Advertisements

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

Archive for the ‘Happy song’ Category


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.

Missing Films of 1960s – 32
– – – – – – – – – – – – – – –

At the beginning of this month, June 1st, I had a personal reminder to myself – passing away anniversary of Khwaja Ahmed Abbas. I was wanting to do a brief remembrance post. Other “things” intervened and the day came and went. Then, it so happened that on the 15th June, there was a set of reminders and requests for the birth centenary celebrations of Sajjaad Husain. Not many “things” intervened that day, and I was able to locate a rare recording of a song from film ‘Dharam’ (1945), as yet unposted, and was able to post the remembrance article in good time. You may remember the title line of that song “Chali Pawan Purvaai, Chali Pawan”.

Allow me to come to the connection between these seemingly unconnected events and songs. On YouTube, I have a subscriber friend, who is very stridently focused on the Hindi film music from the decade of 1960s. After following my uploads on YouTube for some time, she now frequently sends ‘farmaish’ messages to post rare songs from 1960s. Most of the time it is just this line – “please post unavailable songs of films from 1960s”. Whenever I post an unavailable song from 1960s, she is quite profuse in her appreciation and thanks. Whenever I post a song that might be a repeat on account of quality or completeness of the song, there is a terse comment from her – “Already available. Pls post unheard, unavailable songs”. Whenever I post any song which is not from the decade of 1960s, she invariably comments something to the effect that –  “Ok, so this is a good song”, and then adds the more important reminder – “please post songs from 1960s”. I am gratified at the persistence of her requests of her choice of songs. 🙂

So on 15th, when I posted the Sajjaad Husain song “Chali Pawan Purvaai, Chali Pawan”, as expected, her response was almost immediate. “Good song”, was all she said for the upload, and added, “pl upload rare & unavailable songs from sixties.” This was followed almost immediately by another comment – “Pl try to locate song chali hawa purvai from Hamara Ghar (1964).”

Now, she generally does not put in a request for a specific song, this is probably the first time that she has. Earlier, the reminders are for songs from sixties, and occasionally a movie name – whether I have any songs from that particular film. On seeing her comment, I just checked some, and was able to locate this song in my collection. The film name ‘Hamaara Ghar’ seemed familiar, so I checked our blog, and found that two songs of this film are already posted here. Then did a double take, and realized – the two songs posted are from a film of the same name from 1950. In fact there are no songs posted of this 1964 film. Checking on YouTube, what I find is that except for one song (“Saare Jahaan Se Achha. . .”), no other song of this film is available online.

And so I said to myself, here is an opportunity for a debut song for the day. 🙂

And immediately, as I started locating information about this song and film, I realized that this film is produced and directed by Khwaja Ahmed Abbas. The connection came full circle. The film is produced under Abbas Sb’s own banner of Naya Sansaar, Bombay. As I tried to locate more information, I came across this interesting anecdote.

“Shehar Aur Sapna”, the 1963 production by Abbas Sb, which focused on migrant population and housing problem in the city of Bomaby, had won the National Award for the Best Film of the year. Apparently, at the function where the award was given, the then prime minister, Jawaharlal Nehru, requested Abbas Sb for a film for children. It seems that Abbas Sb took on that request almost immediately, because the film ‘Hamaara Ghar’ was released in the very next year i.e. 1964. This year was also when Nehru ji passed away (on 27th May). I have not been able to locate the information about the release date of this film, and whether Nehru ji was able to see this film, that was produced by Abbas Sb at his request.

The star cast of this film includes Sonal Mehta, Yasmeen, Rekha Rao, Tanya Siraaj, Pasha Azeem, Deepak Prasad, Sunil Kaushik, Noel Moses, Jai Prakash Narula, Maruti, Narayan Devanpalli, Levi Aaron, Ghanshyam Rohera, Nana Palsikar, Surekha, Dilip Raj, Anwar Abbas, Meena Abbas, and Yunus Parvez. As one reads this list, one can make out that the first many names are likely child artists, who are the lead performers in this film. Incidentally, the name Sunil Kaushik is of the second son of JP Kaushik, the music director for this film. Also, if I am not mistaken, the name Pasha Azeem is of Abbas Sb’s son.

This social drama is a film on national integration, at the level of children. I am able to locate a poster of this film online. The poster, all in tones of light blue, depicts a row of thirteen children, boys and girls, standing in ankle deep waves on a beach, and the name of the film is written in the sky background, in all languages of India. The caption at the bottom says – “A Film For Children Of All Ages”. Abbas Sb in his element of social responsibility, as always.

The film has six songs, five of them are penned by Ali Sardar Jafri. The sixth is the song “Saare Jahaan Se Achha. . .” written by the legendary Iqbal. Music is by Jag Phool Kaushik, the music director who started his film career with Abbas Sb for his 1963 film ‘Shehar Aur Sapna’. On the blog “Beete Huye Din” by Shishir Krishna Sharma, I am able to locate a detailed write up on this music director. An interesting trivia to note is that Anil Biswas was the resident music director for all films of Abbas Sb, before 1963. In fact, at the first instance, when JP Kaushik went to meet Abbas Sb with a reference, seeking work as a music director, he was told that Anil Biswas had already started to work on this particular film. Later, I assume that as Anil Da moved to New Delhi, likely during the production time of this film, the work for music direction was given to JP Kaushik. As I read in this blog, two songs for this film were already recorded by Anil Da, but later both of them were not used in the film. It would be interesting to track down the whereabouts of these songs, which I would like to designate as rarities, on account of circumstances.

The Geet Kosh lists only the name Vijaya Majumdar as the singer in this song accompanied by chorus. However, as we listen to this song, we are able to make out at least three more unidentified voices – a male voice, a female voice and a child’s voice, who get to render two or three lines each in between. Listening to the song, it seems like a children’s group song. The words are lot of fun, but also carry deeper meanings. And the music and rendering sequence of different voices and chorus, make it a delightful song to hear. The music is so minimal. Seems that this song is picturized on the beach location which is depicted in the poster of the film. I refer to the lines

daud ke neeli neeli lehren
paaon hamaare choomen

Once again, a wonderful memory from the radio listening days, which I have been prompted to dig out and showcase, based on the request of my friend on the YouTube. I am very sure you are going to like this song very much.

Song – Chale Hawa Purvaai (Hamaara Ghar) (1964) Singer – Vijaya Majumdar, Lyrics – Ali Sardar Jafri, MD – JP Kaushik
Unidentified Male Voice
Unidentified Female Voice
Unidenfied Child Voice
Chorus

Lyrics

. . . chale hawa purvaai

chale hawa purvaai
usha jagmag aayi
aayi aayi
chale hawa purvaai
chale hawa purvaai
usha jagmag aayi
aayi aayi
chale hawa purvaai

daali daali chidiyaan chehken
bhaunre saaz bajaayen
nanhi nanhi kaliyan mehken
rang roop dikhlaayen
o ho rang roop dikhlaayen
yoon aankhen jhapkaayen
jaise hamen bulaayen
bulaayen bulaayen
chale hawa purvaai

chale hawa purvaai
(aaa aaa aaa aaa aaa)
o ho chale hawa purvaai
(aaa aaa aaa aaa aaa)

daud ke neeli neeli lehren
paaon hamaare choomen
paaon hamaale choomen
pyaar kare pedon se chhaaya
sar par baadal jhoomen
jhoomen jhoomen
sar par baadal jhoomen
chaahe jahaan hum ghoomen
ha ha ha ha ha
dhoom machaayen jhoomen
jhoomen
jhoomen
lalla lalla la la la
chale hawa purvaai

chale hawa purvaai
(aaa aaa aaa aaa aaa)
o ho chale hawa purvaai
(aaa aaa aaa aaa aaa)

titli rani ke pankhon par
cham cham chamke sona
sona
cham cham chamke sona
roshn bahut hai bhara hai un ke
mann ka kona kona
kabhi niraash na hona
haan ji
kabhi niraash na hona
duniya khel khilona
khilona khilona
chale hawa purvaai

chale hawa purvaai
(aaa aaa aaa aaa aaa)
o ho chale hawa purvaai
(aaa aaa aaa aaa aaa)
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

॰ ॰ ॰ चले हवा पुरवाई

चले हवा पुरवाई
उषा जगमग जगमग
आई आई
चले हवा पुरवाई
चले हवा पुरवाई
उषा जगमग जगमग
आई आई
चले हवा पुरवाई

डाली डाली चिड़ियाँ चहकें
भौंरे साज़ बजाएँ
नन्ही नन्ही कलियाँ महकें
रंग रूप दिखलाएं
ओ हो रंग रूप दिखलाएं
यूं आँखें झपकाएं
जैसे हमें बुलाएँ
बुलाएँ बुलाएँ
चले हवा पुरवाई

चले हवा पुरवाई
(आ आ आ आ आ)
ओ हो चले हवा पुरवाई
(आ आ आ आ आ)

दौड़ के नीली नीली लहरें
पाँव हमारे चूमें
पाँव हमाले चूमें
प्यार करे पेड़ों से छाया
सर पर बादल झूमें
झूमें झूमें
सर पर बादल झूमें
चाहे जहां हम घूमें
हा हा हा हा हा
धूम मचाएँ झूमें
झूमें झूमें
लल्ल लल्ल ला ला ला
चले हवा पुरवाई

चले हवा पुरवाई
(आ आ आ आ आ)
ओ हो चले हवा पुरवाई
(आ आ आ आ आ)

तितली रानी के पंखों पर
चम चम चमके सोना
सोना
चम चम चमके सोना
रोश्न बहुत है भरा है उनके
मन का कोना कोना
कभी निराश ना होना
हाँ जी
कभी निराश ना होना
दुनिया खेल खिलौना
खिलौना खिलौना
चले हवा पुरवाई

चले हवा पुरवाई
(आ आ आ आ आ)
ओ हो चले हवा पुरवाई
(आ आ आ आ आ)

Advertisements

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

In the 1940s, Lala Jagat Narayan of Jagat Talkies Distribution was one of the biggest controller of the chains of theatres and film distributions network in Northern India having his office at Chandni Chowk in Delhi. He was regarded as an undisputed king of film distribution and exhibition. By virtue of his experience in film distribution and exhibition business, he was in a better position to assess the likes and dislikes of the film audience.

In 1948, Jagat Narayan decided to diversify into the film production business and set up a separate entity named Jagat Pictures. As a businessman, he was attempting for a vertical integration of film productions with his existing business of distribution and exhibition. As a student of economics, I would call his attempt as a backward linkage in that he would have some flexibility in supply chain for film distribution and exhibition.

Jagat Narayan had not done anything new. My understanding is that earlier, Imperial Film Company of Ardeshir Irani had done the same vertical integration albeit in a different way. In 1929, Ardeshir Irani set up Sagar Films (later known as Sagar Movietone) as a subsidiary of Imperial Film Company. In 1930, he roped in Chimanlal Desai and Ambalal Patel, as partners of Sagar Films. They were already the owners of Select Film Circuit in Bangalore which was the sole distributors for South India of the films from Imperial film Company. After sometime, Ardeshir Irani left Sagar Films and Desai and Patel became the sole proprietors of Sagar Films. With this, Desai and Patel had film productions and distributions under their command.

The vertical integration business model was later replicated by some prominent film distributors such as NN Sippy of Prithvi Pictures in 1960, Tarachand Barjatya of Rajshri Film Production in 1962, Gulshan Rai of Trimurti Films in 1970 etc. There are, however, pros and cons for the vertical integration of film business in terms of the risk-reward perception.

Coming back to the Jagat Pictures, ‘VEENA’ (1948) directed by JP Advani was its maiden offering. The star cast included Rehman, Sulochana Chatterji, Veera, Yakub, Hemavati, Leela Mishra, Girdhari etc. It was a social film with familiar story line of a love triangle. The gist of the story of the film based on a review published in December 1948 issue of ‘Sound’ magazine is as under:

Madan (Rehman), a poet, having lost his mother and father in the childhood has been brought up by his grand-mother (Leela Mishra). She gets worried about Madan who spends most of his time in idleness. After having lost in her efforts to make him work, the grand-mother decides to follow the traditional remedy, that is, to get him married. She chooses a girl, Veena (Veera) who is a doctor. Madan is not ready for the marriage. So he runs away from the home.

After days of traveling, Madan reaches a village where he falls in love with Ratna (Sulochana Chatterji), the village girl. He becomes the guest of Ratna’s brother Manglu (Yakub), a vagabond. In the village, Manglu loves Myna (Hemavati) but he is not aware that she also loves him. This leads to a situational comedy. At last, he takes the help of Madan to guide him to woo Myna. He succeeds.

In the meanwhile, Madan and Ratna’s love for each other results into the engagement. However, soon he gets the news that his grand-mother is on the death bed and he must visit her. At first, Madan was not ready but Ratna convinces him to visit so that he also gets blessings from his grand-mother for their impending marriage. So Madan visits her grand-mother. Just before her death, grand-mother places Veena’s hand with his hand and dies before Madan could reveal to her that he was already engaged to Ratna. Much against his wish, Madan gets married to Veena.

After the marriage, Madan tells Veena that she could get anything from him but not his love. But Veena was interested only of his love and nothing else. Madan deserts her and goes back to Ratna. But Veena takes it as a challenge to win over her husband. Veena gets an opportunity to prove her point. When Ratna gets seriously ill, it is Veena who is called upon to perform surgery on Ratna which result in saving her life. Madan has a change of heart and with Ratna’s advice, he goes back to his wife, Veena.

The film was reported to be a box office success. And why not? Being produced by a person who has been in the film distribution and exhibition business for long, his maiden film had all the ingredients of a box office formula – drama, romance, comedy, 12 songs, a couple of dances etc.

The film had 12 songs written by three songwriters, viz. Pt. Narendra Sharma (5), Swami Ramanand Saraswati (4) and Prem Dehlvi (3). All songs were set to music by Anil Biswas. 10 songs are available on YT of which 7 songs have been covered in the blog.

I am presenting one of the two rare songs which were not available on YT. The song is ‘Mera Mann Banphool Phoola Na Samaaye Re’ sung by Shamshad Begum. The words are written by Pt. Narendra Sharma.

An unusual feature of this song is that the musical interludes take place even during the singing of mukhda and antara parts in addition to the usual interludes. These musical interludes are as pleasant to the ears as the song. The long flute interlude during the first antara of the song may be the work of Pt. Pannalal Ghosh.

The musical orchestration gives me an impression of a dance song in a rural setting which means that it may have been picturised on Sulochana Chatterji.


Song – Mera Mann Banphool Phoola Na Samaaye Re (Veena) (1948) Singer – Shamshad Begum, Lyrics – Pt Narendra Sharma, MD – Anil Biswas

Lyrics

mera mann banphool
phoola na samaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool

kabhi hanse kabhi gaaye
kabhi hanse kabhi gaaye
kabhi sharmaaye re
mera mann banphool
phoola na samaaye
mera mann banphool

naache ban bel sang
naache ban bel sang
aaj mere ang ang
naache ban bel sang
naache ban bel sang
aaj mere ang ang
kaun jo ragon mein meri
ras ban jaaye re
kaun jo ragon mein meri
ras ban jaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool

saadh huyi meri poori
saadh huyi meri poori
door do dilon ki doori
saadh huyi meri poori
door do dilon ki doori
koi sapnon ke phool-doley mein jhulaaye re
koi sapnon ke phool-doley mein jhulaaye re
mera mann banphool
phoola na samaaye re
mera mann banphool 
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

कभी हँसे कभी गाये
कभी हँसे कभी गाये
कभी शरमाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

नाचे बन बेल संग
नाचे बन बेल संग
आज मेरे अंग अंग
नाचे बन बेल संग
नाचे बन बेल संग
आज मेरे अंग अंग
कौन जो रगों में मेरी
रस बन जाये रे
कौन जो रगों में मेरी
रस बन जाये रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल

साध हुई मेरी पूरी
साध हुई मेरी पूरी
दूर दो दिलों की दूरी
साध हुई मेरी पूरी
दूर दो दिलों की दूरी
कोई सपनों के फूल-डोले में झुलाए रे
कोई सपनों के फूल-डोले में झुलाए रे
मेरा मन बनफूल
फूला ना समाये रे
मेरा मन बनफूल


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.

Atul ji’s 10K Song Milestone Celebrations – 13
———————————————————————-

गाता जाये बंजारा

That is the image that forms in the mind. A distant, unfamiliar scenario. A solitary person trudging along a dusty road that leads through farms and fields, passing through towns big and small.

There is a purpose in the pace. There is a steadiness in the tread. There seems to be an unhurried and patient urgency in the forward movement.

Is he searching for someone, for something? Is he expecting a certain destination? I don’t know. The landmarks, they come and go, the milestones pass by. But he appears not to halt anywhere, never seems to take rest. Just a pause at a milestone, sees it with a searching eye, takes another breath, and then presses on.

He seems to be carrying something, slung on the shoulders. Is that an instrument of music? Or is it something else? What is it, I am not able to make out.

The vision is distant. I cannot see clearly what he does with his hands, or with the thing he carries. All I can make out is the unyielding, the constant and lasting forward move. And the ears continue to pick up things – words, notes, wafts of melodies, strains of music. Some are familiar, have been heard before. Others are unfamiliar, new. And the mind scrambles to capture and become familiar. But before I can assimilate these distant new sounds, he takes another step and the ears hear yet another pleasing tune.

And on and on he moves, not faltering, not stopping, playing out a new song with every stride he puts forward.

I follow him, trying to keep pace, trying to catch up. His constant unrelenting march – I am not able to match.

It is a distant vision – a vision that is now a placeholder in life. Every time I get my personal breather, and am able to raise up my head and look ahead on that dusty road, he is there.

He is always there. The same figure, the same appearance, the same movement – with an ever new refrain of enchanting strains, with an always new refreshing canticle. As if a gift divine – दिने दिने नवम् नवम् । And I sense a rising emotion that I am not able to identify. A pleasing emotion that feels superlative, all encompassing.

Sometimes, I try to call out to him. Sometimes, he will respond. Sometimes, he turns his neck and looks back, where the sound is coming from. I am still far behind to make out his face. The smile that I encounter is more felt than seen. I feel he is smiling, though I cannot see that far clearly. He seems to recognize me, my voice. I can make out – he waves his hand at me, as if beckoning me to follow him. And then, he turns the head, looking forward, and continues his march unabated, undisturbed.

I try to speed up. I try to catch up and be with him. But my pace is not as energetic. I try to speed up. But he always remains ahead, remains distant in front. And then another emotion starts to take shape within. A feeling emerges. The feeling slowly forms into belief. And the belief begets assurance – and a sensation of confidence begins to grow. His momentary wave to me is a connect – his acknowledgement to me that we are together. And that he knows we are. And that he knows that now I know that he knows. And a relief washes down into my being. Maybe distant, but the journey has found an accomplice.

The hours and days now have passed into ages. The beat does not falter. The milestones of amazement have been left far behind now. And yet there is a new amazement at every step. The unexpected is the expected; and the expected is always startling.

That superlative emotion continues to linger in back alleys of the mind. The landscape keeps changing. We have passed the oceans by the beach, with their exuberant waves reaching out to the land, and the faint strains carried in the winds “तू प्यार का सागर है॰ ॰ ॰”. We have passed the mountains, full of trees and flowers. Wafting fragrances please the aroma buds singing “वादियाँ मेरा दामन॰ ॰ ॰”. We have passed the snow laden mountains, lovely shining white scenarios, with a set of footprint tracks in snow, as we walk past the peaks and valleys where the echoes tell us “ये पर्वतों के दायरे॰ ॰ ॰”. We have passed the farmers in their fields, joyful at the sight of “हरियाला सावन॰ ॰ ॰”, and proud of their bounty. Sometimes familiar faces will turn towards us and wave, their feet “नाच रे धरती के प्यारे॰ ॰ ॰”. We have passed the divinity of rivers and the boatmen humming “गंगा आए कहाँ से॰ ॰ ॰”. We have trekked along the dusty roads on and on with a horse carriage going by us, the coachman telling us “आई बहार आज आई बहार॰ ॰ ॰”. Across the fields and the waving produce, sometimes we have seen the steaming plume of a train going by, and the ears catch the faint words “पल दो पल का साथ हमारा॰ ॰ ॰”. At times a powered cycle will pass by, and the rider whizzes away singing “इक रास्ता है ज़िंदगी॰ ॰ ॰”. Sometimes a heavy truck chugs along, and the bearded driver gives a smiling wave and tells us “ले चला जिधर ये दिल निकाल पड़े॰ ॰ ॰”. Sometimes there is a celebration in the village beyond the farmlands; there is color and lights and a group of ladies singing “मनभावन के घर जाये गोरी॰ ॰ ॰”. Sometimes there is a fair; a big crowd is seen in the grounds across the river, and the beating drums announce “आई झूम के बसंत॰ ॰ ॰”. Sometimes under the shade of a tree, a ruffled mendicant is waiting for alms, intoning “सबकी हो खैर बाबा॰ ॰ ॰”. Passing a damaged bridge, there is group of workers singing “साथी हाथ बढ़ाना॰ ॰ ॰”. In the grassland next to the road, children play, and they teach – “नानी तेरी मोरनी को॰ ॰ ॰”. At another place, there is cluster of young ladies, teasing a belle “अखियाँ भूल गई हैं सोना ॰ ॰ ॰”. A jeep passes by, and the rider is humming “यारो नीलाम करो ॰ ॰ ॰”. On a parallel path, a convoy of soldiers marches on, and they are singing “चलते ही जाना ॰ ॰ ॰”. A multitude of such simple to life encounters.

The dusks descend at their usual time every day, and a smattering of lights will start burning across the landscape. The trek continues unabated. There is a lonely figure somewhere nearby, lost in the darkness of trees; is slowly singing, probably to himself “रुक जाना नहीं ॰ ॰ ॰”. Sometimes, in the falling darkness of the night, a flute is heard, that pulls the mind. And from a nearby dwelling, the voice of a belle is softly telling “ये बंसी क्यों गाये ॰ ॰ ॰”. The sky is littered with stars and the ways of the milky clouds. The trudge is incessant, and continues to move ahead unrelenting. Passing by another home, a mother is putting a child to sleep “टिम टिम करते तारे ॰ ॰ ॰”.  A lantern is seen waving in space, and I close in on a bullock cart, plodding along the road; and as I pass by, I catch the straining words “जीवन से लंबे हैं ॰ ॰ ॰”. The night carries on. The darkness goes and comes again. The wind is rustling the leaves, making the sounds of “ओ रात के मुसाफिर॰ ॰ ॰”.

And then on the eastern edge the stars begin to fade slowly. The greying skies tell of the advent of yet another day. That figure ahead of me is still at the same place in sight. In the darkness of night he would have crossed one, maybe two more milestones. The day begins to gather strength, the movement of farms and animals begins, the birds are out of nests and out to gather breakfast. A village belle walks by with a ‘गागर’ of fresh water from the well. She is humming “ज्योति कलश छलके ॰ ॰ ॰”. On a distant hill a temple bell is heard – “॰ ॰ ॰भगवान का घर है॰ ॰ ॰”. A fresh new day is here. There are new melodies that he has taught me over the previous day. The music is still lingering, playing in the mind. He looks back and waves, yet again. And then, as before, he faces ahead and continues to move.

The sounds that were prancing around in the bylanes of the mind all of the previous evening, form themselves into words, and the lips start to hum a familiar aria.

ले कर दिल का इकतारा
बस्ती बस्ती पर्वत पर्वत
गाता जाये बंजारा

And with that also arises again that unnamed superlative emotion that has been playing hide and seek in the mind since many a day. Who are you, I ask of it. All I get to feel as if there is a smile behind a cloud of smoke. A smile that is beckoning me, a smile that is urging me to follow and find out more, and to know. The words are not heard but are felt inside the heart. Who is it, what is it, I am not able to pin point. A young village lad goes past riding a bullock cart, and he is singing “॰ ॰ ॰ पूर्वा के झोंकवा में आइओ रे संदेसवा॰ ॰ ॰”. I turn and face ahead once again – that figure walking ahead of me, looks back and I can feel the same smile once again. Yes, he is there, he continues to move ahead, and continues to share the music. The path crosses a patch of blooming flowers. I strain and in the winds I can pick up the words “फूलों से दोस्ती है॰ ॰ ॰ कैसे मज़े की प्यारे ज़िंदगी हमारी है॰ ॰ ॰”. With every sound, with every ditty, there is a bump in the heart and a lump in the throat. I look up ahead. He is not looking back at me now. But I know. He is smiling. And he is enjoying.

The emotion swirling inside seems to take a diffused shape, and momentarily diffuses again. Eyes espy a young man and a belle, walking along the hedges of the wheat fields. They are seen at distance, and the words carry through “गुम है किसी के प्यार में॰ ॰ ॰”. Something familiar stirs inside. And a bevy of thoughts gather, vying with each other to fly the open skies. The feminine voice goes by prancing “अर्र रर पायल मोरी खनके हो॰ ॰ ॰”. And the young male voice presses for a tryst by the river “गोरी मिलना हो मिलना हो नदिया के पार॰ ॰ ॰”. Momentarily, the voices team up and the winds carry the words “॰ ॰ ॰मैंने दिल तुझको दिया॰ ॰ ॰”. The pathway skirts a shallow ravine. A row of young lasses is walking by, singing. I can decipher the strains faintly “चले जा चले जा चले जा, जहां प्यार मिले॰ ॰ ॰”. It all appears to be pulling together. The emotion rises again, and washes my being with a very pleasant fragrance.

I call out to him again. Loudly this time. For once, he turns his head and looks at me. “कहाँ ले चले हो॰ ॰ ॰”, the question forms on my lips. A big smile appears to cover all of his face. The words travel back to me “॰ ॰ ॰ जहां तक घटा चले॰ ॰ ॰”. He turns, and continues on, this time with a vigorous wave of his hand, pressing me to keep following.

I look up ahead. He is in the same mood, in the same mode. And I see him drop something. I quicken my pace, just to see. I try to call him. He continues moving, but responds with a wave of his hand. I reach that thing he has dropped. I pick it up. It is a piece of paper. On it are scribbled some words. It is a short and a simple message that is probably for me. The paper has the words “प्यार बांटते चलो॰ ॰ ॰”. I read. The swirling effusion rises to realization – oh yes, this is the purpose he walks on and on. I look up ahead. He is facing forward and moving on. In my mind’s eye, that smile appears once again.

The elation almost lifts me off my feet. It is love. It is that feeling of affection that rises and spreads to cover the world. The mind is free, the heart is joyous, and this world is the most beautiful place to be. The memories of all the thousands of milestones passed, suddenly appear and pass through the mind like a storm. Every melody that we shared across time and space. Every emotion that was spawned by the melodies. Every little molecule of joy and happiness that came with these emotions. Every stop of the journey flashes by in the portals of the mind. Ah, this journey, this detachment from the desires of reaching a destination, this freedom to keep going till we reach the “घटा” at the edge of the horizon. The ecstasy is so rejuvenating. And the mind remembers – “ये हंसता हुआ कारवां॰ ॰ ॰ तमन्ना है ये साथ चलते रहें हम ना बीते कभी ये सफर॰ ॰ ॰”. It seems all that is life, is here and now with us. I look up again towards him. And this time, again, he turns his head, gives a big smile and, as if reading my mind, nods in the affirmative.

We continue moving forward. We pass many, many more stops and the melodies are acknowledged. The heart is in delight, the steps are springy and light, and the only desire is “॰ ॰ ॰ ना बीते कभी ये सफर॰ ॰ ॰”. After so many more milestones, he drops me another note. I quicken my pace to pick it up again. The words, they bring a thrill into my being. His note says “॰ ॰ ॰ ये प्यार हमारा हमेशा रहेगा॰ ॰ ॰”. A feeling of love with a touch of divinity, steals through the labyrinths of the mind. And the heart knows, this is one promise that is forever. The journey, the companionship, the melody – nothing much more remains to be desired in life. The ‘Fiddler’ is walking ahead of me. All I know now is that I follow him. He has this thing slung on his shoulder. There is music and there is a song, wafting in from practically everything, every person we meet and see on this trek. And the images in the mind only get stronger.

ले कर दिल का इकतारा
बस्ती बस्ती पर्वत पर्वत
गाता जाये बंजारा

गाता जाये बंजारा

[SK – The words of this song say it all, I will add no more. Except that, Atul ji, I have run out of hats to doff at your achievements.]

Song – Aap Ka Shukriya Aap Ki Meharbaani (Anokhi Pehchaan) (1972) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics

aap ka..
shukriyaa
aap ki.. meharbaani
aap ki.. meharbaani
aap aaye na aate
to dil toot jaate
aap aaye na aate
to dil toot jaate
rooth jaati ye shaam suhaani
aap ka..
shukriyaa
aap ki.. meharbaani

aap jis raah chal phir rahe hain
phool us raah pe gir rahe hain
aap jis raah chal phir rahe hain
phool us raah pe gir rahe hain
kya suhaana samaa hai
ye mausam jawaan hai
aaj har cheez pe hai jawaani
aap ka..
shukriyaa
aap ki.. meharbaani

aap bin chaar pal bhi hamaara
ab nahin hai jahaan mein guzaara
aap bin chaar pal bhi hamaara
ab nahin hai jahaan mein guzaara
aap ki yaad aaye
to dil behal jaaye
dijiye aisi koi nishaani
aap ka..
shukriyaa
aap ki.. meharbaani

pyaar hum ne hamesha kiya hai
har janam mein tumhen dil diya hai
pyaar hum ne hamesha kiya hai
har janam mein tumhen dil diya hai
yaad rakhna ye baaten
nai hain mulaqaaten
ye mohabbat magar hai puraani
aap ka..
shukriyaa
aap ki.. meharbaani
aap aaye na aate
to dil toot jaate
rooth jaati ye shaam suhaani
aap ka..
shukriyaa
aap ki.. meharbaani

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी
आप की॰॰ मेहरबानी
आप आए ना आते
तो दिल टूट जाते
आप आए ना आते
तो दिल टूट जाते
रूठ जाती ये शाम सुहानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

आप जिस राह चल फिर रहे हैं
फूल उस राह पे गिर रहे हैं
आप जिस राह चल फिर रहे हैं
फूल उस राह पे गिर रहे हैं
क्या सुहाना समा है
ये मौसम जवां है
आज हर चीज़ पे है जवानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

आप बिन चार पल भी हमारा
अब नहीं है जहां में गुज़ारा
आप बिन चार पल भी हमारा
अब नहीं है जहां में गुज़ारा
आप की याद आए
तो दिल बहल जाये
दीजिये ऐसी कोई निशानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी

प्यार हमने हमेशा किया है
हर जनम में तुम्हें दिल दिया है
प्यार हमने हमेशा किया है
हर जनम में तुम्हें दिल दिया है
याद रखना ये बातें
नई हैं मुलाकातें
ये मोहब्बत मगर है पुरानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी
आप आए ना आते
तो दिल टूट जाते
रूठ जाती ये शाम सुहानी
आप का॰॰
शुक्रिया
आप की॰॰ मेहरबानी


This article is written by Aparna HM, 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.

Atul ji’s 10K Song Milestone Celebrations – 12
———————————————————————-

Atul ji has become a legend now 🙂 . Anybody disagrees? I dont think so. Who else has achieved what he has achieved – a mammoth task of collecting information about 10,000 songs and then writing/sharing the same with like-minded enthusiasts. A monumental work, unselfish to the core. What sacrifices he must have made, how much time he would have spent, what passion he must be having to carry on blogging relentlessly for almost 9 years!! You would get an idea of it when you go through one of his write-ups for the song “Kitne Bhi Tu Kar Le Sitam“. Forget about miserly people running such a blog, it is not a possibility at all. Even a person earning good amount of money would hesitate to do it. You will understand my statement in its full extent only if you read the above-mentioned write-up.

Well, his blog is an encyclopedia of old HFM I would say, containing the most accurate information. In addition to all these qualities, he allows others to write on his blog (guess it is done after correcting wrong particulars sent by guest-writers. I am sure that many of the guest-writers are themselves experts in the field who don’t give wrong details. But it is another matter for a know-nothing person like me!!).

Hats-off to you Sir!!! Your ‘saat khoon maaf‘ (though I don’t forgive the acting of Priyanka Chopra in the movie (unrelated CSP??) 🙂 Hope you continue to do it for decades to come, my sincere wishes are with you.

Coming to song that I have selected by proxy (it was suggested by Sudhir ji, many thanks to you Sudhir ji) is “Barso Re Megha” from the 2007 film ‘Guru’. The movie was released in 2007.  It is directed by Mani Ratnam and produced under the banner of Madras Talkies. The music is by AR Rehman and the lyrics writer is Gulzar. The song is picturized on Aishwarya Rai and sung by Shreya Ghoshal. Each and every one of them is a very big name in the Hindi movie world as you all know. With this song, the movie ‘Guru’ makes its debut on the blog.

There is an unknown male singer who sings a couple of lines in between. Request to more knowledgeable readers to help identify the voice please.

What a delightful song it is. Aishwarya looks out of the world, dances ethereally. She sheds her plasticky image to portray the joy of experiencing rain. She dances with abandon to the steps of Saroj Khan. The background of the song is – she is about to leave her parental home and elope with her beloved Guru (role played by Abhishek Bachchan). There is a short dialogue in the song in Aishwarya’s own voice about India getting independence and she chuckling why shouldn’t she.

Rain is shown pouring throughout the song and it is supposed to be natural rain as it was monsoon season when this song was shot. Aishwarya is heard calling the clouds to send down more rains. She says the rain is neither warm, nor too cold; the temperature is at optimal level (kosa), is sweet (meetha) and is like a kiss (bosa). Unusual words but not unusual with Gulzar. (Thanks to Sudhir ji for the right meaning of the words). She wants to build a house with mud made wet by rains with her lover. And she is perched on a jhoola and literally rocking. Ah girl, what bliss!!

She hears the twinkling sounds of bulls and farmers tilling land. Unmindful of the consequences, she swims towards the dwelling of her premi. In the dark night, rain flows rapidly. She imagines that the clouds will be searching for her. After searching for a while in locations like ghar, aangan, angana and jharna, the clouds will move away unable to find her. See, she is clever enough to keep her activity covert, even clouds cannot see her. She tells the billowing clouds not to forget her as otherwise everybody will be asking them about her. What imagination!! With unsteady movements, she moves towards her goal of joining her darling dearest.

Now if anybody is wondering what is the relationship between this song and Atul ji’s feat. This is what Sudhir ji has to say – Listening to this song, what came to my mind is the downpour of music that is made possible by Atul ji, through ASAD. Makes perfect sense.

Enjoy the song. Hope you too jig / swirl / frolic / jive / prance with our heroine.

[Ed Note: Identification of the male voice and words of the Gujarati song (two lines) appearing in this song are provided by Sh. Ambreesh Kagzi.]


Song – Barso Re Megha Megha (Guru) (2007) Singer – Shreya Ghoshal, Lyrics – Gulzar, MD – AR Rahman
Uday Mazumdaar
Aishwarya’s Voice
Shreya Ghoshal + Chorus
Chorus

Lyrics

naa re naa re

naa re naa re

nanna na re naa re

naa re naa re

nanna re nanna re nanna re na naa re

barso re megha megha
barso re megha megha
barso re megha barso
barso re megha megha
barso re megha megha
barso re megha barso
meetha hai kosa hai
baarish ka bosa hai
kosa hai kosa hai
baarish ka bosa hai
meetha hai kosa hai
baarish ka bosa hai
kosa hai kosa hai
baarish ka bosa hai

jal jal jal jal jal jal
jal thal jal thal
chal chal chal chal
chal chal chal chal
chal chal behta chal
nanna re nanna re nanna re na naa re
nanna re nanna re nanna re na naa re
nanna re nanna re nanna re na naa re
nanna re nanna re nanna re na naa re
barso re
barso re megha ‘ee’ barso re megha megha
barso re megha barso

va vhaya ne vaadal oomatyaa
gokul maa tahuko mor malyaa

gilee gilee gilee haa
ha ha ha ha
ha aa ha ha. . .
gilee gilee matee
gilee matee ke
chal gharonde banaayenge re
hari bhari ambi
ambi ki daali
mil ke jhoole jhulayenge re ho
dhan baiju gajni. . . 
hal jotey sab ne
bailon ki ghanti bajee. . . 
aur taal lagey bharne
re tair ke chalee
main to paar chali
re tair ke chalee
main to paar chali
paarwaale parle kinaar chali re megha
nanna re nanna re nanna re na naa re
nanna re nanna re nanna re na naa re
nanna re nanna re nanna re na naa re
nanna re nanna re nanna re na naa re

[Spoken words in Aishwarya’s voice while she writes a letter to father:]
(baapu main jaa rahi hoon. jo meri marzi hai woh aap ki pasand nahin.
ab desh aazaad hai, to aap ki beti kyon nahin? mujhe mera saathi mil
gaya hai. chinta mat karna, main khush rahoongi – aap ki Sujata
)

kaali kaali raaten
kaali raaton mein
yeh badarva baras jaayega
gali gali mujhko
megha dhoondega
aur garaj ke palat jaayega
ghar aangan angana
aur paani ka jharna
bhool naa jaana mujhe
sab poochhenge varna
re beh ke chali main to beh ke chali
re keh ke chali main to keh ke chali re megha
nanna re nanna re nanna re na naa re
nanna re nanna re nanna re na naa re

na na re na na re
(nanna re nanna re)
nanna re nanna re
(nanna re nanna re)

nanna re na naa re
na na re na re
na re.. na re..
naa re
(nanna re)
naa re
(nanna re)
naa re
(nanna re)
naa re
(nanna re)
nanna re nanna re naana re na naa re

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

ना रे ना रे

ना रे ना रे

नन्ना ना रे ना रे

ना रे ना रे

नन्ना रे नन्ना रे नन्ना रे ना ना रे

बरसो रे मेघा मेघा
बरसो रे मेघा मेघा
बरसो रे मेघा बरसो
बरसो रे मेघा मेघा
बरसो रे मेघा मेघा
बरसो रे मेघा बरसो
मीठा है कोसा है
बारिश का बोसा है
कोसा है कोसा है
बारिश का बोसा है
मीठा है कोसा है
बारिश का बोसा है
कोसा है कोसा है
बारिश का बोसा है

जल जल जल जल जल जल
जल थल जल थल
चल चल चल चल
चल चल चल चल
चल चल बहता चल
नन्ना रे नन्ना रे नन्ना रे ना ना रे
नन्ना रे नन्ना रे नन्ना रे ना ना रे
नन्ना रे नन्ना रे नन्ना रे ना ना रे
नन्ना रे नन्ना रे नन्ना रे ना ना रे
बरसो रे
बरसो रे मेघा ई बरसो रे मेघा मेघा
बरसो रे मेघा बरसो

वा व्याह ने वाडल ऊमत्या
गोकुल मा तहुक्यो मोर मलया

गिली गिली गिली हा
हा हा हा हा
हा आ हा हा॰ ॰ ॰
गिली गिली माटी
गीली माटी के
चल घरोंदे बनाएँगे रे
हरी भरी अम्बी
अम्बी की डाली
मिल के झूले झुलाएंगे रे हो
धन बैजु गजनी
हल जोते सबने
बैलों की घंटी बजी
और ताल लगे भरने
रे तैर के चली
मैं तो पार चली
रे तैर के चली
मैं तो पार चली
पार वाले परले किनार चली रे मेघा
नन्ना रे नन्ना रे नन्ना रे ना ना रे
नन्ना रे नन्ना रे नन्ना रे ना ना रे
नन्ना रे नन्ना रे नन्ना रे ना ना रे
नन्ना रे नन्ना रे नन्ना रे ना ना रे

[अपने पिता को पत्र लिखते हुये, ऐश्वर्या की आवाज़ में शब्द]
(बापू मैं जा रही हूँ। जो मेरी मर्ज़ी है वो आपकी पसंद नहीं।
अब देश आज़ाद है तो आपकी बेटी क्यों नहीं? मुझे मेरा साथी
मिल गया है। चिंता मत करना, मैं खुश रहूँगी – आपकी सुजाता
)

काली काली रातें
काली रातों में
ये बदरवा बरस जाएगा
गली गली मुझको
मेघा ढूंढेगा
और गरज के पलट जाएगा
घर आँगन अंगना
और पानी का झरना
भूल ना जाना मुझे
सब पूछेंगे वरना
रे बह के चली मैं तो बह के चली
रे कह के चली मैं तो कह के चली रे मेघा
नन्ना रे नन्ना रे नन्ना रे ना ना रे
नन्ना रे नन्ना रे नन्ना रे ना ना रे

ना ना रे ना ना रे
(नन्ना रे नन्ना रे)
नन्ना रे नन्ना रे
(नन्ना रे ना ना रे)
ना ना रे ना रे
ना रे॰॰ ना रे॰॰
ना रे
(नन्ना रे)
ना रे
(नन्ना रे)
ना रे
(नन्ना रे)
ना रे
(नन्ना रे)
नान्ना रे नान्ना रे नान्ना रे ना ना रे


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.

OK so, ‘Ek Ladki Saat Ladke’ from 1961, is the film that today joins the ranks of films with all their songs posted. It is Yippeee-land time for this film. And that’s all folks, that I can say for this film. Another one of the ‘Lost Children’, about whom nothing more is known, nothing more exists in memory. Yes, there is information that is contained in the Geet Kosh. Based on the Geet Kosh inputs, the basic demographics for this film are as follows.

The film is produced and directed by Roop K Shorey. The cast of actors is very brief – Ravinder Kapoor, Ameeta, Majnu, Badri Prasad, and Durga Khote. After having tasted success with ‘Ek Thi Ladki’ (1949) and ‘Ek Do Teen’ (1953), Roop K Shorey tried to repeat a similar sounding formula in this film.  The earlier two films had Motilal and Meena K Shorey as the lead pair, and Vinod as the music director.  But in this film, the only common link is Vinod, who also was replaced by S Mohinder, in unfortunate circumstances.

This is one of the films that music director Vinod was working on when he unexpectedly passed away in 1959.  Some songs had been recorded, and for the remaining songs, the composition work was completed by S Mohinder.  In the Geet Kosh, for some songs of this film, the name of the music director is not specifically identified.  This song is one of them.

Geet Kosh lists five songs for this film. For all the five songs, the words are written by Majrooh Sultanpuri.

Thankfully though, all the five listed songs are available as 78 rpm recordings. And yet once again, an obscure and lost film, whose songs are simply superb.

Teri Zulfn Ke Saaye Mein Jeena Hai Jee”, such a soft romantic duet, in the voices of Rafi Sb and Asha ji. So soft is the tone and rendition of this song that Atul in his write up of this song says – “This is an interesting song where Rafi sings softly in a velvety voice. In fact this is a song where Rafi sings like Talat Mehmood.”

Itni Si Baat Ka Fasaana Na Banaao”, another enchanting duet of Rafi Sb and Asha ji.

Agar Tum Na Hanste To Ham Bhi Na Phanste”, a delightful all female duet, in the voices of Asha ji and Sudha Malhotra.

And then there is this song that almost made it to the Fabulous Foot Tapper series, but then was pulled by me for my ‘Ye hai Bombay Meri Jaan’ series – “Main Flora, Rang Mera Gora”. Aah ys, expectedly, in the voice of Asha ji.

Coming to this song for today. The singing voices are of Mahendra Kapoor and Asha ji.  One of the songs for which you are bound to say, ‘really, wow’. A song that is basically crafted on the traditional Tappe genre from Punjab. The singers compete with one another, in that one will present a two liner as a query or a teaser, and the other singer is then supposed to suitably respond, addressing the query or posing a counter query or giving a ‘मुंह तोड़ जवाब’ (a fitting repartee), to the teaser floated by the first singer. This traditional folk genre is very popular in Punjab, and I am sure there are corresponding genres in many other regional cultures. In Punjabi, there is almost an unending variety of this type of song. Just this song itself is a  double length song, lasting more than six minutes, and is accommodated on two sides of a 78 rpm record.

A very interesting tete-a-tete between the two singers, wherein many flavors of the matters of the heart are being expressed. I am sure you will really enjoy this number.

Song – Mal Mal Ke Jaaye Mera Jiyaa (Ek Ladki Saat Ladke) (1961) Singers – Mahendra Kapoor, Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Vinod/S Mohinder

Lyrics

mal mal ke jaaye mera jiya
mal mal ke jaaye mera jiya

oy mal mal ke jaaye mera jiya
dilwaali
mal mal ke jaaye mera jiya
dupatta tera mal mal ka haaye
dupatta tera mal mal ka ha..aye
ni soniye
o jaise ke laage mera piya
dilwaala
jaise ke laage mera piya
dekho ji chhora aaj kal ka haaye
dekho ji chhora aaj kal ka haaye
ve soneyaa heereya

lat mukh pe dekh ruk gaya
lat mukh pe dekh ruk gaya
ho lat mukh pe dekh ruk gaya kaahe babu
lat mukh pe dekh ruk gaya
le apni gali ka rastaa haaye
le apni gali ka rastaa haaye
ve mundeyaa

o badli mein chaand chhup gaya jab gori
badli mein chaand chhup gaya
bhatak gaya main bhi rasta haaye
bhatak gaya main bhi rasta haaye haye
ni soniye
lachhiye

oy sadqe
oy hass ke

ganne se pyaar tera meetha
ganne se pyaar tera meetha
o ganne se pyaar tera meetha mastaani
ganne se pyaar tera meetha
katora bhar de re dil ka haaye
katora bhar de re dil ka haaye
ni lachhiye

bin piye hi mauj mein aaya mastaane
bin piye hi mauj mein aaya
jawaab nahin teri gal ka haaye
jawaab nahin teri gal ka

kankar na maar o pagle
kankar na maar o pagle
kankar na maar pagle matwaale
kankar na maar o pagle
paayal boley chhun chhun se ji
paayal boley chhun chhun se haaye
ve soneya

bichhuaa bajaa ke mat chalo matwaali
bichhuaa bajaa ke mat chalo
zeher chadhe sun sun ke haaye
zeher chadhe sun sun ke haaye haaye
ni soniye
kudiye

ho..oy..ye..e

nikle ho nain takraane
nikle ho nain takraane
ho nikle ho nain takraane o deewaane
nikle ho nain takraane
sheeshe mein zara munh dekho ji
sheeshe mein zara munh dekho ji
ve mundeya

o tujhe chhod aur kahaan dekhun o deewaani
tujhe chhod aur kahaan dekhun
tu hi jo mera darpan ho haaye
tu hi jo mera darpan ho haaye haaye
ni soniye
lachhiye

laakhon ki aankh teri sooni
laakhon ki aankh teri sooni
o laakhon ki aankh teri sooni kaahe gori
laakhon ki aankh teri sooni
kajal nahin aaj hasey haaye
kajal nahin aaj hasey haaye
ni soniye

is darr se kajal nahin daalun akhiyon mein
is darr se kajal nahin daalun
nainon mein tera pyar basey haaye
nainon mein tera pyar basey haaye
ve soneya
dholna

[sounds of bhangra dancing]
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मल मल के जाये मेरा जिया
मल मल के जाये मेरा जिया

ओय मल मल के जाये मेरा जिया
दिलवाली
मल मल के जाये मेरा जिया
दुपट्टा तेरा मम माल का हाए
दुपट्टा तेरा मम माल का हा॰॰ए
नी सोनिए
ओ जैसे के लागे मेरा पिया
दिलवाला
जैसे के लागे मेरा पिया
देखो जी छोरा आज कल का हाए
देखो जी छोरा आज कल का हाए
वे सोनेया हीरेया

लट मुख पे देख रुक गया
लट मुख पे देख रुक गया
हो लट मुख पे देख रुक गया काहे बाबू
लट मुख पे देख रुक गया
ले अपनी गली का रस्ता हाए
ले अपनी गली का रस्ता हाए
वे मुंडेया

ओ बदली में चाँद छुप गया जब गोरी
बदली में चाँद छुप गया
भटक गया मैं भी रस्ता हाए
भटक गया मैं भी रस्ता हाए हाए
नी सोनिए
लच्छीये

ओय सदक़े
ओय हस्स के

गन्ने से प्यार तेरा मीठा
गन्ने से प्यार तेरा मीठा
ओ गन्ने से प्यार तेरा मीठा मस्तानी
गन्ने से प्यार तेरा मीठा
कटोरा भर दे रे दिलका हाए
कटोरा भर दे रे दिलका हाए
नी

बिन पिये ही मौज में आया मस्ताने
बिन पिये ही मौज में आया
जवाब नहीं तेरी गल का हाए
जवाब नहीं तेरी गल का

कंकर ना मार ओ पगले
कंकर ना मार ओ पगले
कंकर ना मार ओ पगले मतवाले
कंकर ना मार ओ पगले
पायल बोले छुन छुन से जी
पायल बोले छुन छुन से हाए
वे सोनेया

बिछुया बजा के मत चलो मतवाली
बिछुया बजा के मत चलो
जहर चढ़े सुन सुन के हाए
जहर चढ़े सुन सुन के हाए हाए
नी सोनीए
कुडीए

हो॰॰ओय॰॰ये॰॰ए

निकले हो नैन टकराने
निकले हो नैन टकराने
हो निकले हो नैन टकराने ओ दीवाने
निकले हो नैन टकराने
शीशे में ज़रा मुंह देखो जी
शीशे में ज़रा मुंह देखो जी
वे मुंडेया

ओ तुझे छोड़ और कहाँ देखूँ ओ दीवानी
तुझे छोड़ और कहाँ देखूँ
तू ही जो मेरा दर्पण हो हाए
तू ही जो मेरा दर्पण हो हाए हाए
नी सोनीए
लच्छीये

लाखों की आँख तेरी सूनी
लाखों की आँख तेरी सूनी
ओ लाखों की आँख तेरी सूनी काहे गोरी
लाखों की आँख तेरी सूनी
कजल नहीं आज हसे
कजल नहीं आज हसे
नी सोनीए

इस डर से कजल नहीं डालूँ अखियों में
इस डर से कजल नहीं डालूँ
नैनों में तेरा प्यार बसे हाए
नैनों में तेरा प्यार बसे हाए
वे सोनेया
ढोलना

[भांगड़ा नाच के शब्द]


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

Atul ji’s 10K Song Milestone Celebrations – 4
——————————————————————–

कर्मणये वाधिकारस्ते मां फलेषु कदाचन ।
मां कर्मफलहेतुर्भू: मांते संङगोस्त्वकर्मणि ।।
Karmanye aadhikaraste ma phaleshu kadachan
Ma karmaphalheturbhu maate sangostavakarmani

[You have a right to perform your duties but without any expectation.  You have no right to the fruits of your works. Let yourselves be not attached to inaction.]

I used to remember this shloka (verses) during the telecasting of ‘Mahabharat’ on TV. In the recent period, I have once again started recalling this shloka as I find this shloka apt for Atul ji! He has been doing his karma (duties) of posting Hindi film and non-film songs faithfully since the inception of the Blog on July 19, 2008 without expectation of any kind of rewards.
Read more on this topic…


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 36
– – – – – – – – – – – – – – – – – – – – – – – – – –

“सावन की परी चुप चुप है खड़ी

I came across this song for the first time, few weeks ago. It has been sitting in the hard disk for quite some time now, one of a set of songs of Rafi Sb that Bakshish Singh ji gave to me. On some prompting thought in the mind, I just played this song, as I was searching for a song starting with ‘स’, and goodness, just could not believe that this wonderful gem of a song has been sitting away from mainstream listening. Later, when I checked online, this song is posted on YT more than once, implying it is not so rare as I would imagine. Oh but, what a song, what a song.
Read more on this topic…


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.

Missing Films of 1960s – 27
– – – – – – – – – – – – – – –

Gosh, returning to this series after almost eight months.

Atul ji tells us about his resolution to post at least one song per day that brings on board a new film, onto our blog. When I revisited this series to revive it, I suddenly realized that this series, just by the fact of what it is, is actually a series of songs that would serve the purpose of bringing new films on to the blog – which is one of the resolutions of Atul ji.
Read more on this topic…


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.

Another request from Arvinder ji.  And another delightful song that I must thank him for introducing to me. I heard this song for the first time after Arvinder ji’s persistent requests finally made me pull this song out and listen to it. It was love at first hear 😉 (ah, the phrase being used again today). And yes, another theme being used again today is the ‘keep your hearts safe’ message. In an earlier post today, Atul ji has uploaded the Shamshad Begum song – “Meri Nazren Pockekmaar Sambhaalo Dil Ke Pocket Ko”. And in this song, the lady is announcing that

आई हूँ रंग ले के मैं बहार के
रखना काबू
दिल रखना काबू

The film is ‘Naag Padmini’ from 1957. This is a historical film, produced by Mulkhraj Bhakri under the banner of Golden Movies, Bombay and is directed by Lekhraj Bhakri. The cast of actors includes Mahipal, Shakeela, Hiralal, Maruti, Tiwari, Niranjan Sharma, Kammo, Krishna Kumari, Kanchanmala, Tun Tun, Daljeet, Sadiq, amongst others. There are 8 songs in this film, all coming from the pen of Prem Dhawan. Music is by Sanmukh Babu.
Read more on this topic…


This article is written by Bharat Upadhyay, 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.

Lata’s Songs NOT YET covered on our Blog – 18
————————————————
Meri Kahaani, (1948) was produced by Super Team Federal Productions, Bombay and directed by Keki Mistry. It had a star-cast consisting of Surendra, Munnawar Sultana, Pratima Devi, Sanobar, Leela Kumari, Ramesh Sinha, Bhudo Advani, Santosh Kumar, Murad Khan, Vaskar etc.
Read more on this topic…


Advertisements

Important Announcement

(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

Total visits so far

  • 9,387,292 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 2,074 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Stumble

Historical dates

Blog Start date: 19 july 2008 Active for 3000 days.
%d bloggers like this: