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

Archive for the ‘Lyrics by Sudhir’ Category


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

Today’s song is from a very little known film ‘Nirmal’ from 1952. During the period of the 50s, the film industries in all centres, i.e. Calcutta, Madras and Bombay were in full steam. The Partition had made a quantitative and qualitative change in the Hindi film industry. Many seasoned and successful artists had left India, creating a void suddenly. However, this proved to be an opportunity in disguise for many artists ‘waiting in the wings’ in the fields of  acting, film direction and music direction. The void was filled up almost immediately.

Many actors and actresses who used to play supporting roles, became lead players, assistant directors got a chance to become directors and a few new comers and chorus singers also got opportunity to become full fledged singers. Those who migrated from Lahore to India, started a new life here. Many businessmen (many of them black marketeers) who had earned lakhs of rupees during the war and the years of independence struggle as well, poured  money into the film industry. Thus, on all fronts, the film industry had new players, new investors and new topics for making films.

However, one change happened. The taste of Indian audience started to change in terms of music and the subject matter of the film stories. The few old players in music, who could not or did not cope up with the changing tastes of the audience, slowly faded out. Composers like Bulo C Rani, Khemchand Prakash, Hansraj Behl, SK Pal, Lachhiram, Madholal Master, Shankar Rao Vyas, Gobind Ram, Gyan Dutt, SD Batish, Nissar Bazmi, Khursheed Anwar, Ninu Majumdar etc. faded away by the mid 1950s. Many Muslim composers migrated to Pakistan. Composers who adapted themselves, like C Ramchandra, SD Burman, Hemant Kumar, Naushad etc. prospered for a longer period. New blood composers like Shanker-Jaikishen, Madan Mohan, OP Nayyar etc. bloomed quickly.

Same was the case with actors and actresses. Amongst these was one actress – Purnima. Born at Bombay on 2-3-1932 as Meher Bano, she was the daughter of a Lucknow Muslim mother and a Tamil Brahmin father – Ram Seshadri Aiyangar. He was working in the distribution office of producer director Kikubhai Desai (father of Manmohan Desai). While still in school Purnima started working in Hindi and Gujarati films from 1947 itself when she was hardly 15-16 year old. She got married to Shaukat Hashmi. After giving her a son and a divorce, he migrated to Pakistan.

In 1954, Purnima married producer director Bhagwandas Varma and stopped working. Her elder sister also had married producer director Nanubhai Bhatt. Their sons are Mahesh and Mukesh Bhatt. Purnima resumed working in films in 1957, when Bhagwandas was in financial difficulties. He died in 1962.

Purnima appeared as heroine or second lead in about 20 films. Her well known films are – ‘Thes’ (1949), ‘Patanga’ (1949), ‘Jogan’ (1950), ‘Gauna’ (1950), ‘Sagai’ (1951), ‘Baadal’ (1951), ‘Shagoofa’ (1953), ‘Pooja’ (1954), ‘Post Box No 999’ (1958), ‘Son of Sindbad’ (1958), ‘Kangan’ (1959), ‘Naya Kanoon’ (1965), ‘Guide’ (1965), ‘Budtameez’ (1966), ‘Humjoli’ (1970) etc. In all she acted in 152 films, though she claimed more than 200 films, in one of her interview. Her last film was ‘Sada Suhagan’-86, after which she retired. Her friends were Saira Bano, Shakeela and Dulari. Purnima died on 14-8-2013 in Mumbai.

There were two more Purnimas working in the film industry during the same years. One was Purnima Chaudhari who worked in 3 films in 1948. Another Purnima was an actress from Bengal, who acted only in films produced at Calcutta. She worked in about 9-10 films. Due to this, Purnima’s filmography gets mixed up many times.

Purnima’s  hero in the film ‘Nirmal’ was Amarnath (Bharadwaj). He is one of the ‘same name confusions’ victims. There were two Pt. Amarnath music directors, 1 actor Amar, 1 actor Amarnath and 1 actor/director K Amarnath. This Amarnath started his acting career in 1939 with Kidar Sharma’s ‘Dil Hi To Hai’. Graduating from doing small roles he was made the leading man in Dalsukh Pancholi’s film ‘Patjhad’, opposite to Meena (Shorey). The film was launched in 1947. Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of the partially filmed ‘Patjhad’ with him. Though the film was censored in India in 1948, it seems it was never released.

Amarnath starred as hero in many other films like ‘Papiha Re’ (1948), ‘Swayam Siddha’ (1949), ‘Nai Bhabhi’ (1950), ‘Kamal Ke Phool’ (1950), ‘Sheesh Mahal’ (1950), ‘Jalte Deep’ (1950), ‘Nai Zindagi’ (1951) etc. Then he switched over to supporting roles. In all, he worked in 79 films (CITWF data). His last film was ‘Khiladi’ (1968).

All the songs of ‘Nirmal’ were written by Moti, BA. This film was a special film for lyricist Moti BA, because this was his last film as a lyricist. Yogilal Upadhyaya aka Moti BA was born on 1-8-1919 at Devariya, UP. He did his BA in 1938 and MA in 1941, in addition to BT and ‘Sahitya Ratan’ from Benaras University. He was scouted by Ravindra Dave and Sardar Ranjit Singh, emissaries of Dalsukh Pancholi. At that time he was working as a journalist. He went to Lahore and stayed there for 2 years, enjoying company of writers, poets and major stars. He wrote songs for films like ‘Kaise Kahoon’ (1945).

He came to Bombay and started writing songs for films like ‘Subhadra’ (1946), ‘Bhakta Dhruv’ (1947), ‘Ek Kadam’ (1947), ‘Amar Asha’ (1947) etc. Some of his other films are ‘Saajan’ (1947), ‘Nadiya Ke Paar’ (1948), ‘Sindoor’ (1947), ‘Rimjhim’ (1949), ‘Raam Baan’ (1948), ‘Ram Vivah’ (1949), ‘Veer Ghatotkach’ (1949), ‘Rajput’ (1951) etc. He was much in demand, but after ‘Nirmal’ he decided to go back to his hometown and teach. He taught Logic, English Literature and History from 1952 to 1980. He wrote 4 books and won several awards. He died on 18-1-2009 at Devariya.

There is an enigma about lyricist Moti, that though he had done MA, why was he known as Moti, BA ?

Moti, BA is one of the very few artists who left the film world to pursue what he loved – teaching. I can remember another example – Sr. Shashi Kapoor who left a lucrative career as a child artist to pursue his studies in mathematics. He became a maths professor in an American university teaching his favourite subject of maths.

The cast of ‘Nirmal’ was Purnima, Amarnath, Shyam Kumar, Shanta Kunwar, Mirza musharraf, Habib, Cuckoo etc. The story of film Nirmal is-

Nirmal (Amarnath) is an honest young man who loves Purnima (Purnima) and gets married to her. He is sent to Calcutta by his office. He goes alone, leaving wife to look after his ailing father. After few months, when father is very ill, Nirmal leaves for home. Grabbing this opportunity, Champaklal (Shyam Kumar), a colleague in his office, does a fraud and the blame comes to Nirmal. Police arrest Nirmal the day his father dies. The story details how the courageous Purnima goes to Calcutta and proves Nirmal innocent, with the help of some friends. (643)

The film has 8 songs. 2 songs are already discussed. This is the third song. It is a song with a very good tune. . .

 


Song – Tu Jo Mere Pyaar Ki Khichdi Pakaayega (Nirmal) (1952) Singer – Geeta Dutt, GM Durrani, Lyrics – Moti BA, MD – Bulo C Rani

 

Lyrics 

tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

dekho bulaanvungi saat kos aayega
kaun teri aankhon ka paani gir jaayega
khaali peeli aayega
khaali peeli jaayega
khaali peeli aayega
aur khaali peeli jaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

aaya hoon tumhaare paas
khaali nahin jaane ka
wade ke khilaaf kaani kaudi nahin paane ka
tu bhi pachhtaayegi
hum bhi pachhtaayega
tu bhi pachhtaayegi
aur hum bhi pachhtaayega
taapta rahega tu
aur koi khaayega
tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

hum to tere pyaar ka
halwa banaayega
baith ke tumhaare saath
gappa gapp
gappa gapp
gappa gap khaayega
maska lagaayega to halwa khilaayega
maska lagaayega to halwa khilaayega
varna kya. . .
taapta rahega tu
aur koi khaayega
humre tumhere beech kaise koi aayega
humre tumhere beech kaise koi aayega
tu jo na khilaayegi
to kaise koi khaayega
arre tu jo mere pyaar ki khichdi pakaayega
taapta rahega tu
aur koi khaayega

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

तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

देखो बुलावुंगी सात कोस आएगा
कौन तेरी आँखों का पानी गिर जाएगा
खाली पीली आएगा
खाली पीली जाएगा
खाली पीली आएगा
और खाली पीली जाएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

आया हूँ तुम्हारे पास
खाली नहीं जाने का
वादे के खिलाफ कानी कौड़ी नहीं पाने का
तू भी पछताएगी
हम भी पछताएगा
तू भी पछताएगी
और हम भी पछताएगा
टापता रहेगा तू
और कोई खाएगा
तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

हम तो तेरे प्यार का हलवा बनाएगा
बैठ के तुम्हारे साथ
गप्पा गप्प
गप्पा गप्प
गप्पा गप्प खाएगा
मस्का लगाएगा तो हलवा खिलाएगा
मस्का लगाएगा तो हलवा खिलाएगा
वरना क्या॰॰॰
टापता रहेगा तू
और कोई खाएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
हमरे तुम्हेरे बीच कैसे कोई आएगा
तू जो ना खिलाएगी
तो कैसे कोई खाएगा
अरे तू जो मेरे प्यार की खिचड़ी पकाएगा
टापता रहेगा तू
और कोई खाएगा

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

“Raam Navami”(1956) was produced by Jasubhai Patel and directed by Raman B Desai for Subhag Productions, Bombay. The partially color Mythological movie had Nirupa Roy, Prem Adib, Tiwari, Yashoshara Katju, Babau Raje, Shobha Khote, Rajkumar, Raj Adib, Bheem, Ratnamala, Nandu Khote, Pandey, Sheela, Amrit Rana, Radheshyam, Hublikar, Singh, Samson, Mahesh Kumar, Baijnath, Jawahar Kaul, Rooplaxmi, Shree Bhagwan, Dubey, Poonam Kapoor etc in it.

The movie had eight songs in it. All eight songs had the voice of Asha Bhonsle in it.

Two songs from the movie have been covered in the past. Here is the third song from “Raam Navami”(1956) to appear in the blog.
Asha Bhonsle is the female singer alongwith chorus. All sites, including HFGK mentions that this song has the voices of Rafi and Balbir as well. The audio quality is poor and I am unable to detect more than one lead voice in the song.

The song is penned by Kavi Pradeep. Music is composed by Bulo C Rani.

I have failed to get many words right in the lyrics. I request our readers with keener ears to help identify the male voices and they are also requested to help fill in the blanks/ suggest corrections in the lyrics as applicable.

for the time being, I have assumed that the voices of Rafi and Balbir are there in the song, though I am personally not sure of it on the basis of the audio of the song.


Song – Baaje Gaagariyon Pe Taal (Raamnavami) (1956) Asha Bhonsle, Mohammed Rafi, S Balbir, Lyrics – Kavi Pradeep, MD – Bulo C Rani
Female Chorus
Male chorus

Lyrics

 

baaje gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo zara rakhna dil ko sambhaal
baaje gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo
zara rakhna dil ko sambhaal

lachak raha hai ang hamaara
aa haa aaa aa aa
lachak raha hai ang hamaara
ang hamaara
aa aa aa
lachak raha hai ang hamaara
jaise phool ki daal
phool ki daal
phool ki daal o dilwaalo
o dilwaalo
dilwaalo
zara rakhna dil ko sambhaal
baaje gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo
zara rakhna dil ko sambhaal

o gori gori
neera waali chhori
hamko bhi pilaa do
neera chori chori
ho ho ho
gori gori
neera waali chhori
hamko bhi pilaa do neera chori chori

ho chhaila bas karo bas
mora chhalka jaaye ras
dekho bheegi jaaye haaye chunariya mori
ho chhaila bas karo bas
mora chhalka jaaye ras
dekho bheegi jaaye haaye re chunariya mori
aaj ka din hai mazedaar gori
chhodo ye jhijhak
aaj ka din hai mazedaar gori
chhodo ye jhijhak
hato jee
hato beimaan
mera jiya kare dhak
hato jee
hato beimaan
mora jiya kare dhak
o tere nakhron ke kya kehne
aji rehne do jee rehne
mat samjho meri neera ko
koi muft ka maal
muft ka maal
muft ka maal
peene waalo
o peene waalo
dilwaalo
zara rakhna dil ko sambhaal
baaje re baaje baaje re baaje
baaje re baajje re baajje
gagariyon pe taal
meri rummak jhummak chaal
o dilwaalo..oo..oo dilwaalo
dilwaalo zara rakhna dil ko sambhaal

pee lo re pee lo
gori ke liye jee lo

zindagi hai thodi..ee..ee..eee
zindagi hai thodi..ee..ee..eee
zindagi hai thodi
haaan aaa aaaa aaaa
zindagi hai thodi
haan aaa aaaa aaaaa
aaaa aaa aaa aaaaa
aaa aaa aaa aaa aaa
hoyye
zindagi hai thodi
ginti ke din hain
ginti ke din hain
ji ginti ke din hain
duniya ke dukhde bade hi kathin hain
bade hi kathin hain
bade hi kathin baaba
bade hi kathin hain
arre kismat se
kismat se mila hai ye mauka chhabeelo
pee lo
arre pee lo re pee lo
pee lo re pee lo
gori ke liye jee lo
pee lo re pee lo
gori ke liye jee lo
ho pee lo re pee lo
gori ke liye jee lo
ho pee lo re pee lo
gori ke liye jee lo

ho raja ji
ho rani ji
o ho raja ji
o ho rani ji
tumhaare gaon ke
tumhaare gaon ke chhoron ne meri chheen li matakiyaan
kar diya bada nuksa..aan
ho raja ji
ho rani ji
tumhaare gaon ke chhoron ne meri chheen li matakiyaan
kar diya bada nuksa..aan
ho raja ji
ho rani ji
gaon ke tumhaare chhore bade hi lafange
taan taan chalte hain seena
haa..aan
beech dagar jhakjhorte hain bainyaan
mushkil kar diya jeena
haa..aan
unko kadi se kadi sazaa do
aaj pakad kar kaan
pakad kar kaan
ho raja ji
ho rani ji
tumhaare gaon ke
tumhaare gaon ke chhoron ne meri chheen li matakiyaan
kar diya bada nuksa..aan
ho raja ji
ho rani ji

o goriyo suno hamaara hukam
aaj karo sab jhagda khatam

koi na karega tum pe zulam
sabko sazaa denge kal hum

aaj khushi ka hai mausam
honay do zara goriyo chham chham

hey padney do re logo zara matkon pe sam

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

बाजे गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल
बाजे गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल

लचक रहा है अंग हमारा
आ हा आ आ आ
लचक रहा है अंग हमारा
अंग हमारा
आ आ आ
लचक रहा है अंग हमारा
जैसे फूल की डाल
फूल की डाल
फूल की डाल ओ दिलवालो
ओ दिलवालो
दिलवालो
ज़रा रखना दिल को संभाल
बाजे गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल

ओ गोरी गोरी
नीरा वाली छोरी
हमको भी पिला दो
नीरा चोरी चोरी
हो हो हो
गोरी गोरी
नीरा वाली छोरी
हमको भी पिला दो नीरा चोरी चोरी

हो छैला बस करो बस
मोरा छलका जाये रस
देखो भीगी जाये हाए चुनरिया मोरी
हो छैला बस करो बस
मोरा छलका जाये रस
देखो भीगी जाये हाए रे चुनरिया मोरी
आज का दिन है मज़ेदार
गोरी छोड़ो ये झिझक
आज का दिन है मज़ेदार
गोरी छोड़ो ये झिझक
हटो जी
हटो बेईमान
मोरा जिया करे धक
हटो जी
हटो बेईमान
मोरा जिया करे धक
ओ तेरे नखरों के क्या कहने
अजी रहने दो जी रहने
मत समझो मेरी नीरा को
कोई मुफ्त का माल
मुफ्त का माल
मुफ्त का माल
पीने वालो
ओ पीने वालो
दिलवालो
ज़रा रखना दिल को संभाल
बाजे रे बाजे बाजे रे बाजे
बाजे रे बाज्जे रे बाज्जे
गागरियों पे ताल
मेरी रूम्मक झुम्मक चाल
ओ दिलवालो॰॰ओ॰॰ओ दिलवालो
दिलवालो ज़रा रखना दिल को संभाल

पी लो रे पी लो
गोरी के लिए जी लो

ज़िंदगी है थोड़ी॰॰ई॰॰ई॰॰ई
ज़िंदगी है थोड़ी॰॰ई॰॰ई॰॰ई
ज़िंदगी है थोड़ी
हाँ आ आ आ
ज़िंदगी है थोड़ी
हाँ आ आ आ
आ आ आ आ
आ आ आ आ आ
होय्ये
ज़िंदगी है थोड़ी
गिनती की दिन हैं
गिनती की दिन हैं
जी गिनती की दिन हैं
दुनिया के दुखड़े बड़े ही कठिन हैं
बड़े ही कठिन हैं
बड़े ही कठिन बाबा
बड़े ही कठिन हैं
अरे किस्मत से
किस्मत से मिला है ये मौका छबीलो
पी लो
अरे पी लो रे पी लो
पी लो रे पी लो
गोरी के लिए जी लो
पी लो रे पी लो
गोरी के लिए जी लो
हो पी लो रे पी लो
गोरी के लिए जी लो
हो पी लो रे पी लो
गोरी के लिए जी लो

ओ राजा जी
ओ रानी जी
ओ हो राजा जी
ओ हो रानी जी
तुम्हारे गाँव के
तुम्हारे गाँव के छोरों ने मेरी छीन लीं मटकियाँ
कर दिया बड़ा नुकसा॰॰आन
हो राजा जी
हो रानी जी
तुम्हारे गाँव के छोरों ने मेरी छीन लीं मटकियाँ
कर दिया बड़ा नुकसा॰॰आन
हो राजा जी
हो रानी जी
गाँव के तुम्हारे छोरे बड़े ही लफंगे
तान तान चलते हैं सीना
हाँ॰॰आँ
बीच डगर झकझोरते हैं बईय्यां
मुश्किल कर दिया जीना
हाँ॰॰आँ
उनको कड़ी से कड़ी सज़ा दो
आज पकड़ कर कान
पकड़ कर कान
हो राजा जी
हो रानी जी
तुम्हारे गाँव के
तुम्हारे गाँव के छोरों ने मेरी छीन लीं मटकियाँ
कर दिया बड़ा नुकसा॰॰आन
हो राजा जी
हो रानी जी

ओ गोरियो सुनो हमारा हुकम
आज करो सब झगड़ा खतम

कोई ना करेगा तुम पे ज़ुलम
सबको सज़ा देंगे कल हम

आज खुशी का है मौसम
होने दो ज़रा गोरियो छम छम

हे पड़ने दो रे लोगो ज़रा मटकों पे सम


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

Today’s song is from film, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).

During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.

In a short life span of just 48 years (1486-1534), he did extraordinarily religious and reformative work in the 16th century in the regions of Bengal (both the current East Bengal (now in Bangladesh) and West Bengal), Bihar, Jharkhand, Manipur, Assam and Orissa. Not much information is available about him in other regions, so here is a short biography of Shri Chaitanya Mahaprabhu, adapted and edited from Stephen-Knapp.com – with thanks.

Sri Chaitanya Mahaprabhu (pronounced ‘चैतन्य’) (February 27, 1486 to 1534 AD) was born in Navadvipa, Bengal, on a full moon night during a lunar eclipse. It is typical for people to bathe in the Ganges during an eclipse and chant the Lord’s holy names for spiritual purification. So, everyone in the area was chanting the holy names when He was born. His parents, Shri Jagannatha Misra and Mata Shachi Devi, gave Him the name of Vishvambhara, meaning the support of the universe, because astrologers had predicted His super human qualities and that He would deliver the people of the world. He was also nicknamed Nimai because He had been born under a nima tree.

During His childhood He exhibited extraordinary qualities, even having philosophical discussions with His mother. While growing up, His brilliant intelligence began to become apparent. While still a child, He mastered Sanskrit and logic to the point of defeating local pandits, and established the truth of the spiritual and Vedic philosophy. He became so well known that many logicians of various religious and philosophical persuasions began to fear His presence and refused to debate with Him. Thus, Sri Chaitanya established the authority of the Vaishnava tradition through the process of debate and logic.

When Sri Chaitanya went to Gaya on the pretext to perform ceremonies for the anniversary of His father’s death, He received Vaishnava initiation from Shri Ishvara Puri. Thereafter, He lost all interest in debate and simply absorbed Himself in chanting and singing the names of Lord Krishna in devotional ecstasy. Upon returning to Navadvipa, He gathered a following with whom He would engage in congregational singing of the Lord’s holy names. Thus, He started the first ‘sankirtana‘ movement (congregational devotional singing), and established the importance of chanting the names of God in this age as the most elevated of spiritual processes, and the prime means for liberation from material attachments. At first, His chanting with people was for the few participants who were a part of His group, but then Sri Chaitanya ordered that the ecstasy of love of God be distributed to all people of the area. He gave no recognition for the privileges of caste, or for position, or type of philosophy a person had, or yogic asceticism. He only emphasized the devotional chanting of the Lord’s holy names, using the Hare Krishna mantra – “Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare / Hare Rama, Hare Rama, Rama Rama, Hare Hare”, which has the power to bring out the natural loving sentiments for God.

It was at the age of 24 when He shaved His head and took the order of sanyaasa, the renounced stage of life, when He accepted the name of Krishna Chaitanya from Shri Keshav Bharati during the initiation. He then spent four years travelling through South India, and also visited Vrindavana and Varanasi. During this time he also gave special instructions to his main followers, Shri Roop Goswami and Shri Sanatana Gosvami, who then also spread the glories of the Divine Love for Radha and Krishna. They settled in Vrindavana where they spent their years in writing many books elaborating the instructions of Lord Chaitanya and the glories of bhakti for Radha and Krishna. They also revealed the places where Radha and Krishna performed many varied pastimes in that land of Vrindavana, which have remained special spots where devotees can become absorbed in the bliss of love of Radha and Krishna.

Lord Chaitanya spent His remaining years in Jagannatha Puri. During this time He was absorbed in ecstatic devotion to Krishna in the loving mood of Radharani, in which He would lose all external consciousness. He freely distributed the divine nectar of this love for Krishna to everyone and anyone, day and night. Even His presence or mere touch could transform everyone that came near Him into the same devotional mood. He remained like this until He finally left our vision at the age of 48.

Lord Chaitanya is considered and was established by Vedic scripture as the most recent incarnation of God. The Lord always descends to establish the codes of religion. This is confirmed in Bhagavad-gita (4.6-8) where Lord Krishna explains that although He is unborn and the Lord of all living beings, He still descends in His spiritual form in order to re-establish the proper religious principles and annihilate the miscreants whenever there is a decline of religion and a rise in irreligious activity.

The birthplace of Shri Chaitanya Mahaprabhu, popularly known as Mayapur, is located on the banks of the Ganges river, at the point of its confluence with the Jalangi, near Navadveep, West Bengal (India), 130 km north of Kolkata (Calcutta). The headquarter of ISKCON (International Society for Krishna Consciousness) is situated in Mayapur. It is considered a holy place of pilgrimage by a number of other traditions within Hinduism. It is of special significance to followers of Gaudiya Vaishnav tradition, as the birthplace of Shri Chaitanya Mahaprabhu, regarded as a special incarnation of Krishna in the mood of Radha. It is visited by over a million pilgrims annually.

Mayapur can be reached by boat, and more commonly by train or bus. ISKCON Kolkata operates regular bus service from Kolkata to Mayapur. Frequent train service is available to Krishnanagar, Nadia from Kolkata’s Sealdah Station, then 18 km by auto or cycle rickshaw to Mayapur. During the visit one can see the huge headquarters of ISKCON and a long stream of saffron-robed devotees chanting the Hare Krishna mantra. I visited the place about two decade ago. For all those who visit Kolkata, it is like a rite of passage to visit Mayapur.

The music director of this film is the legendary RC Boral aka Raichand Boral, famous for his New Theatre, Calcutta  films and songs. Once upon a time New Theatres was a great institution. It gave many entertaining and meaningful films, in Bangla and Hindi. A highly capable band of authors, writers, actors, actresses, directors, music directors, lyricists, singers and a whole lot of technical staff started their careers here, and spent their best and most productive years with this institution. New Theatres was known for clean entertainment. This was true in the 20s, 30s and till late 40s. The atmosphere in the studio was like a family.

However, it is the law of nature that whatever goes up must come down also, with time. This process started from the mid 1930s itself when Nitin Bose and Debaki Bose had a big tiff – an ego clash. Later on PC Barua also left, followed by Kaanan Devi, who joined the new company founded by Barua. Uma Shashi eloped with some outsider. In the early 1940s a group of artistes, consisting of actors and directors left NT, to go to Bombay. KL Saigal, Prithviraj Kapoor, KN Singh, Kidar Sharma etc. left for Bombay. Around 1943, Nitin Bose came to Bombay. The Second World War had already broken the back of Film Industry in Calcutta. Additionally, this exodus caused greater harm. People like Pankaj Mullick, though unhappy in NT, did not leave. By about 1950, New Theatres was almost a non-entity !

A giant like Raichand Boral, music director, was invited by Nitin Bose to Bombay. Wanting to try his hand, RC Boral did 3 films in Bombay, namely, ‘Dard e Dil’ (1953) – a film made by Nitin Bose himself, ‘Shri Chaitanya Mahaprabhu’ (1953), a film made by the giant Prakash Pictures of the Bhatt brothers and ‘Swami Vivekanand’ (1955), a film made by Amar Mullick. RC Boral’s music was still in the traditional Bangla style. In Bombay, during the 1950s, the trend was for fast melodies. New generation MDs Shankar-Jaikishan were in full swing. C Ramchandra and SD Burman etc. were churning out  fast melodies. The newer generation of the music lovers was wary of the slow, sentimental, bhajan-like songs now. Boral’s traditional music was unacceptable to them. Therefore the music from none of the three films become popular. Moreover 2 of the 3 films of Boral, had subjects meant only for a limited captive audience of middle age to old age category. Thus Boral proved to be a failure and after these 3 films went back to Calcutta to be amongst his comfort zone of Bangla films.

RC Boral (19-10-1904 to 25-11-1981) was undoubtedly one of the greatest composers of Indian films – be it Bangla or Hindi. From his first Hindi Talkie film ‘Zinda Laash’ (1932) till his last Hindi film ‘Amar Saigal’ (1955),  Boral gave music to 33 Hindi films, most of which were made bilingual in Bangla and Hindi at Calcutta. According to the famous film music historian Dr. Ashok D Ranande, Boral made a significant contribution to the Indian film music. First, he gave lot of importance to background music to enhance the effectiveness of screen images. Secondly, he developed the concept of prelude and interlude music segments in film songs. Thirdly, he is credited with the introduction of playback singing in films . The songs of ‘Pooran Bhagat’ (1933), ‘Chandidas’ (1934), ‘President’ (1937), ‘Mukti’ (1937), ‘Street Singer’ (1938), ‘Lagan’ (1941), ‘Saugandh’ (1942), ‘Wapas’ (1943) and ‘Hamraahi’ (1944) are enough to make him immortal in the annals of film music in India. KL Saigal, Kaanan Devi, Pahadi Sanyal, Harimati and Binota Bose owe their fame and name to Boral. He composed the present tune of our national anthem “Jana Gana Man“, for his film ‘Hamrahi’. Boral got the President’s award in 1959, Sangeet Natak Academy award in 1978 and the prestigious Dada Saheb Phalke award in 1979. He passed away on 25-11-1981 but RC Boral-the legend will always live in the minds of music lovers.

Not only RC Boral, but many other artists from Bengal, who came to Bombay for their career felt uncomfortable and uneasy with the Bombay film culture and they always tried to gather Bangla artists in their work environment to feel safe. This was not so with Bombay film people when they went to Bengal or South. Even the musicians and directors from the South, operated in Bombay atmosphere quite comfortably. Probably, for the Bangla artists, the impact of regional pride and language of Bengal was a hindrance in Bombay.

The film ‘Shri Chaitanya Mahaprabhu’ had a total of 16 songs. In the 1950s, the Hindi films had an average of 8 to 10 songs only. Along with Asha, Lata, Rafi and Talat, Boral also used Dhananjay Bhattacharya and Binota Chakraborty from Calcutta, as playback singers. The name of Binota Chakraborty sounds completely Bengali, but she was a Marathi mulgi from Bombay and her real name was Vinita Amladi. Today’s song is sung by her.

Vinita Raghvendra Amladi was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father, Raghavendra, used to play tabla. Her elder sister Hemlata, sang classical music. Vinita learnt singing from her sister Hemlata. Once, when Vinita was about 15-16 year old, she sang in a private birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in film ‘Rain Basera’ (1947), at a princely sum of Rs.250/-. After this film she also sang in the film ‘Renuka’ (1947).

When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. She then met composer Vinod. She says-

“I was introduced to the sound recordist of Shorie films, at a song and dance group meeting. He in turn took me to Vinod. He heard my singing and included me in the chorus of a song of Lata in ‘Ek thi Ladki’ (1949). Then he said, “You have met me very late. Now I have only one song left. You sing it”. The song was “Dilli Se Aaya Bhai Tingu” from ‘Ek Tthhi Ladki’. The song became a super hit in those days.”

After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from  her family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in film ‘Yatrik’. When she went to New Theatres for recording this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically tranformed from Vinita to Binota in the Bengali style. As Binota Chakrawarty she sang songs in yet another Hindi film from Calcutta ’25th July’ (1951).

In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in ‘Kasturi’ and ‘Shri Chaitanya Mahaprabhu’, both in 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai.

The cast of the film was Bharat Bhushan, Ameeta, Krishnakumari, Durga Khote, BM Vyas, Umakant, Madan Puri, Raj Kumar, Pinakin Shah etc. Bharat Bhushan had received the Filmfare best actor Award for this film, in 1955. (Though the film was censored in 1953 December, it got released only in 1954).

Enjoy the song.


Song – Nimai Chaand, Gore Chaand (Shri Chaitanya Mahaprabhu) (1953) Singer – Binota Chakravarty, Lyrics – Bharat Vyas, MD – RC Boral

Lyrics 

nimai chaand
gore chaand o mere
chhod mohe kahaan. . .
kahaan re chalaa

ghar soona soona
kar ke chala re. . . hey. . .
o bap ik baar
mukhda dikha re
o bap nimai mere tu
ek baar mukh to dikha re. . .
ey. . .
nimai chaand

mann pinjre mein
panchhi hriday ka..aa..
jatnon se jisko main ne samaaya
haaye
udd gaya chhalia..aa
tod ke taala
bole vishnu ke ab hoon
roye
roye re
re. . . hey. . .
kaise dheer hey bandhaaun main
o bap nimai mere
kaise dheer hey bandhaaun main
??
nimai chaand

baal umar mein
bairaagi na hoyio
sanyaasi na hoyio
ghar reh ke let naam re nimai
maai ko tu layio re nimai
baal umar mein
sanyaasi na hoyio

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

नीमाई चाँद
गोरे चाँद ओ मोरे
छोड़ मोहे कहाँ॰॰॰
कहाँ रे चला

घर सूना सूना
कर के चला रे॰॰॰
हे॰॰॰
ओ बप इक बार
मुखड़ा दिखा रे
ओ बप निमाई मेरे तू
इक बार मुख तो दिखा रे॰॰॰
ए॰॰॰
नीमाई चाँद

मन पिंजरे में
पंछी हृदय का॰॰आ॰॰
जतनों से जिसको मैंने समाया
हाय
उड़ गया छलिया॰॰आ॰॰
तोड़ के ताला
बोल विष्णु के अब हूँ
रोये
रोये रे
रे॰॰॰
हे॰॰॰
कैसे धीर हे बंधाऊँ में
ओ बप निमाई मेरे
कैसे धीर हे बंधाऊँ में
??
निमाई चाँद

बाल उमर में
बैरागी ना होइयो
सन्यासी ना होईओ
घर रह के लेत नाम रे निमाई
माई को तू लईओ रे निमाई
बाल उमर में
सन्यासी ना होईओ


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

Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.
Read more on this topic…


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

Today’s song is from a lesser known film ‘Pehla Pehla Pyar’ (1958).  Made by National Cine Corporation, it was produced by Daljit and directed by the veteran Nanubhai Vakil.

As we all know, in the early era of films – both silent and talkie, many actresses came from the traditional singing families (read tawaiafs). Average to good looks and ability to sing tolerably were their main qualifications. Many of these girls joined film line for two reasons. One – it gave them name, fame and money and the more importantly second – they tried to catch a big fish to marry. Many of them succeeded in this and we can see many examples of such marriages and live-in relationships of these girls in the film line. Gujarati producers and directors were in the forefront in this matter.
Read more on this topic…


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

Mukesh and his Composers – 14
——————————————–

As we celebrate seven decades of freedom, patriotic songs continue to eulogize the glories of our nation. These songs have always had a special place in the hearts of all Indians. During the good old days of DD, many such songs were played throughout the day on such occasions. One of the very common songs that was invariably played was the Mukesh number “Chhodo Kal Ki Baaten” from the film ‘Hum Hindustani’ (1960). Coming from the baton of Usha Khanna in her second film as a composer, the song was sung with much gusto by Mukesh. The other famous song by Mukesh in this genre is obviously the title song from ‘Jis Desh Mein Ganga Behti Hai’ (1960).
Read more on this topic…


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

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


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

chaman mein sab ne hi gaaya
tarana zindagani ka
magar sab se alag tha rang
meri hi kahani ka

zamanaa sun raha hai jis ko
wo meri kahani hai

 

The voice of Mukesh continues to enthral the world of music. Today (22 July) is his birth anniversary and I present here a short song from the film ‘Jis Desh Mein Ganga Behti Hai’ (1960). This film has already been Yippeee’d on the blog, but this particular rendition can as well be taken as an additional separate song.
Read more on this topic…


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

Today’s song is from film ‘Anban’ (1944) (pronounced as un-bun). So far, only one song from this film has been discussed on our blog in 2011. This is, therefore, the second song from this film. No songs of this film are available anywhere like You Tube etc. Then, how did I get introduced to  this song ? There is a story behind this.
Read more on this topic…


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.

“Chhoti Chhoti Baaten” (1965) was directed by Motilal for Rajvanshi Productions, Bombay. The movie had Motilal, Nadira, Moti Sagar, Manju, Kumar, Krishan Dhawan, Leela Misra, Sangeeta, Mridula, Mubarak etc in it.
Read more on this topic…


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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13600 song posts by now.

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

Total number of songs posts discussed

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Movies with all their songs covered =1024
Total Number of movies covered =3736

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