis are even envious of the flute. And they begrudge it, that it always remains close to Kanha, and He so lovingly takes care of it, and He carries it everywhere with Him, even when He is asleep, it is with Him, and then He touches it by His lips, and creates the magic that disturbs their peace and comfort. After all the jealous complaints, they eventually end up praising the fortune of the flute. And they ask of it in wonder – Oh so what all penance and self-flagellation has it gone through, to be rewarded such a position of eminence, with the One that they all adore and covet.  And the words are

ए री बांस की बांसुरिया, तूने कौन कौन तप किन्हो री

Ae Ri Baans Ki Baansuria, Tu Ne Kaun Kaun Tap Kino Ri

Translations

bansi
bansi naam hai, kaahu dhareo sareer
taan taan ki dor su, khinchat hai mann mein

ari kshama kar muraliyaa, padi hain tere paayen
aur sukhi sun hot hain, maha dukhi hum hain

O Eminent Flute
Your name is ‘bansi
O why did you have to exist
With the power of the tones that emanate from you
The insides of our heart are pulled and wrenched

O please, please forgive us,
We fall at your feet in reverence
Others who may listen, may get pleasure from this music
But us. . . ?
Your sound makes us so unhappy and disturbed

 

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar

O Eminent Flute of Brij
You are the One who is so dear to Him
And we are the simple milkmaids of Brij
May these stories be sung in the three worlds
The tales of the flute and the milkmaids

There is a small personal incident associated with this bhajan that I would like to share. A senior patriarch (not in this world now) in the extended family was a very spiritual and learned person and I have had the good fortune of sitting and listening from him one on one, many times. Once I took this bhajan with me to play it for him. He had never heard this one before. As the play reached the second stanza and the words came “bansi aur brij naar “, he uttered the words “Jai Ho” three times, and I looked at him and his eyes were streaming. A little later I asked him about it, and he replied – “Bansi Aur Brij Naar – there is nothing higher than this in Krishna Bhakti”.

This is a non film bhajan that was recorded way back in 1961. That is all the information that I have been able to gather. No names are listed for the songwriter and the composer of this bhajan. The 78 rpm record is Columbia label GE 39008.

I have heard this song from the days of radio listening while still at school. But now this bhajan seems to have been forgotten by the radio waves. I tried searching for this on line and was really amazed to locate pages where netizens are waiting for this song to be located and uploaded.

A very rare song now, uploaded today. Listen to this baritone sound of CH Atma’s voice from sixty years ago.

[Author’s Note: This series – ‘The Many Colors of Love’ got initiated 20th May, 2013, eight years and 4 days ago. It continued on through 2013, 14 and 15, and 29 episodes were published, the 29th coming online on 9th March, 2015. And then there was complete silence on this topic. Six years – that is too long a gap by any standards. There was a rare blip in 2019 when the 30th episode of this series got published on 20th March, 2019. However, that post, although very much within the theme of this series, came about more towards getting the songs of film ‘Bobby’ completed and getting that film Yippeee’d. And then again, another long silence.

Readers and friends have probably come to the conclusion that the series was more or less complete. But the truth is far from that. In the sequence in which I had laid out the ‘Colors of Love’, after having done the 29th episode, the next topic I come to on the list is ‘Love Divine’. Telling you all the truth, it is this topic that tied up my grey cells in a bind and dried up the juices of creativity. Whenever I used to think to start writing this episode, my mind would just sputter and stop working, not knowing where to make a start. The article that you are reading today is probably the 4th revamped and revised version that I have attempted over the years. And another truth from the heart, I am still not fully satisfied with what I have written. There are many branch avenues that I wanted to explore and write about, but all are not coming together at once. And of course, the length of the article itself has become somewhat daunting.

The series still has three or four more songs to go, more like closing remarks on the ‘Colors of Love’. But yes, this post is the one that has taken the most energy. In a way I am glad that I am finally ahead of this milestone. But as I said before, getting this version of this episode completed still leaves me with a discontentment – that there is more to it. Well, maybe some other posts and other songs that may help fill the gaps within my mind, in the days to come.

So yes, we move forward, and hopefully conclude soon the list of flavors that I had originally planned.]

 

Song – Ae Ri Baans Ki Baansuriya (NFS – CH Atma) (1961) Singer – CH Atma, Lyrics – [Unattributed], MD – [Unattributed]

Lyrics

ae ri baans ki bansuriyaa

ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri
ae ri baans ki bansuriyaa
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

bansi
bansi naam hai
kaahu dhareo sareer
taan taan ki dor su
khinchat hai mann mein
ari kshama kar muraliyaa
padi hain tere paayen
aur sukhi sun hot hain
maha dukhi hum hain
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

tu hai brij ki muraliyaa
hum hain brij ki naar
teen lok mein gaayi’e
bansi aur brij naar
tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

ae ri baans ki bansuriyaa

tu ne kaun kaun tap kino ri
tu ne kaun kaun tap kino ri

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

ए री बांस की बांसुरिया

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री
अए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

बंसी
बंसी नाम है
काहू धरेयो सरीर
तान तान की डोर सूं
खींचत है मन में
अरी क्षमा कर मुरलिया
पड़ी हैं तेरे पाएँ
और सुखी सुन होत हैं
महा दुखी हम हा॰॰एं
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

तू है ब्रिज की मुरलिया
हम हैं ब्रिज की नार
तीन लोक में गाइए
बंसी और ब्रिज नार
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री

ए री बांस की बांसुरिया
तूने कौन कौन तप किनो री
तूने कौन कौन तप किनो री


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 :

4686 Post No. : 16369

I do not like getting bored. Do you ? I am sure, no one wants to get bored, forget liking it. Have you ever thought about what is ” Liking ” ? Psychology says, you like a thing when it is in line with your thinking, your values and your beliefs. For example – an old man does not ” Like ” the behaviour of ” Youngsters “, because they do not think on his lines, their values are adapted to current times and they believe only in practical ways and not emotional ways !

Most old systems, behavioural ways and values have changed drastically -due to the needs of the times, due to no visible benefits, and due to not believing conventions. For example, my Grandmother ( and ladies of her age) never took my grandfather’s name. She never came in front of outsiders without a Ghunghat on her head. My Mother had no objection to taking my Father’s name, if needed. She came to the Drawing room – not with a Ghunghat, but only if needed. Almost the same was the case with my wife but with an improved version. She moved about the home freely and also sat with guests in the drawing room. Now my daughter in law calls my son by his first name, wears whatever dress she wants and goes out alone with her friends. Now, will my Grandfather like the behaviour of my Daughter in Law ? NEVER !

The principle is the same in liking Films and Film Music. If I am used to from my childhood to listen to melodious music and enjoy it, at the age of 80+ years, will I like today’s music, films and songs ? It is not a question of adapting to new ways – that would be compromise for peaceful life. At the same time, I have no right to criticise today’s films or music- simply because it is not meant for me, it is meant for today’s youngsters. The best policy would be ” To each his own ” or ” पसंद अपनी अपनी , खयाल अपना अपना “.

Therefore when I find people criticising new films, songs and music, I tell them ‘ let them listen and enjoy. It is made for them, not for you. And don’t forget, like you, the new generation too can criticise and ridicule old films and songs/music.”

Ever noticed how the old film duets differ from new film duets ? In old films, even without Corona, the Hero- Heroines maintained social distance, in spite of being the only two of them in the scene. Today, duets are with about 60 extras doing Yogic exercises in uniformity or when they are only two in the scene, they look like one due to extreme closeness !

Old or new, films are not a part of the Curriculum Textbooks, their purpose is to entertain in the way the audience understands, accepts and enjoys. They are like reflections of the audience in the mirror. So, you love your time films and allow them to enjoy theirs. No question of ” Liking” any film !

Film Chhota Bhai-1949 was a film made by New Theatres, when it was counting its days. Most of its sheen was lost, popular artistes gone elsewhere and public taste had changed drastically. The company was under stress of huge debts and no respite was in sight. By the early 50s ,it closed down. The Elephant in their Logo fell silent after its last film ‘ Bakul’ in 1955….after making a solid beginning on 10-2-1931….just a life of 24 years. But what a Life !!! No film lover ever can forget what New Theatres gave to indian audiences while it was shining !

I am not sure if the film Chhota bhai was a remake of a Bangla film. Must be so, looking at its cast. All bengali actors and film made in Calcutta. The Bengali names are an enigma to me personally – Chhabi Biswas is a Male actor but Chhabi Roy is an actress ! Asit Sen is an actor but Asita Bose is an actress. Make a mistake in spelling and you change male to female effortlessly.

The film was directed by Kartik Chatterjee, who also directed the film ‘Yatrik’-52 (the songs of Yatrik are evergreen). However, in the film Garib ki ladki-41, he was a Music Director. I believe he was an actor also. The film had music by Pankaj Mullik, who was very loyal to New Theatres. Despite many important artistes like actors, Music Directors, Directors and Cinematographers leaving New Theatres, Pankaj mullick stuck to it till last (though he was not very happy). The cast included Molina Devi, Rajlaxmi, Maya Bose (Chouranghi-42, Saugandh-42, Samapti-49, Yatrik-52 etc.), Chhabi Roy, Shakoor, Asit sen, khursheed, Tulsi Chakravarti ( a Male actor !) and many others.

Molina being an uncommon name there was no other actress of this name. Molina Devi was born on 3-6- 1917. She received training in acting from Aparesh Mukherjee, and made her debut, at the age of 8, in a silent movie. She was acknowledged as one of the leading actresses of the Bengali stage, with her professional career spanning more than three decades.

In 1924, she debuted in a silent film while at the age of 8 and thereafter worked as dancer mainly in the mythological and historical plays. She performed some memorable roles in Bengali as well as Hindi films. She got a breakthrough in Puran Bhagat and Molina played the title role in the movie, Rani Rasmani. She took various roles, even vamps in her early career such as in Pramathesh Barua’s Rajat Jayanti in 1939. She also directed a Kolkata based theatre troupe, M. G. Enterprises.

Molina worked in Rangana theatre as chief artist. She performed as a singer on radio and contributed to the formation of Mahila Silpi Mahal, a welfare association for female artists of Bengal. Molina Devi’s high creative excellence had found expression in such diverse media as the stage, the film and the radio. As a founder of the M. G. Enterprise, now in its twenty-third year, she had been responsible for the success of such well-known plays as ‘Thakur Sri Sri’, ‘Rani Rasmoni’, ‘Jagatbandhu’ and ‘Bholagiri’.

She had been honoured and decorated by many eminent organisations and learned bodies. For her eminence in the field of Drama and her contribution to its enrichment, Molina Devi received the Sangeet Natak Akademi Award for Acting.

Her first husband was Jolu Boral and the second husband was actor Gurudas Banerjee.

Molina died on 13 August 1977 in Kolkata. She acted in 22 Hindi films. Her first Hindi film was Raaj Rani Meera-33 and last film was Babla-53. She also sang 11 songs in 4 Hindi films.

Today’s song is sung by Utpala Sen. This is the third song from Chhota Bhai-49 to appear on this Blog.


Song-Paar karo dukhiyan ka beda beda paar karo (Chhota Bhai)(1949) Singer-Utpala Sen, Lyricist- Ramesh Pandey, MD- Pankaj Mullick

Lyrics

paar karo
dukhiyan ka beda aa
beda paar karo
paar karo dukhiyan ka beda
beda paar karo
apne sharnaagat ke man ki
apne sharnaagat ke man ki
peeda aan haro o o
beda paar karo

ik din tumne hi duniya mein
ik din tumne hi duniya mein
prem preet ka khel rachaaa aaa
aa aa aa aa
ik din tumne hi duniya mein
prem preet ka khel rachaaa
aa aa aa
tumhi ne birha ki jwaaala mein
bhole man ko tadpaaya
aab aa kar
ab tum hi aa kar
birhan ke sheetal nayan karo o
beda paar karo

kyaa jaane
kyaa jaane
kab bikhar jaayegi
sapnon ki
sapnon ki maaya
kya jaane kab mil jaayegi
mitti mein mitti ki kaaya
kyaa jaane
ab ek jhalak dekar r
ab ek jhalak dekar
bhakton ka jeewan safal karo 0
hey ae bhagwan
hey ae bhagwan
paar karo dukhiyan ka beda
beda paar karo o


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 :

4683 Post No. : 16365

This post has been a long time in preparation. I was not able to concentrate on this one due to many reasons. The holy month of Ramadan is a factor in this, and also other things.

I will start with a happy news. I am happy to share that the almighty Allah (SWT) has blessed us with a grand daughter earlier this month. So that’s another degree under my belt i.e. of a grandmother. At the time of my daughter’s marriage, a dear friend gave me this idea of having a new degree i.e. of a mother-in-law. I like the concept of gradual increase in degrees, with these important and happy steps in life.

It is not as if the granddaughter has kept me so busy, the pandemic has deprived me of my being a hands-on-grandmother, so far. United Kingdom also put India under the red list w.e.f 23.04.2021, so we are stranded here till things improve and have to get darshan of the new family member on video calls. I had a visa ready when the UK government made the decision on the 20th of April. But with all those high net-worth people from India clamouring to enter UK before the deadline, we had no chance.

Now we reach the serious matter of the pandemic. When the first wave was still on in India in 2020, I heard from the relatives abroad, that no one believes the data coming out of india. I would tell them, there may be some discrepancies in figures, but if there are lines outside the hospitals, morgues, crematoria and graveyardes, like the visuals coming from USA and some European countries, it would be difficult to hide. I would say, mercifully we in India were spared from witnessing such situation, which the experts around the world were predicting for India. And the first wave was spaced out, so the caseload on the medical health infrastructure was by and large managed, which reduced the death toll, for daily, weekly and monthly figures. The medical fraternity and health workers around the world have been grappling with this once a century occurrence, for more than a year now and understandably, are exhausted, fatigued. They include doctors from my family in India and abroad. My sister’s son is a covid warrior currently working in a private hospital in Mumbai. My son also has worked in Covid war rooms established by the BMC in Mumbai.

But the second wave in 2021 has not been so merciful. The virus as we all know does not discriminate, all humans are equally susceptible to it. Only the daily reported death tolls are surpassing the worst case-scenarios predicted by the experts in 2020. Our data compilation abilities being what they are, the situation is grim, very grim especially in the north, Central and Eastern India. The southern states, and Maharashtra have coped well with the second wave. But this is no reason for triumphalism with the situation being what it is in the rest of the country.

All denials, prevarication, perception, need for positivity is besides the point. The costs of human lives being lost is always the highest. This has far surpassed any mass casualty events in the last 2 centuries. All the wars, genocides, the riots, terror attacks pale in comparison to the sheer nos. being affected. It is no exaggeration when it is said, that everyone among us has lost someone dear or knows someone who has. I have lost two near family members and know a few more people who have lost immediate family members.

I also know of some such instances where close members within a community have formed groups of volunteers of medicos and non-medicos, helping the people deal with the problems of sickness, getting medical advice and help, quarantine, and treatment and even final rites of family members if need be. One such group is actively helping people in Belgaum.

This is not the end of the story, as the virus is here to stay and keeps mutating in different ways. Frequent hand washing, social distancing and wearing a medical mask(properly) at all times, are the only ways of disease prevention. The developed countries of the world, with scientific temperament, have already dealt with their second wave, had well planned strategy for the vaccine roll out before the end of 2020. Some of these scientific minds working for the developed countries are of Indian origin, part of the brain drain over the last 50 years. Even then there is no shortage of virologists and epidemiologist in our country.

I have tried to keep abreast of the pandemic related news and happenings around the world also. So I was very happy to learn that the vaccine developed at Oxford University is to be manufactured by SII, Pune. I saw part of an interview that the SII CEO gave to a TV channel in a whatsapp forward in October 2020, where he talked about the manufacturing costs, capacity of the plant and his plans of stockpiling and exporting of the vaccine. I did comment, how this person needs to export vaccine, with the limited capacity of manufacturing the no. of units per month. This, despite the world’s second largest consumer market being at his doorstep. Presumably, he had export orders in hand, so was revealing his plans for export to the world market. He spoke out of assurance about his product and it being in demand the world over. I was able to see all this, and I am not an expert in anything.

Then in January 2021 after the vaccination drive began in India, I read a newspaper article analysing the vaccination process, which said that at the current rate of manufacture and vaccine administering, it will take close to 8 years to vaccinate the whole population. Now with the ramped-up production with the amount advance given by the Govt of India in April 2021, to both the vaccine manufacturers in India, it will still take around three years to vaccinate the 70-75% of indian population, required for herd immunity.

So it does not appear realistic to believe that the indian manufactured vaccines are going to suffice. Foreign vaccines are needed to increase the vaccination speed so that maximum population can be vaccinated in smaller frame of time.

I have also heard it said that we are a huge population. Yes we have a huge population, everyone knows it. If 50-60 % of the population can vote in a 2-3 phase elections all over the country, they can be vaccinated in 4-6 vaccinated in a similar way. It is a matter of priorities. If we prioritise public health, good education and quality of life for all, as the matter of utmost importance, then it is an achievable target. Remember, when we started in 1947, we were short of many things, even food shortages and femines were a regular occurrence. As we became sufficient in food requirements and other essentials basic needs in the late 80’s and 90’s, the focus should have shifted to next essentials such as health facilites and good affordable education. In 2006, while in a personal discussion with a few colleagues, I had elaborated this point in detail as to how the public imagination was hijacked from essential matters, and the country was kept to the level of what it was in the 90’s.

The world at large is worried to see the situation in India. The virus and Pandemic don’t respect borders. India is such a large economy that things going bad in India have repercussions for global economy. As I said in a post last year, where I wrote about the pandemic, it has negative impact on micro economics the world over, not affecting as such on the macro economic level. A part of such micro economic strata is within the indian middle class, of which appx. 10 crore people are said to have gone below poverty line in the last one year.

The month of Ramadan is coming to an end, today. The last 10 days of the month are for asking forgiveness from Allah (swt). The devout and the not so devout the world over have been asking for the mercy of Almighty and asking forgiveness of intentional and not intentional, sins, aberrations, bad conduct and deeds, even as small an act as hurting a soul.

The qawwali I am presenting is a 30 minute, long rendition in the traditional naatiya qawwali format. When I read the news of Farid Sabri of Sabri brothers(Jaipur)’s demise, I thought I would prepare a post of one of his qawwali’s. I tried, but could not find one a truly inspiring one. There is one filmy qawwali by him, which I have plans to post sometime.

Then suddenly the crisis of supply of medical oxygen was the big news, with that came the news that Kingdom of Saudi Arabia is sending 80 MT of liquid oxygen to India to assist in the humanitarian crisis. The social media got flooded with clips of the news and this qawwali’s line in the background:

Har dard ki dawaa hai
Mohammed ke shehar mein

I have always known this qawwali, and it is famous one, but I had never seriously listened to it. When I found the qawwali rendition it was a later recording in a studio rendered by Aslam Sabri. Aslam Sabri seems to have sung songs/qawwali in a few films. I was not able to find any connection between him and the famous Sabri brothers of Pakistan, the first family of qawwal’s or to the Sabri brothers of Jaipur.

The qawwali is an expression of the great love and affection that followers of Islam have for the Prophet (pbuh). His beloved and loved city of Madinah and the Prophet’s masjid i. e. Masjid-e-Nabvi, is the focal point of this qawwali. In the extremities of these emotions, it is perhaps traditional or acceptable to go over the top or exaggerate beyond belief system.

About the two holy cities of Makkah and Madinah, the Harmain sharif, are the most visited sites on the face of this earth. At any given time through the year, these places are visited by 30 to 40 lakh people. The visitors arrive for ‘Umrah’ pilgrimage anytime in the year and ‘Hajj’ in the month of Zil-hajj. For the past 15 months, the govt. of Saudi Arabia, has stopped issuing Visa’s for the pilgrimages. This has caused a huge drop in business for the International Airline industry and hospitality industry. Any person connected with these business’s at the international or global level can verify the facts.

Only local citizens or may be expats are permitting to perform Hajj and Umrah. In the history it is the first time that devotees from other parts of the world could not perform Hajj in 2020. This year hopefully, the authorities will allow fully vaccinated people to perform Hajj 2021, while following the COVID protocol and SOP’s. I have visited the sites twice, but never in the month of Ramadan, which I have heard from those who have, is a special time to spend in Makkah and Madinah. It has been two low keys Ramadan’s now for these holy sites. We have been seeing photos and video’s of how the Harmain Sharif is observing the Covid protocols since last year, with very few people. Even the performing of the Salah(namaz) is with people standing 6 feet apart. The namaz in congregation is usually on the ‘fard’ for 2-5 minutes or longer, 10 minutes or so, if the longer surah is recited. In the Islamic faith, the believers stand shoulder to shoulder in a row. This signifies a basic tenet of Islam, where all humans are equal in eyes of Almighty.

Ek hi saff mein khade ho gaye mehmood-o-ayaz
Na koyi banda raha na koyi banda nawaaz

So said ‘Iqbal’, describing how the powerful and the weak of this world are standing shoulder to shoulder in a row for Salah.

This has been an example of how the religion of Islam adopts to the changing situations. The Hadith i. e. traditions of the Prophet(pbuh) also contain examples of how the protocol prescribed by the physicians at the time of spread of infectious diseases are to be followed at all costs. So that’s what the Harmain Sharif’s management and the Kingdom of Saudi Arabia, who are the custodians of the two holy Masajid, have done. This is the way followers of Islamic faith have tried to cope with the changed circumstances, the world over.

We in India, will be celebrating ‘Eid ul fitr’ on 14th of May, whereas the world over, in UK and Australia etc., it being observed on 13th of May, in accordance with the sighting of new moon in Saudi Arabia. The muslims of Kerela also follow the Gulf schedule. Now who ever has seen the world map or has a geographical sense of how the sun, moon and earth rotate and know that India lies in between the continent of Australia and Europe. This is because the Ulema’s in the many part of India have been very particular about following of the technicalities relating to the date and month, in the lunar calender. So we started Ramadhan a day later than most other parts of the world, also Eid is a day later.

Eid Mubarak everyone. May Allah (swt) keep all of us safe and healthy, in his hifz o amaan, and may he grant us the sa’adat of witnessing, praying in, and fasting in the next Ramadan.


Song-Har dard ki dawaa hai Muhammad ke shahar mein (Haji Aslam Sabri qawwaali)(2014) Singer-Haji Aslam Sabri, MD-Md Tahir

Lyrics

ae ae ae ae
ae ae ae ae
de re na
ae ae ae
aaaaa aaaaaaa
aaaaaa

jab mera jazb-e-junoon
auj ka zeena hogaa
jab mera jazb-e-junoon
auj ka zeena hogaa
phailne aur simatne ka
qareena hogaa

ya madine mein samaa jaayegi
saari ee ee duniyaa
ya aa aa zamaane mein madinaa hi madinaa hogaa

ya nabi aap ke
jalwon mein wo ra’anaayi hai
ya nabi aap ke
jalwon mein wo ra’anaayi hai
dekhne par bhi meri aankh
tamannaayi hai
haq ta’alaa bhi kareem
aur Muhammad bhi kareem
do kareemon ne gunaahgaar ki banaayi hai

Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
kyun aa ke ro rahaa hai
Muhommad ke shehar mein ae ae
kyun aa ke ro rahaa hai
Muhammad ke shehar mein ae ae
kyun aa ke ro rahaa hai
Muhommad ke shehar mein ae
har dard ki dawaa hai dawaa
har dard ki dawaa hai
Muhommad ke shehar mein
har dard ki dawaa hai
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein

dukh dard-o-alam gham kat-te hain
dukh dard-o-alam gham kat-te hain
dukh dard-o-alam gham kat-te hain
hasnain ke sadqe bant-te hain
Muhommad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein

Kuchh aisi bheed lag jaati hai
Shah-e-deen ke rauze par
Hawaa ko raasta mushkil se miltaa hai
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein

aaa aaaa aa aa
ghamon se jab bhi tabeeyat
malool hoti hai
to shaad kaam banaam-e-rasool hoti hai
ho jis duaa mein Muhammad ka waasta shaamil
huzoor-e-haq wo yaqeenan qubool hoti hai ae ae
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein

hawaayen bhi adab ke saathh chalti hain
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein

haathh mein tasbeen baghal mein musallah
haathh mein tasbeen baghal mein musallah
lab pe jaari Allah Allah
lab pe jaari Allah Allah
kehti hui pahunchi bait-ul-llah
kehti hui pahunchi bait-ul-llah
aur pukaari aye mere Allah
aur pukaari aye mere Allah
tu gadha ko jo nawaaze
to shehenshah bane ae
aur yateemon ko jo chaahe ae ae
to payambar kar de
aye mere Allah

to awaaz aayi
pagli…
mere parde mein wehdat ke siwaa kya hai
ja jo tujhe lena hai le
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein

Duaaon ma multaji hoon
yeh chaar misre jo pesh kar raha hoon
ye sun kar mere haq mein bhi duaa karen
ke aisa ho jaaye

mere baare mein kuchh
irshaad kiya jaayegaa aa
mere baare mein kuchh
irshaad kiya jaayegaa aa
dil-e-nashaad ko phir shaad kiya jaayegaa
main ye ummeed lagaaye huye
baithhaa hoon huzoor
ek baar aur mujhe yaad kiya jaayegaa
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein

aao gunaahgaaron
chalo sar ke bal chalen aen
aao gunaahgaaron
chalo sar ke bal chalen aen
aao gunaahgaaron
chalo sar ke bal chalen aen
chalo sar ke bal chalen
chalo sar ke bal chalen en
haan chalo sar ke bal chalen en
chalo sar ke bal chalen en
chalo chaloo
sar ke bal chalen
chalo sar ke bal chalen

waja pesh kar raha hoon
samaat farmaayen

wahaan sar jhukaate hain auliyaa
wahaan sar jhukaate hain auliyaa
wahaan sar jhukaate hain auliyaa
wahaan paaon rakhna rawaa nahin
chalo sar ke bal chalen ea
chalo sar ke bal chalen ea
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
naazaan hai jis pe husn
wo husn-e-rasool hai
yeh kehkashan to
aap ke qadmon ki dhool hai
ae reh rawaan-e-shauq
chalo sar ke bal chalen en
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen

begaana-e-irfaan ko
haqueeqat ki khabar kya
jo aap se waaqif na ho
wo ehl-e-nazar kya
manzoor-e-nazar kaun huaa
iss ki khabar kyaa
wo fazl pe aa jaaye to phir
a’iyb-o-hunar kya
kaamil ko dar-e-yaar ke sajdon se na roko o
qurbaan jahaan dil ho wahaan qeemat-e-sar kya
chalo sar ke bal chalen en
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen

aao gunaahgaaron
chalo sar ke bal chalen en
aao gunaahgaaron
chalo sar ke bal chalen en
aao gunaahgaaron
chalo sar ke bal chalen en
tauba ka dar khulaa hai
tauba ka dar khulaa hai
Muhammed ke shehar mein
tauba ka dar khulaa hai
Muhammed ke shehar mein
tauba ka dar khulaa hai
Muhammed ke shehar mein
tauba ka dar khulaa hai
Muhammed ke shehar mein

qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa

Allama Iqbal ka nazraana-e-aqeedat
Sarkar ke
qadam-e-mubarak
ki roshni mein

teri nigaah se zarre bhi meher o maah bane
gadaaye besar-o-samaan jahaan panaah bane
huzoor hi ke karam ne mujhe tassalli di
huzoor hi mere gham pe meri panaah bane

zamaana vazdo kunaa ab bhi unn ke tauq mein hai ae

gaar-e-hira se muraad hai
zamaana vazdo kunaa ab bhi unn ke tauq mein hai
jo koh a dasht kabhi teri jalwaagaah bane
wahi maqaam muhobbat ki jalwaagaah bane
jahaan jahaan se wo guzre jahaan jahaan pahunche ae
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa aa
mitti bhi keemiyaa hai
mitti bhi keemiyaa hai
Muhammed ke shehar mein
mitti bhi keemiyaa hai
Muhammed ke shehar mein
mitti bhi keemiyaa hai
Muhammed ke shehar mein
mitti bhi keemiyaa hai
Muhammed ke shehar mein

sadqaa lutaa raha hai
khudaa unn ke naam kaa aa
sadqaa lutaa raha hai
khudaa unn ke naam kaa aa
sadqaa lutaa raha hai
khudaa unn ke naam kaa aa
sonaa nikal rahaa hai
sonaa nikal rahaa hai
Muhammed ke shehar mein
sonaa nikal rahaa hai
Muhammed ke shehar mein
sonaa nikal rahaa hai
Muhammed ke shehar mein
sonaa nikal rahaa hai
Muhammed ke shehar mein

sab to jhuke hain
khaana-e-kaabaa ke saamne ae ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae ae
aa aa aa aa aa
aa aa aa aa

(maulana ahmed razzak allah barelvi rahmatullah ….ka nazraana e aqeedat
aur sufi bismil baba ?? hilaali ka nazraana e aqeedat jam kar raha hoon is misre par samaat farmaayen )

haajiyon aao shehnshaah ka rauza dekho
kaaba to dekh chuke kaabe ka kaabaa dekho oo
madinaa woh hai ke kaabaa bhi sajdaa kartaa hai ae
kaabaa khud taibaa ki jaanib jhuktaa lagta hai ae
kaabe ka kaaba sarkar ka rauza lagtaa hai ae
phool gulaab ka aap ke chehre jaisa lagta hai ae
aur chamaktaa chaand nabi ka talwa lagtaa hai ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae
kaabaa jhukaa huaa hai
kaaba jhukaa huaa hai
muhammed ke shehar mein
kaaba jhukaa huaa hai
muhammed ke shehar mein
kaaba jhukaa huaa hai
muhammed ke shehar mein
kaaba jhukaa huaa hai
muhammed ke shehar mein

aaaa aaaa
aaaa aaaa
aaaa aaaa
aaaa aaaa

saaya nahi hai gumbad-e-khizra ka aaj bhi ee
saaya nahi hai gumbad-e-khizra ka aaj bhi
aa aa aa aa aa
saaya nahi hai gumbad-e-khizra ka aaj bhi ee ee

samaeen-e-ikram
Aslam sabri
ba-chashm-e-khud
dekh chuka hai

saaya nahi hai gumbad-e-khizra ka aaj bhi ee ee
khinchaa kuchh
is niraali shaan se
naqsha Muhammad ka aa
ke naqqash-e-azal bhi hogayaa
shaidaa Muhammed kaa
koyi kya dekhtaa aks-e-qad-e-baala
Muhammed ka
Saraapa noor wo qaamat-e-zebaa
Muhammed ka
Isi ba’ayis nazar aata na thha
Saaya Muhammed ka aa
saaya nahin hai gumbad-e-khizra ka aaj bhi ee ee
saaya nahin hai gumbad-e-khizra ka aaj bhi ee ee

main tujhe a’alam-e-ashya’a mein bhi paa leta hoon
log kehte hain ke hai a’alam-e-baalaa teraa
ek baar aur bhi hazrat ne falasteen diyaa
raasta dekhti hai masjid-e-aqsaa teraa
poore qad se main khadaa hoon ye karam hai teraa
mujh ko jhukne nahin detaa hai sahaara teraa
log kehte hain ke saaya tere paikar ka na thha
main to kehtaa hoon jahaan bhar pe hai saaya teraa
yehaan tak shauq-e-deedar-e-nabi thha haq taalaa ko o
toone bhejaa yehan waan rakh liyaa saaya

saaya nahin hai gumbad-e-khizra ka aaj bhi ee
saaya nahi hai gumbad-e-khizra ka aaj bhi
saaya nahi hai gumbad-e-khizra ka aaj bhi ee
zindaa ye ma’ujzaa
ma’ujzaa
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein ae
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein

Dhoondha khuda ko dhoondhne
waalon ne har jagah
Dhoondha khuda ko dhoondhne
Waalon ne har jagah
Dhoondha khuda ko dhoondhne
waalon ne har jagah
lekin khudaa milaa hai milaa
lekin khuda milaa hai
Muhammed ke Shehar mein
lekin khudaa milaa hai
Muhammed ke Shehar mein
lekin khudaa milaa hai
Muhammed ke Shehar mein
lekin khudaa milaa hai
Muhammed ke Shehar mein

(hazraat
kuchh nayaa ashaar pesh kar raha hoon)

Khudaa azal se huaa aisa mubtala’a-e-rasool
Ke kaayenaat ko paida kiya baraa-e-rasool
Dilon ko bhaa gayi kuchh iss tarah adaa-e-rasool
Ke jaan-o-dil se sahaba huye fida-e-rasool
Dil-o-nigaah ki duniyaa pe aise chhaaye rasool
ke kaiynaat ki har shai mein jagmagaaye rasool
Agar huzoor na hote to kuchh nahin hotaa
Ye kaiynaat banaayi gayi baraa-e-rasool
Maloon jabeen pe basaaun main apni aankhon mein
Mile naseeb se mujh ko jo khaak-e-paa-e-rasool
Muhammed ke Shehar mein
Muhammed ke Shehar mein
Muhammed ke Shehar mein
Muhammed ke Shehar mein

(hazraat
sufi bismil baba ka ye nazraana jo aapne
peshtar suna
ye nazraana bhi unhin ne pesh kiya hai
Aslam Sabri ki aawaaz mein khuloosh(??) se sunen)

Baab-e-asar khula hai Mohammed ke Shehar mein
Maqbool har duaa hai Mohammed ke shehar mein
Khushiyon ka dar khula hai Mohammed ke Shehar mein
Kyun ghamzada khada hai Mohammed ke Shehar mein

dhokha fareb
ye sher tavajjuh(??) ka aamil hai
jo log baargaahe risaalat mein haaziri ka ?? haasil kar chuke hain
wo gawaah hain
jo pesh kar rahaa hoon ??
Dhoka fareb jhoot dagha aur kalaam-e-bad
koyi na jaanta hai Mohammed ke Shehar mein

behre salaam aate hain har dam malaaye kaa (??)
behre salaam aate hain har dam malaaye kaa (??)
behre salaam aate hain har dam malaaye kaa (??)
Jaari yeh silsilaa hai
Jaari yeh silsilaa hai Mohammed ke Shehar mein
Jaari yeh silsilaa hai Mohammed ke Shehar mein
Jaari yeh silsilaa hai Mohammed ke Shehar mein
Jaari yeh silsilaa hai Mohammed ke Shehar mein

(samaat farmaayen
kuchh naye ashaar pesh kar rahaa hoon)

Har subaha khushnumaa hai Mohammed ke Shehar mein
Har shaam dilrubaa hai Mohammed ke Shehar mein
Dil ka sukoon
rooh ki taskeen
nazar ka noor,
Bikhra hua pada hai Mohammed ke Shehar mein

(ye sher bahut pasand hai mujhe)

Allah re yeh masjid-e-nabwi ki raunaqen
Allah re yeh masjid-e-nabwi ki raunaqen
Jannat ka dar khula hai Mohammed ke Shehar mein
Har zakhm ke liye yehaan marham hai dastiyaab
Har zakhm ke liye yehaan marham hai dastiyaab
Har dard ki dawaa hai Mohammed ke Shehar mein
balke yoon kahoon ki
Har zakhm ke liye yehan marham hai dastiyaab
Har dard khud dawaa hai Mohammed ke Shehar mein
Iss sar zameen ke khaar bhi phoolon se kam nahin
Kaanta bhi gulnuma hai Mohammed ke Shehar mein
Duniya mein uss ne dekh li jannat ba-chashm-e-khud
Jo reh ke aa gayaa hai Mohammed ke Shehar mein

(agla sher sunen)

Shehar-e-nabi ki hadd ka ta’ayyun mahaal hai ae
Shehar-e-nabi ki hadd ka ta’ayyun mahaal hai ae
Shehar-e-nabi ki hadd ka ta’ayyun mahaal hai ae
A’alam basaa huaa hai
A’alam basaa huaa hai Mohammed ke Shehar mein
A’alam basaa huaa hai Mohammed ke Shehar mein
A’alam basaa huaa hai Mohammed ke Shehar mein
A’alam basaa huaa hai Mohammed ke Shehar mein

Be-parda sab ke saamne chamka khudaa ka noor
Abu jehl phir bhi dekh na paaya khudaa ka noor
Arsh-e-bareen se kam nahin taiba ki sar zameen
Khud jis ki god mein khud simat aaya khudaa ka noor
Taarif kya bayaan ho jamaal-e-rasool ki
Shakl-e-bashar mein wo hain saraapa khudaa ka noor

Ae raaz tu to hind mein maujood hai magar
Deen aa ke padh rahaa hai Mohammed ke shehar mein
Main kya kahoon ke kya hai Mohammed ke Shehar mein
Be-pardaa khud khudaa hai Mohammed ke Shehar mein

Aslam wo din bhi aaye ke sab log yeh kahen ea
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
ni sa sa re sa
sa ni sa sa re sa
ni sa sa re sa
sa ni sa sa re sa
Aaaa aaaaaa
ni sa sa re sa
sa ni sa sa re sa
aa aa aa aani sa sa re sa
sa ni sa sa re sa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
ni sa re ma pa ni
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
pa ma pa ma re ma
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
sa re ni sa pa ni pa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
re sa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
yaa habeeb
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
ya mustafa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
ya mustafa


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Blog Day :

4652 Post No. : 16318 Movie Count :

4431

The song under discussion is from “Sampoorna Devi Darshan”(1971). “Sampoorna Devi Darshan”(1971) was produced by S J Rajdev and directed by Shantilal Soni for ‘Sargam Chitra, Bombay’. The movie had Sushma, Ashish Kumar, B.M. Vyas, Padma Rani, Shabana, Uma Dutt, Azad, Shery Mohan, Arvind Pandya, Johny Whisky, Dilip Dutt, Shri Bhagwan, Bhagwan Sinha, Maya, Shobha, Suman, Prem Lata, Daya Devi, Rajeshwari Rao, Haroon, Prince Arjun, Kiran Kumar, Dalpat Bhai etc in it.

Screenplay and dialogues of this movie were written by R. Priyadarashi. Editing of this movie was done by I.M. Kunnu. Lyrics of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.

Lyrics of the song as well as details of the movie were sent to me by Avinash Scrapwala, with the request that- “Kindly introduce the movie with your writeup please, as I am not good when it comes to writing about mythology. Please.

While making the above request, he assumed that I can write about mythology. In reality, I know even less about this topic. Whatever litle I knew about this topic was from my voracious reading of children’s magazines like Chandamama, and also reading of Geeta Press Gorakhpur religious publications during my younger days. I have already forgotten most of that.

I in fact, learnt something new from the email of Avinash Scrapwala. I realised that there is a Navratri during Durga puja of october November and also another navratri in the summer season. The summer season navratri is called Chaitra navratri and it marks the beginning of the Hindu calendar year.

Today marks the beginning of Hindu calendar year Samvat 2078. This is Vikram Samvat (Vikram calendar), which, we can see is 57 years ahead of Gregorian calendar (the one that is commonly followed by most people). However India adopted Shak Samwat (Shak Calendar) as Indian calendar which has the same months as Vikram calendar but it started in 78 AD, unlike Vikram Samwat which started in 57 BC. Official Shak calendar is tied to the Gregorian calendar. It begins on 22 march, and on Gregorian leap year it begins on 21 march.

Chaitra is the first month of Hindu Vikram Samvat calendar year. This year this day falls on 13 April. Chaitra navratri begins from this day. This time it is from 13 april to 22 april.

Like during the october-november Navratri, the chaitra navratri too is observed by praying to different avatars of Goddess Durga during the nine days of the festival. These avataras, that are worshipped on the nine days are:-from day one to day nine-Maa Shailputri, Maa Brahmcharini, Maa Chandraghanta,Maa Kushmaanda,Skandmata, Maa Katyayani, Maa Kaalraatri, Maa Mahagauri and Maa Sidhhidaatri.

The festival marks the beginning of the spring season and it ends with Ram Navami or the birthday of Lord Rama.

This new year day is celebrated in different parts of the country by different names viz. Gudi Padwa (Maharashra, MP,Chattisgarh), Ugadi (Andhra Pradesh, Karnataka), Puthandu (Tamilnadu), Vishu (Kerala), Bihu (Assam), Poila Baisaakh (Bangal), Baisaakhi (Punjab) etc.

Just imagine for a second. All these regions of India, located far far away from each other, have been celebrating their new year on this same day for many centuries! It means that all these diverse places, separated by vast distances have been culturally integrated for many many centuries ago ! How else do you explain the fact that all these regions celebrate their new years on the same day ! I notice that I have stayed in almost all the above mentioned regions of India and I have observed this new year celebrated in almost all its different forms. 🙂

Religious minded people use this occasion for pooja, archana, aradhana etc, whereas cultural minded people celebrate it through songs and dances. Vigorous Punjabi dance on this occasion is well known to most people. Personally I am a big fan of Bihu dance that I saw getting performed on this occasion, during my stay in Assam two decades ago. These festivals also have much to offer to those who look forward to sweets and pakwaans. 🙂

As per HFGK Vol-V (1971-1980) this movie had six songs (including one five-part song). All the songs of this movie were written by B.D. Mishra and music was composed by S.N. Tripathi.

The list of the songs given in HFGK is as follows;

SNo Song Title Singer/s
01 Jai devi maata, jai nau durgaa maata Manna Dey, Chandrani Mukherji, chorus
02 Sansaar ki kaisi reet hai …sachchaayi roye duniya mein Asha Bhonsle
03 O raaja aa jaa na mere paas Asha Bhonsle
04 Aao suhaag ki raat manaa le… tumhaare sang jeenaa thha Asha Bhonsle
05 (a) Nij janm bhoomi dharti maa ko naman-part-1
(b) Hari bhari brajbhoomi seenchti sadaa
(c) Kaam krodh mad lobh moh kitnaa hi zor lagaaye
(d) Paap taap santaap jhoothh ki ek na chalegi
(e) Teerath teerath mandir mandir jo ghoome din raat
Manna Dey, Chandrani Mukherjee, chorus
06 Maa Paava gadh thhi ootaryaa mahaakaali re (garbaa)

When I first looked at the name of the movie and the lyrics of the song, and looked at the request of Avinash scrapwala regarding this being a song for the occasion, my first impression was, how can it be. It is a song fit for Durga puja. Then, on doing some research, that I have presented above, I found out that there is something known as Chaitra Navratri and that it is a festival like the Navratri of Dashara, and that this song is actually tailormade for the occasion. Now I have realised that the world “Nav Durga” that we often come across is not “nav Durga” but “nau Durga” viz. “nine Durga”, and it refers to the nine forms of Durga.

The song plays in the background at the credits appear on the screen. The lyrics of this song mentions all the nine forms of Durga.

This shows that the makers of movies like this were very well versed with Indian mythology and they could make movies on such topics. The lyricists of the songs of such movies had indepth knowledge about the subject as we can see from the lyrics of this song, which comes from the pen of B D Mishra. Music is composed by S N Tripathi.

With this song, “Sampoorna Devi Darshan”(1971) makes its debut in the blog. 1971 saw 115 movies getting released. This movie is the 106th movie of 1971 to find representation in the blog.

We this opportunity to wish everyone a very happy, healthy and prosperous new year and chaitr navraatr.

Let us now listen to song devoted to Maa Durga, the Goddess who is worshipped during this Chaitr Navraatr.


Song-Jai devi maataa Jai Nau Durga Maataa (Sampoorna Devi Darshan)(1971) Singer- Manna Dey, Chandrani Mukherjee, Lyrics – B D Mishra, Music – S N Tripathi

Lyrics(Provided by Avinash Scrapwala)

jai devi maata aa
jai nau durga maata aa
janani jai ho teri
amar tera naata aa
jayo jayo maa jagdambe ae

pehla hai swaroop
shail putri maata
hai shail putri maata
jo inke gun gaataa
sukh sampatti paataa
jayo jayo maa jagdambe ae

dooja hai swaroop
bramhchaarini maa aa
hai bramhchaarini maa
bramhroopini tu hi
paap haarini maa aa
jayo jayo maa jagdambe

teeja hai swaroop
chandraghanta maata
hai chandraghanta maata
tujhko paa ke man ka
andhiyaara jaataa aa
jayo jayo maa jagdambe

chautha hai swaroop
kushmaandaa maayi
hai kushmaanda maayi
inse hi ban jaata
jeewan sukhdaayi
jayo jayo maa jagdambe

pancham roop anoop
devi skandmaata
hai devi skandmaata
trigun tritaap vinaashini
tribhuvan ki praata
jayo jayo maa jagdambe

chhanthvi katyaayani
maayi taaran haari
maayi taaran haari
poojen brahma vishnu
poojen tripuraari
jayo jayo maa jagdambe

saantvin ye mahagauri
aathvin kaalraatri
hai aathvin kaalraatri
nauvvaan roop hai tera
maayi siddhidhaatri
jayo jayo maa jagdambe

nau durga ki aarti
jo koyi gaave
ye jo koyi gaave
kahe shivanand swami
jag mein sukh paaye
jayo jayo maa jagdambe


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4651 Post No. : 16316 Movie Count :

4430

#The Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # 132 # Qawwalis – 10 # Missing Films of 1971- 04#
——————————————-————————————————-—

Welcome all to the ‘tenth’ qawwali post in this series. It gives me immense satisfaction that I could present this series. I will be able to conclude this series in the next couple of posts.

Today we will listen to a ‘sufi qawwali’ rendered by the most admired ‘qawwali singing’ duo Shankar-Shambhu. I have mentioned it in my earlier posts that I have a great fascination for this name ‘Shankar-Shambhu’, may be because of the movie with same name released in ‘1976’ which I watched in my childhood, and possibly may be from the discussions of elders at home about the ‘qawwali’ and this ‘qawwali’ singing duo.

Stage shows and programs of ‘Qawwali’ were very common during the years of my childhood i.e., the ‘seventies’ and they were also part of movies where we had great qawwalis produced in HFM.

Today’s qawwali is from the movie ‘Shaan-E-Khudaa-1971’. It is directed by Nanubhai Vakeel for ‘Vanita Films, Bombay’. It had Azra, Rajpal, Chandra Mohan, Benazir, Roshan, Salam, Sukhbir Kaur, Anwari Bai, Munshi Munakka, Wazeer Muhammad Khan, Uma Dutt, Shaukat Azmi, Sujata, Master Sunil, Master Dabbu, Baby Deepali and others.

This movie was passed by Censor Board on 20.05.1971.

‘Shaan-E-Khudaa’ had seven songs written by A.H. Rizvi, S.H. Bihari, Kaifi Azmi and a traditional song. Music for this film was composed by Iqbal Qureshi. Asha Bhonsle, Mohd Rafi, Hemlata, Krishna Kalle and Shankar-Shambhu had lent their voices to the songs in this movie.

Here is the list of songs of this movie as mentioned in HFGK Vol-V (1971-1980);

S.No. Song Title Lyricist Singer/s
01 Teri zulfon ke ameer… jalwa zaraa dikhaa de A.H. Rizvi Shankar-Shambhu
02 Kaali kamli waale tujhpe laakhon salaam Asha Bhonsle
03 Ya nabi salaam aleka, ya rasul salaam aleka A.H. Rizvi Asha Bhonsle
04 Rakhta hai jo roza kabhi bhookhaa na rahegaa Asha Bhonsle
05 Dekha na kabhi hamne apnaa hai ki begaanaa Krishna Kalle
06 Milta hai kya namaaz mein sar ko jhukaa ke dekh lo A.H. Rizvi Asha Bhonsle
07 Bihar ho ki maneri ho, ye rozaa ye roze ki shaan allaah

On screen today’s qawwali is performed by Shankar-Shambu themselves. I guess that it is picturized in the premises of the famous ‘Khawaajaa Moinuddin Chishti’ dargaah at Ajmer. The picturization also shows the clips of the ‘annual fair’ at the dargaah and also the picturesque locations of Ajmer including the famous ‘Pushkar Lake’.

let us now listen to today’s qawwali in the voice of Shankar-Shambhu and chorus. Lyrics are by A.H. Rizvi and Music is composed by Iqbal Qureshi.
I have not been able to note correct words at a few places. I would request readers to provide correct ords there and would also like to request knowledgeable reader who had watched this movie to throw light on the movie and its songs..

From today the ‘holy’ month of ‘Ramaadaan’ will also start and I would take this opportunity to wish everyone a ‘very happy Ramaadaan’.It will miss the normal fervor this time due to the current ‘Covid19 pandemic’ related restrictions. I am sure people will celebrate it with the same enthusiasm and offer their prayers to God to bless everyone with good health, joy and peace in life.

This movie ‘Shaan-E-Khudaa-1971’ makes its debut on the blog ith this qawwaali.

Video

Audio

Song-Dil ki lagi bujhaa de Ajmer waale Khwaajaa(Shaan e Khuda)(1971) Singers-Shankar-Shambhu, Lyrics-A H Rizvi, MD-Iqbal Qureshy

Lyrics

raahate khal gojaan (?) Moinuddin
raahate khal gojaan (?) Moinuddin

haami e bekasaa Moinuddin
ahl-e-duniya ka wo nahin mohtaaj
jispe ho meharbaan Moinuddin

teri zulfon ke aseer aayen hain ae ae
khaa ke sab ishq ke teer aayen hain ae ae
khwajaji ee ee ee
ek mela sa lagaa hai daron par
door se tere fakir aayen hain
jalwaa zaraa dikhaa de
khawaaja ji ee ee ee
jalwaa zaraa dikha de
ajmer waale khwaaja
jalwaa zaraa dikhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa
o more khwaaja
dil lagi bujhaa de
aa aa aa aa aa aa
dil ki lagi bujhaa
aa aa aa aa aa aa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
aa aa aa aa aa aan

har kaam mera
meri taqdeer ne bigaadaa
gham ki chali wo aandhi
dil ka nagar ujaadaa aa
ujdaa nagar basaa de
khawaaja ji ee ee ee
ujdaa nagar basaa de
ajmer waale khwaaja
ujdaa nagar basaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de

ye wo chaukhat hai
jis chaukhat par sab
gardan jhukaate hain
yahaan rehmat utarti hai
farishte aate jaate hain
aa aa aa aa aa aa aa
yahi dar hai jahaan
mehmood khilji rota aa aayaa thha
yahi dar hai jahaan jo
usne maanga thha wo paaya thha
haan aa aa aa aa aa
isi dar par kabhi
akbar ne bhi
daaman pasaaraa thha
yahin gardan jhukaayi thhi
yahin par taaj utaaraa thha

jhaangir aaya thha dehleez par
jaise faqir aaye
palat jaate thhe dushman ki taraf se
jitne teer aaye ae
sabko diya sahaaraa aa
tu sab ke kaam aayaa
khwaajaa ji ee ee ee
mere khwaajaa ji ee
sabko diyaa sahaaraa
tu sab ke kaam aayaa
mujhko bhi aasraa de
mujhko bhi aasraa de
ajmer waale khwaajaa
mujhko bhi aasraa de
ajmer waale khwaajaa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
o ho more khwaajaa
haan aa aa aa aa aan
dil ki lagi bujhaa de
aa aa aa aa aa aa aan
dil ki lagi bujhaa de
aa aa aa aa aa aa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de

jab ke ajmer mein
khwaaja ka qadam aaya thha
phool sa chehra
kadi dhoop mein murjhaayaa thha aa
saath khwaaja ke jo
deewaane chale aate thhe
aisi garmi thhi ke parwaane jaley
jaate thhe
ek jungle mein nazar
aaya kahin kuchh saayaa
kaafilaa hazaratein
khwaaja ne wahaan thhehraaya aa
aake charwaahe ye bolen ke
yahaan se jaao o
kaafilaa apnaa kahin aur hi
tum thhehraaao o o
kaise mumkin hai ki is saaye mein
insaan rahe
oont rajaa ke yahaan baithhte hain
dhyaan rahen
uthhte utthte bhi ye phir
hazrat e khwaajaa ne ae ae kahaa aa aa
lo jagah apni sambhaalo
main kahin aur chalaa aa aa
par faqiron ko sataaya hai
to pachhtaaoge
oont baithhe hi rahenge
na uthhaa paaoge
sabne us roz ye khwaajaa ki
qaraamat dekhi
oont baithhe to phir
uthhne ki na himmat dekhi

qadmon pe sar jhukhaa ke
charwaahe saare boley ae
aisi na tu sazaa de ae
khwaajaa ji ee ee ee
mere khwaajaa ji ee ee ee
aisi na tu sazaa de ae
ajmer waale khwaajaa
aisi na tu sazaa de ae
ajmer waale khwaajaa
dil ki lagi bujhaa de
ajmer waale khwaaja
dil ki lagi bujhaa de
o ho more khwaajaa
dil ki lagi bujhaa de
haan aa aa aa aa aan
dil ki lagi bujhaa de
aa aa aa aa aa aa aan
dil ki lagi bujhaa de
ajmer waale khwaaja
khwaajaa ji ee ee ee
dil ki lagi bujhaa de
khwaajaa ji ee ee ee
mere khwaajaa ji ee ee ee
khwaajaa ji ee ee ee
haaye khwaaja jee
aa aa aa aa aa
dil ki lagi bujha de
Ajmer aale Khwaaja
dil ki lagi bujhaa de
khwaajaa jee
jalwaa zaraa dikhaa de
ajmer waale khwaaja
jalwaa zaraa dikhaa de
ajmer waale khwaaja aa aa aa


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 :

4610 Post No. : 16241

“Aastik”(1956) was produced by Gordhan Das Kakkad and directed by S P Kalla for Rani Productions, Bombay. This “bhakti pradhan” movie had Shahu Modak, Paro, Meenakshi, B M Vyas, Nagpal, Anand Joshi, Pravil Paul, Lotan, Ramesh, Micky, Dinanath, M S Phatak, Naazi, Shaanti, Mithailal, Master Dabboo, Master Babu etc in it.

The movie had nine songs in it. Two songs have been covered in the blog.

Here is the third song from “Aastik”(1956) to appear in the blog. The song is sung by Rafi. S P Kalla is the lyricist. Music is composed by Narayan Dutt.

The devotional song is picturised on Shahu Modak.


Song-Jiska saathi hai bhagwan (Aastik)(1956) Singer-Rafi, Lyrics-S P Kalla, MD-Narayan Dutt

Lyrics

o o o
jiska saathi hai bhagwan
usko kya rokega aandhi
aandhi aur toofaan
o o o
jiska saathi hai bhagwaan
usko kya rokega aandhi
aandhi aur toofaan
jiska saathi hai bhagwan

gagan choor ho jaaye
zameen chaahe saagar mein dhans jaaye
gagan choor ho jaaye
zameen chaahe saagar mein dhans jaaye
toofaanon ki god mein chaahe saara jag kho jaaye
paanv na rukne paaye
o o o
jiska saathi hai bhagwaan
usko kya rokega aa aandhi aur toofaan
jiska saathi hai bhagwan

jiske sheesh pe hath hazaaron
chhoo na koyi paayega
jiske sheesh pe haath hazaaron
chhoo na koyi payega
hari naam se ye parwat bhi tinka ban jaayega aa
dhool mein mil jaayega
o o o
jiska saathi hai bhagwan
usko kya rokega aa aandhi aur toofaan
jiska saathi hai bhagwan

bhakt aur hari ka bandhan to
jyun deepak aur baati ee
bhakt aur hari ka bandhan to
jyun deepak aur baati
usi jyot se ye jalti hai
usmein hi mil jaati ee
deh amar ho jaati
o o o
jiska saathi hai bhagwan
usko kya rokega aa aandhi aur toofaan
jiska saathi hai bhagwan
jiska saathi hai bhagwan
jiska saathi hai bhagwan


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16400 song posts by now.

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

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16500

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered =4483

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Active for more than 4000 days.

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