Archive for the ‘Inspirational song’ Category
Jaao Mere Devta, Jaao Mere Praan
Posted on: May 15, 2019
- In: "Ganga" song | Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Krishna Kalle solo song | Krishna Kalle songs | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1968 | Songs of Encouragement | Yearwise breakup of songs
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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 : |
3953 | Post No. : | 15029 | Movie Count : |
4120 |
Missing Films of 1960s – 108
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At 108, generally a maala is considered to be complete. So we are at the 108th episode of this series, searching for and bringing on missing films of 1960s on to our blog. Ah but, the homework is not still fully done. So there still are some films pending, to be taken care.
The story of the descent of the holy river Ganga, from the Baikunth Lok down to the earth, is very detailed and interesting. It spans four generations of kings belonging to the Suryavansh, the Sun Dynasty, in which later Lord Ram also appeared.
In the lineage of Suryavansh – Vivaswaan (also known as Vaivaswat Manu) is the son of Sun God. He had 10 sons. His second eldest son is Ikshvaku, from whom starts the primary lineage of the Sun Dynasty as we know it. His next in line is a son named Nimi. The lineage progresses and through more generations reaches Raja Harishchandra. The descendants of Raja Harishchandra in sequence, are Rohit, Vrishabh, Baahuk and then Sagar (‘सगर’).
Raja Sagar has two wives – Sumati and Keshini, but no children. Once Rishi Aurv (‘और्व’), passing through the kingdom, stayed at the palace and accepted the hospitality of Raja Sagar. When he was leaving, pleased by the selfless service done by the king, he asked the king to express his wish. The king of course expressed his desire to have sons so that his dynasty may continue. The Rishi blessed him, and said that one of his queens will give birth to one son. The second queen will be blessed with 60,000 sons. All of them will be brave and exceptional, but that they will be playful and short in temper.
With the passage of time, the blessing of the Rishi bore fruits, and the sons were born. Sumati gave birth to one sone Asmanja, and Keshini gave birth to 60,000 sons. Asmanja turns out to be a person with negative qualities.
Then after another passage of time, the King decided to conduct the Ashvamedha Yajna, to proclaim his sovereignty over all the land. The sixty thousand sons were given charge of protecting the horse of the Yajna. Now, Lord Indra, the king of the demigods, was envious of Raja Sagar. He decided to play a mischief. One night, as all the sons and soldiers were asleep, Indra stole the horse, took it, and tied it in the ashram of Kapil Muni, who was meditating at that time.
The army of 60,000 sons of Sagar reached Kapil Muni’s ashram in search of the horse. Finding the horse there, they jumped to the conclusion that Kapil Muni had stolen it. Muni was deep in meditation. Sagar’s sons started to rebuke him and call him names. They prodded him with their bows and disturbed him no end. Kapil Muni’s mediation was broken. He opened his eyes and looked at the army of 60,000 sons of Sagar. Such was the power in him, that by his mere glance, the 60,000 boys were burnt to death and turned into ashes.
When Sagar heard of this news, he was grief stricken. All his sons, save one, had perished without any proper samskaar etc. He consulted his Raj Purohit, Vashishth Muni. Vashishth said that the only way the perished sons could attain salvation was if the waters of the holy river Ganga was sprinkled on the ashes of the army of sons. For Raja Sagar, it was an unthinkable task. The grief took his life. His remaining son Asmanja was not a good person, and had been banished from the kingdom. But the son of Asmanja – Anshuman, turned out to be a very noble person. Sagar made him the King. Anshuman made a vow to bring water of Ganga to the earth. He forsook his kingdom and did mediation and penance all his life. But was not successful. He had one son, Dilip. The onus of accomplishing this task fell on to his shoulder. He too followed the path of meditation and penance, but quickly lost his health and passed away. The mantle for this task was now taken up by Dilip’s son, Bhagirath.
He prayed to Brahma for long years. Finally, Brahma was pleased, and he blessed Bhagirath with the promise that Ganga would descend from Baikunth and will come to earth. The narrative further tells us of the problem of the strength and volume of the flowing waters of Ganga. The earth or any person on earth could not withstand the force of the flow of Ganga. Then Bhagirath prayed to Lord Shiva, who agreed to let the holy river Ganga descend on to him, he would bear the main brunt of the force, and then the rest of earth and its people would then be blessed by it. There is a lot more detail in this narrative, appearing in multiple scriptures.
The film ‘Har Har Gange’ of 1968 is produced under the banner of Nitin Chitra and is directed by Babubhai Mistry. (Another film by the same name was produced in 1979, and that too is also directed by the same person.) The star cast of the 1968 film is listed as Jaishri Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bharti, BM Vyas, Arvind Pandya, Uma Dutt, Vishwas, SN Tripathi, Sudarshan, Babu Raje, Tuntun, Paulson, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopi, Prakash, Munna Bagla, Madhumati, Bela Bose, and Helen.
The film has 6 songs, all penned by Kavi Pradeep. The music is composed by SN Tripathi. The song has been rendered by Krishna Kalle. The occasion seems to be that King Bhagirath is leaving the kingdom to go to the forest to do penance and to free his dynasty from the curse that 60,000 of his ancestors had brought upon themselves. From the words in the verses, it seems as if the song is being performed on screen by the wife of King Bhagirath. I have not been able to locate her name in the related information available. I would request other knowledgeable readers to please add this information if available.
With this song, the 1968 film ‘Har Har Gange’ makes its debut on our blog. With the publication of this post we are coming to the home stretch with this series. Now just 4 more films from the 1960s remain in this project. More details about that later.
Song – Jaao Mere Devta, Jaao Mere Praan (Har Har Gange) (1968) Singer – Krishna Kalle, Lyrics – Kavi Pradeep, MD – SN Tripathi
Chorus
Lyrics
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
barson se hai ye duniya dukhi
mit jaana par karna is ko sukhi
rakhna hamaare aansoo ka maan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
parvat jo rokey to rukna nahin
bijli girey phir bhi jhukna nahin
rakhna hamesha hatheli pe jaan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
har har gange. . .
har har gange
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Hindi script lyrics (Provided by Sudhir)
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जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
बरसों से है ये दुनिया दुखी
मिट जाना पर करना इसको सुखी
रखना हमारे आँसू का मान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
पर्वत जो रोके तो रुकना नहीं
बिजली गिरे तो झुकना नहीं
रखना हमेशा हथेली पे जान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
हर हर गंगे॰ ॰ ॰
हर हर गंगे
Thaare waaste
Posted on: May 11, 2019
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 : | 3949 | Post No. : | 15024 |
15 august 1947 and 26 january 1950 are popularly regarded as two important days in the history of modern India. India got freedom fromm British rule on 15 august 1947 whereas India became a republic on 26 january 1950.
There were two more days in India that have escaped the attention of people, but they have had equally profound effect on India.
It was on 24 july 1991 that India liberalised its economy, and that was a game changing moment for the economy of India. From a struggling economy dependent on foreign aid, this day India achieved economical freedom. Today, 28 years later, India is the sixth largest economy in the world (in nominal terms) and it will become the third largest economy in the world in another decade.
Another game changing day came about on 11 may 1998, exactly 21 years ago. This day is now celebrated in India as National technology day. It was on 11 may 1998 that India, defying immense world wide pressure, carried out nuclear explosens in Pokharan and proudly, and unapologetically described India as a nuclear power.
A large population of India are mainly interested in own interests and are not bothered about bigger things like national interest, national pride etc. Those were the days when Indians sugffered from low self esteem as well as inferiority complex. Reasons were not far to seek. One reason was ofcourse poor Indian economy. That matter was addressed in 1991, and the results of this belated step would begin to bear fruit only in the years to come.
Five nuclear powers had set up a discriminatory club of nuclear haves-they had made a discriminatory law that allowed them to do all the nuclear tests that they wanted but prohibited others to carry out any nuclear tests. India was againt this discrimination and felt that thy too belonged to this exclusive group as and when they decided to become a nuclear state.
This discriminatory treaty ws called NPT (Non Proliferation treaty) which came int force in 1970. All the five nuclear powers at that time were given privileges vis a vis nuclear tests that were not available to to other countries. Under this treaty, nuclear have nots were not required to give up their nuclear weapons while the have nots were not allowed to have them.
Indian objection was that China, despite being a nuclear have and a signatory to NPT had violated it by passing know how to Pakistan. Indian objection to NPT was also because both China and Pakistan, its two intransigent neighbours had nuclear weapons (whether declared or clandestine) and so India, in their national interes was unwilling to sign this treaty.
In 1996, one more discriminatory treaty, viz CTBT (Comprehensive Nuclear Test Ban treaty) was created and all nations of the world were required to sign it. This treaty forbid countries to carry out any kinds of nuclear explosions. This was discriminatory because the nuclear haves had already carried out number of nuclear exposion tests whereas the nuclear have nots were being forbidden to do the same.
India did not sign NPT and CTBT. Pakistan too did likewise.
Despite these treaties, Self respecting Indians felt that India needed to assert themselves, no matter what the treaties prescribed. PV Narsimha Rao, the architect behind the economic liberalisation, decided that he would as well carry out the nuclear test. But USA, thanks to its satellites, got wind of the intentions and prevailed over India to stop it.
After the elections, P V Narsimha Rao lost election, but his seccessor, Atal Bihari Vajpayee was determined to carry out this test. Learning from the earlier foiled attempt, he ensured that this time USA was unable to get wind of Indian intentions. USA became aware of Indian intention only after India had done their tests.
The date was 11 may 1998. Three explosions (one fusion bomb and two fission bomb) were exploded on this day. It was followd by two more fission explosion on 13 may 1998.
Atal Bihari Vajpayee announced that India was “now a full fledged nuclear state”.
How these tests were conducted keeping high tech USA spy satellites in the dark is the stuff of fiction and legend. Enough reading materail is available on this topic. It is very interesting if you are the kind who love reading thrillers/ spy novels/ adventure novels etc. And to imagine that all this ACTUALLY happened. One USA senator described it as “the biggest failure of our intelligence gathering agencies in the past ten years or more”.
The aftermath of these tests, and how India dealt with them was even more impressive and awe inspiring if you are a self respecting Indian. The world condemned these tests and stringent economic sanctions were imposed on India by USA and Japan, among others. It ws here that the well planned and thought out measures by Atal Bihari Vajpayee and others paid off. Atal Bihari Vajpayee and Lal Krishn Advani, after these tests began to mock Pakistan on a daily basis. This mocking and the increasing domestic pressure began too much for Pakistan and they too carried out their nuclear tests on 28 may 1998, despite international pressure. Sanctions were imposed on Pakistan as well.
Vajpayee had planned for the aftermath of these tests and so they were ready. But Pakistan, in trying to match India found itself in doldrums as a result of economic sanctions. Pakistan was in the good books of USA at that time, and so USA began to get worried about the economy of Paakistan and tried to find ways to lift the economic sanctions of Pakistan. Desperate to lift Pakistan sanctions, USA devised a way out and lifted the sanction on Pakistan by end of 1998. With that even Indian sanctions were lifted.
It may sound counter intuitive, but these tests enhanced Indian stature in the world. USA, the first to comdemn Indian and imposed sanctions on India began to realise that India was a responsible nuclear power. India gained acceptability from USA and other nations followed. It was a turning point in India’s engagement with the world- long overdue but still incomplete, investment in assuring Indian security.
India was a non signatory of NPT and CTBT still it was made member of three of four global non proliferation regimes, and got a waiver for the fourth viz NSG.
India were subjected to so many economic and technological sanctions from USA in the past that Indians had stopped bothering about them. These sanctions made them develop their own indigenous technologies. For instance, USA prohibited the sale of supercomputers to India in 1980s. India in response developed their own superomputer. USA in 1990s ensured that India would not be given cryogenic technology used for launching satellites. India developd their own cryogenic engine.
On this day in 1998, India also test fired Trishul missile successfully. Hansa-3, the first indigenously built aircraft was test flown on this as well. In recognition of these feats, 1 may is celebrated as “national Technological day”. But to my mind, this day should be regarded as national self respect day. It was on this day that made other nations begin to look at India with renewed respect and awe. Subsequently, growth of Indian economy has added to Indian clout considerably.
These tests, which are poularly known as “Pokharan II”, led to a movie being made on this topic in 2018. This movie called “Parmanu” (2018) was a nice imaginary take on this very important happening in modern Indian history. This movie was directed by Abhishek Verma for Zee Studios and JA Entertainment. The movie had John Abraham, Diana Penty, Boman Irani, Aditya Hitkari, Vikas Kumar, Yogendra Tiku, Ajay Shankar, Anuja Sathe, Darshan Pandya, Zachary Coffin, Mark Bennington, Satinder Singh Gahlot, Praveena Deshpande etc in it.
The movie was released on 5 may 2018. It was the first Hindi movie of 2018 that I watched and I quite liked it. I have already covered one song from this movie.
My favourite dialogue from the movie is:
ab ham dar ke shaant nahin baithhenge
kar ke shaant baithhenge
Today, on this Indian self respect day (my nomenclature), here is a song from “Parmanu”(2018). This song is sung by Divya Kumar and chorus. Vayu is the lyricist. Music is composed by Sachin Jogar.
The song is picturised as a background song in the movie.
Video
Audio
Song-Thaare waaste (Parmanu)(2018) Singer-Divya Kumar, Lyrics-Vayu, MD-Sachin Jigar
Lyrics
josh mein jala
zalzalaa chala
ab rukengee na ham
dar mita chala
sar uthha chala
ab jhukenge na ham
josh mein jala
zalzalaa chala
ab rukengee na ham
dar mita chala
sar uthha chala
ab jhukenge na ham
ho o
thaare waaste re
maadhi re ae ae
jaan lagaa denge ham
thaare waaste re
maadhi re ae ae
duniya hila denge ham
josh mein jala
zalzalaa chala
ab rukengee na ham
dar mita chala
sar uthha chala
ab jhukenge na ham
josh mein jala
zalzalaa chala
ab rukengee na ham
dar mita chala
sar uthha chala
ab jhukenge na ham
hmmmm
khwaabon ne jaise ki zanjeeren pahni thhhi
aasmaan se tha faasla
ab raah pakki hai
ye baat hakki hai
phir se uthha haai hausla
thaare waaste re
maadhi re
maadhi re
jaan lagaa denge ham
thaare waaste re
maadhi re ae ae
duniya hila denge ham
josh mein jala
zalzalaa chala
ab rukengee na ham
dar mita chala
sar uthha chala
ab jhukenge na ham
hmmmm
ik pyaas aadhi thhi
ik aas pyaasi thhi
ik karz dil pe thha rakhha
poora hua apna
toota sa wo sapna
chubhta jo aankhon mein aaya thha
ho o
thaare waaste re
maadhi re ae ae
jaan lagaa denge ham
thaare waaste re
maadhi re ae ae
duniya hila denge ham
josh mein jala
zalzalaa chala
ab rukengee na ham
dar mita chala kar
uthha chala
ab jhukenge na ham
josh mein jala
zalzalaa chala
ab rukengee na ham
dar mita chala kar
uthha chala
ab jhukenge na ham
Do Kadam Aur Ae Saathi
Posted on: April 19, 2019
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 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 : |
3927 | Post No. : | 14997 |
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Atul Song-A-Day 15K Song Milestone Celebrations – 7
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The Blog is in the vicinity of reaching a new milestone of 15000 posts and the celebrations are in order. It is in the 11th year of its existence during which time, it has passed through many milestones. Hearty congratulations to Atul ji and his bandwagon for attaining 15000 posts. I am sure that the Blog would pass through many more milestones in the years to come.
To measure a milestone, one needs to have a reference point. For the Blog, the First Post appeared in the Blog on July 19, 2008 is the reference point itself which is the mother of all subsequent milestones.
The second important milestone of the Blog was the first comment on the Blog which was none other than from Raja ji, the numero uno inspirer for Atul ji, as I understand from latter’s special articles, for starting the Blog. By now, the cumulative substantive comments on the posts in the Blog have crossed 60,000 which itself is one of the important milestones for the Blog.
The third important milestone was when for the first time, the daily visitors to the Blog crossed 1000. While I am not able to get the exact date on which this milestone was achieved, I am pretty sure on the basis of some average figures of visitors discussed by Atul ji on ‘About the Blog’ page, that this milestone was achieved within one year from the start of the Blog. Surely, for a new ‘start-up’ Blog, this was great news.
[Ed Note: The date was 23rd January, 2009; visitor count was 1145.]
If I plot a curve on the basis of the yearly average visitors to the Blog, I am sure, the graph would show a secular rising curve in the initial period of the Blog followed by a steep upward sloping curve during the last about 7 years. This is based on the assumption that as the aggregate number of posts as well as songs discussed in the Blog go up arithmetically, the number of visitors would go up geometrically. This is also borne out by the fact that as of now, the Blog has crossed 11 million (1 crore 10 lakhs) visitors in less than 11 years of its existence.
[Ed Note: As this post goes to press, the blog is already 70 thousand plus hits beyond 11.5 million. 🙂 ]
Fourth important milestone of the Blog was hitting 1000th post. On the basis of the statistics of month-wise aggregate posts, I guess the 1000th post was achieved in about 8 months’ time which, as far as I know, is a record for any musical/filmy Blog to achieve in the shortest time-frame. Of course, thereafter every 1000th post was a milestone and every post in multiples of 5000 was ‘Maha Milestone’ (like ‘Maha Kumbh).
[Ed Note: The 1000th post was published on 30th March, 2009, which is the 255th day from the start date of the blog (19th July, 2008), which works out to 7 months and 11 days.]
As I mentioned earlier, the Blog started on July 19, 2008 with a single goal – to post at least one song a day with lyrics and discuss the song. This goal has been met since the inception of the Blog with some very few occasional exceptions. But these exceptions have been overwhelmingly compensated by the fact that on an average, 3 to 4 songs a day have been covered in the Blog up till now.
Over a period of time, the Blog had earmarked some more goals – Artists’ centuries, covering all the songs of films (yippeee’d films), posting songs from those films which had not been represented in the Blog, etc. Recently, Sudhir ji has completed a century of posts representing the songs from those films released in 1960s which were not represented on the Blog. Like-wise Arun ji and myself had posted songs from a number of films released mainly in the 1940s which were not covered in the Blog.
Other important goals that have been achieved during the last 7 years or so are covering all the available songs sung by KL Saigal, and Suraiya. Also, all available songs composed by Sajjad Hussain have also been posted in the Blog. Again, Sudhir ji had contributed a lot in achieving these goals.
The next in line among the singers and music directors whose gap between the songs covered in the Blog and the songs available online have narrowed down are Kanan Devi (49/80), Sulochana Kadam (47/135), Talat Mehmood (378/450), S D Burman (633/666) and Naushad (534/593).
There are a few features which I consider as unique to our Blog among other musical/filmy blogs.
- As far as I know, among the current musical/filmy blogs, our Blog is the only one where articles by guest writers are contributed for the Blog not by invitation but largely on voluntary basis. Of Course, on special occasions like the present one, all Atuites are invited to contribute the special articles. But I consider as more as a gestures than the invitation to remind ourselves to be in readiness for the celebration of an important milestone of the Blog.
- Our Blog is the repository of profiles of hundreds of lesser known film artists (actors, directors, singers, music directors, lyricists etc) especially of 1930s and 40s. Some of them were well known in their fields at that time but now have been mostly forgotten. The major credit for collating the information on such artists goes to our in-house encyclopedia, Arun ji. In some cases, he had painstakingly collected the information from the siblings and friends of the concerned artists.
- The only musical/filmy Blog which has a wealth of statistical data relating to almost all the aspects of the films and the songs. I understand that most of data are manually updated. One can imagine the time and efforts required for Atul ji to update the statistical data more frequently than before with 15K songs. I can understand that Atul ji may be spending more time in updating the statistical data, depriving him of time for posting more songs on day-to-day basis.
On the eve of attaining yet another important milestone of 15000 posts on the Blog, I have selected an inspiring song from a film released in the late 1950s. I was surprised as to how this popular song had missed the attention of the Atulites so far. It appears that this song was destined to be used for special celebrations like the present one.
The song is ‘Do Kadam Aur Ae Saathi Kadamon Pe Zamaana Hoga’ from the film ‘Khoobsurat Dhokha’ (1959) which is rendered by Mohammed Rafi accompanied by chorus. The song is written by Indeevar and is set to music by S Mohinder. It is one of those rare songs of Rafi in which he has attempted yodeling.
When I heard the song, I started visualising a scenario in which at the conclusion of an imaginary Atulites Meet (gangout 🙂 ), Atul ji sings this song in place of Rafi and all other Atulites sing in chorus with some minor changes in the mukhda of the song:
do kadam aur ae Atulites
kadamon mein zamaana hoga
daaman mein hamaare ek din
mauseeqi ka kazaana hoga
Song – Do Kadam Aur Ae Saathi (Khoobsurat Dhokha) (1959) Singer – Mohammed Rafi, Lyrics – Indeewar, MD – S Mohinder
Chorus
Lyrics
o hooooooo
o hooooooo
o hooooooo
o hooooooooo
do kadam aur ae saathi
kadamon pe zamaana hoga
daaman mein hamaare ek din
duniya kaa khazaana ho..oga
do kadam aur ae saathi
kadamon pe zamaana hoga
daaman mein hamaare ek din
duniya ka khazaana ho..oga
arre sona pighlega
aur chaandi barsegi
chhoone ko kadam apne
khud manzil tarsegi
hai aaj agar auron ka
kal apna zamaana hoga
(aaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaa)
do kadam aur ae saathi
kadamon pe zamaana hoga
(aaaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaa)
lae lae lae lay dee oo
lae lay dee
lay dee lo
lae lay dee
baahon mein chaand hoga
ho o
aur raah mein sitaare
ho o
baahon mein chaand hoga
ho o
aur raah mein sitaare
ho o
ummeedon ki wo duniya
ab door nahin pyaare..ae
khushiyon ki jawaan raaton ka
har khwaab suhaana hoga
(aaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaaa)
do kadam aur ae saathi
kadamon pe zamaana hoga
(aaaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaaa)
duniya ka khazaana ho..oga
(aaaaaaaaa)
do kadam aur ae saathi
kadamon pe zamaana hoga
(aaaaaaaaaaaaaa)
daaman mein hamaare ek din
(aaaaaaaaaaaaaa)
duniya ka khazaana ho..oga
———————————————————-
Hindi script lyrics (Provided by Sudhir)
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ओ हो॰ ॰ ॰
ओ हो॰ ॰ ॰
ओ हो॰ ॰ ॰
ओ हो॰ ॰ ॰
दो कदम और ए साथी
कदमों पे ज़माना होगा
दामन में हमारे एक दिन
दुनिया का खजाना हो॰॰गा
दो कदम और ए साथी
कदमों पे ज़माना होगा
दामन में हमारे एक दिन
दुनिया का खजाना हो॰॰गा
अरे सोना पिघलेगा
और चांदी बरसेगी
छूने को कदम अपने
खुद मंज़िल तरसेगी
है आज अगर औरों का
कल अपना ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)
दो कदम और ए साथी
कदमों पे ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)
लाय लाय लाय लै डी ओ
लाय लाय डी
लाय डी लो
लाय लाय डी
बाहों में चाँद होगा
हो ओ
और राह में सितारे
हो ओ
बाहों में चाँद होगा
हो ओ
और राह में सितारे
हो ओ
उम्मीदों की वो दुनिया
अब दूर नहीं प्यारे॰॰ए
खुशियों की जवां रातों का
हर ख्वाब सुहाना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)
दो कदम और ए साथी
कदमों पे ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
(आsssssssssss)
दो कदम और ए साथी
कदमों पे ज़माना होगा
(आsssssssssss)
दामन में हमारे एक दिन
(आsssssssssss)
दुनिया का खजाना हो॰॰गा
Gaa Re Gaa Mann Aaj Yahi
Posted on: March 14, 2019
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.
|
Blog Day : |
3891 | Post No. : | 14926 | Movie Count : |
4076 |
Missing Films of 1960s – 95
– – – – – – – – – – – – – – –
We come to a very interesting episode of this series. The film I pick for today is ‘Koi Ghulam Nahin’ from 1970. The Geet Kosh listings say that the film has 6 songs, and all of them have been released on 78 rpm gramophone records. As I checked my own collection, I find that all the six songs are available. Just to check, I also went online and discovered that two songs are available on the YouTube. And very interestingly, one of them turns out to be a video. And a very interesting video at that. The song is sung by Rafi Sb, and is performed on screen by MG Ramachandran (MGR), the super star of South Indian cinema.
This heightened my curiosity, and I did some more research. It turns out that MGR has appeared in 13 Hindi films (1 unreleased), between 1951 and 1980. On a hunch, I checked out the production banners. It turns out that for all these 13 films, the production houses are/were located in Madras (now Chennai). So one inference that can be drawn is that all these 13 films might well have been bilingual films, or that they are originally films produced in South Indian language and then dubbed into Hindi.
Since we are dealing with the 1960s, I checked out the other MGR films in this decade. And I find that other than ‘Baghdad’ (1961), for the other MGR films in this decade, viz. ‘Hamen Bhi Jeene Do’ (1962), ‘Meri Bahen’ (1962), ‘Raj Mahal’ (1963), and ‘Nartaki Chitra’ (1965), the songs are not traceable and not available. A possible explanation can be that for these bilingual or dubbed films, no songs were released on gramophone records. And that their video prints are not available too.
Today’s film, ‘Koi Ghulam Nahin’, is produced under the banner of MGR Pictures, madras and is directed by K Shankar. The star cast is listed as MG Ramchandran, Ashokan, Manohar, Chandra Babu, Cho, Jaylalita, Pandhari Bai, Jyotilakshmi, and Baby Rani. The songs are written by Saraswati Kumar Deepak and the music is by SN Tripathi.
Today’s song, is an ode in the praise of the ‘mother’. In the video clip, we can see MGR lip syncing this song sung by Rafi Sb. The lip syncing, as well as in some ways, the odd arrangement of Hindi words in the lines of the song, well indicates the possibility of dubbing, and / or force fitting Hindi lyrics to the tune of a song originally in a South Indian language.
In the video clip, we also see a lady dressed in white, as the song progresses. I don’t want to hazard a guess, and I request other knowledgeable friends and readers to help identify this actress.
[Note: Dr Pradeep Shetty has informed that this actress is Pandhari Bai.]
Today, March 14th, also happens to be the birth anniversary of music director SN Tripathi. This song also makes that anniversary connection for today.
Song – Gaa Re Gaa Mann Aaj Yahi (Koi Ghulam Nahin) (1970) Singer – Mohammed Rafi, Lyrics – Saraswati Kumar Deepak, MD – SN Tripathi
Lyrics
gaa re gaa mann aaj yahi
tere din ab badal gaye
reh naa udaas
ho naa niraash
sang mein tere gaaye akaash
gaa re gaa mann aaj yahi
tere din ab badal gaye
reh naa udaas
ho naa niraash
sang mein tere gaaye akaash
gaa re gaa mann aaj yahi
jeevan deti hai maa
ganga maiyyaa si hai maa
jeevan deti hai maa
ganga maiyyaa si hai maa
wo hi karey pratipal
dharam ki rakhwaar
dharti ki mamta ka hai vishwaas
wo hi karey pratipal
dharma ki rakhwaar
dharti ki mamta ka hai vishwaas
gaa re gaa mann aaj yahi
tu hi amrit hai maa
jag ko nit deti hai vishwaas
tu hi amrit hai maa
jag ko nit deti hai vishwaas
jag mein agar maa
na milti tum
kaun mere mann mein karta niwaas
gaa re gaa mann aaj yahi
prem jyoti hai maa
tu hi pooja ki devi hai maa
prem jyoti hai maa
tu hi pooja ki devi hai maa
miley mujhe baar baar
madhur madhur maa ka pyaar
maa se bujhi hai mere maan ki ye pyaas
miley mujhe baar baar
madhur madhur maa ka pyaar
maa se bujhi hai mere maan ki ye pyaas
gaa re gaa mann aaj yahi
aadi ant mein tu hai
maa nyaye mein neeti mein tu hai
aadi ant mein tu hai
maa nyaye mein neeti mein tu hai
jis ne diya hai pyaar
aas ki jo bahaar
mili aaj aisi mahashakti
jis ne diya hai pyaar
aas ki jo bahaar
mili aaj aisi mahashakti
arre gaa re gaa mann aaj yahi
tere din ab badal gaye
reh naa udaas
ho naa niraash
sang mein tere gaaye akaash
gaa re gaa mann aaj yahi
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
गा रे गा मन आज यही
तेरे दिन अब बदल गए
रह ना उदास
हो ना निराश
संग में तेरे गाये आकाश
गा रे गा मन आज यही
तेरे दिन अब बदल गए
रह ना उदास
हो ना निराश
संग में तेरे गाये आकाश
जीवन देती है माँ
गंगा मैय्या सी है माँ
जीवन देती है माँ
गंगा मैय्या सी है माँ
वो ही करे प्रतिपाल
धरम की रखवार
धरती की ममता का है विश्वास
वो ही करे प्रतिपाल
धरम की रखवार
धरती की ममता का है विश्वास
गा रे गा मन आज यही
तू ही अमृत है माँ
जग को नित देती है विश्वास
तू ही अमृत है माँ
जग को नित देती है विश्वास
जग में अगर माँ
ना मिलती तुम
कौन मेरे मन में करता निवास
गा रे गा मन आज यही
प्रेम ज्योति है माँ
तू ही पूजा की देवी है माँ
प्रेम ज्योति है माँ
तू ही पूजा की देवी है माँ
मिले मुझे बार बार
मधुर मधुर माँ का प्यार
माँ से बुझी है मेरे मन की प्यास
मिले मुझे बार बार
मधुर मधुर माँ का प्यार
माँ से बुझी है मेरे मन की प्यास
गा रे गा मन आज यही
आदि अंत में तू है
माँ न्याय में नीति में तू है
आदि अंत में तू है
माँ न्याय में नीति में तू है
जिसने दिया है प्यार
आस की जो बहार
मिली आज ऐसी महाशक्ति
जिसने दिया है प्यार
आस की जो बहार
मिली आज ऐसी महाशक्ति
अरे गा रे गा मन आज यही
तेरे दिन अब बदल गए
रह ना उदास
हो ना निराश
संग में तेरे गाये आकाश
गा रे गा मन आज यही
Kar Har Maidaan Fateh
Posted on: July 12, 2018
- In: 10th Anniversary Celebration Song | Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Lyrics contributed by readers | Post by Pradeep Raghunathan | Shreya Ghoshal Song | Songs of 2010s (2011 to 2020) | Songs of 2018 | Sukhwinder Singh - Shreya Ghoshal Duet | Sukhwinder Singh Song | Yearwise breakup of songs
- 16 Comments
This article is written by Pradeep Raghunathan, 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 : | 3646 | Post No. : | 14476 |
ASAD 10th Anniversary Celebrations – 1
———————————————————————
I have not been active either on the blog, or on whatsapp groups for quite a while now. Earlier this year I developed a health issue and had to go through a surgical procedure. Things are fine now though 🙂 . Catching up on all the work pending for the last few months.
Let me now get to the post that I would like to contribute.
10 years, that is a decade. . . the “BIG X”. What a journey this has been! Still remember how one fine day, by sheer accident, I stumbled upon this amazing blog, and made my way to the first post that was made – the song “Miley Na Phool Toh Kaanton Se Dosti Kar Li” by Rafi sahab for the film ‘Anokhi Raat’ (1968), starring Parikshit Sahni. Then the next song if I remember correctly was “Tum Agar Mujhko Na Chaaho Toh Koi Baat Nahi” by Mukesh Sahab for the movie ‘Dil Hi To Hai’ (1963), sung on screen by Raj Kapoor and he sings it to the cute and gorgeous Nutan 🙂 .
One of my favourite bosses always used to tell us – there is one thing I find is the secret of being sane and that is to have a ROUTINE! He says, that it does not matter if you have your highs or your lows in life, never give up on your routine. If you have to walk in the morning, do that, come what may. If you have lunch at a particular time, do that regularly. Somehow with time, and how our priorities change, we give up on what once used to a routine / habit for us. But few people who we can get inspired by for being so committed and never gave up on their routine and dedication to the blog are Atul ji, Sudhir ji, Arunkumar ji, Bharat ji and the entire group of Atulites. What they have managed to do in these 10 years is more than monumental. This is going to be a treasure trove for generations to come. All this was not because it was a great startup idea or there was a motive behind it, it was just for sheer love of old hindi music and as Atul ji likes to call it ‘Labour of Love’.
I wish in the near future I am able to get back to my old routine and be more active on the blog (it does need a mention, that in spite of me being inactive, I have always been kept in the loop with emails, thank you Atulites). Have also spoken to Avinash ji, that Aparna, Avinash ji and I should get back to our Project YIPPEEEE!! (should get much more easy now with help from Sudhir ji).
To celebrate this wonderful milestone, I choose a very recent song, which I really like and also a song that my daughter plays in a loop every time she gets in the car 🙂 . The song is from the recently release movie ‘Sanju’, a movie on the life of actor Sanjay Dutt. The movie had mixed reactions and even I did feel that his life story was glorified, but what no one can refute is the fact that Ranbir Kapoor was a class act. He has portrayed Sanjay Dutt to the T, so much so that at some point of time into the movie, one forgets that he is Ranbir and start thinking he is Sanjay Dutt. The movie also makes one wonder how life would have been for the respected Sunil Dutt, having to lose his wife, Nargis to cancer and at the same time bring up a troubled child like Sanjay.
Coming to the song, it is a song that Sanjay Dutt imagines his mother egging him on to conquer anything. The song is titled “Kar Har Maidaan Fateh” and sung by one and only Sukhwinder Singh (his voice is a perfect fit for songs like these). And ably supported by another wonderful singer, Shreya Ghoshal. The tempo of the song is brilliant and it is like a shot in the arm and a morale booster to conquer any mountain.
Though 10 years is a big mountain that Team Atul have conquered, as Atul ji says, we have hardly scraped the surface, and there is a long journey to look forward to. Here is a BIG congratulation to Team Atul and wishing us all the very best for the next milestone round the corner 🙂 . So so blessed to be part of this journey 🙂 .
Song – Kar Har Maidaan Fateh (Sanju) (2018) Singers – Sukhwinder Singh, Shreya Ghoshal, Lyrics – Shekhar Astitwa, MD – Vikram Montrose
Chorus
Lyrics
pighla de zanjeerein
bana unki..ee.ee shamsheerein
kar har maidaan fateh o bandeya
kar har maidaan fateh
ghayal parinda hai tu
dikhla de zinda hai tu
baaki hai tujhmein hausla..aa..aa
tere junoon ke aage
ambar panaahein maange
kar daale tu jo faisla..aa..aa
roothi takdeerein to kya
tooti shamsheerein to kya
tooti shamsheeron se hi ho oo oo
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh
in gardishon ke baadalon pe chadh ke
waqt ka girebaan pakad ke
poochhna hai jeet ka pata
jeet ka pata
in muthiyon mein chaand taare bhar ke
aasman ki hadd se guzar ke
ho ja tu bheed se judaa
bheed se judaa
bheed se judaa
kehne ko zarra hai tu
lohe ka chharra hai tu
tooti shamsheeron se hi ho oo oo
kar har maidaan fateh
(kar har maidaan fateh)
kar har maidaan fateh
(kar har maidaan fateh)
kar har maidaan fateh re bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh o bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh
teri koshishein hi kaamyaab hongi
jab teri yeh zid aag hogi
phoonk dengi na-ummeediyaan
na-ummeediyaan
tere peechhe peechhe raaste ye chal ke
baahon ki nishanon mein dhal ke
dhoondh lenge apna aashiaan
apna aashiaan
apna aashiaan
lamhon se aankh mila ke
rakh de jee jaan lada ke
tooti shamsheeron se hi ho oo oo
kar har maidaan
har maidaan
har maidaan
har maidaan
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh o bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh o bandeya
har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh
kar har maidaan fateh re bandeya
har maidaan fateh
kar har maidaan fateh re bandeya
har maidan fateh
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
पिघला दे ज़ंजीरें
बना उनकी॰॰ई॰॰ई शमशीरें
कर हर मैदान फतेह ओ बंदेया
कर हर मैदान फतेह
घायल परिंदा है तू
दिखला दे ज़िंदा है तू
बाकी है तुझ में हौसला॰॰आ॰॰आ
तेरे जुनूं के आगे
अम्बर पनाहें मांगे
कर डाले तू जो फैसला॰॰आ॰॰आ
रूठी तक़दीरें तो क्या
टूटी शमशीरें तो क्या
टूटी शमशीरों से ही हो ओ ओ
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह
इन गर्दिशों का बादलों पे चढ़ के
वक़्त के गिरेबाँ पकड़ के
पूछना है जीत का पता
जीत का पता
इन मुट्ठियों में चाँद तारे भर के
आसमां की हद्द से गुज़र के
हो जा तू भीड़ से जुदा
भीड़ से जुदा
भीड़ से जुदा
कहने को ज़र्रा है तू
लोहे का छर्रा है तू
टूटी शमशीरों से ही हो ओ ओ
कर हर मैदान फतेह
(कर हर मैदान फतेह)
कर हर मैदान फतेह
(कर हर मैदान फतेह)
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह ओ बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह
तेरी कोशिशें कामयाब होंगी
जब तेरी ये ज़िद आग होगी
फूँक देंगी नाउम्मीदियाँ
नाउम्मीदियाँ
तेरे पीछे पीछे रास्ते ये चल के
बाहों के निशानों में ढल के
ढूंढ लेंगे अपना आशियां
अपना आशियां
अपना आशियां
लम्हों से आँख मिला के
रख दे जी जान लड़ा के
टूटी शमशीरों से ही हो ओ ओ
कर हर मैदान
हर मैदान
हर मैदान
हर मैदान
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह ओ बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह ओ बंदेया
हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
हर मैदान फतेह
कर हर मैदान फतेह रे बंदेया
कर हर मैदान फतेह
Bharamuva Kaahe Pe Baawre
Posted on: June 3, 2018
- In: Devnagri script lyrics by Sudhir | Guest posts | Hirabai Badodekar Solo Songs | Hirabai Badodekar Songs | Inspirational song | Lyrics by Sudhir | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | Song of 1937 | Songs of 1930s (1931 to 1940) | Yearwise breakup of songs
- 2 Comments
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 : | 3607 | Post No. : | 14389 |
Today’s song is from an obscure, unknown film the early era – ‘Pratibha’ (1937).
Any industry, to develop into a profitable one, requires hard work by the pioneers. This applies totally to Hindi Film Industry in India. The original initiators of the film industry were not any rich people, but the industry took the seeds from ordinary, middle class people.They had no riches, but their zeal, dedication, ambition and desire to achieve goals overtook their poverty and they toiled and moiled to raise the required finance for their projects. We all know about the great Dadasaheb Phalke, who staked everything he owned to achieve his goals and became a name to remember for ever. In this endeavour, he was not alone. There was one more person from Kolhapur, who took Phalke’s dream much ahead from silent to talkie films. His name is taken today with awe and respect by film historians. He was Baburao Painter.
Kala Maharshi Baburao Painter ( real name Baburao Krishnarao Mestri) was born on 3rd June 1890 at Kolhapur. The success of Dadasaheb Phalke in making films in India inspired Baburao and his cousin brother Anandrao immensely. They too wanted to make films, but it was not possible in Kolhapur. Phalke had gone to England to learn the film making and had brought machinery from England. This was beyond the reach of these poor young men.
Anandrao found that a second hand projector was for sale in Null Bazar in Bombay. Crazily, he decided to change the projector into a film camera, by making some structural changes. They sold the gold ornaments of family and bought the projector. To start with and to get further finance they used it to show films in theatres. They even showed some Hollywood films here. After several attempts, Anandrao was successful in converting the projector into a film camera. Baburao was also with him in this. Unfortunately, Anandrao died suddenly giving a set back to the project.
Baburao now needed finance to go ahead. Luckily a famous classical singer of those days, Tanibai Kagalkar – wife of Bapusaheb Kagalkar and the sister of Vinayakrao Ghorpade (who was the father of child actress and singer Vasanti), invested Rs. 15,000 – an astronomical figure for those times. Baburao established Maharashtra Film Company in Kolhapur and started preparations for making his film ‘Sairandhri’, released in 1919. The cast of this film included 2 women, Gulab Bai aka Kamla Devi and Anusuya Bai aka Susheela Devi. These women were promptly thrown out of their homes and society. They remained with the company and even cooked and washed clothes of artistes, besides acting in the films other times. (This Gulab Bai aka Kamla Devi later posed for the symbol of Prabhat Film company- playing Tutari with bent body. She married Fattelal, one of the directors of Prabhat Films.)
‘Sairandhri’ was a tremendous success. Enthused Baburao Painter made another 15 films. Lokmanya Tilak was so impressed with Baburao’s dedication, he awarded him the title of ‘Cinema Kesari’. Baburao Pendharkar was the General Manager of the company, mainly because he could speak fluent English, with customers. Others were V Shantaram, Dhaiber, Damle and Fattelal as his assistants in different departments. Sarpotdar, NH Apte and Vashikar were the script writers and Prof NS Phadke, the novelist, wrote film titles. In 1920 second half, there was a big fire in the company and all films were burnt.
Baburao Painter started afresh in 1921. He made many mythological and historical films. Baburao was the first to make a social film, ‘Savkari Pash’ on the issue of exploitation of poor farmers by money lenders in the villages. In 1928, a foreign trained film director was appointed from Bombay – Moti B Gidwani, on a fat salary. (He was later to direct the film ‘Khazanchi’ (1941) in Lahore). This caused unrest in the company and resulted in Shantaram, Dhaiber, Damle and Fattelal leaving the company. They established Prabhat Film Company. In 1930, Baburao also left Maharashtra Film company. When talkie films started he made 7 talkie films, including 2 Hindi films – ‘Pratibha’ (1937) and ‘Matwala Shaayar Ramjoshi’ (1947) along with Shantaram. He then left films and concentrated on his painting and sculpture. Baburao Painter died on 16-1-1954 at Kolhapur.
Baburao’s contribution to Indian film industry-
- He was the first to use coloured screens and clothes for realistic effect.
- Indoor filming with artificial lighting.
- Fade out and fade in techniques
- Outdoor shootings; Debaki Bose, in his visit to studio, was amazed to see Baburao’s working techniques.
- Making sketches of scenes and costumes before shooting.
- Advertising posters. film booklets with film story and pictures.
All assistants of Baburao painter became big people. He was simply a God sent gift to Hindi film industry.
‘Pratibha’ was also one of the 2 Hindi films in which the great classical singer of India, Hirabai Badodekar acted. The other film was ‘Suvarn Mandir’ (1934). She, however, sang 9 songs in 3 films, namely ‘Pratibha’, ‘Lalat’ (1947) (‘Lalat’ was the debut film of Usha Kiron, who used her real name Usha Marathe in this film) and ‘Dolti Naiya’ (1950). The cast of the film was Durga Khote, K Datey, Miss Heera, Master Shyam, Hirabai, Nanasaheb Phatak, Vishupant Jog, Raja Paranjpe etc.
Nanasaheb Phatak was one of the greatest stage actor of Marathi dramas. He was called ‘Natwarya’ ( नटवर्य ), euphemism for “the greatest among actors”. This was the only Hindi film he ever acted in his lifetime. Raja Paranjpe (24.4.1910 – 9.2.1979), one of the big names in Marathi films later was in the making in the 30s. He acted in 15 Hindi films and also directed 5 Hindi films. ‘Pratibha’ was his first film as an actor. His last film was ‘Us Paar’ (1974).
Hirabai Badodekar (29-5-1905 to 20-11-1989) was the daughter of Ustad Abdul Kareem Khan and Tarabai aka Tahirabibi. She was never interested in acting in films, but she did it for Baburao Painter.
Ustad Abdul Karim Khan and Tarabai Mane, had fled from the city of Baroda to settle in Bombay after their affair was not accepted by the extended families. However, their fleeing away from their roots did not mean the end of the road to the music career that Hirabai Barodekar would eventually become a part of. According to archives in history, Tarabai Mane was the daughter of Sardar Maruti Rao Mane, one of the brothers of the Rajmata of Baroda. During her childhood years in the early 19th century, Tarabai Mane used to learn music from Ustad Abdul Karim Khan, who was a mere court musician in Baroda. The two gradually fell in love, a feeling that was not supported by any of the family members precisely because of the gap between their status and ranks in the society. The couple had no other option but to flee Baroda to settle in Bombay city. Tarabai Mane and Abdul Karim Khan married in Bombay and gave birth to five children, two sons and three daughters. The third child was named Champakali, who was later renamed to Hirabai Badodekar in her adult years.
After about 1920, Khansaheb became very busy with his many tasks and concert tours throughout India. As a result, he could not attend to the needs and music education of his children. Compounded with some household family problems, Tarabai decided to separate from him and left him in 1918. In the beginning, she stayed in Bombay for some time and then moved to Pune with her five children.
She decided to change their Muslim names. She was the daughter of Sardar Mane of Badoda state. She used Mane and Badodekar as the surnames. Badodekar was derived from the name of her native place whereas Mane was her surname before marrying Khan Saheb. Thus Abdul Rahman became Suresh (God of music notes) Babu Mane. Out of her 5 children, Champakali became Hirabai Badodekar, Sakina or Chhotu Tai became Saraswati Mane and after marriage Sarawati Rane. Tarabai opened up new music school ‘Nutan Sangeet Vidyalaya’ with Sureshbabu as a teacher along with other teachers and students. Sureshbabu also began to teach his sister Champakali (later Hirabai). However, they were all in their teens, and hence Tarabai persuaded and appointed uncle Abdul Wahid Khan as the teacher for children. Later on, with the help of Sawai Gandharva (Rambhau Kundgolkar) she opened up drama wing of Nutan Sangeet Vidyalaya. They staged several old and new drama and all brothers and sisters played various roles. Sureshbabu and Hirabai also played roles in Hindi and Marathi films during 1930s and 40s. Sureshbabu also composed music for films – ‘Sant Tulsidas’ (1934) and ‘Sach Hai’ (1939).
The training under her brother and uncle proved to be very beneficial for Hirabai Badodekar, and was soon able to perform for a larger audience. Her voice had always been praised and was a source of inspiration to many in her generation and subsequent generations to come. Hirabai Badodekar’s first step into the world of classical Hindustani music was in the year 1920 when she started performing in public concerts. It was the early 20th century and though women had already stepped out of their homes by this time, the idea of an Indian woman performing on the world stage was still a less heard concept. Therefore, Hirabai Badodekar was not only a renowned classical singer, she was also a pioneer in the field of classical singing by women on a world stage. She was the first woman to stage a ticketed concert in India. Needless to say, this drive popularized Hindustani classical music not only among connoisseurs of music, but also the common man in search of new entertainment opportunities.
Till today, classical music experts refer to Hirabai Badodekar’s voice as melodious and soulful. Her rendition of the ‘Taar Sa’ raga became the benchmark of her concerts. She was asked to perform the particular music in every concert appearance. The Kirana Gharana was already a very popular house of classical music during the 20th century and the success of Hirabai Badodekar only helped to make it more famous among the masses. She was an expert in the fields of khayal, thumri, bhajan and Marathi natya sangeet. Hirabai Badodekar’s career as a classical music singer did not remain enclosed within stage performances. It was only after a few years in stage singing that she started to work as a recording artist, largely responsible because of her growing popularity among the common man. After her phenomenal success as a recording artist, following her stint on the stage, Hirabai Barodekar came to be known as ‘Gaanhira’, a diamond in the world of singing.
Hirabai had participated in several plays during her early school years. The stage too was not a new place for her. Therefore, she progressed from being a classical music singer and recording artist to a film actress. Her career as a movie artist though was not as glorious as compared to the one in Hindustani classical music. Nevertheless her contribution to movies like ‘Janabai’, ‘Municipality’, ‘Suvarna Mandir’ and ‘Pratibha’ are still etched in history. Apart from a prosperous career in classical singing and a memorable one in movies, Hirabai also set up a music school for young girls to learn Hindustani classical music. Her school Nutan Sangeet Vidyalaya, was successful in popularizing the concept of classical music through the plays that it staged.
She became such a well known name in the field of classical Indian music that she was showered with a number of awards and prizes given to her by the Government of India. The highest honor which came her way was probably the offer to sing the national song Vande Mataram in the programme held in Red Fort on the 15th of August 1947, the day that India got its independence from the British. Her voice won her the title of ‘Gaansaraswati’ bestowed upon her by Jagadguru Shankaracharya. She was referred to as ‘Gaan Kokila’ by the nightingale herself, Sarojini Naidu. In the year 1953, she was one of the prominent members of a delegation which was sent from India to China and several countries across East Africa. The delegation performed to a world audience to present the cultural heritage of India. Over subsequent years, she became one of the most prominent classical singers that India had ever witnessed, with the government conferring the Sangeet Natak Akademi Award upon her in 1955 and Padma Bhushan, one of the highest civilian awards, in 1970.
She was successful in grooming a set of students who continued to contribute to the field of Hindustani classical music after her death. Prabha Atre is one of the most prominent students that Hirabai has left behind to carry on her legacy. Ever since 1992, the genius of Hirabai Badodekar has been celebrated through the Sureshbabu – Hirabai Smruti Sangeet Samaaroh, a music festival held every year in Mumbai. She passed away on 20-11-1989.
‘Pratibha’ was a bilingual film – Hindi/Marathi – produced by Shalini Cinetone of Kolhapur. When Baburao Painter left Maharashtra Film Co., and others left to start Prabhat at Pune, the king of Kolhapur – Shahu Maharaj was disturbed. He wanted kolhapur to remain a hub of film production. He himself established Kolhapur Shalini Cinetone, mainly to keep Painter employed. Baburao, Bhalji Pendharkar and Master Vinayak also came back to make films here. After few films like ‘Akashvaani’ (1934), ‘Vilasi Ishwar’ (1935) (in Hindi it was ‘Nigaah e Nafrat’ (1935), a Debut film for Shobhana Shilotri, who became Shobhana Samarth later on), ‘Pratibha’ and Phalke’s only talkie film ‘Gangavataran’ (1937) (debut film of Leela Mishra aka Leela Mausi), ‘Gangavataran’ was made on lavish scale spending lot of money. However the film flopped and Kolhapur Shalini Cinetone was closed down forever.
The story of film ‘Pratibha’,
Poet Prasad (Datey) lives far from the city in a forest, enjoying only the company of wife Pratibha (Khote). The court poet Kaveeshwar (Phatak) of the neighbouring kingdom learns about his poetry and beautiful wife and invites them to his palace, promising glory and fame. Against Pratibha’s advise, Prasad succumbs to the temptation, only to find that his poetry is plagiarized and his wife is harassed.
Baburao Painter excelled in this film shooting with his classical touch, deftly handling the crowd scenes etc. The highlight of the film was when Prasad and Pratibha leave the palace in a raging storm.
Here is a rare film song of Hirabai Badodekar from this film.
Here is a tribute to Baburao Painter on his Birth Anniversary.
(Credits – Maharashtra- Birthplace of Indian Film Industry, by Isak Mujawar, iloveindia.com, wiki, HFGK, Encyclopedia of Indian Cinema and my notes )
Song – Bharamuva Kaahe Pe Baawre (Pratibha) (1937) Singer – Hirabai Barodkar, Lyrics – Pt Anand Kumar, Music – Gobind Rao Tembe
Lyrics (Provided by Sudhir)
bharamuva kaahe pe baawre
bharamuva kaahe pe baawre
bhole manava
aa aa aaa
bharamuva kaahe pe baawre
bhole manava
aa aa aaa
bharamuva kaahe pe baa.aawre
bhole manava..aa..aa
bharamuva kaahe pe
rang birange. . .
aaa aaaa aaaa aaa
rang birange. . .
aaaaaa
aaaaaa aaaa aaaa
aaaa aaaa aaa aaaaaa
rang birange. . .
aaa
aaaa aaaa aaa aaaaaa
rang birange
aaa aaaa aaaa aaa
aaaa aaaa aaa aaaaaa
rang birange baag bageeche
hey
saaj sajeele sab phal mere (??)
bhole manava
aaa aaaa aaaa
bharamuva kaahe pe baawre
bharamuva kaahe pe baa..aawre
bharamuva kaahe pe baawre
bharamuva kaahe pe baa..aawre
bhole manava
aaa aaaa aaaa
bharamuva kaahe pe baawre
bharamuva kaahe pe baa..aawre
haaan aaaa
bharamuva kaahe pe baawre
bhole manava
aaa aaaa aaaa
haaan aaaa
haaan aaaa
bharamuva kaahe pe baawre
bhole manava
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भरमवा काहे पे बावरे
भरमवा काहे पे बावरे
भोले मनवा
आ आ आss
भरमवा काहे पे बावरे
भोले मनवा
आ आ आss
भरमवा काहे पे बा॰॰आ॰॰वरे
भोले मनवा॰॰आ॰॰आ
भरमवा काहे पे
रंग बिरंगे॰ ॰ ॰
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss
आsss आss आs
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss
आ आsss आss आs
रंग बिरंगे॰ ॰ ॰
आsss आss आs
आ आsss आss आs
रंग बिरंगे बाग बगीचे
हे
साज सजीले सब फल मेरे (??)
भोले मनवा॰॰आ॰॰आ
आsss आss आss
भरमवा काहे पे बावरे
भरमवा काहे पे बा॰॰आ॰॰वरे
भरमवा काहे पे बावरे
भरमवा काहे पे बा॰॰आ॰॰वरे
भोले मनवा
आsss आss आss
भरमवा काहे पे बावरे
भरमवा काहे पे बा॰॰आ॰॰वरे
हाँ’ आsss
भरमवा काहे पे बावरे
भोले मनवा
आsss आss आss
हाँ’ आsss
हाँ’ आsss
भरमवा काहे पे बावरे
भोले मनवा
- In: Devnagri script lyrics by Sudhir | Duet | Guest posts | Inspirational song | Lyrics by Sudhir | Lyrics contributed by readers | Meenakshi Shirodkar Songs | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1941 | Vishnupant Jog - Meenakshi Shirodkar Duet | Vushnupant Jog Songs | Yearwise breakup of songs
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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 : | 3604 | Post No. : | 14382 |
Today’s song is from an obscure film from 1941 – ‘Amrit’. The film was produced by Navyug Chitrapat Ltd. It was directed by Master Vinayak. The music was by Dada Chandekar, who was a regular with Master Vinayak, for his Hindi and Marathi films. The cast of the film was Meenakshi Shirodkar, Vinayak, Master Vithal, Lalita Pawar, Baburao Pendharkar, Dada Salvi, Damuanna Malvankar, Vishnupant Jog etc. The cameraman was Pandurang Naik, one of the owners of Navyug, along with Baburao, PK Atre and Vinayak, of course.
Hindi film industry of Bombay was dominated by Gujarati and Marathi people. It was natural, considering that Bombay was located in Maharashtra and close to Gujarat. The Gujarati people had money, so they became producers, financiers, owners and distributors, never interfering with the making of films, but controlled the monetary part. Marathi people had talents in various categories like acting, music, direction, publicity etc. As the industry grew and got talents from every part of India, in due course the number of Marathi people diminished in the industry. During this period, the Marathi film industry was also very strong and the Marathi crowd of Hindi films shifted to Marathi industry.
Till independence, this situation was in place. The Marathi film makers like Master Vinayak, V Shantaram, Bhalji Pendharkar etc made films simultaneously in Marathi and Hindi, from the earliest time of the film making in India. This trend, however, almost stopped completely, after the polarisation in 1947, except for few bilingual films made later, like ‘Chhatrapati Shivaji’ in 1952 and ‘Mahatma’ in 1953 which came in Marathi and Hindi. ‘Mahatma’ was even made in English.
Master Vinayak Karnataki (19-1-1906 to 19-8-1947) was born in Kolhapur. Many of his cousins and family members were already in film line. His half brothers Bhal ji and Baburao Pendharkar, maternal cousin V Shantaram and his brother V Avadhoot (cinematographer) were in films. His own brother Vasudev also became a cameraman. Master Vinayak was working as a teacher in a school, but Bhalji convinced him to join films. Initially Vinayak was with Prabhat, working under Shantaram and learning many things. He started his own company, Hans Pictures, in partnership with Baburao Pendharkar and cameraman Pandurang Naik. Their first film was ‘Chhaaya’ (1936). Almost all films made by Master Vinayak till 1947 were bilingual in Marathi and Hindi, sometimes with different titles, like ‘Ardhaangi’ in Marathi became ‘Ghar Ki Rani’ (1940) in Hindi etc.
While Shantaram stressed on technical aspects of film making successfully, Vinayak was keen on strong story. Therefore he used the works of top class writers in Marathi like VS Khandekar, PK Atre, Mama Varerkar etc. [Auth Note: VS Khandekar later won the Sahitya Academi Award, the Jnanapeeth award, Padma Bhushan award and many more honours like D Litt etc. The Government issued a postage stamp in his honour, after his death.] ‘Chhaaya’ won many awards and was commercially successful. Next came ‘Dharamveer’ (1937) and ‘Premveer’ (also 1937). The heroine in ‘Premveer’ was Ashalata – wife of music director Anil Biswas). Then came ‘Jwaala’ in 1938, with Chandramohan in both versions – Marathi and Hindi. He learnt to speak excellent Marathi for this film. Later he did three more Marathi films. Unfortunately, ‘Jwaala’ was a resounding flop – not because of any reason other than Master Vinayak meddling with the story too much, according to VS Khandekar (this appears to be a chronic ailment of film line !).
Master Vinayak fell back on comedy and made ‘Brahmachari’ in 1938 and ‘Brandi Ki Botal’ in 1939. Both were successful, but the loss due to ‘Jwaala’ was too big. Even one more comedy – ‘Ghar Ki Rani’ (1940) could not salvage the damage. Hans Pictures was dissolved to form another company Navyug Chitrapat, with PK Atre as a partner. Navyug was the first film company to offer 100 rs. shares directly to public. (Bombay Talkies had shares with only the directors, initially). The first film was ‘Lapandav’ (1940). Though it was successful, PK Atre left the company along with its heroine Vanmala – his consort, and established his own company Atre Pictures.
After another comedy, Navyug made ‘Amrit’ in 1941. In 1942, Navyug made the film ‘Pahili Mangalagaur’, in which Lata Mangeshkar made her debut as an actress and singer. She sang her first ever film song with Snehprabha Pradhan, under the baton of Dada Chandekar. There was a kissing scene of Snehprabha and Shahu Modak in this film. During the making of this film, Master Vinayak left Navyug and started his own company Prafull Pictures. He made several Hindi and Marathi films including ‘Badi Maa’ (1945). He died on 19-8-1947, just 4 days after Independence.
The music director of ‘Amrit’ was Dada Chandekar, a regular of Master Vinayak. His real name was Shankar Vishnu Chandekar. He was born on 19-3-1897 at Kolhapur. His father used to do ‘keertan‘ in temples. His younger brother Narhari used to call him as Dada (Bade Bhaiya – elder brother), and subsequently everyone started to call him Dada only. Later his real name was not known to anyone. He was an excellent harmonium player.
He joined Kirloskar Drama Company, where he used to do female roles, as per system in those days. Once Deenanath Mangeshkar’s Harmonium player was absent. Dada was called and then he worked in Deenanath’s Balwant Natak Mandali for next 20 years. Later he joined Dhamman Khan, MD as his assistant. In 1935 he gave some songs in film ‘Kaliya Mardan’, when Dhamman Khan left midway.
In 1937 Dada Chandekar joined Hans Pictures. He composed the background music for ‘Jwaala’. Pleased by his work, Master Vinayak gave him his first independent film- ‘Bramhachari’ in 1938. All the songs became hits and were popular. Particularly the song by Meenakshi, “Yamuna Bich Khelun Khel, Kanhaiya”. The song was performed on screen by Meenakshi wearing a swimming costume, a very revolutionary idea in that era. The song became popular all over India. People repeatedly saw the film for this song and Meenakshi in swimming dress ! However, Master Vinayak did not get any money from this film, as he had to sell the film, while still in production, at a mesum- mainly because of the new heroine. Actually, it was successful due to her only.
Dada continued with Master Vinayak till 1947. Then he left Hindi films. Till 1964, he gave music to dramas and Marathi films. He also worked in All India Radio, Poona for some time. He died on 27-1-1976. In all, he gave music to 13 Hindi and 25 Marathi films. some of his Hindi films are, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Jwaala’, ‘Ghar Ki Rani’, ‘Amrit’, ‘Ladaai Ke Baad’, ‘Din Raat’, ‘Main Tera Hoon’, ‘Moti’ and ‘Phool Aur Kaante’.
One of the actors in the film was Damuanna Malvankar (1893 to 1975); incidentally the film shooting was done in his home town Malwan only. He was one of the most famous and popular comedian in Marathi films. He used his natural squint in his comedy. He did about 100 films in all, which also include Hindi films like ‘Andheri Duniya’, ‘Bramhachari’, ‘Brandy Ki Botal’, ‘Sangam’, ‘Ghar Ki Rani’, ‘Mera Haq’, ‘Mera Ladka’, ‘Badi Maa’, ‘Jeevan Yatra’, ‘Subhadra’, ‘Main Tera Hoon’etc. His daughter Bharati (Marathi film actress) is the wife of Lata’s brother Hridaynath Mangeshkar. Baburao Patel of Film India was a great fan of Damuanna Malvankar and wrote very lovingly about him in his magazine.
Then there was actor Vishnupant Jog, who paired with Damuanna in 29 comedy films.
I have not seen this film. Here is the film synopsis from ‘Encyclopedia of Indian Cinema’,
A complicated plot about class differences in a coastal Konkan village. It introduced a typical Khandekar character, the idealistic but dogmatic patriarch who becomes a victim of his own beliefs.
Here it is Bappa (Salvi), who monopolises the village palm trees from which toddy is made. He believes in fairness, not mercy. The story of his urban son Vilas (Master Vithal), his daughter Lata (Meenakshi) and her friend Sadanand (Master Vinayak) is interspersed with that of a drunken shoemaker Krishna (Baburao Pendharkar) and his wife Seeta (Lalita Pawar). Vilas, who covets the shoemaker’s wife Seeta, procures a new hut for them. He then starts having problems with his father and all the parallel stories converge when Vilas accidentally kills Seeta’s daughter.
Bappa, using his political influence, gets her innocent husband arrested instead and Seeta exploiting Vilas’s desire for her, retaliates by making him virtually her slave. Bappa eventually faces up to his moral responsibility in a tale that also warns against the Demon Drink.
The song being presented today, is sung by Meenakshi Shirodkar, Vishnupant Jog and chorus. This is an old style song. The film makes its debut on the blog.
[Author’s Note: Acknowledgements and thanks – The above write up refers to and has adapted material from Encyclopedia of Indian Cinema, Marathi Chitrapat Sangeetkar Kosh, Listener’s Bulletin, IMDB, MuVyz, HFGK, Wikipedia, and my own notes.]
Song – Jaago Jawaano, Jaago Jawaano, Navyug Aaya Re (Amrit) (1941) Singer – Vishnupant Jog, Meenakshi Shirodkar, Lyrics – Pt Indra, Music – Dada Chandekar
Chorus
Lyrics (Provided by Sudhir)
jaago. . .
jaago. . .
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .
aaya re
aaya re
aaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
ey hey. . .
nav jeevan laaya re
nav jeevan laaya re
laaya re
laaya re
laaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
na koi nanga
na koi bhookha
na koi ooncha neecha
ik paani se
ik khaad se
sab booton ko seencha
amrit baagh lagaaya re
amrit baagh lagaaya re
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
teri daulat hai tu
teri taaqat hai tu
teri himmat hai tu
teri kismat hai tu
tere haathon mein honi jhoome
haan tere haathon mein honi jhoome
tere paanv ko manzil choome
tere paanv ko manzil choome
teri aankhon mein hardam savera
teri aankhon mein hardam savera
savera
savera
savera
savera
savera
savera
tu to suraj se chamki kaaya re
tu to suraj se chamki kaaya
jaago jawaano
jaago jawaano
navyug aaya re
navyug aaya re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जागो॰ ॰ ॰
जागो॰ ॰ ॰
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰
आया रे
आया रे
आया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ए हे॰ ॰ ॰
नव जीवन लाया रे
नव जीवन लाया रे
लाया रे
लाया रे
लाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
ना कोई नंगा
ना कोई भूखा
ना कोई ऊंचा नीचा
इक पानी से
इक खाद से
सब बूटों को सींचा
अमृत बाग लगाया रे
अमृत बाग लगाया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
तेरी दौलत है तू
तेरी ताक़त है तू
तेरी हिम्मत है तू
तेरी किस्मत है तू
तेरे हाथों में होनी झूमे
हाँ तेरे हाथों में होनी झूमे
तेरे पाँव को मंज़िल चूमे
तेरे पाँव को मंज़िल चूमे
तेरी आँखों में हरदम सवेरा
तेरी आँखों में हरदम सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
सवेरा
तू तो सूरज से चमकी काया रे
तू तो सूरज से चमकी काया रे
जागो जवानो
जागो जवानो
नवयुग आया रे
नवयुग आया रे
Suno na logon raag puraana
Posted on: March 11, 2018
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| Blog Day : | 3523 | Post No. : | 14148 |
“Ajeeb Ladki” (1952) was directed by Mohammad Ehsan for Tajmahal Pictures, Bombay. The movie had Rehman, Naseem Bano, Cuckoo, Shashikala, Agha, Jayant, Shyam Kumar, Shakuntala, Samson, Kathana, Bakshi, A K Sagar, Munshi Munaqqa etc in it.
The movie had ten songs in it. Eight songs from the movie have been covered in the past.
Here is the ninth song from “Ajeeb Ladki” (1952) to appear in the blog. The song is sung by Rafi and chorus. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.
This song is an inspirational song where the protagonist hopes to change the world with his new found enthusiasm. Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Suno na logon raag puraana (Ajeeb Ladki)(1952) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Lyrics
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai
din ka sooraj
raat ke taare ae ae
sab hain saath hamaare
din ka sooraj
raat ke taare ae ae
sab hain saath hamaare ae ae
soye jaga do
bhaag laga kar
sachhaayi ke naare
sachhaayi ke naare
jhooth ke is andher nagar se hamko nikalna hai
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai
suno na logo raag puraana
chhed do mil kar naya taraana
duniya waalon ki humen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki humen taqdeer badalna hai
humen taqdeer badalna hai
humen taqdeer badalna hai
humen taqdeer badalna hai
humen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki humen taqdeer badalna hai
humen taqdeer badalna hai
poorab pashchim aag lagi hai
jalta hai jag saara aa aa
poorab pashchim aag lagi
jalta hai jag saara
aao zara is gham se dila den
duniya ko chhutkaara
duniya ko chhutkaara
pyaar ke shamma leke andheri raat mein chalna hai ae
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
suno na logon raag puraana
chhed do mil kar naya taraana
duniya waalon ki hamen taqdeer badalna hai
hamen taqdeer badalna hai
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