Archive for the ‘Folk song’ Category
Sasuraal Genda Phool
Posted on: February 5, 2022
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.
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Blog Day : |
4950 | Post No. : | 16814 |
AR Rehman – The Musician of 21st Century – 3
84th Birthday of Waheeda Rehman on 3rd February 2022
46th Birthday of Abhishek Bachchan on 5th February 2022
The songs of the movie ‘Delhi-6’ are among my favorite music scores by AR Rehman. I rate this qawwaali from the movie, for which I wrote a post back in 2012 as among the best of hindi film songs in this genre. The links of two songs posted in the blog are given below:
Arziyaan saari main chehre pe likh ke laaya hoon (Delhi 6)
Ye Dilli hai mere yaar (Delhi 6)
AR Rehman is also a product of advertising industry, as he started his career is advertising. The one ad I remember is of ‘Garden-Vareili” as composed by AR Rehman. He soon proved his mettle as a talented musician at a very young age working in Tamil and Hindi films, mainly with Mani Rathnam. Many of his severest critics will agree that, ARR revolutionized the Hindi film music scene in the 90’s and changed the sound of songs completely. Few of the other musicians have been able to imitate him or his style. Most of them thought it better to keep to sufiaana or import some songs from other countries like Pakistan or Egypt etc. then try to surpass ARR in creativity. In many aspects this revolution is even bigger than the reinvention of HFM in 1950 with ‘Barsaat’, by Shankar-Jaikishan. I am not going towards RDB reinvention, as I have a different opinion about that than the popular conception.
So, Rehman was here, working simultaneously in Mumbai and South, with more focus on southern language films. This continued till he went truly international and collaborated with other musicians of the west and worked in Hollywood. Among all these, the Bollywood film work was never his sole focus. He diversified and did select few films for the Hindi film industry. The biggies and the not so biggies did go to Chennai to rope him in to give music to their films. And he has been selective about the projects he takes. Although he has given 1 or 2 music scores which were not up to the mark, in my opinion.
But overall, his work is critically acclaimed, in all the big banner films like ‘Lagaan’, ‘Guru’, ‘Rang De Basanti’, ‘1947 Earth’, ‘Yuvraaj’ etc. and the Jewel in the crown song of ‘Slumdog Millionaire’. His mini bio is here.
Recently, he has been seen performing live at a special Pavilion dedicated for him and his troupe at DUBAIEXPO2020. We did go to explore the expo, but ARR was not performing in the first week. We landed in Dubai the night before the EXPO was to open, so the ‘raunaq’ at Dubai airport was to be seen to be believed. But that is a subject of another post.
As post no. 3 of the series, I am presenting this song from ‘Delhi-6’, which has folk origins, or ‘traditional’ as the lyrics are credited. Though some sources are crediting Prasoon Joshi as the lyricist. Unusual song for ARR, but the hall mark of his fusion and composition with vocals, where musical instruments could be used is visible. And ARR thrives on the unusual, those who have followed his career will agree.
Waheeda Rehman, the graceful dancing star and an actor of repute of last century and a character actor in current century, celebrated her 84th birthday two days ago. Born in 1938, which makes her just 18 years old when she debuted in Hindi films with ‘CID’ (1956). I am presently watching that movie (in installments), so can vouch that she does look very young, despite the heavily made up/get up in the film. Lot of other information about her is available here.
Abhishek Bachchan is celebrating his 46th birthday today. As is the ‘chalan’ nowadays for celebrities, he must be somewhere exotic to ring in the birthday.
Both Waheeda Rehman and Abhishek Bachchan are featuring in this song, where Waheeda Rehman, Aditi Rao Hydari, Supriya Pathak and others are singing the song on screen, playback by Rekha Bharadwaj. Sonam Kapoor and Om puri are also seen, who are not taking part in the song, filmed on the terrace of the houses in old Delhi area of Chaandni Chowk.
I think Abhishek Bachchan is an underrated and under utilized actor in the Hindi film scene. It can’t have been easy to follow in the giant leaps of Amitabh Bachchan and the remarkable footsteps of Jaya Bachchan.
Simple orchestration and simple filming. This is a folk song, and it mentions the town of Raipur in the stanza.
What could the term “Sasural genda phool” mean ? I think it means, though ‘sasural’ or the ‘In-laws place’ looks like a Marigold, but our attachment is full of fragrance is great and long lasting. The appearances can be deceptive.
Video
Audio
Song – Sasuraal Genda Phool (Delhi-6) (2009) Singer – Rekha Bhardwaj, Lyrics – Traditional, MD – AR Rehman
Lyrics
veyh
veyh
veyh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
saiyyan chhed deve
nanand chutki leve
sasural genda phool
saas gaali deve
devari samjha leve
sasural genda phool
chhodaa baabul ka angnaa
bhave deraa piyaa ka ho oo
saas gaari deve
devarji samjha leve
sasural genda phool
saiyyan hain vyapari
chale hain pardes
sooratiyaa nihaarun
jiyaara bhaari hove
sasural genda phool
hmmm mmmm
hmmm mmmm
saas gaari deve
devarji samjha leve
sasural genda phool
saiyyan chhed deve
nanand chutki leve
sasural genda phool
hmmm mmmm
hmmm mmmm
chhodaa baabul ka angnaa
bhave deraa piyaa ka ho oo
bush-shirt paheene
khaayike beedaa paan
poore raipur se alag hai
saiyyan ji ki shaan
sasural genda phool
saiyyan chhed deve
nanand chutki leve
hoen hoen hoeh
sasural genda phool
saas gaari deve
hoen hoen hoeh
devariji samjha leve
sasural genda phool
chhodaa baabul ka angnaa
hoen hoen hoeh
bhave deraa piyaa ka ho oo
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
Banne Re Teri Akhiyaan Surmedaani
Posted on: May 30, 2021
- In: Devnagri script lyrics by Sudhir | Folk song | Guest posts | Lyrics contributed by readers | Post by Sudhir | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Songs of 1960s (1961 to 1970) | Songs of 1969 | Wedding reception song | Wedding song | Yearwise breakup of songs
- 7 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4699 | Post No. : | 16393 | Movie Count : |
4456 |
Missing Films of 1960s – 117
– – – – – – – – – – – – – – –
A surprise discovery if ever there was one. And I have missed it all these years, having see this film long back.
‘Saara Akaash’ from 1969 – it has always been represented and listed as a songless film. This impression is so much ingrained into the system and it never came to mind to consider otherwise. So it was a great surprise to come across this clip from the film on YouTube. And suddenly the memories of this film had to be modified.
‘Sara Aakash’ (‘The Whole Sky’) is a film based on the novel of the same name, written by Rajendra Yadav. This was Yadav’s debut novel. The film marks the debut of Basu Chatterjee as director, and was also the first film of cinematographer KK Mahajan. The film has background score by Salil Chaudhry.
The film is regarded as one of those which pioneered the New Wave cinema in India, along with ‘Uski Roti’ and ‘Bhuvan Shome’ which were also released the same year.
The star cast of the film includes Rakesh Pandey, Madhu Chakravarty, Nandita Thakur, AK Hangal, Dina Pathak, Mani Kaul, Shaily Shailendra, Jalaal Agha, Tarla Mehta, Aarti Boley and Om Prakash Gautam amongst others. Renowned film maker Mani Kaul appeared in this film, in what is considered as his only substantial screen appearance.
Set in the contemporary mid 1960s milieu of a traditional middle class joint family in Agra, the film deals with internal conflicts of a newlywed couple, both of whom find themselves unprepared for domestic life. Agra-based collegian, Samar Thakur (Rakesh Pandey), lives in a joint family consisting of his father (AK Hangal), mother (Dina Pathak), brother Amar (Mani Kaul) and his wife (Tarla Mehta); as well as a married sister, Munni, estranged from her husband. Samar is is prevailed upon by the family to marry Prabha (Madhu Chakravarty), a matriculate, much to his chagrin as this interferes with his future plans. The marriage does take place, and he soon finds that they are incompatible. The matters come to a head and Prabha leaves her matrimonial home to return to her parent’s home. She returns after four months. Family tensions continue, but then also we see a bonding emerge between the two, moving towards a healthy understanding.
KK Mahjan received the 1969 National Award for B&W cinematography, and Basu Chatterji received the Filmfare award for best screenplay.
The discovery of this background song in the film changes the status of this film, and it now becomes the 117th episode in the series on Missing Films of 1960s.
The song itself is a piece of traditional music of North India, and is played at wedding time. The words of this song indicate that the ladies on the girl’s side are singing this song, addressing the groom and tell him things about the members of his family, in a good spirited banter.
There is another version of this traditional song – it has been used in the film ‘Dushmani’ (1995). In this version, the song is presented as a praise for the bride, as she gets ready for the wedding ceremony and is being adorned with fine dress and jewellery. The song is available on YouTube as “Banno Teri Ankhiyaan Surmedaani“. On screen this song is performed by Neena Gupta.
A couple of interesting trivia.
The film ‘Saara Akaash’ was shot in the residential house of Rajendra Yadav. On a visit, when Basu Chatterji saw the house, his response was that this is the perfect setting for the film.
Dina Pathak appears in both films – in ‘Saara Akaash’ as the mother of the protagonist. In ‘Dushmani’ she appears at the grandmother of the bride Manisha Koirala.
With this post we have brought on board the 117th film in this series.
Song – Banne Re Teri Akhiyaan Surmedaani (Saara Akaash) (1969) Singer – [Unattributed], Lyrics – Traditional, MD – Salil Chaudhary
Lyrics
banne re teri ankhiyaan surmedaani
banne re tere baba laakh hajaari
banne re tere baba laakh hajaari
banne tere taau ka ohda bhaari
banne re teri <??> laal gulaabi
banne re teri taai nakhrewaali
banne re teri ankhiyaan surmedaani
banne re teri ankhiyaan surmedaani
banne re tere chaacha laakh hajaari
banne re tere chaacha laakh hajaari
banne re tere phoopha ka ohda bhaari
banne re teri <??> laal gulaabi
banne re teri bua nakhrewaali
banne re tere baba ka ohda bhaari
banne re teri mausi laakh hajaari
…
…
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बन्ने रे तेरी अँखियाँ सुरमेदानी
बन्ने रे तेरे बाबा लाख हजारी
बन्ने रे तेरे बाबा लाख हजारी
बन्ने रे तेरे ताऊ का ओहदा भारी
बन्ने रे तेरी <??> लाल गुलाबी
बन्ने रे तेरी ताई नखरेवाली
बन्ने रे तेरी अँखियाँ सुरमेदानी
बन्ने रे तेरी अँखियाँ सुरमेदानी
बन्ने रे तेरे चाचा लाख हजारी
बन्ने रे तेरे चाचा लाख हजारी
बन्ने रे तेरे फूफा का ओहदा भारी
बन्ने रे तेरी <??> लाल गुलाबी
बन्ने रे तेरी बुआ नखरेवाली
बन्ने रे तेरे बाबा का ओहदा भारी
बन्ने रे तेरी मौसी लाखों तारे
॰॰॰
॰॰॰
Chhoone na doongi main haath re
Posted on: November 4, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4492 | Post No. : | 16019 |
Today (4 November 2020) is the 91st birth anniversary of Jaikishan Dayabhai Panchal (4 November 1929 – 12 September 1971), one half of the legendary Shankar Jaikishan musical duo. The golden era of HFM started in 1949. Shankar Jaikishan were there right from the beginning. They ruled the roost in HFM for two decades. After that, the duo got separated in unfortunate circumstances, with the untimely death of Jaikishan at the the age of just 41. It is unbelievable but true that he had started at the age of 19 and he had achieved so much by the time he was 41 that the body of his work has gone on the become some of the best and immortal music that the golden era of HFM had given us.
After the demise of Jaikishan, Shankar continued giving music with the same brandname of Shankar Jaikishan. But the music created without Jaikishan was not the same.
Here is the full filmography of Shankar Jaikishan as music directors in Hindi movies :-
| Movie name | Year | Songs covered in the blog | Songs in the movie | |
|---|---|---|---|---|
| Barsaat | 1949 | 11 | 11 | |
| Aawaara | 1951 | 11 | 11 | |
| Baadal | 1951 | 8 | 8 | |
| Kaali Ghata | 1951 | 6 | 6 | |
| Nageena | 1951 | 8 | 8 | |
| Daag | 1952 | 9 | 9 | |
| Parbat | 1952 | 7 | 7 | |
| Poonam | 1952 | 8 | 8 | |
| Aah | 1953 | 9 | 9 | |
| Aas | 1953 | 7 | 7 | |
| Aurat | 1953 | 9 | 9 | |
| Boot Polish | 1953 | 7 | 7 | |
| Naya Ghar | 1953 | 7 | 7 | |
| Patita | 1953 | 6 | 6 | |
| Shikast | 1953 | 11 | 11 | |
| Baadshah | 1954 | 8 | 8 | |
| Mayurpankh | 1954 | 6 | 6 | |
| Pooja | 1954 | 9 | 9 | |
| Seema | 1955 | 8 | 8 | |
| Shri 420 | 1955 | 8 | 8 | |
| Basant Bahaar | 1956 | 9 | 9 | |
| Chori Chori | 1956 | 9 | 9 | |
| Halaaku | 1956 | 8 | 8 | |
| Kismat Ka Khel | 1956 | 7 | 7 | |
| New Delhi | 1956 | 9 | 9 | |
| Patraani | 1956 | 9 | 10 | |
| Raajhath | 1956 | 11 | 11 | |
| Begunaah | 1957 | 6 | 6 | |
| Kathputli | 1957 | 7 | 7 | |
| Baaghi Sipaahi | 1958 | 8 | 8 | |
| Yahudi | 1958 | 7 | 7 | |
| Anaadi | 1959 | 7 | 7 | |
| Chhoti Behan | 1959 | 9 | 9 | |
| Kanhaiyya | 1959 | 8 | 8 | |
| Love Marriage | 1959 | 8 | 8 | |
| Main Nashe Mein Hoon | 1959 | 9 | 9 | |
| Sharaarat | 1959 | 9 | 9 | |
| Ujaala | 1959 | 8 | 8 | |
| College Girl | 1960 | 7 | 7 | |
| Dil Apna Aur Preet Paraayi | 1960 | 7 | 7 | |
| Ek Phool Chaar Kaante | 1960 | 9 | 9 | |
| Jis Desh Mein Ganga Behti Hai | 1960 | 11 | 11 | |
| Singapore | 1960 | 8 | 8 | |
| Aas Ka Panchhi | 1961 | 7 | 7 | |
| Boyfriend | 1961 | 7 | 7 | |
| Jab Pyaar Kisi Se Hota Hai | 1961 | 9 | 9 | |
| Junglee | 1961 | 7 | 7 | |
| Krorepati | 1961 | 9 | 9 | |
| Roop Ki Raani Choron Ka Raaja | 1961 | 9 | 9 | |
| Sasuraal | 1961 | 8 | 8 | |
| Aashiq | 1962 | 8 | 8 | |
| Asli Naqli | 1962 | 7 | 7 | |
| Dil Tera Deewaana | 1962 | 7 | 7 | |
| Hariyaali Aur Raasta | 1962 | 9 | 9 | |
| Professor | 1962 | 6 | 6 | |
| Rangoli | 1962 | 9 | 9 | |
| Dil Ek Mandir | 1963 | 7 | 7 | |
| Ek Dil Sau Afsaane | 1963 | 7 | 7 | |
| Hamraahi | 1963 | 8 | 8 | |
| Aayi Milan Ki Bela | 1964 | 7 | 7 | |
| Apne Huye Paraaye | 1964 | 7 | 7 | |
| April Fool | 1964 | 7 | 7 | |
| Beti Bete | 1964 | 9 | 9 | |
| Rajkumar | 1964 | 7 | 7 | |
| Saanjh Aur Sawera | 1964 | 7 | 7 | |
| Sangam | 1964 | 8 | 8 | |
| Zindagi | 1964 | 11 | 12 | |
| Aarzoo | 1965 | 7 | 7 | |
| Gumnaam | 1965 | 8 | 8 | |
| Jaanwar | 1965 | 7 | 7 | |
| Amrapaali | 1966 | 5 | 5 | |
| Badtameez | 1966 | 7 | 7 | |
| Gaban | 1966 | 7 | 7 | |
| Love in Tokyo | 1966 | 8 | 8 | |
| Pyaar Mohabbat | 1966 | 9 | 9 | |
| Suraj | 1966 | 7 | 7 | |
| Teesri Kasam | 1966 | 12 | 12 | |
| Aman | 1967 | 7 | 7 | |
| An Evening in Paris | 1967 | 9 | 9 | |
| Around the World | 1967 | 9 | 9 | |
| Chhoti Si Mulaaqaat | 1967 | 7 | 7 | |
| Deewaana | 1967 | 9 | 9 | |
| Gunaahon Ka Devta | 1967 | 6 | 7 | |
| Hare Kaanch Ki Choodiyaan | 1967 | 6 | 6 | |
| Laat Saahab | 1967 | 6 | 6 | |
| Raat Aur Din | 1967 | 9 | 9 | |
| Brahmchaari | 1968 | 7 | 7 | |
| Duniya | 1968 | 6 | 6 | |
| Jhuk Gaya Aasmaan | 1968 | 7 | 7 | |
| Kanyaadaan | 1968 | 7 | 7 | |
| Mere Huzoor | 1968 | 7 | 7 | |
| Sapnon Ka Saudaagar | 1968 | 6 | 6 | |
| Shikaar | 1968 | 6 | 6 | |
| Kahin Aur Chal | 1968 | 6 | 6 | |
| Bhai Bahan | 1969 | 2 | 7 | |
| Chanda Aur Bijli | 1969 | 3 | 6 | |
| Jahaan Pyaar Miley | 1969 | 6 | 6 | |
| Prince | 1969 | 7 | 7 | |
| Pyaar Hi Pyaar | 1969 | 4 | 6 | |
| Sachchaai | 1969 | 6 | 6 | |
| Shatranj | 1969 | 4 | 8 | |
| Tumse Achcha Kaun Hai | 1969 | 7 | 7 | |
| Umang | 1969 | 6 | 6 | |
| Yakeen | 1969 | 5 | 5 | |
| Bhai Bhai | 1970 | 3 | 6 | |
| Bombay Talkie | 1970 | 1 | 4 | |
| Dharti | 1970 | 7 | 7 | |
| Mera Naam Joker | 1970 | 12 | 12 | |
| Pagla Kahin Ka | 1970 | 6 | 6 | |
| Pehchaan | 1970 | 8 | 8 | |
| Tum Haseen Main Jawaan | 1970 | 4 | 6 | |
| Albelaa | 1970 | 5 | 5 | |
| Andaaz | 1971 | 8 | 8 | |
| Balidaan | 1971 | 3 | 6 | |
| Duniyaa Kyaa Jaane | 1971 | 1 | 7 | |
| Ek Naari Ek Brahmchaari | 1971 | 2 | 5 | |
| Elaan | 1971 | 3 | 5 | |
| Jaane Anjaane | 1971 | 7 | 7 | |
| Jwaala | 1970 | 1 | 8 | |
| Jawaan Mohabbat | 1971 | 8 | 8 | |
| Kal Aaj Aur Kal | 1971 | 4 | 6 | |
| Main Sundar Hoon | 1971 | 6 | 6 | |
| Naadaan | 1971 | 6 | 6 | |
| Parde Ke Peeche | 1971 | 2 | 6 | |
| Patanga | 1971 | 8 | 8 | |
| Preetam | 1971 | 6 | 6 | |
| Seema | 1971 | 5 | 6 | |
| Yaar Mera | 1971 | 2 | 5 | |
| Aan Baan | 1972 | 6 | 6 | |
| Aankhon Aankhon mein | 1972 | 6 | 6 | |
| Bandagi | 1972 | 2 | 6 | |
| Beimaan | 1972 | 3 | 7 | |
| Dil Daulat Duniya | 1972 | 4 | 5 | |
| Jungle Mein Mangal | 1972 | 3 | 7 | |
| Laal Pathar | 1972 | 6 | 7 | |
| Naina | 1972 | 5 | 7 | |
| Rivaaz | 1972 | 2 | 6 | |
| Aaj Ki Taaja Khabar | 1973 | 1 | 5 | |
| Archana | 1973 | 1 | 6 | |
| Chori Chori | 1973 | 1 | 6 | |
| Daaman Aur Aag | 1973 | 1 | 5 | |
| Door Nahin Manzil | 1973 | 3 | 5 | |
| Pyaar Ka Rishta | 1973 | 5 | ||
| Chhote Sarkaar | 1974 | 4 | 4 | |
| International Crook | 1974 | 6 | ||
| Insaaniyat | 1974 | 1 | 3 | |
| Reshan Ki Dori | 1974 | 3 | 6 | |
| Tarzan Mera Saathi | 1974 | 2 | ||
| Vachan | 1974 | 6 | 6 | |
| Do Jhooth | 1975 | 2 | 6 | |
| Neelma | 1975 | 3 | ||
| Saazish | 1975 | 5 | ||
| Sanyaasi | 1975 | 5 | 9 | |
| Dhoop Chhaaon | 1977 | 2 | 5 | |
| Duniyadaari | 1977 | 2 | 6 | |
| Mera Vachan Geeta Ki Kasam | 1977 | 1 | 5 | |
| Mehfil | 1978 | 2 | 5 | |
| Atmaaraam | 1979 | 2 | 5 | |
| Ganga Aur Geeta | 1979 | 4 | ||
| Salaam Memsaab | 1979 | 1 | 7 | |
| The Gold Medal | 1979 | 6 | ||
| Garam Khoon | 1980 | 3 | 5 | |
| Chorni | 1981 | 1 | 6 | |
| Naari | 1981 | 6 | ||
| Eent Ka Jawaab Patthar | 1982 | 6 | ||
| Film Hi Film | 1983 | 3 | ||
| Paapi Pet Ka Sawaal Hai | 1984 | 7 | ||
| Inteqaam Ki Aag | 1986 | 4 | ||
| Kaanch Ki Deewaar | 1986 | 7 | ||
| Gori | 1991 | 7 | ||
| Love in Bombay | 2013 | 1 | 6 | |
| 985 | 1200 |
Overall, Shankar Jaikishan composed about 1200 songs in all. 985 of these songs, including bulk of their golden era compositions from 1949 till early 1970s are already covered in the blog. The gave music in 169 movies. 112 of these movies have already been YIPPEED in the blog.
As a tribute of Jaikishan, here is a song from “Zindagi”(1964). It is one of the few unYIPPEED movies of Shankar Jaikishan from the golden era. This movie was directed by Ramanand Sagar for Gemini , Madras. This “social” movie had Vyjyanti Mala, Rajendra Kumar, Raj Kumar, Mehmood, Jayant, Jeewan, Kanhaiyalal, Dhumal, Hiralal, Master Shahid, Prithviraj Kapoor, Helen, Leela Chitnis, Mumtaz Begam, Pushpawalli etc in it.
The movie had twelve songs in it. Eleven of these songs have been covered in the past. Here is the twelfth and final song from the movie.
This song is sung by Lata and Asha Bhonsle. Hasrat Jaipuri is the lyricist.
The song is picturised as a synchronised mujra dance song at a wedding reception. I am unable to identify the two female dancers. I request our knowledgeable readers to help identify them.
The picturised version is partial. The audio version is longer. Still, the picturised version has a stanza that is not there in the audio version.
With this song, all the twelve songs from “Zindagi”(1964) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Video
Audio
Song-Chhoone na doongi main haath re (Zindagi)(1964) Singers-Lata, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan
Lyrics
chhoone na doongi main haath re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
main tumhaari hoon
mujhe paas bulaa kar dekho
meri raahon mein zara khud ko mitaa kar dekho
apne daaman pe koi aanch na aane doongi
chaahe har din mujhe pehlu mein bithhaa kar dekho
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa
aage badhe na koi baat re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
meri mehfil mein ye mat aane chale aate hain
chhod(?) kar shamma ko parwaane chale aate hain
main wo baazi hoon jise koi na jeeta ab tak
khelne phir bhi ye deewaane chale aate hain
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
khaayenge ye sab maat re
najariyon se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithhi rahoongi saari raat re
najariyon se dil bhar doongi
dil ki hasrat na kabhi dil se nikalne doongi
pyaar kaa koi bhi jaadu ko na chalne dungi
ishq ki aag badi tez hai humne maanaa
dil ke moti ko main hargiz na pighalne doongi
aa aa aa aa
aa aa aa aa
hoti rahegi mulaakaat re
najariyoo se dil bhar doongi
chhoone na doongi main haath re
najariyon se dil bhar doongi
baithi rahoongi saari raat re
najariyo se dil bhar doongi
Ek kali do pattiyaan
Posted on: September 8, 2019
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| Blog Day : | 4069 | Post No. : | 15206 |
Today (8 september 2019) is the birth anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011).
It is appropriate that we honour him in the blog with a song. Lyrics of the song (sent by Avinash Scrapwala) is there with me. When I listened to the song, I wanted to listen to the original Assamese song. That opened a Pandora’s box. I discovered such a goldmine of information about Bhupen Hazarika, Assam, Assamese culture and History etc that it became a case of information overload for me. Now I have so much information to discuss that I do not known where to begin.
The thought that immediately came to my mind is whether Bhupen Hazarika has got his due recognition. The answer is, yes, belatedly, but his contribution has been recognised and he received Bharat Ratna this year in 2019. A posthumous recognition, and a richly deserved one.
The contribution of Bhupen Hazarika in putting North East part of India in general and Assam in particular and bringing its rich culture to the notice of outsiders is immense.
He began very young and visited all over the world and became a truly cosmopolitan Indian. And he never forgot his roots !
Assam and North East is a remote part of India, and it was considered a “punishment” post for Indians living in other parts of the country. That was mainly because this part of the country was neglected and underdeveloped. The aspirations and feelings of this part of the country were not properly addressed. This led to feeling of alienation and led to separatist movements and militancy.
I had the experience of being posted in this “punishment” posting area from 2000 to 2003. These three years helped me understand Assam and North East first hand by interacting with the natives of the region. And I realised how their hopes, aspirations, demands etc were falling into deaf ears for decades.
Now, for the last few years, attempts has been made to make the people of north East region feel like every one else. The infrastructure works that were languishing for decades have been fast tracked. In 2000, I was posted in Lumding division. The MG line from Lumding to Badarpur and beyond in South Assam was planned for BG conversion but the progress was abysmally slow. During the last few years, this project was fast tracked and now we finally have BG line between Lumding and South Assam. A travel between Silchar to Lumding, which took 12 hours now takes five hours. This remote area now feels more mainstream with rest of Assam. Assam itself now feels more mainstream in India than ever before.
In the past, roads and bridges would not be constructed in border areas because China used to object. Now the government ignores such Chinese protests and goes ahead with the construction work. That is how the long pending demands of Assam and North East were met. Bogibeel Bridge, which was a demand since 1985, in the agreement signed between AASU and Indian Government was gathering dust for decades before this bridge finally got constructed and inaugurated in 2019. One year ago, another bridge (which too was not getting constructed in the past because of Chinese protests) got finished and was inaugurated. This bridge over river Lohit, connecting Dhola and Sadia ( the longest road bridge in India), was very appropriately named as Bhupen Hazarika Bridge.
At a time when North East felt alienated from rest of India, it was people like Bhupen Hazarika who kept their morale high and kept their hopes alive, and kept their faith in India intact.
Not just India, even the neighboring Bangladesh regards him highly. His iconic Assamese folk song Manush Manusher Jonno (Humans are for humanity) was chosen to be the second most favourite number after the National anthem of Bangladesh, in a Bangladeshi opinion poll.
Many of his Assamese songs became known all over India after their Hindi versions were made. One such album of his songs was “Main aur Mera Saaya”(1993). Here, Gulzar translated some of Bhupen Hazarika’s iconic Assamese songs into Hindi.
These Hindi songs became so popular that they are sung all over India by artists and they are performed by school children in their cultural programmes.
Here is the song “Ek Kali Do Pattiyaan” from this album. Bhupen Hazarika had sung this song originally in Assamese as “Eti Kuhi Duti Paat”. This song has subseuently been sung by many other artists, in Assamese as well as Hindi, and I guess in other languages as well.
Here is this goose bump inducing folk song from Assam, beautifully translated into Hindi by Gulzar. The song is sung and composed by Bhupen Hazarika.
As mentioned above, the lyrics of this song were sent to me by Avinash Scrapwala.
Audio
Song-Ek kali do pattiyaan (Bhupen Hazarika NFS)(1993) Singer-Bhupen Hazarika, Lyrics-Gulzar, MD-Bhupen Hazarika
Lyrics (Provided by Avinash Scrapwala)
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
ho oEk kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae
Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
O o
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae
Jugnu aur Lachhmi ki
Preet rang laayee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Jugnu aur Lachhmi ki
Preet rang layee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae
Ek kali do pattiyaan aa aan
Khilne bhi naa paayee thhi ee ee
Todne us baageeche mein
Daanav aaya re
Ho o daanav aaya re
Daanav ki parchhaayee mein
Kaanp rahi thhi pattiyaan
Bujhne lagi maasoom kali
Daanav ki parchhaayee mein
Daanav ki parchhaayee mein
Saaye se bedaar huye
Tambaran si baahon ke
Saaye se bedaar huye
Tambaran si baahon ke
Dhol maadal bajne lage
Maadal aise baaje re
Lakhon milke naache re
Aaya ek toofaan naya
Daanav dar ke bhaag gaya
Maadal aise garja re
Daanav dar ke bhaga re
Daanav dar ke bhaga
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
Ratanpur baageeche mein
Ho Ratanpur baageeche mein
————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में
हो एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में
खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए
जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
हो ओ ओ
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए
जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में
एक कली दो पत्तियाँ आ आँ
खिलने भी ना पायी थी ई
तोड़ने उस बागीचे में
दानव आया रे
हो ओ दानव आया रे
दानव की परछाई में
काँप रही थी पत्तियाँ आँ
बुझने लगी मासूम कली
दानव की परछाई में ए
दानव की परछाई में
साए से बेदार हुए
ताम्बरन सी बाहों के
साए से बेदार हुए
ताम्बरन सी बाहों के
ढोल मादल बजने लगे
मादल ऐसे बाजे रे
लाखों मिलके नाचे रे
आया एक तूफान नया
दानव डर के भाग गया
मादल ऐसे गरजा रे
दानव डर के भागा
रे दानव डर के भागा
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए
रतनपुर बागीचे में
हो ओ रतनपुर बागीचे में
- In: Background song | Devnagri script lyrics by Sudhir | Expecting the beloved | Feelings of heart | Folk song | Guest posts | Happy song | Love song | Lyrics contributed by readers | MD-Singer Song | movie opening song | Post by Sudhir | S D Burman solo song as a singer | S D Burman song as a singer | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Songs of 1970s (1971 to 1980) | Songs of 1971 | Waiting for love | Yearwise breakup of songs
- Leave a Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3727 | Post No. : | 14668 |
There is always a freshness – a freshness as fresh as the cool early morning breeze. Pick up any film, and you will find this freshness wash all over you, as the music and the songs of that film play. Be it “Nadiya Kinaare Heraaye Aayi Kangna”, or “Naina Diwaane, Ik Nahin Maanen”, or “Thandi Hawaayen, Lehra Ke Aayen”, or “Ye Raat Ye Chandani Phir Kahaan”, or “Phaili Huyin Hain Sapnon Ki Baahen”, or “O Nigaahen Mastaana”, or “Mehfil Mein Aaye Wo Aaj Dheere Se”, or “Khoya Khoya Chaand”, or “Dil Ka Bhanwar Kare Pukaar”, or “Haule-Haule Jiya Dole”, or “O Mere Bairaagi Bhanwra”, or “Megha Chhaaye Aadhi Raat”, or “Sun Ree Pawan, Pawan Purvaiya”, or “Sandhyaa Jo Aaye Mann Ud Jaaye”. . . the list seems to be endless.
Other authors have written about this; this and the daily routine of his morning walk – creating the rhythm with snapping of his fingers, and humming the melody softly in his breaths. That is where most of his masterpieces have come from – plucked out of the cool and fresh morning breeze during his morning walks. One can almost feel as if he saw the peacock when he contemplated on “Mann Mor Hua Matwaala. . .”. And one can feel the whiff of cold breeze in “Thandi Hawa Ka Shor Hai. . .” as the stanza lines of “Chupke Se Miley Pyaase Pyaase. . .”. Maybe it was an encounter with a dreamy eyed young lady that brought to life “Yaad Aa Gayin Wo Nasheeli Nigaahen. . .”. Or that the “Khoya Khoya Chaand. . .” melody came about on a day when the moon was still visible in the early morning gray skies. Conjectures all, but surely, the music came with the early morning breeze.
One also wonders where the eternity of melancholy came to him – “Pyaar Ne Kitne Sapne Dekhe. . .”, “Dukhi Mann Mere. . .”, “Bharam Teri Wafaaon Ka. . .”, “Badi Sooni Sooni Hai. . .”, “Jaane Wo Kaise Log The. . .”, “Jaayen To Jaayen Kahaan. . .”, “Saathi Na Koi Manzil. . .”, “1 . .”, “Tum Mujhse Door Chale Jaana Na. . .” – and many more. Maybe so, that these compositions simply cannot be believed to exist outside of Sachin Da’s regime.
Celebrating the anniversary of his birth today (1st October), I present this completely forgotten and unknown piece of music that is a very short song that plays when the credits of the film ‘Tere Mere Sapne’ (1971) are rolling on the screen. Practically all the songs that Sachin Da has sung for the screen, have all been accounted for on our blog. But not this one.
The unmistakable folk flavor, that is Sachin Da’s favourite genre, is present predominantly in this music piece. As the prelude of this music plays on, one is struck by how the maestro has melded the music with the sounds of machinery and the hammering sound of the miner’s picks and axes. Really remarkable.
ये किसने गीत छेड़ा
दिल मेरा नाचे थिरक थिरक॰ ॰ ॰
ये किसने गीत छेड़ा
Song – Phulwa Mangaao Zara Angna Sajaao Gori (Tere Mere Sapne) (1971) Singer – SD Burman, Lyrics – Neeraj, MD – SD Burman
Lyrics
hey ey..ey..ey
phulwa mangaao zara angna sajaao gori
bichhde balam ghar aayenge
ye ey..ey..ey
jiyaha ye doley jaise neem ki hi pori
bichhde balam ghar aayenge
bichhde balam ghar aayenge
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
हे ए॰॰ए॰॰ए
फुलवा मंगाओ ज़रा अंगना सजाओ गोरी
बिछड़े बलम घर आएंगे
ये ए॰॰ए॰॰ए
जियाहा ये डोले जैसे नीम की ही पोरी
बिछड़े बलम घर आएंगे
बिछड़े बलम घर आएंगे
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3711 | Post No. : | 14638 |
Today’s song is from a film Manorama-1944. HFGK does not mention singers’ names, but the voices are that of Chitalkar and Hamida Banu with chorus. The film Lyricist was Anjum Pilibhiti and the MD was C Ramchandra.
Last week we had discussed a New pair of names fitting under ” The Same Name Confusion” series, which came first time, only on this Blog. The names were similar sounding Ramola and Romilla. Our Sadanand ji had also added some new information about Romilla, in his comments. This is how informations get updated. Thank you, Sadanand ji.
Today we have yet another New pair-again first time on this Blog- which are not similar sounding names, but have exactly the same spellings. The name is Naseem, who was a part of the film’s cast along with Leela Chitnis, Ishwarlal, N M Charlie, Kantilal, Mubarak, Alaknanda and others.
NASEEM is the name which caused confusion in the 40s, because two actresses with the same name were working in the films at the same time. Generally, the younger one was mentioned as (Junior), but in some films she is just mentioned as Naseem. These are the films which are coolly added to the Senior Naseem’s Filmography, because she was more famous. This is exactly what happens in such cases of SNC. One has to take extra efforts to credit the right films to the right artiste. Most of the times, this is a very tedious job and may take months to get the right answer which can be defended with corroborative evidence. All these old artistes are no more and not every artiste’s information is available. particularly those artists who created confusion and either left the films or the country or the world, are the toughest cases as no information is available on them in India and Pak sites do not give full information on pre-independence films or artists.
Interestingly, the problem of Same Name Confusion is non existent in Hollywood. Not because there are no such names, but because they are very alert and take preventive measures. No one can act in films or on TV, unless he is registered with the ‘ Screen Actors Guild ‘ (estd 1933). They have a strict rule that no two actors will have same names. If a New actor comes with a same name that is already existing on the rolls, he is required to change his name before registration, or add a prefix or a suffix. That is why this problem is not there in Hollywood, in spite of more than 130,000 active members.
Though in India, no such system operates, this problem has almost become extinct in recent times, because of a variety of names ( unlike the western world) available now. Now, let us see more about these two Naseems. First, the senior one.
Born on 2-9-1920,at Delhi -ROSHAN ARA aka Naseem Bano was the daughter of a famous classical singer Shamshad Begum. She too was very good looking . She was called ” Chhamiya” due to her adakari while singing. Naseem was so beautiful that even is school days her beauty was discussed by people. When sh was in school,once she came to Bombay and happened to see the shooting of ” Silver King-35″. She was so impressed with it that she decided to become an actress.
When Sohrab modi proposed to cast her as a Heroin in his “Hamlet”,her family flatly refused but gave in after Naseem sat on a Hunger Strike !. For her second film,’ Khan Bahadur’ she was advertised as a ‘ Beauty Queen’. (Later her daughter Saira bano also got this title). After some films like Divorce,Meetha Zahar and Vasanti,the most important film of her life and also for Minerva Movietone, PUKAR-39 was launched. In this film she enacted the role of Empress Noorjahan,opposite equally handsome actor Chandramohan as Jehangir. She looked cute and beautiful as Queen in the get up. She became an All India star overnight and got the Title ” Pari-Chehra ” from the critics. Her song ‘ Zindagi ka saaz” became so famous that thousands of records were sold in no time.
She married producer Director Mohammed Ehsaan, in 1942. They started their own company- Tajmahal Films and produced Ujala, Begum, Mulaqat and Ajeeb Ladki. The couple had two children- Sultan Ahmed and Saira Banu. After 1947,she stopped singing and did only acting.
Naseem acted in limited films,like Hamlet, Divorce, khan bahadur, Vasanti, Meetha Zahar, Pukar, Ujala, Chal chal re Naujawan, Chandni Raat, Main Haari, begum, Mulakat, Sheesh mahal, Anokhi Ada, Baghi, Shabistan, Sindbad the Sailor, Betaab, Ajeeb Ladki, and Nausherwan E Adil. She did only 20 films. She sang 42 songs in 14 films.
When her mother Shamshad Begum “Chhamiya” died in 1983,many newspapers,magazines and Internet sites published erroneous news that the famous singer Shamshad Begum had died.
In 1953, her husband deserted her and went to Pakistan with the negatives of her films. He made money and Naseem became famous and Popular in Pakistan, without going there. She took her children and went to England for few years, but came back to India to make her daughter an actress.
Naseem Bano died on 20-6-2002.
Naseem bano was never a singer, but she sincerely tried to improve her singing. Her voice was thin and there was a tremor in it,so it sounded sweet( just like Talat).
Naseem Jr. or Miss Naseem Jr. was younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in film Salma-43.
Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.
She had a hot temperament and could not get along with co stars and the Directors. Soon the offers diminished. She got married and returned to her hometown-Lahore along with her husband. She did only few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.
You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindinfilms-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Only their father did not join films !!!
Alaknanda was born in or around 1910 in a Banares situated Mishra family. her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.
When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 38 films till late 40s. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age.( Famous dancer Gopi krishna was her son) Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.
The Hero of the film was Ishwarlal, who was a fixture in Ranjit for 13 years. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.
He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.
After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.
He got a job in Ranjit Studios. He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.Meanwhile,with Jwalamukhi-36,he became Hero.He sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recorded for commercial purpose.
In Billi-38,he sang a duet with Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan.In Pyaas-41,he sang with S.Pradhan.
He got to sing a solo song for the first time in 1942 in Fariyaad. In Jabaan, under C.Ramchandra,he sang 7 songs.
Some of his films were-
Diwali, Dheeraj, Chandni, Bhola shikar, Nadira, Sitamgar, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo, Dil ka daku, Jwalamukhi, Sajni, Dil farosh, Adhuri kahani, Thokar, Holi, Pyar, Bansari Lalkar, Chirag, Us paar etc.
He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.
In 1945,he was the hero of Noorjehan in Badi Maa,but he had no songs, in fact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.
Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.
He acted in 86 films. He also directed 11 films. He sang36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.
With today’s song, film Manorama-44 makes its Debut on this Blog.
(Credits- Vithal Pandya’s books, Film Directory, Beetehuedin blog, Harish Raghuwanshi ji, HFGK and my notes )
Song-Taaron ki chhainyyaan mein jamuna kinaare(Manorama)(1944) Singers-C Ramchandra, Hamida Bano, Unknown male voice, Lyrics-Anjum Pilibhiti, MD-C Ramchandra
Chorus
C Ramchandra + Chorus
Lyrics
Taaron ki chhainyyaan mein jamuna kinaare
Taaron ki chhainyyaan mein jamuna kinaare
gaawe khushi ke geet gin gin
gaawe khushi ke geet
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
ho o o
dhobiyaa ko chahai
haan
dui dui mehariya
haan
dhobiyaa ko chaihai
dui dui mehariya
ek ghar aur ek ghaat
ek se mangaawen chiilam tambaaku
ek se mangaawen chilam tambaaku
ek se karihen preet
hilmil
gaawen khusi ke geet
ho
ho jiyo raam jiyo
dhobi ke laal jiyo
ho
jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
zulfon mein daal phoolinwa dhobiyaa
moonchhon pe daike taav
bainyya pakad mohe chhatiyaa lagaike
bainyya pakad mohe chhatiyaa lagaike
jobna liyo hai jeet
hamra jobna liyo hai jeet
ho jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
haan
taas mein jeete nahile ko dahila
dahile ko jeete ghulaam
hamri ?? bitiya re tori
hamri ?? bitiya re tori
?? ne li hai jeet
haay raam
?? ne li hai jeet
ho
jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
na main maangoon kotha atariya
na kuchh maangoon aur
na main maangoon kotha atariya
na kuchh maangoon aur
godi mein dhobiya ke hamre gosainyya
godi mein dhobiya ke hamre gosainyya
jaaye umariya beet
hamri jaaye umariya beet
ho
jiyo jiyo raam jiyo
dhobi ke laal jiyo
ho jiyo raam jiyo
dhobi ke laal jiyo
ho ho ho ho
Aisa Des Hai Mera
Posted on: August 16, 2018
- In: "Mela" song | Actor-Singer song | Devnagri script lyrics by Sudhir | feel good song | Feelings of heart | Folk song | Friendship Song | Guest posts | Lata song | Lyrics contributed by readers | Post by Sudhir | Pritha Majumdar Songs | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2004 | Udit Narayan Song | Yearwise breakup of songs
- 3 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3681 | Post No. : | 14576 |
Greetings to all friends and readers, as India celebrates another anniversary of its freedom from foreign domination.
A lot can be and has been said and debated about this theme, in the press, in the media, in personal conversations. . . there is never a perfect closure to these discussions. Yes, the honor of the nation is an emotion that should and almost always does, transcend all other emotions. I say almost, because, at least in my evaluation of an individual’s relationships with the surroundings and the society, the matters of culture and humanism would at times weigh in more than national pride. In my mind, the definitions of national boundaries are quite artificial. They are more often than not, drawn by vested and many a times malicious intentions. Humanism, on the other hand, has no boundaries, period, none whatsoever across the planet. And culture – well it is defined more by environmental forces and the flow of historical compulsions. Culture grows. It develops and spreads driven by natural boundaries, and human acceptance of that which correctly conforms to the natural affinities and tendencies.
History, they say, is always written by the victorious. And they also say, that the Gods favor the righteous. One would thus expect the flow of human experience should be more correct and righteous. But it is not. The history of the human experiences is fraught more with misery and evil, than anything else. In the circumspect analysis, one would then conclude contrary to “. . . the Gods favor the righteous”, that might is right. Because more often than not, the victorious generally are the stronger contender, and also, more often than not, they are ruthless in their beliefs. And if not, the victory brings them to that point where they become so. Power corrupts – invariably.
Of all the good and bad topics in the history of what we call the struggle for independence of India, for me, the most punishing act inflicted on our nation, and more importantly, our culture, was the partition of our land. And lest we forget, our nation was partitioned more than once, and quite surreptitiously, before the much celebrated and bloody events of 1947.
First, in 1896, the Durand Line was drawn that created Afghanistan. For millennia before that, even before the Muslim and Mughal clans invaded India, the kings of this subcontinent had ruled over the land of Afghans and beyond, and had the regions of Samakkand and Bukhara in their regime. That was the first cut.
Then, in 1914, a conference was held in Simla. The McMahon line was announced and the Tibetan regions were delinked from India, formally by creating an international boundary. The next cut came in 1937 – the boundaries on the east were redrawn and Burma was carved out as a state, separate from India. And then, of course the cruelest cut of all, came in 1947 with the adoption of the Radcliffe line and the creation of a separate nation of Pakistan in two parts, the West and the East. Over a period of just about 50 years, a grand continent nation with its grand culture, that stretched from the Pamirs in Central Asia, to as far as Siam (now Thailand) and Cambodia in the Far East, was reduced to half its original spread.
Going across a vast region of land, having a variety of geographies – plains, mountains and deserts, having people speak more than a thousand dialects, having people with a plethora of contrarian food habits – still this vast expanse of land was united by a single seminal culture that arose from the earth of this sub-continent.
Couple of days back, when I was doing some research on ‘Urvashi’ and Ramdhari Singh Dinkar, for the post by Bharat Bhai, my eyes caught another related reference – a historical treatise of major proportions, authored by the same Dinkar. The title – ‘संस्कृति के चार अध्याय’ (‘Sanskriti Ke Chaar Adhyaye’ – a history of our culture in four chapters). In this path break historical thesis, Dinkar has charted the course of evolution of the culture of this subcontinent. The first segment talks about the Vedic origins of our culture. The second segment examines the rise of Buddhism and Jainism – the conflict and then the subsequent coming together in a single society. The third segment documents the advent of Islam, the reign of the Islamic dynasties – once again, the conflict and then the subsequent genesis of the Ganga-Jamni culture of peaceful co-existence. The fourth segment studies the invasion by the European kingdoms and the associated arrival of Christanity to the shores of this nation. Yet once again, discusses the conflict and the eventual prevalence of the merged society.
Over the ages, the culture of this land has exhibited a remarkable resilience to external influences, even potentially destructive influences. In the four phases of the history researched and documented by Dinkar, each phase establishes the thought supremacy of the tolerant and humanist culture of this land, that imbibed all that came to it, accepted them as different and yet the same, allowed a peaceful coexistence outside of the political machinations, and made the foreigners love it, and blend into it. That, in my opinion, is the superlative strength of this culture. And just because of this strength, I believe this culture will never be, it cannot be – destroyed. No wonder, our forefathers called it the ‘सनातन संस्कृति’ – a culture that is timeless, without a beginning and without an end.
I have a dream. Generally it is said – dreams are dreams. And nothing more. But still – I have a dream. And the dream comes from my desire to be able to go back to the land of my familial ancestors, to the places where my parents and grandparents were born and where they lived and thrived. The partition of 1947 was a disaster of proportions much greater than the Holocaust that was wreaked upon Europe by Hitler and his Germany. The number of people who suffered at the hands of the Third Reich is of the order of 5 million. The 1947 partition consumed anywhere between 10 to 20 million people on both sides of the border. And yet, the world historians do not discuss this monumental human tragedy as what it really is.
That is the power of subjugation and slavery that our self serving political leadership has always accepted and acquiesced to. There are many examples in world history, where nations have been partitioned and separated, and then they have come together once again, because the people wanted it to be so. The US has seen its own flavor of this partition during the Civil War (1861 – 1865), but they fought to bring it back together. Germany was partitioned in 1945 and the people finally toppled the Berlin Wall in 1989. Vietnam was divided and it fought the greatest superpower for decades, so it could be one once again. And now the efforts for Korea are beginning to be heard.
I have a dream, which I am quite sure will always remain a dream.
The song I present today is from a film that needs not introductions. Three songs of this musical bonanza are already showcased on our blog. I picked this film and this song for this post, because this film, as recently as 14 years ago, made a very courageous attempt to call out a spade, a spade. It is this and other similar literary and cultural expressions that give a breath of life to the dream I have. And the thing that I simply love about this film and this song, is the unabashed expression that confirms that the two neighbors are the same land and the same culture.
aisa des hai mera
ho oo
jaisa des hai tera
Ah yes, this song confirms my dream. But I also know that my dream will always remain a dream. . .
The film is ‘Veer Zaara’ from 2004. It has been a popular hit in its time, and I am sure I do not need to cover more details – friends and readers are likely already familiar. The song is written by Javed Akhtar. The music has been adapted from the unused tunes created by the late Madan Mohan, which are now in the collection of his son, Sanjeev Kohli. The singing voices are those of Udit Narayan, Lata Mangeshkar, Pritha Majumdar, and the famous Punjabi folk singer and actor Gurdas Maan, who makes a brief cameo appearance in this song itself.
Today morning, I read an article written by Anupam Sinha, that was carried in the Indian Express newspaper. Readers will be familiar with this name – he is the director of ‘Mulk’, the Rishi Kapoor starrer that is released just recently – on the 3rd of this month itself. In the film and the in the article, Anupam Sinha is raising many uncomfortable questions about the direction of the destiny of this nation and this land. Questions that today are becoming more and more difficult to articulate in the evolving ethos of the culture of this sub continent. That says quite a bit, doesn’t it. Yes, it is becoming more and more difficult to raise such questions.
That is the source of my fears – that my dream is always going to remain a dream. . .
Song – Aisa Des Hai Mera (Veer Zaara) (2004) Singer – Gurdas Mann, Udit Narayan, Lata Mangeshkar, Pritha Majumdar, Lyrics – Javed Akhtar, MD – Madan Mohan
Female Chorus
Male Chorus
Lyrics
oo ooo oo oo
ooo oo oo oo oo
oo ooo ooo ooooo
amber hethaan
dharti vasdi
aithe har rut hasdi
ho oo oo oo
kinna sohna
des hai mera
des hai mera
des hai mera. . .
kinna sohna
des hai mera
des hai mera
des hai mera. . .
dharti subehri ambar neela. . . ho oo
dharti subehri ambar neela
har mausam rangeela
aisa des hai mera
ho oo aisa des hai mera
aisa des hai mera
haan aisa des hai mera
boley papiha koel gaaye..ey..ey..ey
boley papiha koel gaaye
saawan ghir ke aaye
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera
mundere mere
kaaga boley wey
chithi mere maahi di
chithi wich mera naam wey
chithi mere maahi di
gehun ke kheton mein
kanghi jo karen hawaayen
rang birangi kitni
chunariya ud ud jaayen
panghat par panihaaran
jab gagri bharne aaye
madhur madhur taanon mein
kahin bansi koi bajaaye
lo sun lo
kadam kadam pe hai mil jaani..ee..ee
kadam kadam pe hai mil jaani
koi prem kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera
ooo oo oo oo oo oo
oo oo oo oo oo oo
oo ooo ooo oooo oooooo
ho meri jugni de taaghe pakke
jugni os de munh to fabbe
jinun satt ishq di lagge
o saain mere..aa o jugni
(hooo oooo ooooye)
veer mere..aa o jugni kehndi ai
o naam saain da lendi ai
hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
oy dil kadd litta ee jind meri..aa
baap ke kandhe chadh ke
jahaan bachche dekhen mele
melon mein nat ke tamaashe
kulfi ke chaat ke thele
kahin milti meethi goli
kahin churan ki hai pudia
bhole bhole bachche hain
jaise gudde aur gudiya
aur inko
roz sunaayen daadi naani..ee..ee
ho oo
roz sunaayen daadi naani
ik pariyon ki kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera
sadke sadke jaandi e mutiyaare ni
kanda chuba tere pair baanki e naare ni
oy
ni adee e
kanda chuba tere pair baanki e naare ni
kaun kadde tera kaandra mutiyaare ni
kaun sahe teri peed baanki e naare ni
oy
ni adee e
kaun sahe teri peed baanki e naare ni
ho oo
ho ho
ho ho ho ho ho
mere des mein mehmaanon ko
bhagwaan kaha jaata hai
wo yahin ka ho jaata ha
jo kahin se bhi aata hai
aaa haa aaa aaa aaa aaa
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
jaane kyon ye lagta hai
mujhko jaana pehchaana
yahaan bhi wahi shaam hai
wahi savera..aa..aa ho oo
wahi shaam hai wahi savera
aisa hi des hai mera
jaisa des hai tera
waisa des hai mera
haan
jaisa des hai tera
aisa des hai mera
ho oo
jaisa des hai tera
aisa des hai mera
haan
jaisa des hai tera
aisa des hai mera
ho oo
jaisa des hai mera
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओss ओ ओ
ओss ओ ओ ओ
ओ sओ ओ ओss ओssss
अम्बर हेठां
धरती वसदी
ऐथे हर रूत हसदी
हो ओ ओ
किन्ना सोह्णा
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰
धरती सुनहरी अम्बर नीला॰ ॰ ॰
हो ओ
धरती सुनहरी अम्बर नीला
हर मौसम रंगीला
ऐसा देस है मेरा
हो ओ ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
बोले पपीहा कोयल गाए॰॰ए॰॰ए॰॰ए
बोले पपीहा कोयल गाए
सावन घिर के आये
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
मुंडेरे मेरे
कागा बोले वे
चिट्ठी मेरे माही दी
चिट्ठी विच मेरा नाम वे
चिट्ठी मेरे माही दी
गेहूं के खेतों में
कंघी जो करें हवाएँ
रंग बिरंगी कितनी
चुनरिया उड़ उड़ जाएं
पनघट पर पनिहारिन
जब गगरी भरने आए
मधुर मधुर तानों में
कहीं बंसी कोई बजाए
लो सुन लो
कदम कदम पर है मिल जानी
कदम कदम पर है मिल जानी
कोई प्रेम कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
ओss ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
ओ ओss ओss ओsss ओsssss
हो मेरी जुगनी दे तागे पक्के
जुगनी ओस दे मुंह तो फब्बे
जिनूं सट्ट इश्क़ दी लग्गे
ओ साईं मेरे॰॰आ ओ जुगनी
(हो॰॰ओ॰॰ ओए)
ओ साईं मेरे॰॰आ ओ जुगनी कहंदी ऐ
ओ नाम साईं दा लैंदी ऐ
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
ओ दिल कड्ड लित्ता ई जिंद मेरी॰॰आ
बाप के कंधे चढ़ के
जहां बच्चे देखें मेले
मेले में नट के तमाशे
कुल्फी के चाट के ठेले
कहीं मिलती मीठी गोली
कहीं चूरन की है पुड़िया
भोले भोले बच्चे हैं
जैसे गुड्डे और गुड़िया
और इनको
रोज़ सुनाएँ दादी नानी॰॰ई॰॰ई
हो ओ
रोज़ सुनाएँ दादी नानी
इक परियों की कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
सड़के सड़के जानदी ए मुटियारे नी
कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
ओय नी अड़ीए
कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
कौन कड्डे तेरा कांडड़ा मुटियारे नी
कौन सहे तेरी पीड़ बाँकी ए नारे नी
ओय नी अड़ीए
कौन सहे तेरी पीड़ बाँकी ए नारे नी
हो ओ
हो हो
हो हो हो हो हो
मेरे देस में मेहमानों को
भगवान कहा जाता है
वो यहीं का हो जाता है
जो कहीं से भी आता है
आs हाs आs आs आs आs
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
जाने क्यों ये लगता है
मुझको जाना पहचाना
यहाँ भी वही शाम है
वही सवेरा॰॰आ॰॰आ हो ओ
वही शाम है वही सवेरा
ऐसा ही देस है मेरा
जैसा ये देस है तेरा
वैसा देस है मेरा
हाँ
जैसा देस है तेरा
ऐसा देस है मेरा
हो ओ
जैसा देस है तेरा
ऐसा देस है मेरा
हाँ
जैसा देस है तेरा
ऐसा देस है मेरा
हो ओ
जैसा देस है मेरा
Jai Dharti Maiya Jai Ho
Posted on: April 22, 2018
- In: "gratitude" song | "Mela" song | Devnagri script lyrics by Avinash Scrapwala | Dharti Song | Feelings of heart | Folk song | Freedom song | Guest posts | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | philosophical song | Post by Sudhir | Songs of 1940s (1941 to 1950) | Songs of 1946 | Yearwise breakup of songs
- 4 Comments
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.
| Blog Day : | 3565 | Post No. : | 14293 |
In the continuum of the vast annals of history, there are tales and legends in every civilization and every system of knowledge and learning, that identify the supreme importance associated with the very support system that we rest upon. In practically every system, this support system, this concept, is endowed with divine qualities – qualities that are almost always endowed with the mother, as the provider of all that is required in life, and more.
In the Greek wisdom, this concept is name as Gaia. In the Roman legends, she is called by the name Terra. In the Norse mythology, she is named as Erda. In the east, in China, she is known as Houtu or Houtushen – the Goddess Queen of Earth. In the Buddhist scriptures that span the South East Asian region, she goes by the name Phra Mae Thorani. She is worshipped as Atira or Awitelin Tsta amongst the native tribes of the Americas, who gives birth to all life. On the African continent, she is known as Odudua, the beautiful black goddess of Earth with a skin of deepest dark ebony.
In our own land and in our culture, she is known by many names, the most important ones being Bhoo Devi – that which makes possible and supports all existence, and Vasudha – the provider of all wealth and riches.
Wherever, in whichever part of the world one may seek, there is a revered acknowledgement of the divinity of the earth as the mother, and the provider of all things. If one may sit down to list all the things that we need, we desire, and we dream – other than the light energy that comes from the Sun, Moon and the stars, the life breath that is the air that swirls around us, and the waters of rain that descend from the skies – all else, and I mean everything else comes forth from the very earth that we stand upon. Our existence and sustenance is – because the earth is.
The world is celebrating today as the Earth Day. The western dogmas consider a once in a year celebration to be an adequate measure of honor and gratitude. In our belief system, it is a celebration and honor that happens on a daily basis. And we celebrate and seek blessing, not just for our family or our country, but for the entire planet as a whole.
The reminder for this celebration and the suggestion of this song came in yesterday from Avinash ji. The film name itself is so appropriate – ‘Dharti Ke Laal’ from 1946. The music is by Pt Ravi Shankar, who was later destined to be the world famous sitar player from India. No other information relating to singer(s) or songwriter is readily available.
The song is in praise and honor of Mother Earth. It is depicted as a folk song in the tradition of Bengal, being performed at the village fair. It is such a wonderful expression of veneration towards the entity that makes all life possible.
A salute to Mother Earth – today, and every day of the year.
Song – Jai Dharti Maiya Jai Ho (Dharti Ke Laal) (1946) Singer – Unidentified Male Voice 1, Unidentified Male Voice 2, Lyrics – [Unattributed], MD – Pt Ravi Shankar
Chorus
Lyrics
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
yahi maati mein jiyan hamro
yahi mein maran hai bhaiyyaa
yahi sagri poonji
yahi hai hamro dhan hai bhaiyya aa
aa aa aa
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
god mein tori sukh ke saagar
khelat maiyyaa
aa
yahi mein sona upjey
yahi mein barse amrit maiyyaa
aa aa
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
ab maiyya vardaan se tore
sang jiyenge sang marenge
tori chhaati se atyaachaari ko
door karenge ae
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jag taaran haari jai ho
jai ho
jag paalan haari jai ho
jai ho
jag taaran haari jai ho
jag paalan haari jai ho
jag taaran haari jai ho
jag paalan haari
jag taaran haari
jag paalan haari
jag taaran haari
jag paalan haari
jag taaran haari
jag paalan haari
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
jai ho
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwaala)
———————————————————
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
यही माती में जियन हमरो
यही में मरण है भैय्या
यही सगरी पूँजी
यही है हमरो धन है भैय्या आ
आ आ आ
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
गोद में तोरी सुख के सागर
खेलत मैय्या
आ
यही में सोना उपजे
यही में बरसे अमृत मैय्या
आ आ
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
अब मैय्या वरदान से तोरे
संग जियेंगे संग मरेंगे
टोरी छाती से अत्याचारी को
दूर करेंगे ए
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जग तारण हारी जय हो
जय हो
जग पालन हारी जय हो
जय हो
जग तारण हारी जय हो
जग पालन हारी जय हो
जग तारण हारी जय हो
जग पालन हारी
जग तारण हारी
जग पालन हारी
जग तारण हारी
जग पालन हारी
जग तारण हारी
जग पालन हारी
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
जय हो
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3556 | Post No. : | 14263 |
Today’s song is from a rare film of the early talkie era – ‘Baala Joban’ from 1934. The film was produced by Gandharva Cinetone – a company owned by Baburao Patel, who also directed this film.
The name of Baburao Patel is known to every lover of old Hindi films, but as a political commentator and a member of parliament, he is known to others. From the mid 1930s to the 80s he was a name synonymous with daredevil journalism, superb quality English writing and an active life style. Add to it several marriages and countless children by legitimate relationships and otherwise.
Baburao Pandurang Patil (he is a ‘Marathi Manoos’ and not a Gujarati) was born on 4-4-1904, in Masvan village, about 100 kms from Bombay, in Palghar district, in a Vanzara ( Banjara) community. His birth date is a strange confluence of numbers. The date is written as 4-4-4. Also, if we take the total of the digits written as 4-4-1904, it also adds up to the number 4 only.
When he was 4 year old, his mother passed away, and his father remarried. Subsequently the family shifted to Bombay. He was put in an English medium school. However he did not complete his matriculation. Lack of formal education always pinched him in life and he always respected highly educated people. He compensated by avidly reading books on philosophy, religion, politics and medicine, and gained an excellent command over spoken and written English language.
After doing many petty jobs, in 1926 he joined ‘Cinema Samachar’, a film magazine in Hindi, English and Urdu languages. He never knew when he entered the film world and became a script writer and a director. He established his own banner ‘Gandharva Cinetone’ and made 5 films as a director – ‘Kismat’ (a silent film from 1931), ‘Sati Mahananda’ (1933), ‘Maharani’ (1934), ‘Baala Joban’ (1934) and ‘Pardesi Sainyan’ (1935). Later in life, he directed two more films with wife Susheela Rani Patel as the heroine – ‘Draupadi’ in 1944 and ‘Gwaalan’ in 1946.
He joined DN Parkar, who owned New Jack printing press and who was publishing a house magazine ‘Prabhat’ for Prabhat Films. He then started his own magazine ‘FILM INDIA’ in April 1935, at a price of 4 annas (annual 3 rupees). From the very first issue, it was printed on high quality art paper. The cover image of the first issue featured a hand painting of actress and novelist Nalini Tarkhud, from film ‘Chandrasena’. There were many ads in the magazine, which promised ”honest journalism and constructive criticism”, though in later issues his criticism was incisive, insulting and quite daring. The cine industry feared his reviews, but readers adored him. Khwaja Ahmed Abbas, the famous writer and film director was also on his staff, and looked after the magazine when Baburao was travelling.
In all these twists and turns of life, his surname became Patel instead of Patil. He continued with it. He hurt many of his fellow film makers and actors. In one case, Shanta Apte is on record having gone to his office and beaten him with a whip, for his defamatory and derogatory remarks in the magazine.
Baburao married 3 times. His first marriage took place when he was studying. The second was with Shirin and the third was with his ex-secretary Sushila Rani Tombat – a very good looking Konkani singer and dancer.
Sidharth Bhatia has written a book titled ‘The Patels of Film India’. Noted author Manto also wrote extensively on Baburao. Bhatia writes – ‘Baburao had an eloquence and power of writing. He had a sharp humour, often barbed. There was a tough guy assertiveness with his venomous pen’. Baburao called Kalpana Kartik “pigeon busted”, Suraiya “Ugly”, and Dev Anand “effiminate”. Meena kumari was “. . .like an inverted shuttle cock”.
His magazine celebrated 50 years in 1985. Baburao became MP from Madhya Pradsh in 1967 on a ticket from the erstwile Jansangh party. One good quality of Baburao was that he was very kind to the poor and helpless people. Baburao Patel died on 4-9-1982.
The cast of the film ‘Baala Joban’ is listed as Padma Devi (a fixture in all Baburao’s films and a personal ‘special friend’), Mubarak, Gulab, Shirin Bano (she later married director Nanubhai Bhatt; Mahesh bhatt is her son), Madhukar Gupte, Nandu Khote (stage and silent film actor; father of Shubha Khote, brother in law of Durga Khote), Raja Pandit, Badri Prasad etc.
Besides acting in the film, Badri Prasad was also the music director of this film. It was his debut film as a music director. He is a wonder in the annals of Hindi film history. There is no other known person in the history who was an actor, lyricist, singer, music director, producer, director and a choreographer- all at same time in his career. He was simply unique. There was no one else like him.
As an actor he has appeared in 147 films. I remember him in ‘Albela’ (1951) as Bhagwan’s father, in ‘Bhaagam Bhaag’ (1954) as Shashikala’s uncle, as the missing father of Nalini Jaywant in film ‘Hum Sab Chor Hain’ (1956), and as the wheelchair confined father of Zahida in ‘Anokhi Raat’ (1968).
As a singer, he has sung 11 songs in 7 films. As a music director, he has 16 films to his credit – ‘Baala Joban’, ‘Vishnu Bhakti’, ‘Fashionable India’, ‘Romantic India’, ‘Zambo The Ape Man’, ‘Swaraaj Ke Sipaahi’, ‘Badhe Chalo’, ‘Yangrilla’, ‘Himalay Ki Beti’, ‘Double Cross’, ‘Zambo Ka Beta’, ‘Jhoothi Sharam’, ‘Anuradha’, ‘Vanmala’, ‘Madhusudan’ and ‘Zevar’.
He has one film to his credit as a lyricist, one as a producer and one as a director. As a choreographer he has done 52 films – from ‘Namoona’ (1949) to ‘Raaj Nartaki’ (1991).
Badri Prasad was born on 14-11-1902, in Benaras, UP. He started acting in Ramleela in the Bhelpura area in Benaras. From there he reached Calcutta, spent time at New Theatres and other studios and then landed in Bombay in 1932. His first film as actor was ‘Navchetan’ (1932).
Then he worked as an assistant to some composers and gave music independently first time to ‘Baala Joban’. His last film as a composer was ‘Zevar’ in 1942.
Then he continued his career, working in character roles. In 1949 he first did choreography in ‘Namoona’ (1949). After for the next 40 years he choreographed in till his last film. His last film as an actor is ‘Dhoop Chhaon’ from 1997 – an active acting career that spans a period of 44 years.
As a composer many famous singers sang for him, like Amirbai Karnataki, Noorjehan, Snehlata, Shyamsunder, Radharani, Sarla Devi, Ameena, Gauhar, E Rama Rao, Ramanand, Vatsala Kumthekar , Vimla Kumari, Iqbal Bibi etc.
Badriprasad was a learned man with command over Hindi, Urdu, English and Sanskrit. He wrote many plays for AIR also. He had a very big collection of books in his house. He was called Pandit Badriprasad,due to his expertise in Sanskrit. He was a man of few words, so his fabulous career remained unknown and he was known only as a character artist.
He had 2 daughters. One daughter Surekha Pandit remained with him till his death. Surekha too is an actress, doing bit roles in films – ‘Anupama’, ‘Mere Sanam’, ‘Nartaki’, ‘Gaban’, ‘Sant Gyaneshwar’, ‘Mere Huzur’, ‘Aadmi Aur Insaan’, ‘Saat Hindustani’, ‘Do Dooni Chaar’, ‘Shehar Aur Sapna’, ‘Aarti’ etc. After marriage she was known as Surekha Parkar.
The singer for today’s song is Marutirao Pehelwan. He has also acted in this movie. He was originally from Kolhapur. In the early era of talkie films, many wrestlers joined film companies. They worked mostly in action films. Some such actors were Baburao Pehelwan (he was the hero of Master Bhagwan’s stunt films; later on worked as a stuntman with fight master Azim Bhai), Vasantrao Pehelwan (he was the one who brought Indurani from Poona to Bombay; was a popular villain in stunt films), Nandram Pehelwan (very popular in silent films but fell on bad days in the talkie era), Sadiq Pehelwan, Maane Pehelwan, Amir Khan Pehelwan etc.
Marutirao Pehelwan was different. He was handsome, tall, well built, could act and sing well. He was selected for the hero’s role in first Gujarati talkie film ‘Narsi Mehata’ (1932), made by Sagar Movietone. He acted as hero and other roles in about 40 films and sang songs too. His first Hindi film was ‘Lanka Dahan’ (1933) and last his film was ‘Apna Ghar’ (1942).
He married his co-star of many films – Tara (sister of Sitara Devi and Alaknanda). They left films and settled in Dhule, Maharashtra. Marutirao started a dairy business there. Famous dancer Gopi Krishna was their son.
[Author’s Note: From 1946, there was another comedian actor named Maruti, active in Hindi films. Initially, he too was billed as Marutirao, creating confusion. He was the father of comedienne Guddi Maruti.]
Today’s song is a Folk song of Rajasthan. It is in Marwari language. Shri Girdharilal Vishwakarma ji has uploaded this song as the ‘first Marwaari song in Hindi films”. On my email inquiry, he has kindly informed me that in this folk song, the wife is telling her husband (aali ja) that ‘bichhuda‘ (scorpion) has bitten her and she wants to go to her ‘peehar‘ (father’s house) now. I am very much thankful to him for this rare song.
[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from books by Sidharth Bhatia, Saadat Manto, Isak Mujawar, Vithal Pandya, Biren Kothari (book on Sagar Movietone), Sanjit Narwekar, scroll.in, HFGK, Encyclopedia of Indian Films and my own notes.]
[Ed Note: Thanks to Shri Girdharilal Vishwakarma ji (of Jodhpur), who helped to decipher the correct lyrics.]
Song – Bichhudo Ri Ghaali Peehar Chaali Saa, Aali Jaa (Baala Joban) (1934) Singer – Marutirao Pehalwan, Lyrics – Traduitional, Music – Badri Prasad Manik
Lyrics (Provided by Sudhir)
bichhudo ri ghaali peehar chaali saa
aali jaa
bichhudo ri ghaali peehar chaali saa
aali jaa
lehardaar beechhudo
naina ro lobhi beechhudo
ghansaagar mhaaro beechhudo
haan laladi sar daabe poochho thaake saa
aali jaa
laladi sar daabe poochho thaake saa
aali jaa
lehardaar beechhudo
naina ro lobhi beechhudo
ghansaagar mhaaro bee. . .
beechhoda naina par bichhudo lad gayo saa
aali jaa
beechhoda naina par bichhudo lad gayo saa
aali jaa
lehardaar beechhudo
naina ro lobhi beechhudo
ghansaagar mhaaro beechhudo
bambai jaavo to motor laajo saa
aali jaa
bambai jaavo to motor laajo saa
aali jaa
lehardaar beechhudo
naina ro lobhi beechhudo
ghansaagar mhaaro beechhudo
bichhude ri ghaali peehar chaali saa
aali jaa
lehardaar beechhudo
naina ro lobhi beechhudo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बीछुड़े री घाली पीहर चाली सा
आली जा
बीछुड़े री घाली पीहर चाली सा
आली जा
लहरदार बीछुड़ो
नैणा रो लोभी बीछुड़ो
घनसागर म्हारो बीछुड़ो
हाँ ललड़ी सर दाबे पूछो थाके सा
आली जा
ललड़ी सर दाबे पूछो थाके सा
आली जा
लहरदार बीछुड़ो
नैणा रो लोभी बीछुड़ो
घनसागर म्हारो बी॰ ॰ ॰
बिछोड़ा नैना पर बीछुड़ो लड़गयो सा
आली जा
बिछोड़ा नैना पर बीछुड़ो लड़गयो सा
आली जा
लहरदार बीछुड़ो
नैणा रो लोभी बीछुड़ो
घनसागर म्हारो बीछुड़ो
बम्बई जावो तो मोटर लाजो सा
आली जा
बम्बई जावो तो मोटर लाजो सा
आली जा
लहरदार बीछुड़ो
नैणा रो लोभी बीछुड़ो
घनसागर म्हारो बीछुड़ो
बिछुड़े री घाली पीहर चाली सा
लहरदार बीछुड़ो
नैणा रो लोभी बीछुड़ो
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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