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

Archive for the ‘Mujra song’ Category


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.

“Nartaki”(1963) was directed by Nitin Bose for Film Bharti, Bombay. The “social” movie had Sunil Dutt, Nanda, Om Prakash, Nana Palsikar, Agha, Preetibala, Chandrima Bhaduri, Polson, Moni Chatterji, Aruna Irani etc in it.

This movie had eight songs in it. Three of them have ben covered (long ago).

Here is the fourth song from “Nartaki”(1963) to appear in the blog. This song is sung by Asha Bhonsle. Shakeel Badayuni is the lyricist. Music is composed by Ravi.

The song is picturised as a mujra song on Nanda. The mujra performer in Hindi movies typically looks quite upset and unhappy with her badkismati, but here Nanda appears uncharacteristically joyous and happy while giving this performance. So here is a case where someone is giving her best in her job even if she may not like it. That is professionalism and devotion to duty. 🙂


Singer-Zindagi ki uljhanon ko bhool kar (Nartaki)(1963) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Ravi

Lyrics

zindagi ki uljhanon ko bhool kar
aaj masti mein guzaaro raat bhar
subah jab hogi to dekha jaayega
ho dekha jaayega
subah jab hogi to dekha jaayega
ho dekha jaayega
zindagi ki uljhanon ko bhool kar
aaj masti mein guzaaro raat bhar
subah jab hogi to dekha jaayega
ho dekha jaayega
subah jab hogi to dekha jaayega
ho dekha jaayega

aaj dil ka rang bhi mastaana hai
aaj dil ka rang bhi mastaana hai
chhalka chhalka hosh ka paimaana hai
chhalka chhalka hosh ka paimaana hai
har haqeeqat aaj ik afsaana hai
muskuraa kar dil ki har ik chot par
aaj masti mein guzaaro raat bhar
subah jab hogi to dekha jaayega
ho dekha jaayega
subah jab hogi to dekha jaayega
ho dekha jaayega
zindagi ki uljhanon ko bhool kar
aaj masti mein guzaaro raat bhar
subah jab hogi to dekha jaayega
ho dekha jaayega
subah jab hogi to dekha jaayega
ho dekha jaayega

jeet lo ulfat ki baazi haar ke
jeet lo ulfat ki baazi haar ke
hai maze inkaar mein ikraar ke
hai maze inkaar mein ikraar ke
jhoom lo dam bhar nashe mein pyaar ke
har gham e duniya se hoke bekhabar
aaj masti mein guzaaro raat bhar
subah jab hogi to dekha jaayega
ho dekha jaayega
subah jab hogi to dekha jaayega
ho dekha jaayega
zindagi ki uljhanon ko bhool kar
aaj masti mein guzaaro raat bhar
subah jab hogi to dekha jaayega
ho dekha jaayega
subah jab hogi to dekha jaayega
ho dekha jaayega

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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Saga Of Sleepless Nights – 4
– – – – – – – – – – – – – – –

kankariya maar ke jagaaya. . .
kal tu mere sapne mein aaya. . .

I believe this is another so verily a commonplace experience, waking up in the darkness of the night. The structured minds and the regimented ‘scientific’ thought process, has a very different view of what this sleeplessness is. On the other hand, a romantic, poetic mind will have an expression so totally different, and so wonderfully human. And if that mind is familiar with, and is a connoisseur of Hindi film music, that mind will have simply no difficulty in understanding. For there is so much that the song writers have written, and so much that the singers have rendered. . . about this waking up in the middle of a deep sleep.

Sleep itself has been a subject of so much investigation, and philosophy, over the centuries as the human mind made efforts to comprehend this elusive phenomena, that is omnipresent, and yet it defies examination, for such obvious reasons. Philosophers have equated this state of human existence as a temporary ‘death’ – we know not where we are, or have been, from the moment that we lose the power to process the inputs coming in from the five senses, to the moment when we once again feel the pressure touch of the bed (or whatever one has reclined on), signaling that the mind and the senses are back once again to the world of the familiar. For a very brief, fleeting moment, we have this opportunity that we may focus and capture the last of the signals coming in from a world where we have been, for the past few hours. Alas, but the waking mind immediately starts to buzz with – ‘the things to be done’ in this new day. That fleeting opportunity vanishes in a fraction of a moment.

I recall the lines from the hit single by Peter Sarstedt. I am sure many readers will recall the song “Where Do You Go To My Lovely, When You Are Alone In Your Bed. . .”. This song made it to the top charts in 1969, and was a very popular number on the request programs in the 1970s. The song represents the seminal query in trying to understand what is this state of being asleep.

More than the moment of waking up in the new day, it is this waking up in the middle of night that probably could be a more opportunistic moment to consciously follow this exploratory thought process. The sensory inputs are minimal at that time. However, the greater distractions come from within the mind itself, as it immediately starts searching for the most recent input responsible for this midnight wakefulness. Sometimes it creates a worry and stress. Sometimes the mind may recall the remnants of a dream that was playing on the subconscious screen, just a moment before. Sometimes, the mind may zero in on an unfamiliar uncharacteristic sound of recent origin, that disturbed the mind strongly enough. Sometimes, the mind fails to register anything, and then just a fear, an unknown apprehension starts to build within. So many innumerable situations may develop immediately in the mind, to explain and to explore this disturbance in sleep.

For the poète romantique, this middle of the night wakefulness is yet another expression of an amorous tryst, wherein the sudden wakefulness is attributed to the presence of the beloved, or the presence of the thoughts of the beloved. The presence may be real, or it may be in thoughts and dreams, that feel so intensely real, that the personal consciousness that was lost somewhere in the planes of the subconscious, or maybe even deeper, gets a nudge that is sharp enough to push it back into the conscious plane. And so, the poet’s mind will spell it out in words like “Kankariya Maar Ke Jagaaya. . . Kal Tu Mere Sapne Mein Aaya. . .”. Or it may be “Balam Torey Kaaran Nindiya Na Aawe” (‘Calcutta After Midnight’, 1937).
Or maybe “Sapnon Mein Aane Waale Hamko Jaga Rahe Hain” (‘Parbat Pe Apna Dera’,1944).
Or maybe, “Chhed Gayo Mohey Sapne Mein Shyaam” (‘Jhaanjar’, 1953).
Or maybe “Meethi Meethi Neend Mein Soi Thee Jawaani, Jagaa Gaya Koi Deke Pyaar Ki Nishaani” (‘Laakhon Mein Ek’, 1955).
Or maybe “Apne Khayaalon Ko Samjhaa Deejiye” (‘Marine Drive’, 1955)
Or maybe another, “Aankhon Se Nindiya Aankhein Churaaye” (‘Kaala Chashma’, 1962).

And there are more, many more such expressions that tell so many variations of this theme. The song I present today is from an obscure Bhojpuri film, ‘Hamaar Sansaar’ (1965). Initially I was planning this post with the audio of the song, when I realized that I do have this film in my collection. As I looked it up, and it is better that I looked it up, I find one extra antaraa in the video version. The audio has two stanzas, and the video clip has three. The song is written by Majrooh Sb, and the music director is Shyam Sharma. Ah yes, a name that we are familiar with, as dear Bharat Bhai introduced him on this blog, with his series ‘Sureeli Suman’. Thus far, Shyam Sharma has appeared only as a composer for NFS. With this post, he is now also introduced as a music director for film songs. Although the two outings that one can trace in the Geet Kosh, are both Bhojpuri films.

The singers are Krishna Kalle and Suman Kalyanpur. The song is presented as a typical mujra session. It is a twin dance, and I am seeking help to identify the dancers on screen. Two names from the list of cast look very familiar. The names are Lakshmi Chhaaya and Madhmati. I request other knowledgeable friends and readers to confirm, or suggest the correct names.

And so continues the saga of sleepless nights. . .

Song – Kaanche Nindiya Jagaawe Bedardi Na Maane Rama  (Hamaar Sansaar) (1965) Singers – Krishna Kalle, Suman Kalyanpur, Lyrics – Majrooh Sultanpuri, MD – Shyam Sharma
Krishna Kalle + Suman Kalyanpur

Lyrics

aaaa aaaaaa aaaa
aaaaaaaa aaaa

haaaaaye..e..e..e

kaanche nindiya jagaa..aa..aawe rama
ae ji
kaanche nindiya jagaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

aadhi aadhi ratiyaan julami ghar aawe
aadhi aadhi ratiyaan ji
aadhi aadhi ratiyaan ji
aadhi aadhi ratiyaan
julami ghar aawe
saanche dehiya jalaawe
ho oo oo oo
saanche nindiya jagaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

ras ke lobhi maramio na jaane
lakh kahi mor kehnio na maane
ras ke lobhi maramio na jaane
lakh kahi mor kehnio na maane
ghaayal ji ke daradio na jaane
ghaayal ji ke daradio na jaane
daradio na jaane
kehnio na maane
aaaa aaaa haaye..ey..ey..ey…
saanche agia lgaawe ho raama
saanche agia lgaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

dhai ke acharwa nidar naahi chhode
phiri phiri bairi je baiyyaan marode
dhai ke acharwa nidar naahi chhode
phiri phiri bairi je baiyyaan marode
ruslaap sainyyaan ji haath laage jode
ruslaap sainyyaan ji haath laage jode
haath laage jode
nidar naahi chhode
aaaa aaaa haaye..ey..ey..ey…
painyyaan padi ke manaawe ho rama
painyyaan padi ke manaawe bedardi
na maane raama
kaanche nindiya jagaawe
ho oo oo oo oo
kaanche nindiya jagaawe bedardi
na maane raama

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

आsss आsssss आsss
आsssss आsss

हा॰॰आये॰॰ए॰॰ए॰॰ए

कांचे निंदिया जगा॰॰आ॰॰आवे रामा
ए जी
कांचे निंदिया जगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

आधी आधी रतियाँ जुलमी घर आवे
आधी आधी रतियाँ जी
आधी आधी रतियाँ जी
आधी आधी रतियाँ
जुलमी घर आवे
साँचे देहिया जलावे
हो ओ ओ ओ
साँचे निंदिया जगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

रस के लोभी मरमिओ ना जाने
लाख कही मोर कहनीओ ना माने
रस के लोभी मरमिओ ना जाने
लाख कही मोर कहनीओ ना माने
घायल जी के दरदीओ ना जाने
घायल जी के दरदीओ ना जाने
दरदीओ ना जाने
कहनीओ ना माने
आsss आsss हाए॰॰ए॰॰ए॰॰ए
साँचे अगिया लगावे हो रामा
साँचे अगिया लगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

धई के अचरवा निडर नाही छोड़े
फिरी फिरी बैरी जे बँईय्यां मरोड़े
धई के अचरवा निडर नाही छोड़े
फिरी फिरी बैरी जे बँईय्यां मरोड़े
रुसलाप संईय्यां जी हाथ लागे जोड़े
रुसलाप संईय्यां जी हाथ लागे जोड़े
हाथ लागे जोड़े
निडर नाही छोड़े
आsss आsss हाए॰॰ए॰॰ए॰॰ए

पंईय्यां पड़ी के मनावे हो रामा
पंईय्यां पड़ी के मनावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे
ओ ओ ओ ओ ओ
कांचे निंदिया जगावे बेदर्दी
ना माने रामा


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.

“Haseena”(1955) was directed by J P Advani for Shabaab Productions. The movie had Jairaj, Shyama, Krishna Kumari, Amarnath, Manmohan Krishna, Durga Khote etc. in it.
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.

“Chaalbaaz”(1969) was directed by Kamran for Rainbow Pictures, Bombay. The movie had Dara Singh, Sanjana, Ullhas, Shyam Kumar, Meenaxi, Vijay Kumar, Habib, Tiwari etc in it.
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.

“Dhadkan” (1947) was directed by Zahoor Raja for Raja Movietone, Bombay. This by now forgotten movie had Zahoor Raja, Jyoti, Mishra, Murad, Chandrika etc in it.
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.

“Boxer”(1965) was directed by Radhakant for Sudarshan Chitra, Bombay. This movie had Dara Singh, Mumtaz, Tabassum, Sherry, Rajan Kapoor, Kammo, Babu Raje, Mridula, Bela Bose, Indira Bansal, Khatana, Ridku, Kesri, Aazaad, Bruno Erlington, Sony Alexandet, Trilok Singh, Saudagar Singh, Kishan Panda etc in it.
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.

“Nateeja”(1969) was produced by Jugal Kishore and is directed by Rajesh Nanda. The movie had Vinod Khanna and Bindu in lead roles, supported by KN Singh, Jugal Kishore, Junior Mehmood etc as well.
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.

“Raajdhaani”(1956) was produced by Gulshan Bahl and directed by Naresh Sahgal for N C Films, Bombay. the movie had Nimmi, Sunil Dutt, Twari, Johny walker, S Nazir, Durga Khote, Poornima, Naaz, Kumkum, Khanna, Sagar, ashok, Pal Sharma, D Kumar etc in it.
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.

“Ek Nazar”(1972) was produced by A D Diwan and Anil Khanna and directed by B R Ishara for Amar Chitra Internbational, Bombay. The movie had Amitabh Bachchan, Jaya Bhaduri, Raza Murad(Introducing),Nadira, Dulari, Asit Sen, Tarun Bose, Manmohan, Sudhir, Johny Whiskey, Daya Devi, Raja Duggal, Rashid Khan, Kamla, Hameed, Jyoti, Fazlu, Abdul, Manohar, Suman, Ramlal, Hari Shukla, Anand Narula, R.P.Ghosh, Ranveer Raj, DinaNath, Kanwar Ajeet Singh(Dharmendra`s real life brother), Manmohan Krishna etc in it.
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.

“Bin Phere Ham Tere”(1979) was directed by Rajat Rakshit for N P International, Bombay. The movie had Asha Parekh, Vinod Mehra, Sarika, Nazneen, Nadira, Kamal Kapoor, C S Dubey, Jankidas, Mushtaq Merchant, Jagdish Raj, Master Salim, Johny Whisky, Dr Dutt, Master Pappu etc in it, with Rajendra Kumar in a friendly appearance.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13700 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13734

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3756

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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