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

Archive for the ‘movie opening song’ Category


This article is written by Avinash Scrapwala, 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 :

3829 Post No. : 14835 Movie Count :

4057

# The Special Voices of the Decade (1971-1980) – 6 # Yesudas #
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I recall listening to a song frequently on radio when I was around seventh or eight years old. The voice was very attractive and it had something special which captivated my young mind then.
There was one Mr. Abu who held from Kerala and was my Father’s friend (may be because of their drinking habits 🙂 residing in the same colony). He used to praise this new Singer a lot and liked his songs very much. My Father had even started learning ‘Malayalam’ from him and he had started learning how to write ‘Malayalam’ words too 🙂 in register.

As years passed and we were getting more and more memorable songs from this Singer though the quantity was not that much as compared to the other established singers in HFM.

Still, the songs coming from his voice were gaining popularity as well as it were creating a special place in the hearts of people, as the movies he was singing in were also coming from directors from special genre who were making off-beat movies then in the era already dominated by multi-starrer movies.

Nevertheless, the songs were adding to the list of ‘all time memorable songs’ and ‘nostalgia’ for peoples like me …

Today this singer turns to seventy-nine. He was born on in kerala.

I will not go into his biography in details because it has been covered in two of earlier posts on the blog.

Instead I will give below the name of the movies he sings in from 1971 since his debut in an ‘un-released’ Hindi movie, but compiled up to 1980 only, since I have the Geet Kosh for this period available with me.

Though our today’s Singer keep singing till recently in Hindi movies. But if we come to his statistics Hindi movies, we will not be able to judge his extra-ordinary talent and the ‘divine’ presence he has left by singing nearly fifty thousand songs in many national and international languages in his career spanning fifty years!!

He has been honoured with many national awards in singing as well as been conferred upon with our national civilian awards too and the list of awards is so BIG that one can only imagine his extra ordinary contribution to music as well as the society in turn…

I think, one who has grown up in the years of seventies can never ever forget this voice and those beautiful lovely songs …

Let us now start my journey through his songs …

Or let me remind you of this non-filmy song first … ‘teesta nadi si tu chanchalaa, main bhi hoon bachpan se manchalaa’

Our today’s singer is the male voice in this song (though the other voice i.e. the female voice too is ‘nostalgic’ for me … 

‘Gori teraa gaaon badaa pyaara’ – it was ruling the charts in 1976 and even after forty two years it is the same, even the new generation likes it when they get to listened to it..
But my favorite at that time was the other one from the same movie ‘Aaj se pehle ae aaj se jyadaa’ .

‘Jaaneman jaaneman tere do nayan’ from ‘Chhotisi Baat-1975’ had already stolen people’s hearts and their eyes open to read and learn more about this male voice in this song …

Two years later he was in a rebellious still melodious mood when he sings ‘Kitaabon mein chhaptein hain chaahat ke kisse’

Then who will ever forget ‘sunayna sunayna’ .

The same year he was praising his beloved with ‘chaand jaise mukhde pe’.

However, the one close to my heart and growing every time for all these years is ‘tere bina soona more man ka mandir aa re aa re aa’

A year before in 1978 his ‘dil ke tukde tukde kar ke muskuraa ke chal diye’, was also keep us mesmerised (but I was not liking much then, till I became a fully grown up adult 🙂 )

And as the years passed this list also keep adding on and on …

‘ka karu sajni ee’
‘kahaan se aaye badraa’
‘madhuban Khushboo deta hai’
‘maana ho tum behad haseen’

From the early eighties I like;

‘beeti huyi raat ki sunaati hai kahaani’

‘dheere dheere subah huyi’

I can keep listing many many of his favourites of mine but I have to stop …
And as I was browsing his filmography, I was reminded of this lovely number … just to refresh the memories of yours too;

‘jeewan path pe ek rath ke do pahiye ban chalte jaayen’

I cannot stop without mentioning these two;

‘Shyaam rang ranga re’
And
‘Shadaj ne paaya ye vardaan’

(in HFGK Vol V I could not find the name of this UR movie ‘Tansen’ or maybe I have missed it…)

Then I remember I had specially brought his ‘non-filmy’ album ‘Sitaaron mein tu hi’ in 2000-2001 (when I was in Bareilly. I do not have cassette with me to mention more about it here)

But I have to stop here and presenting this article in this series a little differently I will leave you with the list of movies he sung from 1971 to 1980;

Year Movie Director Music Director Solo Duet/or with two or more Singers Total Songs
UR 1971 Jai Jawaan Jai Kisaan (1971) A.A.Raj 1 0 1
UR 1977 Aanand Mahal (1977) Basu Bhattacharya Salil Chaudhary 4 1 5
UR (1971-1980) Bin Baap Ka Beta (1971-80) Mukul Dutt Basu-Manohari 0 1 1
1975 Baaghi Lutera A.C.Trilokchander M.S.Vishwanathan-M.Rangarao 0 1 1
1975 Chhoti Si Baat Basu Chatterjee Salil Chaudhary 0 1 1
1976 Chitchor Basu Chatterjee Ravindra Jain 2 2 4
1976 Jesus P.A.Thomas M.S.Vishwanathan, Joseph Krishna, Yesudas * * 0
1976 Mazdoor Zindaabaad Naresh Kumar Usha Khanna 1 0 1
1977 Aalaap Hrishikesh Mukherjee Jaidev 3 1 4
1977 Aanand Aashram Shakti Samant Shyamal Mitra 0 1 1
1977 Agar Ismail Shroff Sonik-Omi 0 1 1
1977 Alibaabaa Marjinaa Kedar Kapoor Usha Khanna 1 0 1
1977 Charandaas B.S.Thapa Rajesh Roshan 0 1 1
1977 Darindaa Kaushal Bharati Kalyanji-Anandji 0 1 1
1977 Do Chehre Kewal Mishra Sonik-Omi 1 0 1
1977 Dulhan Wahi Jo Piyaa Man Bhaaye Lekh Tandon Ravindra Jain 0 1 1
1977 Jaadoo Tonaa Ravikant Nagaich Hemant Bhonsle 1 2 3
1977 Meethhee Meethhee Baatein K.Balachander Chakravarti 0 2 2
1977 Safed Haathi Tapan Sinha Ravindra Jain 2 0 2
1977 Safed Jhoothh Basu Chatterjee Shyamal Mitra 2 0 2
1977 Swaami Basu Chatterjee Rajesh Roshan 1 1 2
1978 Aankhin Dekhi Rajinder Singh Bedi J.Kaushik 1 0 1
1978 College Girl Shantilal Soni Bappi Lahiri 0 1 1
1978 Daadaa Jugal Kishore Usha Khanna 1 0 1
1978 Do Ladke Dono Kadke Basu Chatterjee Hemant Kumar 1 1 2
1978 Hamaaraa Sansaar T.Prakash Rao Ravindra Jain 1 0 1
1978 Hazaar Haath Rajdeep Sharda 0 1 1
1978 Maa Baap Kishore Vyas Avinash Vyas * * 0
1978 Meraa Rakshak R.Tyagraj Ravindra Jain 0 2 2
1978 Saajan Binaa Suhaagan Sawan Kumar Usha Khanna 1 1 2
1978 Shikshaa S.Ramnathan Bappi Lahiri 1 0 1
1978 Solvaan Saawan Bharati Raja Jaidev 0 2 2
1978 Sone Ka Dil Lohe Ke Haath Naresh Kumar Usha Khanna 1 0 1
1978 Toote Khilaune Ketan Anand Bappi Lahiri 1 0 1
1978 Trishool Yash Chopra Khayyam 0 3 3
1979 Gopaal Krishna Vijay Sharma Ravindra Jain 0 1 1
1979 Grih Pravesh Basu Bhattacharya Kanu Roy 1 0 1
1979 Jeenaa Yahaan Basu Chatterjee Salil Chaudhary 0 1 1
1979 Lahu Ke Do Rang Mahesh Bhatt Bappi Lahiri 1 0 1
1979 Naiyaa Prashant Nanda Ravindra Jain 2 1 3
1979 Raadhaa Aur Seetaa Vijay Kapoor Ravindra Jain 0 1 1
1979 Saawan Ko Aane Do Kanak Mishra Rajkamal 6 1 7
1979 Sunayanaa Hiren Naag Ravindra Jain 2 0 2
1980 Apne Paraaye Basu Chatterjee Bappi Lahiri 1 1 2
1980 Ek Baar Kaho Lekh Tandon Bappi Lahiri 1 0 1
1980 Kaaran B.R.Ishaara Usha Khanna 1 0 1
1980 Khwaab Shakti Samant Ravindra Jain 1 1 2
1980 Maan Abhimaan Hiren Naag Ravindra Jain 2 0 2
1980 Paayal Ki Jhankaar Satyen Bose Rajkamal 0 1 1
1980 Pratishodh I.V.Sasi Ravindra Jain 1 0 1
1980 Qismat Bhishm Kohli Bappi Lahiri 1 0 1
1980 Saajan Mere Main Saajan Ki Hiren Naag Ravindra Jain 0 1 1
Total no of movies – 1971 to 1980 – 52 nos TOTAL 84

(** details not available about number of songs of each Singer)

Other than this he has sung in many languages (national and international) and that way the ‘madhuban’ of his ‘gaayaki’ will always be remain blossomed all over and let the ‘Madhuban’ of his songs and those unforgettable memories be with us forever till we are here and for the coming generations too- unki gaayki ka ye Madhur-sumadhur-mehakta huaa madhuban hamesha geeton se chhalakta rahega’

Kattassery Joseph Yesudas” or Yesudas as we fondly know him …
(born on 10th January’ 1940)

Bas naam hi kaafi hai!!! Is naam ke ‘parimandal’ mein hi ‘swarg’ hai …

“Pyaare panchhi baahon mein
Gaati koyal raahon mein
Dharti pe yahi to khushi hai
Apni duniya mein aansoo bhi nahin hai”

***

‘Safed Jhoothh’ was directed by Basu Chatterjee for ‘Matrichhaaya, Bombay’. (this was the first movie by ‘Matrichhaaya’). Basu Chatterjee also wrote the Screenplay and dialogues of this movie.
It was presented by Raj Rajpal. It was produced by Asim Kumar.

It had Ashok Kumar, Vinod Mehra, Mitthu Mukherji, Deven Verma, Vidya Sinha, Manik Dutt, Abu Shivani, Amol Sen, Khalid Roy, Devraj Sinha, Prabir Roy, Somnath Pardesi, Pradeep Mukherji, Milan Mukherji, Vinay Chhibbar, Arup Ganguly, Umesh Kaalbag and many others.

This movie introduced new discovery Renuka.
Pradeep Kumar and Amol Palekar makes a guest appearance in this movie.

Story of this movie was written by Samresh Basu. Editing of this movie was done by V.N. Mayekar.

Music of this film was composed by Shyamal Mitra. And all the four songs in this movie were penned by lyricist Yogesh.
Asha Bhonsle, Shyamal Mitra and Yesudas had given their voices to the songs in this movie.

Today’s song is sung by Yesudas and the movie ‘Safed Jhoothh’ is making a debut on this blog with this lovely song …

This movie was passed by Censor Board on 07.06.1977.

Let us enjoy this song wishing Yesudas ji a very very happy birthday (albeit a day later) and a healthy and peaceful life ahead …

Lyrics for this song were sent by Peevesie’s Mom ji and I remember many times in her comments she mentions that ‘how the die-hard fans’ can forget an anniversary of their beloved actor/actress or Singer, so … yes Yesudas fans can never forget this nostalgic gem 😊

Thank you, Peevesie’s Mom ji!!!

Going by the association of Yesudas with the movies of Basu Chatterjee, I think, this song perfectly fits for this presentation here …

(And I must thank both of our editors who patiently waited for my sending of this article to them. It took time for me to compile the filmography going through each page of HFGK except the appendices and corrigendum. I cannot claim that the list given by me is exhaustive and corrections/suggestions are most welcome.

‘Zid na karo’ aisa khayaal to aaya, but since I had planned that for this article on Yesudas ji I will at least try to give the filmography of his songs from 1971 to 1980, so I have tried my best…)

(note – I have noted the lyrics as per the movie version + audio version)

Audio

Video


Song-Neele ambar ke taley (Safed Jhhooothh)(1977)Singer-Yesudas, Lyrics-Yogesh, MD-Shyamal Mitra

Lyrics(Provided by Peevesie’s Mom)

Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ghar chaley
Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley

Har ghadi din rainaa aa aa
Chain ab aaye naa
Man kahe mera saathi ee ee
Ab kahin jaaye naa
Ye milan mein khoyi
Ab naa shaam dhaley ae ae ae ae
Neele ambar ke taley ae
do yahaan saathhi miley
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley

Zindagi mein aise ae ae ae
Din kabhi aate hain
Rasmon ke bandhan mein ae ae
Meet bandh jaate hain
Phir mehak uthhte hain
Tan ke phool khile ae ae ae
Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley

———————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————–
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले

हर घडी दिन रैना आ आ
चैन अब आये ना
मन कहे मेरा साथी ई ई
अब कहीं जाए ना
ये मिलन में खोयी ई
अब ना शाम ढले ए ए ए
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले

ज़िन्दगी में ऐसे ए ए ए
दिन कभी आते हैं
रस्मों के बंधन में ए ए
मीत बंध जाते हैं
फिर महक उठते हैं
तन के फूल खिले ए ए ए
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले ए

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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 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 :

3823 Post No. : 14825 Movie Count :

4054

Today’s song is from film Manthan-76. This was one of the films, which was very close to my heart. I must have seen it at least 3 times-an honour which I bestowed on only few films. Everything about this film was good-Story, Director, Actors and above all the only song in the film, sung so beautifully by Preeti Sagar.

This film was based on the work of Dr. Verghese Kurien, the person who helped the White Revolution to bloom in India. This film is close to my heart, because I have met Dr Kurien twice in my professional career. While working as the Head of the Veterinary Division of Glaxo, for the Western India, I had two occasions when I personally met Dr. Kurien in his office at Anand. That was somewhere in 1981.

I reduced seeing films in the 70’s beginning, for two reasons. One I was busy in Career building and family raising. The second reason was, the complexion of the films made from the 70s onwards were mostly ‘ Boy Meets Girl ‘ type escapist films.The films had sweet looking Heroines and Chocolate Heroes. There was no difference in film stories- only change of names and locations. Directors like Nasir Hussain publically admitted to having made films on same stories with minor changes. Such escapist films ended my interest in them In addition, the type of music in films was not of my choice or liking.

just imagine. a Chocolate Hero- Rajesh Khanna-emerged on the success horizon with film Aaradhana-69 and created an all time record( still unbroken) of 15 consecutive solo Hit films from just 1969 to 1971 ! The public too wanted to only the goody-goody films. Of course, there were exceptions but only exceptions, mind you, in Hindi films.
During this period, films called ” Parallel Cinema” or ” New Wave Cinema” or just the ” Art Films” flourished and provided relief to people like me. Some of these were blatant Art films, but most were entertaining and tackled day to day issues of the common people.

Parallel cinema was a film movement in Indian cinema that originated in the state of West Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema, represented especially by popular Hindi cinema, known today as Bollywood.

Inspired by Italian Neo realism, Parallel Cinema began just before the French New Wave and Japanese New Wave, and was a precursor to the Indian New Wave of the 1960s. The movement was initially led by Bengali cinema and produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others. It later gained prominence in other film industries of India and Bangladesh.

It is known for its serious content, realism and naturalism, symbolic elements with a keen eye on the sociopolitical climate of the times, and for the rejection of inserted dance-and-song routines that are typical of mainstream Indian films.

Realism in Indian cinema dates back to the 1920s and 1930s. One of the earliest examples was Baburao Painter’s 1925 silent film classic Savkari Pash (Indian Shylock), about a poor peasant (portrayed by V. Shantaram) who “loses his land to a greedy moneylender and is forced to migrate to the city to become a mill worker. Acclaimed as a realistic breakthrough, its shot of a howling dog near a hut, has become a milestone in the march of Indian cinema.” The 1937 Shantaram film Duniya Na Mane (The Unaccepted) also critiqued the treatment of women in Indian society.

The Parallel Cinema movement began to take shape from the late 1940s to the 1965, by pioneers. This period is considered part of the ‘Golden Age’ of Indian cinema. This cinema borrowed heavily from the Indian literature of the times.

Early examples of Indian cinema’s social realist movement include Dharti Ke Lal (1946), a film about the Bengal famine of 1943 directed and written by Khwaja Ahmad Abbas, and Neecha Nagar (1946), a film directed by Chetan Anand and written by Khwaja Ahmad Abbas that won the Grand Prize at the first Cannes Film Festival. Since then, Indian independent films were frequently in competition for the Palme d’Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival.

During the 1950s and the 1960s, intellectual filmmakers and story writers became frustrated with musical films. To counter this, they created a genre of films which depicted reality from an artful perspective. Most films made during this period were funded by state governments to promote an authentic art genre from the Indian film fraternity. The most famous Indian “neo-realist” was the Bengali film director Satyajit Ray. Ray’s most famous films were Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959), which formed The Apu Trilogy. Produced on a shoestring budget of Rs. 150,000 , the three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.

Certain art films have also garnered commercial success, in an industry known for its surrealism or ‘fantastical’ movies, and successfully combined features of both art and commercial cinema. An early example of this was Bimal Roy’s Do Bigha Zamin (1953), which was both a commercial and critical success. The film won the International Prize at the 1954 Cannes Film Festival and paved the way for the Indian New Wave. Hrishikesh Mukherjee, one of Hindi cinema’s most successful filmmakers, was named the pioneer of ‘middle cinema’, and was renowned for making films that reflected the changing middle-class ethos. Renowned Filmmaker Basu Chatterjee also built his plots on middle-class lives and directed films like Piya Ka Ghar, Rajnigandha and Ek Ruka Hua Faisla. Another filmmaker to integrate art and commercial cinema was Guru Dutt, whose film Pyaasa (1957) featured in Time magazine’s “All-TIME” 100 best movies list.

In the 1960s, the Indian government began financing independent art films based on Indian themes. Many of the directors were graduates of the Film and Television Institute of India(FTII), in Pune. The Bengali film director Ritwik Ghatak was a professor at the institute and a well-known director. Unlike Ray, however, Ghatak did not gain international fame during his lifetime. For example, Ghatak’s Nagarik (1952) was perhaps the earliest example of a Bengali art film, preceding Ray’s Pather Panchali by three years, but was not released until after his death in 1977. His first commercial release Ajantrik (1958) was also one of the earliest films to portray an inanimate object, in this case an automobile, as a character in the story, many years before the Herbie films.

During the 1970s and the 1980s, parallel cinema entered into the limelight of Hindi cinema to a much wider extent. This was led by such directors as Gulzar, Shyam Benegal, Mani Kaul, Rajinder Singh Bedi, Kantilal Rathod and Saeed Akhtar Mirza, and later on directors like Govind Nihalani, becoming the main directors of this period’s Indian art cinema. Mani Kaul’s first several films Uski Roti (1971), Ashadh Ka Ek Din (1972), Duvidha (1974), were critically appreciated. Parallel cinema of this time gave careers to a whole new breed of young actors, including Shabana Azmi, Smita Patil, Amol Palekar, Om Puri, Naseeruddin Shah, Kulbhushan Kharbanda, Pankaj Kapoor, Deepti Naval, Farooq Shaikh, and even actors from commercial cinema like Hema Malini, Raakhee, Rekha ventured into art cinema.

These actors did not have an easy entry even in Parallel cinema. Basu Chatterji once narrated how Amol palekar’s entry met with opposition.” I was to make ” Piya ka ghar”-72 for Rajeshree prodn. I took Rajkumar Barjatya to watch Amol in drama ” Aadhey Adhurey”, but Raj was not willing to gamble with an actor, who was the very antithesis of a ‘ Star ‘. He took Anil Dhavan for that film. After ‘ Rajnigandha ‘ became a hit, the same Rajkumar Barjatya wanted only Amol for his next film ” Chitchor”-76. ”

By the early 1990s, the rising costs involved in film production and the commercialisation of the films had a negative impact on the art films. The fact that investment returns cannot be guaranteed made art films less popular amongst filmmakers. Underworld financing, political and economic turmoil, television, and piracy proved to be fatal threat to parallel cinema, as it declined.

One of the major reasons for the decline of the parallel cinema in India is that the F.F.C. or the National Film Development Corporation of India did not seriously look into the distribution or exhibition of these films. The mainstream exhibition system did not pick up these films because these films did not have the so-called ‘entertainment value’ that they were looking for. Thus, it left to a few Film Societies to screen these film; that too on a single screening basis. The advent of television and its popularity saw the film society movement decline. Gradually, the government reduced the patronage of such films, for they had only unseen films to be shown on their balance sheets.
Manthan ( Churning) is a 1976 Hindi film directed by Shyam Benegal, inspired by the pioneering milk cooperative movement of Verghese Kurien, and was written jointly by him and Vijay Tendulkar. It is set amidst the backdrop of the White Revolution of India. Aside from the great measurable success that this project was, it also demonstrated the power of “collective might” as it was jointly crowd funded by 500,000 farmers who donated Rs. 2 each, when it was found that the budget provided by NFDC for it, was insufficient.
The film won the 1977 National Film Award for Best Feature Film in Hindi and National Film Award for Best Screenplay for Vijay Tendulkar, and was also India’s submission for the Academy Award for Best Foreign Language Film for 1976.

The title song (“Mero Gaam Katha parey”) was sung by Preeti Sagar. She won the Filmfare Award for Best Female Playback Singer for that year. The song was later used as the soundtrack for the television commercial for Amul.

The word Manthan literally means “churning”, and other meanings may be deep contemplation, churning of facts, analysis aimed at a solution or conclusion. The film traces a small set of poor farmers of Kheda district in Gujarat who had the vision and foresight to act in a way that was good for the society and not for the self alone. Under leaders like local social worker Tribhovandas Patel, who took up the cause of the farmers, lead to the formation of Kaira District Co-operative Milk Producers’ Union. Soon the pattern was repeated in each district of Gujarat, which in turn led to the formation of Amul, a dairy cooperative in Anand, Gujarat in 1946, which is today, jointly owned by some 2.6 million milk producers in Gujarat, India.

Eventually, this led to the initiation of White Revolution of India in 1970, by creating a “Nationwide Milk Grid”, and the setting up of Gujarat Co-operative Milk Marketing Federation Ltd. (GCMMF) in 1973, whose 500,000 members jointly financed the film, by donating Rs. 2 each, when NFDC budget for this film as sanctioned was found to be insufficient. Upon its release, truckloads of farmers came to see “their” film, thus making it a box office success.

Trivia- From 1946 to 2012, till his death, Kurien was in Gujarat, but he could never speak Gujarati. Though a Christian, he was cremated in Nadiad, where he breathed his last, as per his last wish.

The Music Director for this film was Vanraj Bhatia, a very highly educated Music expert. Born in 1927 in Bombay, Vanraj Bhatia trained in Western classical music while studying at the Elphinstone College in Mumbai for M.A. (English Honours); after graduating in 1949 he left for the Royal Academy of Music, London, to study music composition, which he passed with a Royal Academy Gold Medal in 1954.

Thereafter he entered the Paris Conservatory between 1954 and 1959. During his studies abroad he received various scholarships.

In 1960, he started his career as Reader in Musicology in charge of Western Music, at the Faculty of Music Delhi University, where he stayed until 1965.

Meanwhile, in 1959, he created his first advertising jingle for Shakti Silk Sarees. From that point on he became one of the pioneering ad jingle makers in India, and also one of the most successful, later moving to Mumbai and working for the advertising industry. In all he has created over 7000 scores for advertising jingles, corporate and business films.

His first film as a music composer was Ankur (1974), and he soon became a regular composer for Shyam Benegal and other art film makers of the time. He gave music to 23 films,composing 78 songs. His most noted works in this period are Manthan (1976), Bhumika (1977), Junoon (1978), 36 Chowringhee Lane (1981), Trikal (1985) and Mandi (1983) and Jaane Bhi Do Yaaro (1983).

He has also created music for Indian theatre productions such as “Tughlak” and “Andha Yug”.

In the following decade, his work was heard constantly on Indian television with the title scores for TV series like Khandaan, Yatra, Lifeline, Discovery of India, Wagle Ki Duniya, and the made-for-TV film Tamas (1987), for which he received the National Film Award for Best Music Direction in 1988.

In the 1990s, he worked in many commercial Hindi films as well as providing background scores for many other films, working on over 40 films during his career. His most noted works were for Shyam Benegal’s film Sardari Begum in 1996 and for Vijay Singh’s international film Jaya Ganga.

He is the composer of the famous Liril soap jingle “La… Lalala.la..”

The story of film Manthan-76, adapted from Wikipedia is …

The film traces the origins of the movement through its fictionalised narrative, based around rural empowerment, when a young veterinary surgeon, played by Girish Karnad, a character based on the then National Dairy Development Board (NDDB) chief, the 33-year-old Verghese Kurien, who joined hands with local social worker, Tribhovandas Patel, which led to the setting up of a local milk cooperative, in Anand, Gujarat.

Dr. Rao (Girish Karnad), a young veterinary doctor with his team of Deshmukh (Mohan Agashe), Chandravarkar (Anant Nag) and others comes to a village in Kheda district, Gujarat. The village is inhabited by poor people whose chief occupation seems to be cattle-rearing and producing milk, which they sell to a local dairy owner Mishra Ji (Amrish Puri). Mishra Ji pays them ridiculously low amounts for their milk. Dr. Rao and his team have arrived with the purpose of setting up a co-operative society dairy which will be owned collectively and managed by the villagers themselves. As Dr. Rao and his team grapple with village politics, rigid casteism and general distrust of the village folk, they face planned hostility from the local Harijan community’s leader Bhola (Naseeruddin Shah) who harbours deep anger and resentment against the higher caste Panchayat Head (Kulbhushan Kharbanda). Local village women are led by a feisty young woman Bindu (Smita Patil), mother of a young child whose husband has supposedly left her.

Dr. Rao wins the trust of Bindu and other villagers by testing their milk and paying them fair amounts for their high fat-content milk and this irks Mishra Ji. Deshmukh is worried by the caste politics and divide between the higher castes and Harijans in the village and repeatedly warns Rao against getting involved in it. Chandravarkar gets attracted to a local Harijan girl and has a few rendezvous with her in secret. The Harijans don’t want to join the co-operative as they feel that the higher caste Panch and his cronies will usurp the society as well. Rao and his associates talk sense into them and organise for an election for the post of the head of the co-operative. Bhola begins to trust and believe in Rao’s ideals when Rao fires Chandravarkar for having fun with the Harijan girl on pretext of marrying her and bails Bhola out of jail when Panch gets him arrested for rowdy behaviour.

Meanwhile, a mutual admiration and liking develops between Rao and Bindu, which is cut short when Bindu’s husband returns home suddenly and Rao’s wife comes to visit him in the village. In the election, the Harijan representative Moti defeats the Panch in a tiebreaker and the Harijans erupt in joy. The Panch takes the loss terribly on his ego and joins Mishra Ji, also aided by Bindu’s husband. Together, they force Bindu to put her thumb impression on legal papers that claim Dr. Rao has raped her. Dr. Rao is extremely agitated when the allegations are brought against him and starts to wonder whether or not he has bitten off more than he can chew. His wife also falls sick with Typhoid. Dr. Rao finishes the setting up of the board and leaves with his wife. This greatly troubles Bhola as he considers this cowardice on Dr. Rao’s part. Bhola, however, continues to carry on the work of the co-operative with support from a few villagers and notably, Bindu. Both of them have been inspired and churned as new, brave individuals by the work of Dr. Rao.

With this song, the film makes a Debut on the Blog and since there was only one song in the film, all songs in the film also completed.The song is the Title song of the film, used many times in the film as background song. It is based on a Folk song of Gujarat. The song is enchanting and once heard it keeps on coming back again and again. See for yourself…..

(Ack- information from Gaata rahe mera dil by Aniruddha and Balaji, wiki and The Hindu is used in adapted form here.)


Song- Mero gaam kaatha paarey (Manthan)(1976) Singer- Preeti Saagar, Lyricist- Neeti Saagar, MD- Vanraj Bhatia

Lyrics

mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na
mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na

mhaare gaamde leelalaher
jyaan naache mor ne dhel
jyaan doodh ki relamchhel
jyaan vad pipal ni chhainyaa
suh ti charti gaiya
aao aao re ae ae
aao aao re mhaare gaam
sabko pyaaro mhaaro dhaam
yaad rakhiyo mero shyaam
mare ghar aangna na bhulo na
hey mhaare ghar angana na bhoolo na
kabhi rukna mhaare gaam
o pardesiya
o pardesiya
o pardesiya
o pardesiya


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

Blog Day :

3776 Post No. : 14754 Movie Count :

4035

Muzzafar Ali, the producer-director of some of the parallel films has been very proud of the Awadhi culture. His father was the raja of Kotwara which is located in Lakhimpur Kheri district, a part of Awadh region. Moreover, he had completed his schooling in Lucknow, the centre of Awadhi culture. His sensibility towards Awadhi culture can be judged from his films, Gaman’ (1978), ‘Umrao Jaan’ (1981), Aagaman’ (1984), ‘Anjuman’ (1986) and the last one, “Jaanisaar’ (2015) with Awadh as background. “More than a ‘royal’, I am ‘loyal’ to my root – Awadh” says Muzzafar Ali.

In ‘Gaman’ (1978), the young Ghulam Hasan goes to Mumbai from Lucknow in search of employment opportunity and ultimately become a taxi driver living in a slum. His wife and the ailing mother live in Lucknow eagerly waiting for his return. But he has no saving after working as a taxi driver for months to visit his native place. True to his love for Awadh, Muzzafar Ali chose the location in Kotwara for shooting a part of the film covering the scenes of Ghulam Hasan’s wife and his ailing mother. The dialogues during the scenes in the film in the native village between Ghulam Hasan, his wife and mother were in Awadhi.

Muzzafar Ali was so much into Awadh that for ‘Gaman’ (1978), he had first approached Amitabh Bachchan who is also from the Awadh region, for the role of Ghulam Hasan (The reason could be that there were many dialogues in the film in Awadhi). Amitabh Bachchan had first agreed to do the role in principle. However, later he felt that his ‘angry young man’ image would be affected by doing the role in the film. So he declined the offer. The role went to Farooque Shaikh. (This was revealed by Mazzafar Ali in a documentary video film).

In ‘Umrao Jaan’ (1981), Muzaffar Ali takes us to the heartland of Awadhi culture – Lucknow-Faizabad belt in the film. The film depicts the nawabi Lucknow with its all grandeur – the language, the costumes, the sets etc. Probably, after his first experience of film production with ‘Gaman’ (1978), Muzzafar Ali became wiser. So he built into this film, some elements of commercial films like selecting Rekha for the role of Umrao Jaan. On a second thought, Asha Bhonsle was selected to sing songs for Rekha. He also selected the well-known theatre actors like Naseeruddin Shah, Shaukat Azmi, Deena Pathak, Gajanan Jagirdar to give the film a strong acting prowess in subsidiary roles. The mixing this ‘parallel’ film with commercial elements paid a rich dividend to Muzzafar Ali in that even after 37 years, this film has remained in the bloodstream of cinema fans.

‘Aagaman’ (1984) was Muzaffar Ali’s 3rd film, making it a part of the trilogy of films with the commonality of Awadhi culture. The film was produced by Uttar Pradesh Sugarcane Seed and Development Corporation under the banner of Integrated Films and was directed by Muzzafar Ali. The star cast included Suresh Oberoi, Bharat Bhushan, Saeed Jaffrey, Anupam Kher (his debut film), Dilip Dhawan, Deepa (her debut film), Sudhir Pandey, Yunus Parvez, Raj Bisaria, Javed Khan, Anjaan Srivastav etc.

It was the idea of Muzzaffar Ali to Vishwanath Pratap Singh, the then Chief Minister of Uttar Pradesh to commission a feature film highlighting the plights of sugarcane growers in Lakhimpur Kheri, which is called the ‘sugar bowl of Uttar Pradesh’. Most of the shooting of the film had taken place in Kotwar and around.

It is surprising that ‘Aagaman’ (1984) is not available for watching online. It appears that the DVD of the film is also not available for sale. I remember that in one of the programmes on Doordarhsan, Muzzafar Ali had mentioned that the sound negatives of both ‘Aagaman’ (1984) and ‘Anjuman’ (1986) were lost/destroyed. That means that the only chance to see the film is from the private collectors. I find that video clips of most of the songs of ‘Aagaman’ (1984) are available online.

Anyway, the broad story line of the film as I understand from some online sources is that a sugar mill owner of a village has been exploiting the sugarcane growers by not paying them remunerative prices. As a result, sugarcane growers remained poor and debtors. A young man from the village after completion of his education from Lucknow takes up the issue of sugarcane growers with the sugar mill owner. But his efforts do not bear fruit as there are vested interests in the village. Ultimately, with great persuasion, he makes reasons to sugarcane growers to set up a cooperative sugar mill. Now they not only get the fair price for the sugarcane but being the members of the cooperative sugar mill, they also share the profits from the mill.

The film has 8 songs out of which as many as 7 songs were composed on the published nazms of Faiz Ahmed Faiz. The remaining one song was written by Hasrat Jaipuri. All the songs were set to music by Padma Vibhushan Ustad Ghulam Mustafa Khan. It was his first film as a music director.

I am presenting the first song ‘nisaar mein teri galiyon ke ae watan ke jahaan’ from the film which is a nazm written by Faiz Ahmed Faiz. He wrote this nazm in the backdrop of the establishment of Pakistan’s first military government in 1958 when many repressive measures were taken. Dissents were not tolerated. There was censorship on the newspapers. Political leaders and intellectuals were arrested and imprisoned. The song is rendered by Ustad Ghulam Mustafa Khan.

Ustad Ghulam Mustafa Khan (born 03/03/1931) is the doyen of Rampur-Sahaswan Gharana and is highly respected among the new generation of Hindustani classical singers. He has a large number of his disciples/trainees which include Asha Bhonsle, Geeta Dutt, Manna Dey, Kamal Barot, Suresh Wadkar, Hariharan, A R Rahman, Alisha Chinoy, Sonu Nigam, Shaan etc. I propose to write a detailed article on him sometime later.

The song in the video clip is somewhat shorter than the record version of the song due to a few lines repeated in the latter version. Furthermore, the order in which antara parts of the song is recorded in record version is different than the order in the sound track.

With this song, ‘Aagaman’ (1983) makes its debut in the Blog. The singer-composer also makes his debut in the blog.

Video Clip:

Audio Clip:

Song-Nisaar main teri galiyon pe ae watan (Aagaman)(1983) Singer-Ustad Ghulam Mustafa Khan, Lyrics-Faiz Ahmad Faiz, MD-Ustad Ghulam Mustafa Khan

Lyrics (based on video clip)

nisaar main teri galiyon pe ae watan ke jahaan
chali hai rasm ke koi na sar uthha ke chale ae
nisaar main teri galiyon pe ae watan ke jahaan
jo koi chaahne waala tawaaf ko nikle
nazar churaa ke chale jism-o-jaan bachaa ke chale
nisaar main teri galiyon pe ae watan ke jahaan

bahut hain zulm ke dast-e-bahaana joo ke liye
jo chand ahl-e-junoon tere naam leva hain
bane hain ahl-e-hawas muddai bhi munsif bhi
kise vakil karen kis se munsafi chaahen
magar guzaarne waalon ke din guzarte hain
tere firaaq mein hi subah-o-shaam karten hain
nisaar main teri galiyon pe ae watan ke jahaan

yoon hi hamesha ulajhti rahi hai zulm se khalq
na unki rasm nayi hai na apni reet nayi
yoon hi hamesha khilaayen hain hamne aag mein phool
na unki haar nayi hai na apni jeet nayi
isi sabab se falak ka gila nahin karte
tere firaaq mein hum dil bura nahin karte
nisaar main teri galiyon pe ae watan ke jahaan

gar aaj tujhse juda hain to kal baham honge
ye raat bhar ki judaai to koi baat nahin
gar aaj auj pe hain taala-e-raqib to kya
ye chaar din ki khudaai to koi baat nahin
jo tujhse ahd-e-wafa ustawaar rakhte hain
ilaaj-e-gardish-e-lail-o-nihaar rakhte hain
nisaar main teri galiyon pe ae watan ke jahaan

bujha jo rauzan-e-zindaan to dil ye samjha hai
ke teri maang sitaaron se bhar gayi hogi
chamak uthhe hain salaasal to hamne jaana
ke ab sahar tere rukh par bhi kar gayi hogi
garaz-e-tasawwur-e-shaam-o-sahar mein jeete hain
giraft-e-saaya-e-deewaar-o-dar mein jeete hain
nisaar main teri galiyon pe ae watan ke jahaan

———————————————
Translation (Provided by Sadanand Kamath)
———————————————-
nisaar main teri galiyon pe ae watan ke jahaan
chali hai rasam ke koi na sar utha ke chale
jo koi chaahne waala tawaaf ko nikle
nazar churaaake chale jism-o-jaan bachaake chale

O my country! I bow to your streets.
They have decreed a custom that none shall walk holding his head high.
If any one wishes to take a round of walk,
walk sneakily, walk with a bend body (to avoid detection).

bahut hai zulm ke dast-e-bahaana-joo ke liye
jo chand ahl–e-junoon tera naam leva hain
bane hain ahl-e-hawas mudaai bhi munsif bhi
kise vakil kare kis se munsafi chaahen
magar gujaarne waalon ke din gujarten hain
tere firaaq mein hi subah-o-shaam karten hain

There are many excuses to continue the oppression
for some crazy people in the guise of your name.
With power of lust, they are both the plaintiff and the judge,
Whom to appoint lawyer and from whom does get justice?
But one has to persist with these hard times for days.
In separation from you, they spend time from dawn to dusk.

yoon hi hamesha uljhati rahi hai zulm se khalq
na unki rasm nayi hai na apni reet nayi
yoon hi humesha khilaayen hain humne aag mein phool
na unki haar nayi hai na apni jeet nayi
isi sabab se falak ka gila nahi karte
tere firaaq mein hum dil bura nahi karte

As always, we reel under oppression.
Neither their rituals nor our traditions is new
As always we have made flowers to bloom in fire
Neither their defeat, nor our victory is new
We do not blame the sky
Nor we feel bad in our hearts for separation from you.

gar aaj tujhse juda hai to kal baham honge
ye raat bhar ki judaai to koi baat nahin
gar aaj auj pe hai taale-e-raqib to kya
ye chaar din ki khudaai to koi baat nahin
jo tujhse ahd-e-wafa ustuvaar rakhte hain
ilaaj-e-gardish-e-lail-o-nahaar rakhte hain

Though separated today, tomorrow we shall be re-united.
Separation is only for the night it does not matter.
If today our rivals are at the peak of powers, so what?
These four days of divinity do not matter.
Those who love you keep a firm belief in you.
We keep the remedy of revolution day and night.

bujha jo rauzan-e-zindaan to dil ye samjha hai
ke teri maang sitaaron se bhar gayi hogi
chamak uthi hai salasil to hamne jaana hai
ke ab sahar tere rukh par bhikar gayi hogi
garaz-e-tasawwur-e-shaam-o-sahar mein jeete hain
giraft-e-saya-o-deewaar-o-dar mein jeete hain

When lights in the prison dim, my heart has felt
that your forehead has been lighted with stars.
When my chains have sparkled, I have known
that the dawn must have straggled upon your face.
We live by imagining the dawn and dusk
We live in the shadows of the high prison walls


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

Blog Day : 3727 Post No. : 14668

ये किसने गीत छेड़ा॰ ॰ ॰

There is always a freshness – a freshness as fresh as the cool early morning breeze. Pick up any film, and you will find this freshness wash all over you, as the music and the songs of that film play. Be it “Nadiya Kinaare Heraaye Aayi Kangna”, or “Naina Diwaane, Ik Nahin Maanen”, or “Thandi Hawaayen, Lehra Ke Aayen”, or “Ye Raat Ye Chandani Phir Kahaan”, or “Phaili Huyin Hain Sapnon Ki Baahen”, or “O Nigaahen Mastaana”, or “Mehfil Mein Aaye Wo Aaj Dheere Se”, or “Khoya Khoya Chaand”, or “Dil Ka Bhanwar Kare Pukaar”, or “Haule-Haule Jiya Dole”, or “O Mere Bairaagi Bhanwra”, or “Megha Chhaaye Aadhi Raat”, or “Sun Ree Pawan, Pawan Purvaiya”, or “Sandhyaa Jo Aaye Mann Ud Jaaye”. . . the list seems to be endless.

Other authors have written about this; this and the daily routine of his morning walk – creating the rhythm with snapping of his fingers, and humming the melody softly in his breaths. That is where most of his masterpieces have come from – plucked out of the cool and fresh morning breeze during his morning walks. One can almost feel as if he saw the peacock when he contemplated on “Mann Mor Hua Matwaala. . .”. And one can feel the whiff of cold breeze in “Thandi Hawa Ka Shor Hai. . .” as the stanza lines of “Chupke Se Miley Pyaase Pyaase. . .”. Maybe it was an encounter with a dreamy eyed young lady that brought to life “Yaad Aa Gayin Wo Nasheeli Nigaahen. . .”. Or that the “Khoya Khoya Chaand. . .” melody came about on a day when the moon was still visible in the early morning gray skies. Conjectures all, but surely, the music came with the early morning breeze.

One also wonders where the eternity of melancholy came to him – “Pyaar Ne Kitne Sapne Dekhe. . .”, “Dukhi Mann Mere. . .”, “Bharam Teri Wafaaon Ka. . .”, “Badi Sooni Sooni Hai. . .”, “Jaane Wo Kaise Log The. . .”, “Jaayen To Jaayen Kahaan. . .”, “Saathi Na Koi Manzil. . .”, “1 . .”, “Tum Mujhse Door Chale Jaana Na. . .” – and many more. Maybe so, that these compositions simply cannot be believed to exist outside of Sachin Da’s regime.

Celebrating the anniversary of his birth today (1st October), I present this completely forgotten and unknown piece of music that is a very short song that plays when the credits of the film ‘Tere Mere Sapne’ (1971) are rolling on the screen. Practically all the songs that Sachin Da has sung for the screen, have all been accounted for on our blog. But not this one.

The unmistakable folk flavor, that is Sachin Da’s favourite genre, is present predominantly in this music piece. As the prelude of this music plays on, one is struck by how the maestro has melded the music with the sounds of machinery and the hammering sound of the miner’s picks and axes. Really remarkable.

ये किसने गीत छेड़ा
दिल मेरा नाचे थिरक थिरक॰ ॰ ॰

ये किसने गीत छेड़ा

 

Song – Phulwa Mangaao Zara Angna Sajaao Gori (Tere Mere Sapne) (1971) Singer – SD Burman, Lyrics – Neeraj, MD – SD  Burman

Lyrics

hey ey..ey..ey
phulwa mangaao zara angna sajaao gori
bichhde balam ghar aayenge

ye ey..ey..ey
jiyaha ye doley jaise neem ki hi pori
bichhde balam ghar aayenge
bichhde balam ghar aayenge

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

हे ए॰॰ए॰॰ए
फुलवा मंगाओ ज़रा अंगना सजाओ गोरी
बिछड़े बलम घर आएंगे

ये ए॰॰ए॰॰ए
जियाहा ये डोले जैसे नीम की ही पोरी
बिछड़े बलम घर आएंगे
बिछड़े बलम घर आएंगे


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

Blog Day : 3648 Post No. : 14486

ASAD 10th Anniversary Celebrations – 4
———————————————————————

Atulites are on a joyous milestone moment, this July 2018, with ASAD completing an admirable journey through 10 years. Thanks to Atul Ji for initiating the journey and being the rock solid foundation and also thanks to contributing writers and innumerable die hard followers.

In every such moment, one looks back with nostalgia, counting occasions that brought joy of revisiting nearly forgotten songs, or joy of finding wonderful gems never heard before, or joy of knowing more about the talented personalities in the field of Hindi cinema and its music. I am no exception. l will be failing if I don’t participate in the celebrations.

I wondered what song I can present to mark the occasion. After sifting through still uncovered songs (a daunting task), I stumbled on this song narrating a nostalgic journey of Sri Krishna to Gokul where he spent his joyous growing years. The journey is a mix of joy and some sadness. What better way to celebrate than presenting a ‘divine’ song from an excellent artiste singing for an award winning movie starring an award winning actress.

The song presented is sung by Shrimati Shubha Mudgal, who makes her first appearance on our blog today. A brief introduction to her

Shubha Mudgal started performing as a Hindustani classical singer in the 1980’s. Hailing from Allahabad, she moved to Delhi for academic studies but continued her interest and training in Indian Classical music. In the 1990s, she started experimenting with other forms of music, including pop and fusion varieties.  Khayal and Thumri are her favourites.

She has won many awards which include National Film award for music direction for non feature film ‘Amrit Beej’, Gold Plaque Award for Special Achievement in Music, at the 34th Chicago International Film Festival, and Padmashri title in 2000.

The song of this post is from the movie ‘Raincoat’ (2004). I would consider ‘Raincoat’ fit be included in the list of best of Indian Cinema. The film won the National film award for best Hindi feature film and was nominated for the Crystal Globe for Best Feature Film at the Karlovy Vary International film festival. The leading lady Aishwarya Rai also won the Zee Cine Award for Critics’ Choice as Best Actress and was nominated for the Filmfare Best Actress Award.  ‘Raincoat’ can easily be Aishwarya Rai’s best performance, that too in a unglamorous role

The story line of the film is as follows,

The film tells the story of two lovers (played by Ajay Devgan and Aishwarya Rai), once engaged but separated by destiny before tying the knot. Ajay later faces financial difficulties. Ajay travels to Kolkata to meet his friends seeking help, and also calls on Aishwarya, during a rainy evening. Aishwarta  is also leading a pathetic life. In this meeting, both of them initially pretend to lead a happy and prosperous life. However, as the encounter progresses and by the time the film comes to a close, each one secretly finds out the truth of the unenviable and miserable lives both of them were leading, post separation.

Ajay before departing leaves whatever he borrowed from friends to meet his own financial difficulties,  under Aishwarya’s bed with a letter.

Later, when he reaches home, in the pocket of his raincoat, he finds a pair of gold bangles and a piece of jewellery that belonged to Aishwarya, along with a letter. She had actually read a letter, written to a friend, that was inside his rain coat revealing his woes.

The film is an adaptation of the famous short story by O’Henry, titled ’The Gift of the Magi’. It is directed by Late Rituparno Ghosh. The lyrics of this song are also credited to him, though I feel it could be from an already existing source. The music is credited to Debajyoti Mishra.

I interpret, this is an allegorical poem, comparing Ajay’s journey to meet his former beloved, with the story of Krishna, now the King of Mathura, returning to Gokul, to meet Radha. But there is a contrast – Ajay’s journey is all melancholic.

This mellifluous ‘divine’ song is raised a notch above when the chorus joins. Recalling the plot, every time I hear this song my eyes go moist.

(Video)

(Audio)

Song – Mathura Nagarapati Kaahe Tum Gokul Jao (Raincoat) (2004) Singer – Shubha Mudgal, Lyrics – Rituparno Ghosh, MD – Debjyoti Mishra
Chorus

Lyrics (based on audio version)

subah subah
suba..a..ah subah

subah subah ka khayal aaj
subah subah ka khayal aaj
vapas gokul chal mathura raj
mathura nagarapati kaahe tum gokul ja..aa..ao
manohar vesh chhod nandraj
sar se utaar ke sundar taj
raj dand chhod bhoomi par waaj
phir kaahe bansuri bajaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

kaun sa anokha geet gaahe pik kool
raj paat jaise aaj bhaye dhool
kaun sa anokha geet gaahe pik kool
birahan laagi phir hriday akool
raaj kaaj mann na lagaao
raaj kaaj mann na lagaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
jaao. . .

pur naari saari vyaakul nayan
kusum sajja laage kantak shayan
pur naari asari vyaakul nayan
raat bhar madhav jaagat bechain
kaahe aadhi rat sarathi bulaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

dheere dheere pahunchat jamuna ke teer
sunsaan panghat mridul sameer
dheere dheere pahunchat jamuna ke teer
khan khan madhav birah madeer
usey kaahe bhool na paao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

tumhri piriya ab poori gharwaali
dudh navan ghivu din bhar khaali
tumhri radha ab poori gharwali
dudh navan ghivu din bhar khaali
birah ke aansoo kab ke
ho..oo kab ke ponchh daali
phir kaahe dard jagao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao

————————————–
Devnagri script lyrics (Provided by Sudhir)
—————————————

सुबह सुबह
सुब॰॰ह सुबह

सुबह सुबह का ख्याल आज
सुबह सुबह का ख्याल आज
वापस गोकुल चल मथुरा राज
मथुरा नगरपति काहे तुम गोकुल जा॰॰आ॰॰ओ
मनोहर वेश छोड़ नंदरज
सर से उतार के सुंदर ताज
राज दंड छोड़ भूमि पर वाज
फिर काहे बांसुरी बजाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

कौन सा अनोखा गीत गाये पिक कूल
राज पाट जैसे आज भए धूल
कौन सा अनोखा गीत गाये पिक कूल
बिरहन लागि फिर हृदय अकूल
राज काज मन ना लगाओ
राज काज मन ना लगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
जाओ॰॰॰

पुर नारी सारी व्याकुल नयन
कुसुम सज्जा लागे कंटक शयन
पुर नारी सारी व्याकुल नयन
रात भर माधव जागत बेचैन
काहे आधी रात सारथी बुलाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

धीरे धीरे पहुंचत जमुना के तीर
सुनसान पनघट मृदुल समीर
धीरे धीरे पहुंचत जमुना के तीर
खन खन माधव बिरह मदीर
उसे काहे भूल ना पाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ

तुमरी पिरिया अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
तुमरी राधा अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
बिरह के आँसू कब के
हो॰॰ओ कब के पोंछ डाली
फिर काहे दर्द जगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ


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 : 3571 Post No. : 14308

“Bada Kabootar”(1973) was produced and directed by Deven Verma for Navratna Films, Bombay. It was a light hearted movie (routinely categorirised as “social” movie in HFGK) which had Ashok Kumar, Rehana Sultan, Nikhilesh, Deven Verma, Keshto Mukherji, Subroto, Ashoo, Pinchoo Kapoor, Leela Mishra, Paul Sharma, Jal Parvez, Helen etc with lots of “new discoveries” viz Saajan, Kailash Sharma, Sameena, Master Ashwin and Master Ramesh, who quickly reverted back to remain undiscovered.

The movie had five songs in it. Here is the first song from “Bada Kabootar”(1973) in the blog. this song is the title song of the movie which appears gets played in the background while credits roll on the screen. The credits finish off soon enough and so this song has no chance to get played fully in the movie and only the first stanza of the is there in the movie. So one needs to listen to the record version of the song in order to listen to the full song.

Here is this title song of “Bada Kabootar”(1973). It is sung by Bhupinder Singh and chorus. Yogesh is the lyricist of this song whose lyrics are quite un Yogesh like. 🙂

Music is composed by R D Burman.

With this song, “Bada Kabootar”(1973) makes its debut in the blog.


Song-Bada kabootar ud jaayegaa (Bada Kabootar)(1973) Singer-Bhupinder Singh, Lyrics-Yogesh, MD-R D Burman

Lyrics

bada kabootar ud jaayega
haath mein anda rah jaayega
phoot jaayega anda ik din
bada kabootar ud jaayega
bada kabootar ud jaayega
haath mein anda rah jaayega
phoot jaayega anda ik din
bada kabootar ud jaayega
bada kabootar
kabootar
bada kabootar
kabootar

koi na samjha koi na jaana
haaye ye gorakh dhandha
pehle jag mein aaya kabootar
ya phir aaya anda
koi na samjha koi na jaana
haaye ye gorakh dhandha
pehle jag mein aaya kabootar
ya phir aaya anda
papapa aa
papapa
papapapa
papapapapa
aur ulajh jaayega
arrey jo isko suljhaayega
bada kabootar
kabootar
ho bada kabootar ud jaayega
haath mein anda rah jaayega
phoot jaayega anda ik din
bada kabootar ud jaayega
bada kabootar
kabootar
ho bada kabootar
wa aa wa aa
wa aa wa aa

dekh samay ka shokh(?) kabootar
chalta hai yoon ud ke
jaise tez hawa ka jhonka
dekhe na phir mud ke
oo dekh samay ka shokh(?) kabootar
chalta hai yoon ud ke
jaise tez hawa ka jhonka
dekhe na phir mud ke
papapa aa
papapapa
papapapa
papapapa
sath chala chal iske varna hath nahin kuchh aayega
bada kabootar
kabootar
ho bada kabootar ud jaayega
haath mein anda rah jaayega
phoot jaayega anda ik din
bada kabootar ud jaayega bada kabootar
kabootar
ho bada kabootar
kabootar
ho bada kabootar
kabootar
ho bada kabootar
kabootar


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 : 3560 Post No. : 14276

“Baankelal”(1972) was produced and directed by Ratan Kumar. The movie had Prithviraj Kapoor, Sulochana Chatterjee, Sheel Kumar, Abhi Bhattacharya, Sunder etc in it.

It appears that the movie was started in 1960s but it could get released only in 1972 and it flopped at the box office.

The movie had eight songs in it.

Here is the first song from “Baankelal”(1972) to appear in the blog. The song is sung by Mahendra Kapoor. Pt Madhur is the lyricist. Music is composed by Pardesi.

Video of the song is available and one can see that the song is a movie opening song which gets played as credits get displayed on screen. The video version contains only part of the song. Audio version is much longer.

With this public lament song about the misery of women in a brothel, “Baankelal”(1972) makes its debut in the blog.

Video (partial)

Audio (Full)

Song-Ye husn ka hai baazaar yahaan (Baankelal)(1972) Singer-Mahendra Kapoor, Lyrics-Madhur, MD-Pardesi

Lyrics

ye husn ka hai baazaar yahaan
aurat ki kahaani bikti hai
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai

ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
jo biwi ko thhukraate hain
wo thokar khaane aate hain
o o o
o o o
jo biwi ko thukraate hain
wo thokar khaane aate hain
is paap ki putli ke aangan mein
puny kamaane aate hain
bebas aurat ki aahen aur
dil ki kurbaani bikti hai ae
o o o
dil ki kurbaani bikti hai
ye husn ka hai bazaar yahaan

besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
o o o o o o
besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
laala ban aate raam yahaan
baabu ban aate shyaam yahaan
gokul ki gwaalin bikti hai
aur awadh ki raani bikti hai ae
o o o o

ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan
o o o o o
o o o o o

jis ghar mein beta aata hai
aur likhta prem ka khaata hai
o o o
o o o
jis ghar mein beta aata hai
aur likhta prem ka khaata hai
bhugtaan ko lene is jodi se
baap bhi aata jaata hai
in kaale kothon pe mardon ki
meharbaani bikti hai ae
o o o o
meharbaani bikti hai
ye husn ka hai bazaar yahaan

ye aasmaan se nahin giri
is dharti ki hi jaayi hai
o o o o
ye aasmaan se nahin giri
is dharti ki hi jaayi hai
jitne hain inke diwane
kai baap hai aur kai bhaai hain
kulvadhu ki mehandi aur choodiyaan
har ek nishaani bikti hai ae
o o o o
har ek nishaani bikti hai
ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan


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 : 3558 Post No. : 14271

“Ek Hans Ka Joda”(1975) was directed by Avtar Bhogal for Punch Films, Bombay. This “social” movie had Anil Dhawan, Zaahira, Utpal Dutt, Indrani Mukherji, Ifthikar, Achla Sachdev, Anwar Hussain, Brahm Bhardwaj, Prabhu Dayal, Birbal, B Bhalla, Mama, Pushpanjali, Manorama, Sudama, Shreedhar Naik, Sunil Hattangadi, Madhu, Madhavi, Dolly, Sitara, V Gopal, with Anjali Kadam (guest appearance), and Dharmveer (new discovery) and Ajit Singh (new discovery).

Raja, while discussing an earlier song from the movie, had given an overview of the story of this movie. Here is what he had to say about this movie:-

Vijay Arora (Anil) and Zaheera (Tina) are madly in love with each other. But he’s from a poor family, she’s from a rich family. Though their parents object, Zaheera’s grandfather (Utpal Dutt) is more modern in his thinking. He suggests they could have a “trial marriage” for a couple of months to see whether their love could really stand the test of life’s real tribulations. They’d have to live on Anil’s meagre earnings. And they’d get to spend only the daytime together, nights would have to be in respective homes.

The story then goes on to show how they cope with these conditions. How their families try to separate them through misunderstanding. And how, finally (it being a Hindi movie), their love prevails against all odds.

I remember finding the movie ok. Not excellent but watchable. But then I usually start watching such movies with zero expectations anyway so I’m rarely disappointed. ? At least it had some sort of a storyline and wasn’t the typical masala movie of the times.

The movie had five songs in it. Four songs have been covered in the past. Here are the details of these four songs covered in the past :-

Song Title

Post No.

Post Date

Saathi milte hain badi mushqil se 6361 5-Aug-12
Mere dil mein teri tasweer sada rehti hai 8461 3-Aug-13
Aa jaao ke mil kar badlen 12794 10-Jan-17
Pyaar se tum miley mil gayi har khushi 14267 14-Apr-18

Here is the fifth and final song from the movie. This song is the title song, as well as the movie opening song which plays in the background and credits appear on the screen.

This song is sung by Ajit Singh, the “new discovery” of this movie who was a leading popo singer of India. A comment on the YT link of this song mentions that Ajit Singh was the composer of this song as well, and I have gone with this detail, though HFGK mentions Jaidev as the composer for this movie.

Gauhar Kanpuri is the lyricist.

With this song, “Ek Hans Ka Joda”(1975) joins the list of movies that have all their songs covered in the blog.


Song-Ek hans ka joda (Ek Hans Ka Joda)(1975) Singer-Ajit Singh, Lyrics-Gauhar Kanpuri, MD-Ajit Singh

Lyrics

ek hans ka joda
jisne pyaar mein har bandhan toda
ek hans ka joda
jisne pyaar mein har bandhan toda
kadam kadam pe toofaan aaye
aanchal bhar ke ye aansoo laaye
lekin isne pyaar ka daaman hathon se
haatho se na chhoda
ek hans ka joda
ek hans ka joda
ek hans ka joda
jisne pyar me har bandhan toda
isne ki pyar ki pooja
pyaar ke aage
kuch na soojha
iske man me pyar bahut tha
pyar bahut tha
gussa thoda
thhoda thhoda
ek hans ka joda
ek hans ka joda
o jisne pyaar mein bandhan toda
har bandhan toda
ek hans ka joda
ho joda joda
ek hans ka joda
ek hans ka joda
ho jisne pyar mein bandhan toda
har bandhan toda
ek hans ka joda
ho joda joda
ek hans ka jodaaaa


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

Blog Day : 3492 Post No. : 14030

Hullo Atuldom

“Main Tulsi Tere Aangan Ki” was a 1978 movie produced and directed by Raj Khosla. it was given certificate on 14th July 1978 and released on 4th August 1978. It starred Nutan, Asha Parekh, Vinod Khanna, Vijay Anand, Deb Mukherji, Neeta Mehta and introduced Geeta Behl to Bollywood. The movie was based on the Marathi novel “Ashi Tujhi Preet” by Chandrakant Kakodkar. The songs were written by Anand Bakshi and tuned by Laxmikant- Pyarelal.

The story was of an aristocrat (Vijay Anand) who falls in love with a dancer (Asha Parekh) whom he has rescued but he can’t marry as his mother has lined up a girl- Nutan (Sanjukta) from a family of equal social standing which he obeys on being forced by the dancer. He has a child from each of them but the dancer dies after giving birth to the child. And soon the Thakur also dies in a riding accident leaving his legal wife in-charge of bringing up both the kids. She admits Tulsi’s child in a boarding school and brings him home when he grows up and confesses publicly that he (Vinod Khanna) is her husband’s son. Then the movie goes through a few twists and turns where the legitimate son (Deb Mukherji) does a lot of illegitimate and wrong activities for which the other son takes all the blame. There comes a point when he- Vinod Khanna- leaves the house but returns on learning that there is a threat to his brother’s life and comes to his rescue. And then the movie ends on a happy note.

The movie had seven songs of which the title song “Main Tulsi Tere Aangan Ki” was posted by Atulji on 2nd August, 2011. That song runs through the length of the movie with the sad part “main tera kya le jaungi” (which Prakashchandraji has provided in the comments section) coming twice in the movie. There is one more sad part “mat ro behna andar jake” which too Prakashchandraji has posted as comment along with the other sad version in November 2015. So that accounts for three songs. Two other songs “chaap tilak sab chheeni re” and possibly the only song in the movie with some romance in it “yeh khidki jo bandh rehti hai” have also been posted.

Today’s song (the sixth from the movie) runs through 3 minutes of the titles which stop in the middle and restart after Asha Parekh (Tulsi) runs away through the window. The song is used to establish that Asha Parekh plays the character of a NAUTCH girl or tawaif in simple language. It is sung on- screen by a lady whose name is not there in the titles but of-screen, meaning playback is by Shobha Gurtu.

Shobha Gurtu was an accomplished Hindustani Classical singer who made a name singing light classical music, mainly Thumris, and had an “Abhinaya filled” full throated voice.

Born in Belgaum, Karnataka on 8th February 1925, and initially trained by her mother Menekabai Shirodkar in the Jaipur- Atruali Gharana style of Hindustani classical singing she specialised in Thumri, Dadra, Kajri, Hori etc.

Possibly the first time I sat up and took notice of a singer who had a voice which was different from that of the reigning singers of that period was when I heard “sainyya doli leke aaye tere dwaar” from “Shraddanjali” in 1981. But I don’t consider myself a yardstick to measure a great singer. But I must say as I sat to write this post and ran through the list of songs sung by Shobha Gurtu (8 february 1925-27 september 2004) in Hindi movies, my jaw dropped as I found she had started with “Pakeezah” in 1972 and “Phagun” in 1973. And also, that I know many of the Hindi film songs sung by her without knowing details about the song.

Remembering her today (8 february 2018) with this song. She would have been 93.

Audio

Video

Song-Sainyya roothh gaye main manaati rahi (Main Tulsi Tere Aangan Ki)(1978) Singer-Shobha Gurtu, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

sainyyaan roothh gaye
sainyyaan roothh gaye
main manaati rahi
sainyyaan roothh gaye
main manaati rahi ji
sainyyaan roothh gaye
shyaam jaane lage
main bulaati rahi
main bulaati rahi
sainyyaan roothh gaye ae
sainyyan roothh gaye
main manaati rahi
saiyyan roothh gaye

mere soone madhuban mein
bahaar aa gayi ee
mere nainon mein
ansuwan ki dhaar aa gayi
ambuwa
aa aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa
ambuwa ki daari pe haan
ambuwa ki daari pe
ambuwa ki daari pe
bairi koyaliya
ga ga kar mujhe rulaati rahi
sainyyaan roothh gaye
sainyyaan roothh gaye
main manaati rahi
sainyyan roothh gaye
sainyyan roothh gaye

shyaam jaane lage
shyaam jaane lage
main bulaati rahi
roothh gaye
sainyyaan roothh gaye
sainyyaan roothh gaye
ho
sainyyaan roothh gaye
main manaati rahi
sainyyaan roothh gaye
sainyyaan roothh gaye


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 : 3488 Post No. : 14012

“Do Bhai”(1969) was directed by Brij for Dynamo International, Bombay. The movie had Ashok Kumar, Mala Sinha, Jeetendra, Jagdeep, Chaand Usmani, Malika, Sheikh Mukhtaar, Hercules, Asit Sen, Maruti, Pal Sharma, Gautam Mukherji, Vinod Sharma, Radheshyam, Ratan Gaurang etc in it.

This social movie had five songs in it. Four songs from the movie have been covered in the past.

The details of the songs discussed in the past are as under:

Song Title

Post No.

Post Date

Geet nahin ban sakte kuchh saaz aise hote hain 2054 13-Oct-09
Jeena hai tera ban kar 11569 19-Nov-15
Aa ham ahde wafa kar len 13954 21-Jan-18
Main sunaati hoon ik baat 14007 3-Feb-18

Here is the fifth and final song from “Do Bhai”(1969) to appear in the blog. This song is sung by Rafi. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

HFGK mentions this song as one song, but the it appears twice in the movie. The part I or the “normal” song appears in the movie as the movie opening song. The slow “sad” version of it appears briefly as the movie ending song. The song plays in the background. Part I of the ong, in addition to being the movie opening song is a rail song as well because Ashok Kumar is seen travelling in trains for most part of the song. Likewise, the “movie ending” part of the song can be described as “court room” song because this part is picturised in a courtroom where Ashok Kumar dramatically appears all of a sudden as noble sacrificing characters tend to do in Hindi movies.

With this song, “Do Bhai”(1969) joins the list of movies that have all their songs covered in the blog. Movies with the same title were made in 1947 and 1961 as well and they have already been YIPPEED in the blog. So, with this song, all movies titled “Do Bhai”, viz. “Do Bhai” (1947), “Do Bhai” (1961) and “Do Bhai” (1969) have been YIPPEED in the blog. 🙂

Part I

Part II

Part III

Song-Is duniya mein o duniyaawaalon (Do Bhai) (1969) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

——————————
Part I
——————————
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniyawaalon
bada mushqil hai insaaf karna

tujhse ho jaaye na kuchh buraayi
tu bhala hai bura hai zamaana
tujhse ho jaaye na kuchh buraayi
tu bhala hai bura hai zamaana
is zamaane se sun ae deewaane
apna daaman zara tu bachaana aa
daag lag jaaye daaman pe koi
aansuon se pade saaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna

chal pada tu udhar kyun musaafir
jis taraf koi manzil nahin hai
chal pada tu udhar kyun musaafir
jis taraf koi manzil nahin hai
koi kaliyon ka gulshan nahin hai
koi phoolon ki mahfil nahin hai ae
in raahon pe bikhre hain kaante
in raahon se bach ke guzarna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniya waalon
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna

——————————
Part II
——————————
jis bharam mein tu khoya hua hai
woh bharam todna hi padega
jis bharam mein tu khoya hua hai
woh bharam todna hi padega
farz aur pyar mein se samajh le
ek ko chhodna hi padega
paanv na rakh yun do kashtiyon mein
dekh tu doob jayega varna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniyaawaalon
bada mushqil hai insaaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna aa
is duniya mein o duniya waalon
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna
bada mushqil hai insaaf karna

——————————————
Part III (Slow version)
——————————————
tujh se ho naa jaaye kuchh buraai
tu bhala hai bura hai zamaana
is zamaane se sun ae deewaane
apna daaman zara tu bachaana aa
daag lag jaaye daaman pe koi
aansuon se pade saaf karna
bada aasaan hai dena sazaayen
bada mushqil hai par maaf karna

————————————-


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14840

Number of movies covered in the blog

Movies with all their songs covered =1158
Total Number of movies covered =4057

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