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

Archive for the ‘Duet’ Category


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

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

These days, being or showing that you are a religious Hindu amounts to being Communal ! I feel that your religious behaviour should be restricted to your own personal life, without any display of it. If you take a survey today, you may find that hardly 0.1 to 1 % of the population is Atheist ( those who do not believe the existence of God ). The rest are all believers in God. Belief in God and being religious are two entirely different things. Being religious is practicing the ‘karm kands’ or fulfilling the acts described, prescribed or suggested by the religion, like for example, going to the Temples regularly or doing Pooja Archana every day etc. Only those who practice these can be termed as being religious minded. As long as these things do not interfere with your duties towards family and society, no one should have any business commenting/ interfering in that.

A person who likes to listen to Jazz or Rock music and one who likes to listen to western musicals can at best be described as a person liking western music, but he can not be called a Musician. Similarly, when one likes to listen to Bhajans and see Mythological films, he can only be termed as a person who likes religious/devotional music, but can not be called a religious person. I like to listen to any Bhajan or other religious songs.

Hindu Religion is the most elastic, all encompassing and highly adaptive Religion. That is how it has remained for over 5000 years. There may be thousands of Castes, Languages,Ethnic groups and contrasting living patterns, but ALL will visit the SAME temple. There is no division among the variety of Gods that are available to the people. It is said that there are 33 types of-classes of-Gods ( 33 Koti Devtas- misunderstood as 33 crores Gods ), so there is a wide choice for selecting your favourite God. Some may like Shiv ji, some Vishnu,some Shrikrishna while some like Laxmi Devi, but there is ONE God who is loved by one and all,not only in India but also worldwide..and that is GANESHA.

Lord Ganesh is the second son of the celestial couple Shiv ji and Parvati ji. The elder one is Kartikeya (Kumarswamy in south). However, in South, Kartikeya or kumar swamy or Skand is considered as the younger one. There are many stories found in Vedas and various Puranas,about the birth of Ganesha. the most popular,of course, is from Shiv Puran, which says that ,one day parvati made an young boy from the Sandalwood Paste made for her bath.She put life into it and asked him to guard the gate till Parvati finished her bath. After some time,Shiv ji came back,but was stopped by the boy. The Ganas of Shiv ji had a fight with him,and he defeated them. When this news reached the heavens,Dods’ king Indra himself came with his army,but he too was defeated by this boy. Shiv ji got angry and copped off his head with his Trishula. When Parvati learnt about this,she became very sad and angry. Shiv ji sent his Ganas to search for the chopped head,but not founding it,they brought an Elephant’s head. Shiv ji fitted this head and made him alive again. Shiv ji named him GANESH. Here are some other stories of Ganesh janm…
A lesser known story from the Bramha Vaivarta Puran narrates a different version of Ganesha’s birth. On the insistence of Shiva, Parvati fasted for a year (punyaka vrata) to propitiate Vishnu so that he would grant her a son. Vishnu, after the completion of the sacrifice, announced that he would incarnate himself as her son in every Kalpa (eon). Accordingly, Ganesha was born to Parvati as a charming infant. This event was celebrated with great enthusiasm and all the gods were invited to take a look at the baby. However Shani (Saturn), the son of Surya, hesitated to look at the baby since Shani was cursed with the gaze of destruction. However Parvati insisted that he look at the baby, which Shani did, and immediately the infant’s head fell off. Seeing Shiva and Parvati grief-stricken, Vishnu mounted on Garud, his divine eagle, and rushed to the banks of the Pushpa-Bhadra river, from where he brought back the head of a young elephant. The head of the elephant was joined with the headless body of Parvati’s son, thus reviving him. The infant was named Ganesha and all the Gods blessed Ganesha and wished Him power and prosperity.

Another tale of Ganesha’s birth relates to an incident in which Shiv slew Aditya(Lord sun) , the son of a sage. Shiva restored life to the dead boy, but this could not pacify the outraged sage Kashyapa, who was one of the seven great Rishis. Kashyap cursed Shiva and declared that Shiva’s son would lose his head. When this happened, the head of Indra’s elephant was used to replace it.(Linga Puran).

Still another tale states that on one occasion, Parvati’s used bath-water was thrown into the Ganges, and this water was drunk by the elephant-headed Goddess Malini, who gave birth to a baby with four arms and five elephant heads. The river goddess Ganga claimed him as her son, but Shiva declared him to be Parvati’s son, reduced his five heads to one and enthroned him as the controller of obstacles -Vighnesh. (Varah Puran).

The cast of the film was the usual one. After becoming famous with film Har Har Mahadev-1950, the trio of Trilok kapoor, Nirupa Roy and Jeevan became mandatory in almost all mythological films connected with Shiv and Parvati. Jeevan was a standardised Narad in all such religious films. Jeevan had altogether acted as Narad in 49 films, in his career. This was before his second innings featuring as a villain and a sophisticated criminal in the 70s and 80s. In this film also They enacted the same roles. I do not know how far it is true, but it was said that Trilok kapoor had used a real snake around his neck in the role of Shankar ji.

The film was directed by Jayant Desai. Jayant Jhinabhai Desai was born in Surat,Gujarat,on 28-2-1909,in a well to do family. he graduated from Bombay University and entered film line as an exhibitor in Surat. Later on he started writing Screen plays for London Films,Rangoon and then for krishna and Sharada studios. he joined Chandulal Shah’s Ranjit Studios in 1929,as his assistant for film ‘Rajputani’. Director Nandlal Jaswantlal Bhatt ( Nagin,Taj,Champakali etc) was also another assistant in Ranjit.

When Nandlal left Ranjit to go to Europe,Jayant completed his film ‘ Pahadi kanya-1930 ‘. At Ranjit Jayant directed 12 silent films. He was with Ranjit till 1943 and Directed 33 Talkie films,while in Ranjit. Some of these films were Char Chakram,Bhool Bhulaiya,Nadira,Toofanmail,College Girl,matlabi Duniya, Toofani Toli, Billi ( a copy of a Hollywood film,based on P.G.Wodehouse’s novel ” A Damsel in Distress” ), Sant Tulsidas, Diwali,Shaadi, Chandni, Bhaktaraj, Tansen(with Saigal), Zaban etc.

After leaving Ranjit,Jayant Desai established his own studio,Jupitor Films Studio, jayant desai productions and Hemlata Pictures. He also had exhibition interests in Hindmata and Star Theatres in Bombay’s Dadar area. In the 50s, he operated as a Distributor with his Jupiter films.

While in Ranjit, he had Directed K L Saigal in film Tansen. Sardar Chandulal Shah had called Saigal on a contract of 60 days. Jayant completed Tansen in flat 51 days. Kidar Sharma then used those 9 days to make a quickie named Bhanwara, with Saigal.

C.Ramchandra was with Jayant Desai for more than 3 years and gave 5 successful films. It was Jayant Desai who gave him the name C.Ramchandra for using in films. It was also Jayant Desai who was responsible for the rise of C.Ramchandra in a major way. It so happened….

Under the banner of Jayant productions,he made one more Saigal film-Tadbir-1945,with Suraiya in the lead. In his new company,jayant had hired C.Ramchandra as a paid Composer on a salary of Rs. 300 pm. C Ramchandra gave music to many of his films like Zaban,lalkar,manorama,Chandragupta etc and all films became popular.C. Ramchandra was proud of his achievement.

One day C Ramchandra heard a rumour that the great singer Saigal is coming to make a film here. CR became very excited that he would get an opportunity to compose music for Saigal. But he got a shock when he heard that,not he,but one Lal Mohammed (assistant of Ghulam Hyder in Lahore) was being called for that assignment,C.Ramchandra not only was upset but felt hurt too. he went to Jayant Desai and said-

” My salary must be increased”
” How much ?”
” One Thousand Rupees per month”
Jayant was not ready for 1000. he offered maximum 600. He also told CR that there was an opportunity to compose for Saigal,but C.Ramchandra was not ready to accept anything less than 1000.
Finally,C Ramchandra said,” Increase it to 1000 or else….”
Jayant Desai was furious.He asked,” Or else…What ?”
C.Ramchandra said,” Or else,I will quit”.
Without flapping an eyelid,Jayant Desai coolly said,” OK. Your account will be settled in an hour. Stop work and pack up.”
C.Ramchandra was stunned,but the arrow had already left the bow !

C.Ramchandra became jobless and also lost an opportunity to compose music for Saigal. But his luck was strong. The very next day,kavi Pradeep took him to Filmistan and he was appointed there on a salary of Rs. 1000 pm. In Filmistan,C.Ramchandra gave several Hit musicals like Safar,Shehnai,Nadiya ke paar,Shabnam,Samadhi,Sargam,Anarkali,Nastik etc. If Jayant Desai had not removed C.Ramchandra from his company, he would not have reached the heights of his fame and success later on.

Jayant Desai directed 65 films in all. His last film was Zamana Badal gaya-1961. He died in Bombay on 19-4-1976.

The film’s music was composed by Khemchand Prakash and Manna Dey together. There were 12 songs, but HFGK does not give individual credits for each song. Out of these 12 songs, not even a single song was sung by Lata Mangeshkar. In those days Lata usually avoided singing in Mythological films of B and C grades. Reason was, probably because the Producers of such films could not afford her price or may be she was too busy with her assignments with more famous composers and bigger Banners. Such films were left for the second line singers like Asha, Geeta, Sulochana kadam, Sudha Malhotra and others of their ilk. A point to be noted,however, is that though a major singer of those times, Shamshad Begum never had qualms about singing in such films !

Today we end our undeclared Mini Series of Shiv bhajans here only till, may be Mahashivratri in early 2018, when we will enjoy another set of Shiv Bhajans again……


Song-Naiyya paar lagaane waale bigdi banaane waale bhole bhaale hain Bholanath re (Shri Ganesh Janm)(1951) Singers-Geeta Dutt, Manna Dey, Lyrics-Bharat Vyas, MD-Manna Dey
All
Male chorus
Female chorus

Lyrics

Bholanath re
Bholanath re
Bholanath re
Bholanath re

naiyya paar lagaane waale
bigdi banaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
naiyya paar lagaane waale
bigdi banaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
Bholanath re
Bholanath re
o Bholanath re
Bholanath re

o o o o
o o o
o o o

sheesh jata mein gang dhaar
bah gale rund maala hai
sheesh jata mein gang dhaar
bah gale rund maala hai

kar mein shobhit hai trishool
aur kat mein mrig chhaala hai
kar mein shobhit hai trishool
aur kat mein mrig chhaala hai

tan mein bhasmi ramaane waale
damroo bajaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
Bholanath re
Bholanath re
o Bholanath re
Bholanath re

o o o o
o o o
o o o
o o o

bade bade dushton ko tumne
pal mein paar utaara

bholanath re
Bholanath re
o Bholanath re
Bholanath re

bade bade dushton ko tumne
pal mein paar utaara

kaamdev ko nain teesre
se tumne sanhaara
kaamdev ko nain teesre
se tumne sanhaara

hamko dukh se chhudaane waale
mukti dilaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
Bholanath re
Bholanath re
o Bholanath re
Bholanath re

o o o o
o o o
o o o
o o o

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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.

“Halla Gulla” (1954) was produced and directed by Bhagwan for Bhagwan Art Productions, Bombay. The movie had Bhagwan, Shakila, Sajjan, Baburao, Leela Gupte, Leela Gandhi , Begam Bai, Suneeta, Salvi, Qamar, Sukumar, Bhagwan Rao “Aankh”, Balaram, Deepak, Yashwant, Swami etc in it.

The movie had nine songs in it. All these nine songs were Rafi-Asha Bhonsle duets ! This must be a record of sorts where all songs of a movie are duets and are sung by the same pair of singers.

It would seem that Bhagwan had lip synced in Rafi’s voice. The actress lip syncing in Asha Bhonsle’s voice could be either Shakeela or Leela Gandhi or Leela Gupte. I request our knowledgeable readers to throw light on the picturisation of this song.

Saba Afghani is the lyricist. Music is composed by Nisaar Baazmi.


Song-Yoon na chhedo balam koi na aa jaaye (Halla Gulla)(1954) Singers-Asha Bhonsle, Rafi, Lyrics-Saba Afghani, MD-Nisar Bazmi

Lyrics

yoon na chhedo balam
koi na aa jaye
yoon na chhedo balam
koi na aa jaaye
tumko nahin sharam
tumko nahin sharam
mohe laaj aaye
yoon na chhedo balam
koi na aa jaaye

ek to sataaye mohe bairi hawaayen
aanchal udaayen kabhi laten bikhraayen
ek to sataaye mohe bairi hawaayen
aanchal udaayen kabhi laten bikhraayen
dooje tum to piya
mohe na sataao piya
mohe na sataao
tumko to aaye maza
mora jiya jaaye
ho mora jiya jaaye
yoon na chhedo balam
koi na aa jaaye

ghoonghat se roop gori tera pukaare
naina bulaayen tere kar ke ishaare
ghoonghat se roop gori tera pukaare
naina bulaayen tere kar ke ishaare
ye sharmeeli ada
kise na lubhaaye bata
kise na lubhaaye
aise mein door bhala
kaise raha jaaye
ho kaise raha jaaye

yoon na chhedo balam
koi na aa jaaye

kyun aaj pyaar bhari karte ho baaten
samjhi main khoob sajan tumhri ye ghaaten
kyun aaj pyaar bhari karte ho baaten
samjhi main khoob sajan tumhri ye ghaaten
dekho mori kasam
aise na banaao mohe
aise na banaao
kar doongi shor abhi
paas jo tum aaye
ho paas jo tum aaye
yoon na chhedo balam
koi na aa jaaye
yoon na chhedo balam
koi na aa jaaye


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (15 august 2017) is the 71st Independence day of India.

This is the tenth independence day for the blog. In addition, we have also had nine republic days. We have discussed a few patriotic songs on all these 17 national days. So one can imagine the number of patriotic songs that we have covered in the blog so far. The count of patriotic songs in the blog shows 106 songs as of now !

While discussing songs from movies, we sometimes come across special songs that are suitable songs for special occasions. Same was the case with this song from “Samundar”(1957). In my bid to cover all the eight songs from the movie, seven songs have been covered. The eighth song was deferred to be covered on Indepence day because it is suitable song for such an occasion.

“Samundar” (1957) was produced and directed by Premnath for Premnath Films. The movie was an all family affair. Premnath, Bina Rai (his wife), Rajendranath (his brother) figured in the movie. Others in the cast were Nishi, Tuntun, Anmol Krishan, Ram Avtar, Ullas, Heeralal, Sundar, Ridkoo, Paul Sharma, Rajan Kapoor, Habeeb, Azeem, Mahesh, Manohar, Niranjan etc.

Here is this eighth and final song from the movie to appear in the blog. This song is sung by Geeta Dutt, Rafi and chorus. Rajinder Krishan is the lyricist. Music is composed by Madan Mohan.

The song is picturised as a “ship” song populated by seafaring sailors led by Premnath. Premnath sings in Rafi’s voice. I am unable to identify the person who lip syncs in Geeta Dutt’s voice. In any case, Geeta Dutt’s voice is mainly heard alongwith the chorus in this song.

I have not been able to get a few words right in the lyrics. I request our readers with keen ears to help fill in the blanks/ suggest corrections as aplicable.

With this song, “Samundar”(1957) joins the list of movies that have all their songs covered in the blog.

I take this opportunity to wish everyone a very happy Independence day.

Video


Audio

Song-Gaao re gaao re khushiyon ka taraana (Samundar)(1957) Singers-Rafi, Geeta Dutt, Lyrics-Rajinder Krishan, MD-Madan Mohan
Chorus

Lyrics

hoy
hoy
yeah
ho ho ho ho
ho ho ho
haa haa ha haa
ha ha ha ha
ho ho ho ho
ho ho ho
haa haa ha haa
ha ha ha ha

aa aa aa aa
aa aa aa aa
aa aa aa aa aa
gaao re gaao re
gaao re khushiyon ka taraana
jhoom ke aayi aazaadi
jhoomke aayi aazaadi
door nahin wo din jab hogi
hari bhari ik ik waadi
jhoom ke aayi aazaadi

hoy hoy

apne sitam ka aap nishaana
dekho wo saiyyaad hua
dekho wo saiyyaad hua
ujad gaya thha jo gulshan
wo phir se hai aabaad hua
phir se hai aabaad hua
apni basti chaand(?) huyi hai
gair ke ghar mein barbaadi
jhoom ke aayi aazaadi
gaao re gaao re
gaao re khushiyon ka taraana
jhoom ke aayi aazaadi
jhoom ke aayi aazaadi

hoy

apni dharti par na honge begaanon ke dere
begaanon ke dere
naam na lenge kadam badhaane
ka ab chor lutere
ka ab chor lutere
lehar lehar ban jaayegi saagar
desh ki saari aabaadi
jhoom ke aayi aazaadi
gaao re gaao re
gaao re khushiyon ka taraana
jhoom ke aayi aazaadi
jhoom ke aayi aazaadi

hoy hoy

aao maathe lahu lagaakar
aaj ye kha len kasmen
aaj ye kha le kasmen
aaj se phir hum kabhi na
honge
kisi gair ke bas mein
kisi gair ke bas mein
?? na chheen sakega koi hamari aazaadi
jhoom ke aayi aazaadi
gaao re gaao re
gaao re khushiyon ka taraana
jhoomke aayi aazaadi
jhoomke aayi aazadi
aaa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
a aaa aa aa aa aa aa
aa aa aa aa aa aa aa


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

Today’s Shiv Bhajan is for the 4th Shraavan Monday – as celebrated in south, west and some eastern states of India. This bhajan is from film ‘Shuk Rambha’ (1953), made by Chandrakala Pictures and is produced and directed by Dhirubhai Desai. The lead actors were Anjali Devi (from south) and Bharat Bhushan. In the cast of this film, you will find a name Rajkumar. Most ‘knowledgeable’ sites and writers treat this actor same as the famous dialogue master Raaj Kumar ‘Jaani’. However, this is not correct. This Rajkumar is different.

The pathetically poor documentation of the history of Hindi films has left many gaping holes. One of these is the menace of ‘Same Name Confusions’. Actors, directors and composers having similar names are the victims as well as the sufferers of this phenomenon. When artistes active around the same time share the same names, their filmography is often overlapped and intermixed. The sufferer is usually the lesser known person amongst the group of same name persons. Their hard work is credited unceremoniously to the more famous and well known person of the same name. In my earlier posts, I have dwelt upon this subject in details. Additionally, I ran a 3 part article series “Same Name Confusions”, which has become a reference point at www.anmolfankaar.com

The case of multiple Raj Kumars, however, could not be solved due to its cluelessness. Fortunately, the blog www.maitrimanthan.wordpress.com took it up as a project and spent considerable time and efforts to collect some information in this case. (They had also done this for Sr and Jr Shashi kapoors. May God bless these blog girls !).

There were in all 5 Raj Kumars in the industry at the same time. The first was the Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous dialogue master Raaj Kumar ‘Jaani’. Third was Rajkumar Gupta (from Ranchi), who was the main character in popular film ‘Jagriti’ (1954). He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles, that were mostly uncredited, in films like ‘Shri 420’ (1955), ‘Jaagte Raho’ (1956), ‘Dilli Ka Thug’ (1958), ‘Aaj Aur Kal’ (1963), ‘Ziddi’ (1964) etc. The fifth was this Rajkumar, who mostly worked in religious and mythological films. His full name was Rajkumar Khatri.

Rajkumar Khatri was born in or around 1940. He started as a child artiste in films like ‘Janmashtami’ (1950), ‘Jai Mahakaali’ (1951) and ‘Insaan’ (1952). His first film as an adult was ‘Shuk Rambha’ (1953), in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film ‘Tulsidas’ (1954) he did the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar Khatri acted in 61 films, mostly religious and mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like ‘Sautela Bhai’ (1962), ‘Aaj Aur Kal’ (1963), ‘Ustadon Ke Ustad’ (1963), ‘Ziddi’ (1964), ‘Nai Umar Ki Nai Fasal’ (1965) etc. Due to his boyish face and young innocent looks, he was generally given roles of the younger brother. As Laxman, he acted in 7 films. His last film was probably ‘Chintamani Soordas’ (1987).

In mid 1980s, when films offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash Mehra for a long time, as Assistant Director and also as his PA. Reportedly, he died in September 2014. No further information on him is available.

Today’s Shiv Bhajan is from an obscure film ‘Shuk Rambha’. In the period from 1951 to 1960, so many religious and mythological films were made that at times there was a shortage of appealing stories. Popular stories from the Ramayana and Mahabharat epics, were exhausted beyond revival and it was not prudent to repeat them frequently. In this period, Nirupa Roy and Trilok Kapoor, probably were the busiest stars. Besides the usual popular stories, producers made films on rare subjects like Shanidev, Nal-Damayanti, Kach Devyani, Ekadashi, Navnaths, Kaali, Laxmi, Vikram and Vetal etc.

Producer-director Shri Dhirubhai Desai took up a totally unknown and obscure topic from the Vedic ‘Shuk Rambha Samvaad’. I appreciate his guts. I did not see this film and I do not know how many people must have seen this ‘never heard’ type of film. The cast of the film included Bharat Bhushan who had become famous after the blockbuster film ‘Baiju Bawra’ in 1952. Anjali Devi from south was his heroine. There were the other usual artistes of this genre like Lalita Pawar, Krishnakumari, Niranjan Sharma, Tiwari, Kusum Thakur etc. The role of young Shukdev was performed by Raajkumar.

Normally, not many people would know who was Shuk. Of course everybody would know about Rambha, that she was an ‘apsara‘ like Menaka and Urvashi etc. Rishi Shuk or Shukdev has an interesting story about his birth. Once Devi Paarvati wanted to know the secret of being Amar or immortal. Only Shiv ji knew about it. When she was after him to know the secret, he agreed to tell her. While Shiv ji was explaining the details, Paarvati went to sleep, but a bird – Shuk (Parrot), sitting on a tree branch outside listened to all the details. When Shiv ji realised this, the bird flew away in fear, and landed straight into the yawning open mouth of the wife of Maharshi Ved Vyas. It remained there safe for 12 years and then took birth. He was named Shuk. He left home to seek Bramha Gyan. Devarishi Narad took him again to Ved Vyas. He taught him and then sent him to King Janaka, who was supposed to be a ‘Jeevanmukta‘, i.e. free from worldly emotions and attachments, even though he was in a human form. Janak advised Shuk to take up ‘grihasth ashram‘ (life as a married householder), as Bramha Gyan was incomplete without this worldly experience and knowledge. Shuk met Rambha who got interested in him and started to lure him. There took place the famous Vedic ‘Shuk Rambha Samwaad’. She tried to teach him the benefits of spending time with beautiful women and he would argue against her.

Here is some additional information on Shuk (from Wikipedia).

Shuka (also Shukadeva, Shuka deva, Suka, Sukadev, Sukadeva Gosvami) was the son of the sage Ved Vyasa who is credited as the organizer of the Vedas and Puraanas,  and the main narrator of the Bhagvata Puraan. Most of the Bhagavata Puraan consists of Shuka reciting the story to King Parikshit, who had been cursed to die within seven days. Shuka is depicted as a sanyasi, renouncing the world in pursuit of Moksha (liberation), which most narratives assert that he achieved.

According to Mahabharat, Shuka was churned out of a stick of fire after one hundred years of austerity by Ved Vyasa, born with ascetic powers and with the Vedas dwelling inside him, just like his father. The Mahabharata also recounts how Shuka was sent by Ved Vyasa for training to King Janaka, who was considered to be a Jeevanmukta, or one who is liberated while still in a physical body. Shuka asked Janaka about the way to liberation, with Janaka recommending the traditional progression of the four ashramas, which included the householder stage. After expressing contempt for the householder life, Shuka questioned Janaka about the real need for following the householder path. Seeing Shuka’s advanced state of realization, Janaka told him that there was no need in his case.

Stories recount how Shuka surpassed his father in spiritual attainment. Once, when following his son, Vyasa encountered a group of celestial nymphs who were bathing. Shuka’s purity was such that the nymphs did not consider him to be a distraction, even though he was naked, but covered themselves when faced with his father. Shuka is sometimes portrayed as wandering about naked, due to his complete lack of self-consciousness.

A completely different version of the later life of Shuka is given in the Devi-Bhagvat Puraan, considered a secondary Puraana (Upapuran) by many, but an important work in the Shaakt tradition. In this account, Shuka is convinced by Janaka to follow the ashrama tradition, and returns home to marry and follow the path of yoga. He has five children with his wife Pivari (who is actually Rambha) – four sons and a daughter. The story concludes in the same vein as the common tradition, with Shuka achieving moksha.

A place called Shukachari is believed to be the cave of Shuka, where he disappeared in cave stones as per local traditional lore. Shuka in Sanskrit means parrot and thus the name is derived from the large number of parrots found around the Shukachari hills. Shukachari literally means abode of parrots in the Sanskrit language.

Film ‘Shuk Rambha’ is primarily based on the story of Shukdev, from Bhagwat Puraan. The film story was written by Kavi Raghunath Brahmbhatt (1892-1983). Born in Gujarat, Kavi Raghunath was called a Raskavi due to his penchant for writing love songs. He wrote mythological and historical dramas, which became very famous. Taking a clue from Parsi Theatre, he resurrected Gujarati theatre by reviving the tradition of Sanskrit dramas in Gujarati. His autobiography ‘Smaran Manjri’ (published 1955) describes the development of Gujarati Theatre. It is said that the famous song “Mohe Panghat Pe Nandlaal. . .” from film ‘Mughal e Azam’ (1960) was taken from his Gujarati drama ‘Chhatra Vijay’ (1919), which was usurped by Shakeel Badayuni. The case was taken up by Writers’ Association of India, which decided the matter in Brahmbhatt’s favour. However, the credit in the film still goes to Shakeel badayuni only. Kavi Raghunath died in 1983.

Film ‘Shuka Rambha’ has 9 songs. One song from this film has been discussed on our blog, long back. So this is only the second song to be posted here. Today is the 4th Monday of the holy month of Shraavan, in the south, west and eastern states of India. For the rest of India, Shraavan has ended on the 7th August – the day of Rakhi Purnima itself. Next Shiv Bhajan on the 21st August will be the last in this  undeclared mini series. So enjoy this Shiv Bhajan today.


Song – Jaag Re Yogi Jaag Re (Shuk Rambha) (1953) Singer – Asha Bhosle, Manna Dey, Lyrics – Bharat Vyas, MD – Manna Dey
Chorus

Lyrics

jaag re. . .
yogi jaag re. . .
jaag re
jaag re
jaag re
jaag re yogi jaag re
jaag re yogi jaag re
ye samaadhi anant yogi tyaag re
jaag re
jaag re

ho o o o o
o o o o o
o o o o o
aaa aaa
yauwan ki behnt mein madhu maas aaya
jungle mein mangal hai chhaaya
jungle mein mangal hai chhaaya
jungle mein mangal hai chhaaya
dharti suhagan ne dhaani chunariya se
ban ban ko upvan banaaya
ban ban ko upvan banaaya
ban ban ko upvan banaaya
kaliyon ke mukh choomen
(aaa aaa aaa aaa)
gumche bhramar ke
(aaa aaa aaa aaa)
kaliyon ke mukh choomen
(aaa aaa aaa aaa)
gumche bhramar ke
(aaa aaa aaa aaa)
vrikshon se lipti lataayen
gun gun gun gun gun gun dolen vaasanti
sheetal sugandh hawaayen
kan kan mein praanon ki baaji baansuriya
ho o o o o o
kan kan mein praanon ki baaji baansuriya
goonje hain jeevan ke raag re
jaag re yogi jaag re
jaag re yogi jaag re
ye samaadhi anant yogi tyaag re
jaag re
jaag re

jaag re
jaag re
jaag re
jaag re
jaag re
jaag re

tu hai purush aai sanmukh ye prakriti
tu hai karam ye kaamini
nainon ko khol yogi aasan se dol
tere sanmukh hai jeevan ki raagini
jad mein chhupi ye chetanta
jal mein chhupi ye aag re
jaag re
jaag re jaag re
jaag re
jaag re jaag re
jaag re
jaag re
jaag re
jaag re

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

जाग रे॰॰॰
योगी जाग रे॰॰॰
जाग रे
जाग रे
जाग रे
जाग रे योगी जाग रे
जाग रे योगी जाग रे
ये समाधि अनंत योगी त्याग रे
जाग रे
जाग रे

हो ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
आ आ
यौवन की बहंत में मधु मास आया
जंगल में मंगल है छाया
जंगल में मंगल है छाया
जंगल में मंगल है छाया
धरती सुहागन ने धानी चुनरिया से
बन बन को उपवन बनाया
बन बन को उपवन बनाया
बन बन को उपवन बनाया
कलियों के मुख चूमें
(आ आ आ आ)
गुमचे भ्रमर के
(आ आ आ आ)
कलियों के मुख चूमें
(आ आ आ आ)
गुमचे भ्रमर के
(आ आ आ आ)
वृक्षों से लिपटी लताएँ
गुन गुन गुन
गुन गुन गुन डोलें वासंती
शीतल सुगंध हवाएँ
कण कण में प्राणों की बाजी बांसुरिया
हो ओ ओ ओ ओ
कण कण में प्राणों की बाजी बांसुरिया
गूँजे हैं जीवन के राग रे
जाग रे योगी जग रे
जाग रे योगी जग रे
ये समाधि अनंत योगी त्याग रे
जाग रे
जाग रे

जाग रे
जाग रे
जाग रे
जाग रे
जाग रे
जाग रे

तू है पुरुष आई सन्मुख ये प्रकृति
तू है करम ये कामिनी
नैनों को खोल योगी आसन से डोल
तेरे सन्मुख है जीवन की रागिनी
जड़ में छुपी ये चेतनता
जल में छुपी ये आग रे
जाग रे
जाग रे जाग रे
जाग रे
जाग रे जाग रे
जाग रे
जाग रे
जाग रे
जाग रे

 

 


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.

“Bijli”(1950) was directed by Sushil Sahu for Hindustan Chitra, Bombay. This “social” movie had Rehana, Ramesh Gupta, Sitara, Vilas Mohbe, Paro, Badri Prasd, Sushir Sahu, Amirbai Karnataki, Satya Narayan, Narbada Shankar, C L Shah, Kanta, Kazmi etc in it.

This movie had eight songs in it that were sung by five singers. Four songs from the movie have been covered in the past.

Today (10 august 2017) is the 67th remembrance day of Khemchand Prakash ( 12 december 1907- 10 august 1950). On this occasion, here is a song from “Bijli”(1950).

This song is sung by two female singers. HFKG mentions them as Geeta Roy and Paro, whereas the uploader of the song mentions them as Shamshad Begam and Paro. But I think that the voices in the song are of two singers who are not Geeta Roy (alater Dutt), Shamshad Begam or Paro devi, three singers whose voices are quite distinctive and different from the voices in the song. I request our knowledgeable readers to help identify this voices that sound familiar.

PS-Now Sudhir Jee has fished out a clearer version of this song from his collection. There the voices are very clear and they unmistakably belong to Paro and Geeta Roy. I thank Sudhir Jee for helping clarify matters.

Bharat Vyas is the lyricist. Music is composed by Khemchand Prakash. This is and lovely song which sounds like a stage performance song where a city slicker lady complains that she is uncomfortable in the village of her beue and she asks him to take her to Bombay. Very cute and justifiable feelings that most people can readily identify with. I too used to groan like this when I found myself going to my native place (a village) during my younger days. 🙂


Song-O mora jiya ghabraaye tere chhote se gaaon mein(Bijli)(1950) Singers-Paro Devi, Geeta Dutt, Lyrics-Bharat Vyas, Khemchand Prakash

Lyrics

mora jiya ghabraaye
uf mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de
na na na na na na
o mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

tere is chhote se gaanv mein
na motor na rail
ghaas phoos ki jhonpdi mein
kaatoon jeewan jail
balam is jail se chhuda de
balam is jail se chhuda de
dhuaan gaadi pe baitha de
chhuk chhuk chhuk chhuk pahuncha de
o mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

na na na
are wahaan dhaan par ration gori
kapdon par control
kamron par pagdi ka ragda
kamron par pagdi ka ragda
paani bikta mol
wahaan ke log hain rangeele
wahaan ke log hain rangeele
chup chhail chhabeele
tera bhola jiya bharma den
ho mera kaha maan
mat kar gumaan
gori bambai ki baat bhula de

balam mohe bambai shahar dikha de

arre ae
kya likhi karam ki rekha aa
haaye
ab tak na saneema dekha
ab tak na saneema dekha
kaisa thha saawan aaya re
kaisi thhi chandralekha
ab tak na saneema dekha
o mere laadle balam
tohe raam ki kasam
chaupaati ki chaat khila de
haaye mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

ghaas phoos ki jhonpdi meri
jamuna jee ke kinaare
chaand aur sooraj aur ye sitaare
jiske aage bambai tera
pada pada jhak maare
ho gori ye chaandni raaten
aur pyaar ki baaten
zara ghoonghat ki oat muska de
ho mera kaha maan
mat kar gumaan
gori bambai ki baat bhula de

balam mohe bambai shahar dikha de


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.

“Hathhkadi”(1958) was directed by Sudarshan Bhatia for D S Films. The movie had Motilal, Shakila, Sajjan, Jabeen Jaleel, Amarnath, , Mirza Musharraf, Mirajkar, Ramesh Sinha, Bhagwan Sinha, Umesh Sharma, Murad, Bhudo Advani, Cuckoo, Sheila Vaz etc in it.

Two songs from the movie has been discussed in the past. Here is the third song from “Hathhkadi”(1958) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Indeewar is the Lyricist. Music is composed by Naashaad.

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


Song-Duniya hai badi zaalim duniya se bacha lo jee(Hathkadi)(1958) Singers-Rafi, Asha Bhonsle, Lyrics-Indeewar, MD-Naashaad

Lyrics

aa aa aa
o o o
o ho o
o o o o
duniya hai badi zaalim
duniya hai badi zaalim
duniya se bacha lo ji
palkon mein bithha lo ji ee
palkon mein bitha lo ji

taqdeer ka maara hoon
taqdeer ka maara hoon
mujhe apna bana lo ji
aanchal mein chhupa lo ji ee
aanchal mein chhupa lo ji

kahaan leke chale mujhko
mera dil ghabraata hai

o o o
phailaaye huye baahen
mera pyaar bulaata hai
o mere paanv piya doley
main gayi sambhaalo ji
palkon mein bitha lo ji ee
palkon mein bitha lo ji
duniya hai badi zaalim
duniya se bacha lo ji
palkon mein bitha lo ji ee
palkon mein bitha lo ji

aa aa aa
o o o

o ho o
o o o
o o
ho dil to ye hi kehta hai
main tum mein sama jaaun
o dil to ye hi kehta hai
main tum mein sama jaaun
aisa na kaho ji tum
aisa na kaho ji tum
tumse hoye sharmaaun

apnon se kya parda
arre parda uthha lo ji
aanchal mein chhupa lo ji ee
aanchal mein chhupa lo ji
taqdeer ka maara hoon
mujhe apna bana lo ji
aanchal mein chhupa lo ji ee
aanchal mein chhupa lo ji
duniya hai badi zaalim
duniya se bacha lo ji
palkon mein bitha lo ji

aanchal mein chhupa lo ji
hmm hmmm
aa ha ha
aa aa a
o o o
ho ho ho


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.

“Sant Raghu”(1957) was produced by M K Kapadiya and directed by Chandrakant for Kanak Productions, Bombay. This “bhakti pradhan” movie had Nirupa Roy, Anand Kumar, Ulhas, Bipin Gupta, Lalita Pawar, S N Tripathi, Manorama, Babu Raje, Tuntun, Maujoo, Radheshyam, Bhagwan Sinha, R S Dubey, Champak Laala, Sheila Vaz, Rajkumar, Amrit etc in it.

The movie had eight songs in it that had the voices of as many as six singers in them.

Here is the first song from “Sant Raghu”(1957) to appear in the blog. This song is sung by Lata and Talat Mehmood. Bharat Vyas is the lyricist. Music is composed by Avinash Vyas.

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

Listening to the song leaves us in no doubt that this song is influenced from the tune of a well known song from “Naagin”(1946).

With this song, “Sant Raghu”(1957) makes its debut in the blog.


Song-Dagmag doley jeewan ki naiyya (Sant Raghu)(1957) Singers-Lata, Talat Mehmood, Lyrics-Bharat Vyas, MD-Avinash Vyas
Both

Lyrics

dagmag doley jeewan ki naiya
aaja ban ke patvaar re
aaja ban ke patvaar
o o
hauley hauley aaya khivaiya
naiyya lagaane teri paar re
naiyya lagaane teri paar

o o
dagmag doley jivan ki naiya
aaja ban ke patvaar re ae
aaja ban ke patvaar

o o o
nadiya me paani
paani mein lehre
lehron mein baje ghunghru
raaton mein jugnu
phoolon mein khushbu
waise mere dil mein hai tu u u u
waise mere dil mein hai tu

pihu pihu bole praan papiha
tu hai basant mein bahaar re
tu hai basant mein bahaar
o o o
dagmag doley jeevan ki naiya
aaja ban ke patvaar re
aaja ban ke patvaar

o o o
sang na chhoote
pyaar na toote
o mere jeevan saathi
tera mera mel puraana
jaise diya aur baati ee
jaise diya aur baati

darna na sainyaan
chhodna na bainya
aayi preet manjhdaar re
aayi preet manjhdaar re ae
dagmag doley jeevan ki naiya
aaja ban ke patvaar re ae
aaja ban ke patvaar
o o
hauley hauley aaya khivaiya
naiya lagaane teri paar re
naiya lagaane teri paar

o o
dagmag doley jeevan ki naiya
aaja ban ke patvaar re
aaja ban ke patvaar


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 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.

Greetings to all on today’s festival of Rakshabandhan. I hope and pray that celebrations have been happily enjoyed in the household of all readers and friends.

As we have discussed in many posts earlier on this topic, Rakshabandhan is celebrated on the full moon day of the month of Saawan. In traditional terms, the timing of today’s celebrations got restricted due to two additional astrological events that coincided with the full moon celebration. As per the calculations of the ephemeris applicable to the Indian subcontinent, the full moon ‘tithi’ i.e. the ‘poornima’ started at 10:29 pm yesterday (6th Aug), and will be in effect till 11:41 pm tonight (7th Aug).

In our astrological scheme, there is a concept of ‘bhadra’, which is invoked on the basis of a combination of certain ‘nakshatras‘ (stellar entities). ‘Bhadra’ is a short period of time for which certain conjunctions of certain stellar entities exist. Although lasting for short spells – few minutes to few hours, ‘bhadra’ has a significance. These short interludes are designated as inauspicious in our system of calculations. As a result, the pundits and astrologers will advise against conducting or initiating any auspicious activity during the time passage of ‘bhadra’. Incidentally, as per astrological calculations, the ‘bhadra’ time period overlaps with the full moon day today, for some time. The effect of ‘bhadra’ conjunction is(was) active till about 11 am today morning. So as per announcements at the temples, on the religious channels, and as advised by knowledgeable elders, the festival celebration of Raakhi today was advised to be initiated only after 11 am.

Then, there is another important astrological event that occurs today. Later tonight, we shall also witness a lunar eclipse. Again, as per calculations for the Indian subcontinent, the lunar eclipse with start at 10:53 pm tonight.  It will last for a duration of little less than two hours, and will end at 00:48 am tomorrow (8th Aug).
[Note: All times indicated above are according to Indian Standard Time.]

In case you wonder, why is one concerned about the lunar eclipse that is anyway going to start so late in the night, there are some reasons. Although the specific time and duration of the actual eclipse is of a certain length, the total duration of the conjunction of the heavenly bodies involved in the eclipse is much longer than just the visible eclipse. In this case, the heavenly bodies involved are the sun, the moon and the earth. The lunar eclipse is effected when the sun, moon and earth are so aligned that the earth is positioned directly in between the sun and the moon, and the shadow of the earth falls on the moon, making it look partially or fully dark; the duration and coverage of course varies depending on where you are placed for viewing, in terms of longitude location.

Folks may recall their geography lessons from the school days, and remember the concept of umbra and penumbra. As an opaque object passes in front of a source of light, it first creates an area of partial darkness (also called the shadow of darkness or shadow of eclipse). This is called the penumbra. Then when the object fully occludes the light coming from the source, we get an area of total darkness, which is the actual eclipse itself. This is called the umbra. As the object continues to move in front of the light source, the umbra once again transforms into penumbra, and we get a second area of partial darkness, after the eclipse is over. Hence the total duration of the two sets of partial darkness periods and one total darkness period, is actually much more than the duration of the visible eclipse (the umbra) only. Given the relative positions and distances of the three moving bodies, the duration of each penumbra could be anywhere from 7 to 9 hours. And so the conjunction of the three heavenly bodies that creates the eclipse effect, actually will last for almost 20 hours.

And the impact of that on our celebrations? Well, once again, as per our astrological definitions, the duration of this ‘shadow of the eclipse’ is also considered to be inauspicious, and hence the advise to refrain from conducting or initiating any auspicious activity. For those who follow these instructions, the lunar eclipse tonight puts in one more restriction on Raakhi celebrations today. Since the penumbra duration can be 8 to 9 hours, then for the given time of eclipse (10:53 pm) we must calculate back by subtracting this time. We arrive at a time of approximately 2 pm as the outer limit of this window. Given these calculations and guidance, the auspicious time for Raakhi today is(was) limited to a window from 11 am to 2 pm.

Anyway, that is just for the information buffs, who need to know the details of why. . .?? 🙂

Coming to the posts for today. Atul ji has posted one song earlier today morning, in which he has given some background of the previous Raakhi celebration days that we have had on our blog. In that background, he has mentioned that overall 22 songs have been posted on our blog, over the past 9 cycles of this festival, from 2008 onwards. As I read this statement, I was a little uncertain about this number, thinking that Atul ji is probably underestimating the count. Nine years at 22 songs computes to a little over two songs on average per festival. I had a feeling there have to be more.

So I started to check, picking out the dates for the Raakhi day each year, and then checking on the blog for the songs on that day. My hunch was correct. We have much more, in fact we have 32 Raakhi songs posted on our blog, and the number now is 34, considering the two songs posted today. The count of songs by year, as per the song lists we maintain, is given as below.

 

Year

Raakhi Day

Post Nos. No. of Songs

Song titles

2008 16th Aug 29 1 Bhaiyya Mere Raakhi Ke Bandhan Ko Nibhaana
2009 5th Aug 1729 1 Bahnaa ne bhaayi ki kalaayi se pyaar baandhaa hai
2010 24th Aug 2834 to 2839 6 Mere Bhaiyya Ko Sandeshaa Pahunchaanaa

Rang Birangi Raakhi Leke Aayi Behnaa

Abke Baras Bhejo Bhaiyya Ko Baabul

Mere Bhaiyya Mere Chandaa Mere Anmol Ratan

Phoolon Kaa Taaron Kaa Sabkaa Kehnaa Hai

Ye Raakhi Bandhan Hai Aisaa Ye Raakhi Bandhan Hai Aisaa

2011 13th Aug 4379 to 4383 5 Rakhiyaa Bandhwaa Le Bhaiyyaa

Raakhi Kehti Hai Tum Se Bhaiyyaa

Meri Bhi Koi Behnaa Hoti

O Meri Laadli Pyaari Behnaa

Meri Behnaa Deewaanee Hai

2012 2nd Aug 6351 to 6357 7 O Saawan Ke Din Aaye Re

Raakhi Ka Aaya Tyohaar Sakhi

Raakhi Dhaagon Ka Tyohaar

Chanda Re Mere Bhaiyya Se Kehna

Meri Behna Ye Raakhi Ki Laaj

Mujhe Maaf Karna Om Sai Ram

Hum Behnon Ke Liye Mere Bhaiyya

2013 20th Aug 8560 to 8563 4 Aa Birna Morey Birna

Meri Raakhi Ki Rakhiyo Tu Aan Re

Rakhi Ke Din Waada Karo Waada Nibhaaoge

Maata Bhi Tu Pita Bhi Tu

2013 21st Aug 8565 1 Pardesi Ho Hamse Rakhiya Bandha
2014 10th Aug 10065 to 10067 3 Rakhiyaa Bandhaawo Bhaiyya

Raakhi Ka Mausam Aaya Re

Bhai Aise Hote Hain

2015 28th Aug 11378 to 11379 2 Mere Bhaiyya Ho Lambi Umariya Teri

Raakhi Ka Din Aaya Sajni

2016 18th Aug 12336 1 Rakhiya Bandha La Bhaiyya

So, over the past nine years, we have 32 songs posted for Raakhi. Maybe 3 or 4 of these songs are not pure bred Raakhi songs – they are songs about brother-sister love, but they have been posted on Raakhi days, in conjunction with the festival.

Way back in 2010, when we were on our third Raakhi celebration, the blog till then, contained only two Raakhi songs (one each posted in 2009 and 2010). Starting the first post for that day (24th Aug, 2010), Atul ji writes,

This is the third Raakhi for this blog. […]

This time I wanted to post more “Raakhi” songs but then I thought that there were very few “Raakhi” songs created in Hindi movies and I wondered if I would be able to post about six “Raakhi” songs. I was delighted to find that I was in fact able to find more than six “Raakhi” songs. So I find myself being able to post my daily quota of six songs on this Raakhi day.

That day, in fact he did post 6 songs of the festival and of brother-sister love. He mentions that he is afraid not too many songs have been created for this festival. Then in 2011, we go ahead and post 5 more songs. In 2012, the count goes up to 7 Raakhi songs posted, all in one day. Atul ji is like a millionaire – many more to come :D:D. (Personally I would have been a spendthrift, trying to save some for future such events. 😉 ).

Then in 2013, the count comes down to 5 (posted across two dates 20th and 21st Aug). In 2014 we are down to 3, then 2 in 2015 and, goodness, just one in 2016. Looks like we are running out of these celebration songs. But wait, we have two posted this year, and our dear Prakash ji has identified a few more from the later decades, that we shall probably be holding on to for next year and later. 🙂

But seriously, I believe there is still some more songs that have to be traced. Reason being, well, none of us has heard all the songs of all the films. Another factor – sometimes we can guess the song’s theme by the words in the song title. Yet, there are so many songs where the title does not easily reveal itself to be of a particular theme. So then, even screening the list contained in the Geet Kosh is only helpful to an extent. Sometimes when I am doing a search, I will try to scan the lists and look for the word ‘राखी’. Most such songs are posted. Then the next two words I would search in the song index are ‘बहना’ and ‘भैया’. These two scanning efforts have turned up some more songs that are meant for today’s celebration.

Case in point is today’s song. The mukhda starts with ‘थईय्या ता ता थईय्या’ (‘thaiya ta ta thaiya’). A speedily glancing eye will just skip over this mukhda and move on. My attention was caught by the last word in the second part of the mukhda ‘जुग जुग जिये मेरा भैया’ (‘jug jug jiye mera bhaiya’). And I decided to investigate. I had not heard this song before, although I have the recordings of all songs of this film (‘Sher Khan’ – 1962) in my collection. I pulled out the song and played it. It was like hitting gold in the first trial. Turns out to very much be a Raakhi song, and coming from an obscure film, and that too quite unexpectedly.

I have this film also (it is also available online). So I pulled the film and edited out the song for uploading, because the song itself is not available online yet.

‘Sher Khan’ is a stunt cum social film, about inter tribal rivalry that involves Pathan and Rajput clans. Produced under the banner of Mukul Movies, it is directed by Radhakant. The lead pair is Kumkum and Kanwaljeet. Other members of the cast include Veena, Jayant, Ulhas, Tabassum, Hiralal, Sunder, Majnu, Madhumati, WM Khan, Jeevankala, Surekha, Samson, Rana, Amir, Prem, Shafi Muhammad, Jagdish Bhalla and others. There are six songs in this film, all from the pen of Prem Dhawan. And the music is by SN Tripathi. One song of this film is already posted on our blog. I just played all the songs and heard them – goodness, this obscure and unknown film is a gold mine of forgotten gems. Such lovely songs that were once in the hearing, have now been forgotten.

This song is a combination of a happiness and sadness. It is celebration time, and the ladies are singing a song of auspicious blessings. Meena (role played by a very young Tabassum), the daughter of Thakur Ranjeet Singh (role played by Ulhas). Sher Khan (role played by Kamaljeet) is a brave Pathan who strikes friendship with Thakur Ranjeet Singh, and treats Meena as his sister. The story is little more complicated than that, of course. It is the day of Raakhi, and Meena is waiting for Sher Khan to come for the tying of the Raakhi thread. Sher Khan has been waylaid; he fights off his attackers, gets to a doorway to get a drink of water. He discovers that it is the day of Raakhi, and then he quickly rides back to the home of Thakur Ranjeet Singh. Menawhile, Meena is singing the sad lines of the celebration song. But by the time the song ends, Sher Khan is standing in front of her, and the Raakhi is tied.

One query for the more knowledgeable readers – the lady who is leading the dance, and singing the happy portions of the song – is that Jeevankala? I request for help with identification.
NOTE: Prakash ji has checked and confirmed that the lead dancer is Madhumati. Also, one of the accompanying dancers is Shirley. Thanks Prakash ji.

This is a lovely lilting song, that soon gets into the humming domain in the mind. Once again, greetings and congratulations to all readers and friends, for today’s celebrations.

Song – Thaiya Ta Ta Thaiya, Jug Jug Jiye Mera Bhaiya  (Sher Khan) (1962) Singer – Kamal Barot, Asha Bhosle, Lyrics – Prem Dhawan, MD – SN Tripathi
Chorus

Lyrics

aaa aaa aaaaa
aaaaaa aaaaaaaa

haa haa haa haa haaaa

thaiya ta ta thaiya
jug jug jiye mera bhaiya
thaiya ta ta thaiya
jug jug jiye mera bhaiya
main to bandhungi raakhi har saal
ke shubh din aayo ree
main to bandhungi raakhi har saal
ke shubh din aayo ree
thaiya ta ta thaiya
jug jug jiye mera bhaiya
main to bandhungi raakhi har saal
ke shubh din aayo ree

na sone ki thaali maangun
na chaandi ki gagariya
na sone ki thaali maangun
na chaandi ki gagariya
maangun to maangun bhaiya
main teri lambi umariya
maangun to maangun bhaiya
main teri lambi umariya
main to bandhungi raakhi har saal
ke shubh din aayo ree
thaiya ta ta thaiya
jug jug jiye mera bhaiya
main to bandhungi raakhi har saal
ke shubh din aayo ree

oo oo oooo
sab ke beeran ghar ko aaye
main hi baithi aas lagaaye
sab ke beeran ghar ko aaye
main hi baithi aas lagaaye
kisko baandhoon aaj main raakhi
kisko baandhoon aaj main raakhi
mann ki mann mein na reh jaaye
ke jiya ghabraayo ree
ke shubh din aayo ree
thaiya ta ta thaiya
jug jug jiye mera bhaiya
main to bandhungi raakhi har saal
ke shubh din aayo ree

aaa aaaa aaaaa
aaja asha toot na jaaye
teri behna rooth na jaaye
aaja asha toot na jaaye
teri behna rooth na jaaye
rasta tera takte takte
rasta tera takte takte
haath se raakhi chhoot na jaaye
ke jiya ghabraayo ree
ke shubh din aayo ree
thaiya ta ta thaiya
jug jug jiye mera bhaiya
main to bandhungi raakhi har saal
ke shubh din aayo ree
main to bandhungi raakhi har saal
ke shubh din aayo ree

thaiya ta ta thaiya
jug jug jiye mera bhaiya
main to bandhungi raakhi har saal
ke shubh din aayo ree
main to bandhungi raakhi har saal
ke shubh din aayo ree

thaiya ta ta thaiya
jug jug jiye mera bhaiya
main to bandhungi raakhi har saal
ke shubh din aayo ree
main to bandhungi raakhi har saal
ke shubh din aayo ree

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

आs आs आsss
आssss आssssss

हा हा हा हा हाss

थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री
थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री

ना सोने की थाली माँगूँ
ना चाँदी की गगरिया
ना सोने की थाली माँगूँ
ना चाँदी की गगरिया
माँगूँ तो माँगूँ भैया
मैं तेरी लंबी उमरिया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री
थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री

ओ ओ ओss
सबके बीरन घर को आए
मैं ही बैठी आस लगाये
सबके बीरन घर को आए
मैं ही बैठी आस लगाये
किसको बांधूँ आज मैं राखी
किसको बांधूँ आज मैं राखी
मन की मन में ही ना रह जाये
के जिया घबरायों री
के शुभ दिन आयो री
थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री

आs आss आsssss
आजा आशा टूट ना जाए
तेरी बहना रूठ ना जाये
आजा आशा टूट ना जाए
तेरी बहना रूठ ना जाये
रस्ता तेरा तकते तकते
रस्ता तेरा तकते तकते
हाथ से राखी छूट ना जाये
के जिया घबरायों री
के शुभ दिन आयो री
थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री
थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री

थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री
थईय्या ता ता थईय्या
जुग जुग जिये मेरा भैया
मैं तो बाँधूँगी राखी हर साल
के शुभ दिन आयो री


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.

“Batwaara”(1961) was directed by Karunesh Thakur for Deep and Sandeep Productions, Bombay. The movie had Pradeep Kumar, Nirupa Roy, Rehman, Shashikala, Jawahar Kaul, Jabeen Jaleel, Leela Chitnis, Wasti, Jagdeesh Sethi etc in it.

This tear jerker “social” movie had six songs in it. Four of these songs have been covered in the blog.

Here is the fifth song from “Batwaara”(1961) to appear in the blog. This song is sung by Geeta Dutt, Asha Bhonsle and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by S Madan.

The song is picturised as a wedding ritual dance song, as far as I can tell. The song is picturised on a lady dressed as a male (singing in Geeta Dutt’s voice) teasing Sheila Vaz (singing in Asha Bhonsle’s voice) with lots of other ladies singing in chorus. This performance is being watched by almost all other charaters in the movie who form the joint family.

I request our knowledgeable readers to help identify the lady lip syncing in Geeta Dutt’s voice.


Song-Meri gal sun kajrewaaliye (Batwaara)(1961) Singers-Geeta Dutt, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-S Madan
Chorus

Lyrics

ho o o
ho o o o
ho o o
ho o o
aa aa aa
aa aa aa
aa aa aa
aa aa aa

zara gal sun kajre
zara gal sun kajre waaliye
ik navi
ik navi anokhi gal
mat ankhiyaan jhukaana
sun yahi hai zamaana
bhar bhar ke mastiyaan chal
dorey mat aise
dorey mat aise daaliye
main bhi hoon
main bhi hoon badi chanchal

mat ankhiyaan jhukaana
sun yahi hai zamaana
bhar bhar ke mastiyaan chal
zara gal sun kajre waaliye

o o o
o o
kya kiya ji maine tera
chalte ho kyun dil thhaam ke
kya kiya ji maine tera
chalte ho kyun dil thhaam ke

haal-e-dil mat poochhiye
hum to gaye ji ab kaam se
haal-e-dil mat poochhiye
hum to gaye ji ab kaam se
main ye chali ji main to ye chali
ab tak ye haath mal mal

zara gal sun kajre
ho zara gal sun kajre waliye
ik navi
ik navi anokhi gal
mat ankhiyaan jhukana sun yahi hai zamaana
bhar bhar ke mastiyaan chale
dorey mat aise daaliye

ho o o
o o
dil ki hoti hain kaaliyaan
ye gore gaalon waaliyaan
dil ki hoti hain kaaliyaan
ye gore gaalon waaliyaan
boliye mat boliyaan
doongi main chun chun gaaliyaan
boliye mat boliyaan
doongi main chun chun gaaliyaan

dekhna zar dekhna
teri sun na paye koi gal
dorey mat aise
dore mat aise daaliye
mai bhi hoon
mai bhi hoon badi chanchal

mat ankhiyaan jhukana
sun yahi hai jamana
bhar bhar ke mastiyaan chal
zara gal sun kajre waaliye
hoye
ho ho ho ho
hoy
ho ho ho ho
hoy
hoy bachke soniye
ho


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

Hullo to all Atulwaasis

So, we are on that date of the year when we write a special post for a very special person. We have two posts by kids of the 70s who grew up listening to the works of this special person. For once I waited to see what these two are going to say before I pen my own thoughts. This is because I have come to realise that the three of us love the same things about this person- his multi talents- singing (first and foremost), comedy (acting), direction, music direction and he has also written a few songs. We are his fans and he was said to be a huge fan of K.L. Saigal. His aim was to sing like Saigal.

Yes yes, I am talking about our very own Kishore Kumar. The one and only actor who could do comedy while romancing his heroine- saw him, again, in “Dilli Ka Thug” this morning and fell in love with his “Hum toh mohabbat karega” all over again. Even in “Haal kaisa hai janaab ka” his romance is steeped in comedy.

But his sober songs were a class apart- “koi humdum na raha, koi sahaara na rah”, “mere Mehboob qayamat hogi aaj ruswa teri galiyon main mohabbat hogi” to name only two.

He was not trained in music classically or any other form; but never sang a note out of tune. I have heard RD Burman say in some interview a long time back (has to be long time ago as he himself died in 1994) that when they were recording “Mere naina sawaan bhaadon phir bhi mera man pyaasa” RD was briefing Kishoreda about the nuances of the song and the raga it was based in. And Kishoreda is said to have replied “tu mujhe yeh sab mat baata, kya gaana hai bol main gaata hoon.” (don’t give me all these details, just tell me what I should sing).

But I know of a song where in Kishoreda has tutored Goddess Saraswati (that is what many consider Lata Mangeshkar to be) on the do-re-mi of Indian music- I mean there is a song where Kishoreda has given playback to Dev Anand (one can’t escape this combination no? ) who is the music tutor to Tina Munim for whom Lata Mangeshkar was the playback. But of course, in another song the vice versa has also happened- Kishoreda has been tutored by Lata.

When Kishoreda finally chose to do more of singing and less of acting was when he re-emerged as the voice of Rajesh Khanna. But his debut as a playback singer had already happened way back in 1948.

If one charts the life and times of Hindi film music from say 1944/45 to 1987 we see that all three of those whom we had special posts on in the last fifteen days- 2 birthdays (Mukesh and Kishoreda) and one death anniversary (Rafisaab) were active at this time (Kishoreda being the last to leave us). And we have a great song by the trio on our blog Hum ko tumse ho gaya hai pyaar ktya karen . (I don’t know if such a song was there in the period when the three were younger.)

Another fact which I just realised is all three had just stepped into their 50s when they passed on… eerie isn’t it?

But we will not talk of sad things when we speak of Kishoreda. He was a full of wit and charm and pranks kind of person.

I am not in the habit of talking of my personal experiences or sharing my thoughts of the time when I was a kid or adolescent or younger (to put it in one word). Why? Because I never used to listen to songs as a Rafi/ Kishore/ Manna/ Mukesh song. I always needed a song to be playing in the airwaves. It is no different even now. I was as much a fan of “Kya hua tera wada” as of “Rafta rafta dekho aankh meri ladi hai” or “main pal do pal ka shayar hoon” or “ae bhai zaara dekh ke chalo”. I suppose I used to connect the songs with the visual images that used to accompany them. But this post is not about me. It is about a singer whose work I have loved.

We all know Kishore Kumar was chosen to be voice of Rajesh Khanna, or that Kishoreda himself credited RK to be cause of his resurgence. This shows that he must have had a humble personality. As far as I can recollect he had been doing great work with Dev Anand, till then. And later too his work with a Dharmendra/ Sanjeev Kumar/ Shashi Kapoor/ Jeetendra/ Amitabh Bachchan/ Vinod Khanna & Mehra/ Rishi & Randhir Kapoor/ or all the other heroes including the ones who debuted in the 70s/80s was not below par.

Can one forget “ghungroo ki tarah”; “musafir hoon yaaron na ghar hai na thikaana”; “pal dil ke paas tum rehti ho”; “intehaan ho gayi intezaar ki”; “geet gaata hoon main gungunata hoon main” to name a few. All these melodies-Oh God! Thank you for giving us Kishore Kumar this date in 1929. Wish you a lot of fun time Kishoreda (as Rajaji has said in his post) with some of your loved ones who are up there with you.

Today I am at a loss as to which song should accompany this post. The statistics page of the blog says that we have 1030 songs of Kishoreda out of a possible 2709. 1679 songs are a few too many to choose from.

But I am choosing the easy way out and showcasing a song which I have mentioned in the post. We already have the song Gaa re mere sang mere saajna of the 70s where Lata tutors Kishore Kumar. Now we shall have the song from the 1980 Basu Chatterjee directed Dev Anand- Tina Munim- Girish Karnad starrer “Manpasand”. The movie was inspired by George Bernard Shaw’s Pygmalion. So that is the story of the movie in one sentence.

Amit Khanna and Rajesh Roshan were the lyricist and music composer respectively. This is a song which used to be by- heart for me ages ago. I simply love the way they dance through the song specially at the close of the song.

Thinking of you today Kishoreda, missing you too.


Song-Chaaru chandra ki chanchal chitwan (Manpasand) (1980) Kishore Kumar, Lata, Lyrics-Amit Khanna, MD-Rajesh Roshan
Both

Lyrics

saa
sa re ga ma pa ma ga re sa
gaao
sa re ga ma pa ma ga re sa
sa re ga ma pa ma ga re
sa ga
sa ga
phir se gaao
sa re ga ma pa ma ga re
sa ga
sa ga

shaabaash!

chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar madhur man bhaawan
pawan piya premee paawan
ab tum kaho

chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar ma

chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar madhur man bhaawan
pawan piya premee paawan

hmmm
chaaru chandra ki chanchal chitwan
bolo
chaaru chandra ki chanchal chitwan
shaabaash
aage
aage
bin badra barse saawan
shaabaash
chalo aage aage aage badho
chaaru chandra ki chanchal chitwan
bin badra barse saawan

phir se phir se

(dialogue)

sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha
ga dha pa
ni sa
sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha ga dha pa ni sa

aawaaz sureeli ka
jaadoo hi niraala hai
aahaahaa ohoho o
sangeet ka jo premee
wo kismat waala hai

aahaahaha
o ho ho ho
tere mere mere tere sapne sapne
sach huye dekho saare apne sapne

phir mera man ye bola bola bola
kya
sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha ga dha pa ni sa

hey
chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar madhur man bhaawan
pawan piya premi paawan

ho o o
chalo chaand sitaaron ko
ye geet sunaate hain
aahaha ha ha
oho ho ho
ham dhoom machaa kar aaj
soya jahaan jagaate hain

aahaa ha ha
o ho ho ho
ham tum tum ham gumsum gumsum
jhilmil jhilmil hilmil hilmil

tu moti main maala maala laa laa

armaan bhare dil ki
dhadkan bhi badhhaayi de
ab dhun mere jeewan ki
kuchh sur mein sunaayi de
aahaha haa
ohohoho

rimjhim rimjhim chhamchham gungun
til til pal pal runjhun runjhun
man mandir mein pooja pooja aahaa
sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha ga dha pa ni sa


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13529

Number of movies covered in the blog

Movies with all their songs covered =1015
Total Number of movies covered =3712

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