Archive for the ‘Naatiyaa qawaali’ Category
Tu Nishaan e Benishaan Hai
Posted on: June 22, 2020
- In: Devnagri script lyrics by Sudhir | Guest posts | Hindi Songs in Non-Hindi Films | Lyrics contributed by readers | Naatiyaa qawaali | Post by Sadanand Kamath | Praising The Almighty | qawwali | Shankar Shambhu Qawwaal Songs | Songs of 1950s (1951 to 1960) | Songs of 1959 | Yearwise breakup of songs
- 3 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4357 | Post No. : | 15679 | Movie Count : |
4320 |
Hindi Songs in Bangla Film – 31
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In Balochistan province of Pakistan, there is a well-known Hindu temple, Hinglaj Mata Temple locally known as Nani Ka Mandir. This temple is regarded as one of the 51 Shaktipeeths and is revered by Hindus, Sikhs and Muslims from Balochistan and Sindh especially the Zikri Balochs who are also the patrons of the temple. The temple is located at the banks of River Hinglaj with a rock carved deity in a cave. This temple is ‘kul devta’ (family deity) of many Hindu khatri families of Sindh, Balochistan and also of some of those residing in India and abroad.
In olden times, visiting the temple involved a trek of around 250 kms from Karachi through the hot deserts and hilly terrains. Now, there is a road from Karachi which takes about 4 hours to reach the temple. In the bi-annual pilgrimage which takes place during Navratris in the months of April and October, thousands of pilgrim marches on foot to Hinglaj Mata Temple. On the way, pilgrims spend a night at Chandrakoop (Moon Well), a shrine of volcanic mud-filled well. It is believed that if pilgrims confess the sins committed by them during their life time while offering prayer at Chandrakoop, they become free from the sins.
Kalikananda Abadhut, a Bengali monk, wrote a travelogue of his pilgrimage to what he calls ‘Marutirtha Hinglaj’ (‘Desert Pilgrimage of Hinglaj’). Probably, he may have gone on pilgrimage before the partition. Based on this travelogue, Bikash Roy, the producer-director-actor, made a Bangla film with the same title which was released in 1959. The star cast included Bikash Roy as an Ascetic leading a group of pilgrims to Hinglaj Mata temple. Uttam Kumar and Sabitri Chatterjee, who later join the pilgrimage unintentionally, performed the role of a husband and a wife. Other actors included Anil Chatterjee, Pahari Sanyal, Chandrabati Devi, Sandhya Devi etc. The film was shot in Digha in East Mednipur district of West Bengal whose topography closely matches to that of Hinglaj.
On the recommendation from Pradeep ji (Dr. Pradeep Kumar Shetty) who also pointed out that there was a Hindi song in the film, I watched the film with English sub-titles on a video sharing platform. The story of the film is as under:
Abadhut, an ascetic (Bikash Roy) is leading a group of pilgrims to Hinglaj Mata temple located in Balochistan. He is assisted by Popatlal (Pahadi Sanyal), Rooplal (Anil Chatterjee) and Bhairabi (Chandrabati Devi). There is also a priest who is conscious of traditions and caste system and expects everyone to follow strictly.
Before the departure from Karachi, Abadhut cautions the pilgrims that it is a long and arduous journey for days involving walking through hot desert sands and hilly tracks. The food is meagre and pilgrims will have to spend nights without any shelters. Since the water is scarce in the desert, Abadhut advises pilgrims not to share their water with others. All the pilgrims during the journey are to behave as ascetic and worked selflessly for other pilgrims when they are in need of assistance.
Abadhut also tells the story and significance of pilgrimage to Hinglaj Mata temple. When Lord Vishnu scattered the body of Sati all over the Indian sub-continent, the head fell on Hinglaj and thus became the holiest place among the 51 Shaktipeeths. Whoever has committed the sins, they can visit Hinglaj Mata temple only after confessing the sins at Chandrakoop, a volcanic shrine, located on the way to Hinglaj temple. Lord Ram is said to have visited Hinglaj to wash off the sin committed by him by killing Ravan.
While Abadhut is giving guidance to the pilgrims, there is a couple who have taken shelter at pilgrims’ base camp. They are Thirumal (Uttam Kumar) and Kunti (Sabitri Chatterjee). Kunti, a daughter of a wealthy merchant is already married but her husband has been missing for the last two years. She takes the help of Thirumal, a fake astrologer for finding her husband. During their meetings, they become close to each other. One day, Kunti runs away with Thirumal and they get married at the temple. But the society refuses to accept their marriage as her first husband is supposed to be alive though missing and both of them belong to different caste. After failing to find shelter, they are on the run and finally they take refuge in Karachi base camp of pilgrims.
Kunti suggests Thirumal to let follow the pilgrims so that at least for some days, they are safe. But Thirumal refuses. However, in the night a person tries to molest Kunti. Next morning, Thirumal agrees to be the part of the pilgrims. But by the time, pilgrims caravan has already left. Both try to catch up with the pilgrims but they have gone too far and taken a shelter during noon to avoid the harsh sun. Abadhut notices that a couple are walking towards him from quite a distance and then suddenly they fall on the sand. He sends his other pilgrims to look for them. They are brought to the pilgrims’ shelter in unconscious state. After few hours, they regain consciousness. Thirumal tells his story as to how he has grown up in Kolkata as an orphan and did all sorts of illegal work including stealing and how he met Kunti and got married. While catching up with the pilgrims, on the way, they were waylaid by dacoits and Kunti was raped.
After hearing the story, some pilgrims do not want Thirumal and Kunti as part of pilgrimage as they have committed the sins. After the incident, Kunti also feels that she is the sinner for loving Thirumal and a disgraceful woman because of which they are facing all sorts of problems in their life. So, she turns ascetics cutting off her relations with Thirumal who is devastated. He exhibits bouts of insanity. However, despite the murmur of protests from pilgrims, Abadhut takes care of both of them by postponing the journey by one day.
Next day, pilgrims start a long day’s journey. On the way, some pilgrims get dehydrated and are taken care by other pilgrims. But the priest is not able to walk. So Thirumal takes him on his back and walks towards the destination which is Chandrakoop. However, Thirumal suddenly feels suffocated as he is not able to remove the hands of the priest around his neck. He collapses unconscious. It transpires that the priest had already died on the way and Thirumala was carrying his corpse on his back This event results in Thirumal getting once again the bout of madness. He leaves the caravan and walk aimlessly. In no time, he is found missing. Other pilgrims have no strength to search for him. They think that Thirumal would eventually return.
Finally, pilgrims reach Chandrakoop. After the bath, they visit the shrine of volcanic mud well to offer prayer and also to make the confession of their sins. If the confession is true, the muddy water in Chandrakup continues to boil. Otherwise it stops boiling. While Kunti is about to make her confession, she sees Thirumal on the opposite side on the top of a hillock. But in the streak of madness, Thirumal jumps in the boiling muddy water of Chandrakoop and gets submerged, never to return.
The journey continues to Hinglaj Mata temple and pilgrims complete the prayers. They are now on the return journey. However, Abadhut, Bhairabi and Kunti takes a detour and in the process, they lose direction. The long walk makes them dehydrated and fall on the sand unconscious. Some of the pilgrims rescue them but not Kunti who after regaining consciousness, had already proceeded towards Chandrakoop and jumped into the boiling mud well to join her husband, Thirumal. The bond which was cursed during their life time has become divine with their death.
The director has nicely attempted to make the pilgrims’ journey to run along with moral journey. The pilgrims’ group is a mix of all classes and caste but a priest in the group laments that pilgrims have forgotten the traditions and customs. He does not like to be touched by other pilgrims. He is uncomfortable with Abadhut drinking tea with local tribals. But when the priest gets dehydrated and requires to be carried, it is Thirumal, a sinner according to the priest, who carries him on his shoulder. It is the irony that the priest who is the strong follower of the traditions and religious customs, upon his death, his last rites is carried out in the desert without any religious ceremony.
There are few among the pilgrims who are of the opinion that it is a sin to allow Thirumal and Kunti to accompany them in the pilgrimage as they are the sinners. It is once again Abadhut who makes them understand that they need to weigh between sin and compassion. Otherwise abandoning both of them in the desert would tantamount to abetment of their death which is a sin. Lastly, those who are branding them as sinners have also committed the sins. Otherwise why they should visit Chandrakoop to confess their sins to get them washed off. And a confession made by one of the assistants, Popatlal is the worst kind as it related to infanticide.
The film makes us to ponder what is sin and what is virtuous. Perhaps, the answer lies in two lines of Sahir Ludhianvi in a song from ‘Chitralekha’ (1964):
ye paap hai kya ye punya hai kya
reeton par dharm ki moharen hain
‘Marutirtha Hinglaj’ (1959) has three non-Bangla songs of which two are vedic chants in Sanskrit. The third song is a Naat, “Tu Nishaan-e-Benishaan Hai” sung by Shankar-Shambhu Qawwaal and chorus. Lyrics writer is not known. Perhaps it may have been mentioned in the credit titles of the film which is displayed only in Bengali. The Naat is set to music by Hemant Kumar.
The situation of the song is that when the pilgrims take the halt for the day, Abadhut notices a bulky man coming from the opposite direction. He is Khan Sahab who has come to invite the pilgrims to his place where they can rest in shades and also have the advantage of having a well. He also invite pilgrims to join his group for the prayer in praise of the Almighty.
Video
Song – Tu Nishaan e Benishaan Hai (Marutirath Hinglaj) (1959) Singer – Shankar Shambhu Qawwaal, Lyrics – [Unknown], MD – Hemant Kumar
Chorus
Lyrics
ae ae ae
aa aa aa
tu nishaan-e-benishaan hai
tu bahaare-e-sarmadi hai. . .
tera dekhna ibaadat
ibaadat
tera dekhna ibaadat
teri yaad zindagi hai..
tera dekhna ibaadat
aa aa aa aa
teri yaad zindagi hai
aa aa aa aa
tera dekhna ibaadat
aa aa aa aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
tu agar mujhe nibha le
nibha le
tu agar mujhe nibha le..
teri banda parwari hai..
tu agar mujhe nibha le
aa aa aa aa
teri banda parwari hai
(aa aa aa aa)
tu agar mujhe nibha le
aa aa aa
mera daaman-e-gadaai
tere aage kyun na phaile ae
tera mulk do jahaan hain
tere ghar mein kya kami hai. . .
tera mulk do jahaan hai
tere ghar mein kya kami hai. . .
aa aa aa aa
tera mulk jo jahaan hai
tere dar pe sajde karna
ho karna
tere dar pe sajde karna
tujhe yaad kar ke rona aa
yehi hai namaaz meri
ho meri
yehi hai namaaz meri
yehi meri bandagi hai..
ye hi hai namaaz meri
aa aa aa aa
yehi meri bandagi hai..
aa aa aa aa
yehi hai namaaz meri
meri ee. . .
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Hindi script lyrics (Provided by Sudhir)
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ए ए ए
आ आ आ
तू निशान ए बेनिशां है
तू बहार ए सरमदी है॰ ॰ ॰
तेरा देखना इबादत
इबादत
तेरा देखना इबादत
तेरी याद ज़िंदगी है॰॰
तेरा देखना इबादत
आ आ आ आ
तेरी याद ज़िंदगी है
आ आ आ आ
तेरा देखना इबादत
आ आ आ आ
ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
तू अगर मुझे निभा ले॰॰
तेरी बंदा परवरी है
तू अगर मुझे निभा ले
आ आ आ आ
तेरी बंदा परवरी है
आ आ आ आ
तू अगर मुझे निभा ले
आ आ आ
मेरा दामन ए गदाई
तेरे आगे क्यों ना फैले
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
आ आ आ
तेरा मुल्क दो जहां है
तेरे दर पे सजदे करना
हो करना
तेरे दर पे सजदे करना
तुझे याद करके रोना आ
यही है नमाज़ मेरी
हो मेरी
यही है नमाज़ मेरी
यही मेरी बंदगी है॰॰
यही है नमाज़ मेरी
आ आ आ आ
यही मेरी बंदगी है॰॰
आ आ आ आ
यही है नमाज़
मेरी॰ ॰ ॰
Agar Mil Gayi Mujh Ko Raah e Madina
Posted on: July 31, 2019
This article is written by Nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4030 | Post No. : | 15150 |
Mohammed Rafi : The Incomparable (II) – Song No. 14
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Remembering Mohammed Rafi Sahab on his 39th death anniversary :
No need to keep a reminder in the mobile. I come across Rafi Sahab’s name or reference to or one of his songs every day. The figure is at 2955/4845 on the blog’s stats page. The excel sheet of Rafi Sahab’s songs that I have says total 5373 songs. The difference between the two figures is more than 500 songs.
The excel sheet does not feature the song “Ye Sitaare Hain Motiye Ke Phool” from Shohrat (1949), which is my post for this anniversary in 2018. The excel sheet has these two songs additional in for the film “Ganga Jamuna”(1961).
| Bailan Ki Jodiayan Sab Jaane Man Ki Batiyan | Ganga Jamuna | 1961 | Mohd Rafi | Naushad Ali | Shakeel Badayuni |
| Chal Chal Ri Goriyaa | Ganga Jamuna | 1961 | Mohd Rafi | Naushad Ali | Shakeel Badayuni |
The above two are actually small snippets of songs which are used in the film, unlike some songs which are deleted from the films. “Chal Chal Ri Goriya…… Nadiya Kinaare Mora Gaon” is a chorus of Rafi Sahab and a female voice (sounds like Shamshad Begum to me). The video clips of both these songs are available on youtube. It is debatable, if these can be treated as songs.
I remember that ‘Bluefire ji’ had commented in the blog some years ago that there are hundreds of small snippets of songs / couplets composed by Chitragupt and others which Rafi Sahab sang, mostly in mythological films which do not find a mention in Geet Kosh. It is possible that most or all of these snippets are included in the excel sheet that I refer to.
Rafi Sahab has a wide range of religious songs – naats, qawwaalis etc in his body of work, apart from the bhajans. These non-film religious songs and naats are a treat for Rafi Fans. I have chosen a naat as the commemorative post for today’s occasion. I am giving the lyrics as per the recorded version. There is a live show recording also available, which is a more lengthy and full of energy, no doubt to enhance the enjoyment of the audience watching it live, but the lyrics are basically same. The recorded version is also very endearing rendition of this traditional naat, the composer is not mentioned anywhere. Only the lyricist name is available as Nirang Sambhali. It is rendered in a traditional tune of naat, used by quite a few music directors for their songs including Madan Mohan.
It expresses the yearning to visit Makkah and Madina and perform Hajj.
INTRODUCTION OF HAJJ:
‘Hajj’ is one of the five pillars of Islam. It is a journey to the heart. The yearly flood of pilgrims from the remotest places of Islam has been a remarkable means of spiritual renewal for distant communities which are thus brought closer to manifest the centre of Islam. Historically, the pilgrimage has been a means of knitting together the many races and nations that make the muslim community, and there is no other event on earth that can compare with it.
Hajj is obligatory upon those who can ‘make their way’ to Makkah Sharif. That is to say that the requirement is not absolute, but incumbent upon those whose health and means permit it, and who in doing so, do not compromise their responsibilities towards their families.
Hajj relates to the life of test and trials lived by Prophet Hazrat Ibrahim (PBUH) and his son Prophet Hazrat Ismail (PBUH) in the vicinity of Makkah.
INTENTION OF HAJJ:
The most important factor of Hajj is the intention to perform the Hajj only to please Allah and fulfill his command. It should not be mixed up with even the slightest worldly interest.
BEFORE STARTING JOURNEY OF HAJJ :
Before starting the journey for Hajj, make you conscience feel you are going for Hajj because the Almighty Allah is pleased with you and has paved the way for you to perform Hajj. Give alms (sadqa) to the needy, and request your neighbors, friends and relatives to excuse you for your shortcomings and misbehavior towards them. This is in effect an attempt to compensate those you have ever cheated or treated badly, willfully or unintentionally. A smallest of aberration hurting fellow human beings is counted as bad deeds. So try and make amends before leaving for hajj.
It is a matter of beatitude and blessedness to us that we have been granted the opportunity to perform Hajj, falling in the month of August this year. So it’s the granting of a dear wish to find our way to ‘makkah and madina’ aka ‘raah e madina’ in the ‘Naat’.
On this momentous occasion I am remembering this great surah from the Quraan called Surat ul Rahman – a very famous and one of the most beautiful surah of the Quraan. Salient feature is the repetition of the aayah which broadly translates to ‘which of the favours, gifts and wonders of the Master, are you both (man and Jinn) going to be in denial of’.
I am giving a brief translation of this beautiful surah which is compiled from different sources. The ‘aayaah‘ of the Quraan are in Arabic and according to the scholars, cannot be perfectly translated so as to convey the grace and the messages perfectly – so some of the beauty is bound to be lost in translation.
Ar-rahmaan (The Beneficent):
I seek Allah’s protection from shaitaan, the accursed one.
In the name of Allah, the most gracious, the most merciful.
The most beneficent, taught the Quraan.
Created man, and taught him eloquence.
The sun and the moon (move) by precise calculation.
And the stars and trees prostrate, and the heaven He raised.
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth He laid out for the creatures.
Therein is fruit and palm trees, having sheaths of dates.
And grain having husks and scented plants.
So which of the favours of your Lord would you deny ?
He created man from clay like that of pottery,
And He created jinn from smokeless flame of fire.
So which of the favours of your Lord would you deny ?
The Lord of two East
And the Lord of two West,
He released the two seas, meeting (side by side).
Between them is a barrier,
(So) neither of them transgresses.
So which of the favours of your Lord would you deny ?
From both of them emerge pearl and coral,
So which of the favours of your Lord would you deny ?
And to Him belong the ships,
(With the sails) elevated in the sea like mountains.
So which of the favours of your Lord would you deny ?
Everyone upon the earth will perish,
And there will remain the countenance of your Lord,
Owner of majesty and honour.
So which of the favours of your Lord would you deny ?
All that is within the heavens and earth entreat Him
EverydayHe exercises (universal) power.
So which of the favours of your Lord would you deny ?
We will attend to you, O you two dependents (man and jinn).
So which of the favours of your Lord would you deny ?
O company of jinn and mankind,
If you are able to pass beyond the regions
Of the heavens and the earth, then pass.
You will not pass except, by authority (from Allah).
So which of the favours of your Lord would you deny ?
There will be sent upon you
A flame of fire and smoke,
And will not defend yourselves.
So which of the favours of your Lord would you deny ?
And when heaven is split asunder
And becomes rosy like red hide,
So which of the favours of your Lord would you deny ?
Then on that day none will be asked
About his sin among men or jinn,
So which of the favours of your Lord would you deny ?
The criminals will be known by their marks,
And they will be seized by the forelocks and the feet.
So which of the favours of your Lord would you deny ?
This is hell, which the criminals deny,
They will go around between it and scalding water,
Heated (to the utmost degree)
So which of the favours of your Lord would you deny ?
But for he who has feared, the standing before his Lord,
Are two gardens.
So which of the favours of your Lord would you deny ?
Having (spreading) branches.
So which of the favours of your Lord would you deny ?
In both of them are two springs, flowing.
So which of the favours of your Lord would you deny ?
In both of them are of every fruit, two kinds.
So which of the favours of your Lord would you deny ?
They are reclining on beds whose lining are of silk brocade,
And the fruit of the two gardens is hanging low.
So which of the favours of your Lord would you deny ?
In them are those of modest gaze,
Untouched before them by man or jinn-
So which of the favours of your Lord would you deny ?
As if they were rubies and coral.
So which of the favours of your Lord would you deny ?
Is the reward for good (anything) but good ?
So which of the favours of your Lord would you deny ?
And beside them both (in excellence)are two (other) gardens
So which of the favours of your Lord would you deny ?
Dark green (in color) with foliage.
So which of the favours of your Lord would you deny ?
In both of them are two springs, spouting.
So which of the favours of your Lord would you deny ?
In both of them are fruit and palm trees and pomegranates.
So which of the favours of your Lord would you deny ?
In them are found good and beautiful –
So which of the favours of your Lord would you deny ?
Fair ones reserved in pavilions –
So which of the favours of your Lord would you deny ?
Untouched before them by men or jinni –
So which of the favours of your Lord would you deny ?
Reclining on green cushions and fine carpets.
So which of the favours of your Lord would you deny ?
Blessed is the name of your Lord,
Owner of majesty and glorious honor.
God Almighty speaks the truth.
The Quraan, by admission is a book of guidance and there are signs in it for all mankind. The uniqueness of the Surat-ul-Rahmaan, is that here the Almighty is talking to or about both men and jinn. There are two seas, there are two easts and two wests, also there are two gardens and beside them there are again two gardens in Jannah. This description of jannah or paradise comes after the description of destructions and annihilation of all that is on earth. Because Jannah is for those who is conscious of the fact that one day he is to stand before the Lord, Almighty God and answer for the deeds committed during the lifetime. Whoever is conscious of this will be afraid of the hellfire and take care during the life on earth not to have to see it first hand. The description should be enough to make mankind want to avoid the hellfire. This life on earth is really a test for us and how we fare in this test is depends on how much we imbibe and obey the guidance. The hereinafter is the eternal existence for which we carry our deeds from this earth, to the day of judgment. To be aware is to beware and be prepared as result. As a forewarning, Surah Rahaman is an excellent lesson. A ‘rehemat’ (divine mercy, divine blessing, kindness).
I have always held the belief that the purpose of all religion is to regulate human behavior. Seems to jell with what the the Almighty says in the above surah :
And imposed the balance, that you not transgress.
Within the balance, and establish weight in justice,
And do not make deficient the balance.
And the earth he laid out for the creatures.
Here is the ‘naat’ of ‘aqeedat’ (devotion) and ishq-e-nabi.
(Live)
(Recorded)
Song – Agar Mil Gayi Mujh Ko Raahe Madina (NFS – Mohammed Rafi) (19??) Singer – Mohammed Rafi, Lyrics – Nirang Sambhali, MD – [Unattributed]
Lyrics
agar mil gayee mujh ko
raah-e-madinaa
mohammed ka naqsh-e-qadam
choom loongaa
agar mil gayee mujh ko
raah-e-madinaa
mohammed ka naqsh-e-qadam
choom loongaa
aqeedat se kaabe mein
sar ko jhukaa kar
nigaahon se baab-e-haram
choom loongaa
jo taiy kar ke aayenge
raah-e-madinaa
milaa loonga main unn ke
seene se seena
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
jin aankhon ne dekhaa hai
taibaa ka manzar
wo aankhen khudaa ki
qasam choom loongaa
meri zindagi sirf
ishq-e-nabi hai
jo gham mujh ko iss mien
milaa wo khushi hai
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
issi gham ki raahon mein
aankhen bichchaa kar
main palkon se khaak-e-haram
choom loongaa
agar dil ko hai kuchh
nabi se aqeedat
kisi din to jaagegi
meri bhi qismat
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke
qadam choom loongaa
jo aayenge kar ke
tawaaf-e-madinaa
main khush ho ke unn ke
qadam choom loongaa
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Hindi script lyrics (Provided by Sudhir)
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अगर मिल गई मुझको
राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अगर मिल गई मुझको राहे मदीना
मुहम्मद के नक़्श ए कदम चूम लूँगा
अक़ीदत से काबे में
सर को झुका कर
निगाहों से बाब ए हराम चूम लूँगा
जो तय कर के आएंगे राहे मदीना
मिला लूँगा मैं उनके
सीने से सीना
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
जिन आँखों ने देखा है
तयबा का मंज़र
वो आँखें खुदा की क़सम चूम लूँगा
मेरी ज़िंदगी सिर्फ इश्क़ ए नबी है
जो ग़म मुझको इस में
मिला वो खुशी है
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
इसी ग़म की राहों में
आँखें बिछा कर
मैं पलकों से खाक ए हराम चूम लूँगा
अगर दिल को है कुछ
नबी से अक़ीदत
किसी दिन तो जागेगी
मेरी भी क़िस्मत
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
जो आएंगे कर के
तवाफ ए मदीना
मैं खुश हो के उनके कदम चूम लूँगा
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 : | 3468 | Post No. : | 13921 |
Missing Films of 1960s – 43
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It was a great day yesterday. 🙂 The sun completed its journey cycle of the southern hemisphere, and slowly started to edge over the tilt of the earth’s axis and initiated its journey of the northern hemisphere. The Uttaraayan is initiated. The sun has moved from the ‘dhanu’ constellation to the ‘makar’ constellation, as per the Indian solar calendar. The cycle of seasons moves from Hemant to Shishir. It is the start of the abatement of the cold weather (in the northern hemisphere).
It is a day of great celebrations all over the country. It is the Lohri festival in northern states; it is Pedda Pandaga in Karnataka and Andhra; it is Pongal in Tamilnadu; it is Sukarat in the central states; it is Maagh Bihu in the eastern states. It is the month of Maagh as per the Hindu calendar. On this day of Sankraanti, it is ‘Maagh Mela‘ a big festival in the villages and the centres of pilgrimage. It is considered most auspicious to have a dip in the holy rivers at sunrise on this day. Special pooja ceremonies are held in homes and in temples. Special sweet preparations, and food preparations are done for today. ‘Khichdi’, a meal prepared from rice and lentils is a must preparation for the day. People of all regions will prepare these dishes in large volumes and distribute to one and all.
It is also the beginning of the New Year, as per the Hindu calendar. And so, another Happy New Year greetings to all friends and readers of this blog. 🙂
Yesterday, 14th January, 2018, was also a very very special day for Atul-Song-a-Day. Ah yes, the team messages have been going back and forth since about 10.30 last night. The blog has reached a milestone of fantastic proportions. At just about 11 pm last night (Indian Standard Time), the visitors ticker on the blog main page crossed over from the number 9,999,999 to the number 10,000,000 – signifying that the blog has counted its 10 millionth user. Over a period of 9 years, 5 months and 27 days (till 14th Jan, 2018), now more than One Crore (or Ten Million) visits have been made to this blog.
Folks from all over the world come to our blog in search of songs and music and authenticated information, and yes, accurate lyrics. By any standards, this is a unique web location on this planet. I have said this earlier too – it is an ever enlarging compendium of history of Hindi films and Hindi film music san pareil, anywhere. It is not just the songs that are important – we have such a depth of information that is collated with the rigours of a research project. In our collective humble opinion, no other web site can boast of such a large number of film synopses, film reviews, persona bio sketches, historical compilations, etc., relating to Hindi films and Hindi film music. And not just that, there is in depth articles on so many topics that relate to festivals, historical events, traditions, religious sentiments, eminent personalities – all the stories tied to and told through a film song. That is one accomplishment that surely will take a lot, even to imitate.
It is a ‘labour of love’, to borrow a phrase from our own blog masthead. And this labour of love is effected through a team of good people; people who have come together just for the love of music, and people who have selflessly contributed to this project which is now of gigantic proportions. And key here is ‘good people’ – who only argue with each other for the sake of establishing either the authenticity of information, or the correctness of lyrics 😀 😀 . When good people come together and put together their efforts – only good things will be the outcome. 🙂
I introduce to the readers today, this debut song from the film ‘Eid Ka Chaand’ from 1964. In my effort to bring out the missing films from 1960s, I have already crossed over into 1967. But as I continue to keep checking backwards, I find that more and more films and / or their songs, from this decade at least are becoming available in public domain. ‘Eid Ka Chaand’ is also one such film, from 1964, for which apparently I missed locating this song which, as per the date, was posted back in 2013.
‘Eid Ka Chaand’ is a film from Vakil Productions, Bombay and is directed by Nanubhai Vakil. The cast of actors includes Vijay Dutt, Chitra, Krishna Kumar, Niranjan Sharma, Hiralal, Wazir Mohammed Khan, Maruti, Fazlu, and Sadiq amongst others. There are nine songs listed for this film. The songs are written by Kaifi Azmi, and the tunes are composed by Alla Rakha (aka AR Qureshi). Four of these are sung by Laxmi Shankar, which in itself is a treat for music lovers.
The song presented today in the voice of Rafi Sb. The song tells of the qualities of good people, and how they are favoured by the angels in the heavens. The sentiments expressed in these words are so much the fundamental tenets of the Islamic tradition, which in of itself, is a focus on the goodness of human beings.
So quite an appropriate song to pull together all the celebrations and the goodness of people we discussed above. May the Sun’s traversal into Uttaraayan bring together all the warmth of this time and these people into your lives.
Happy Makar Sankraanti and a Happy New Year to all.
Song – Bhalaai Duniya Ki Jo Subh O Shaam Karte Hain (Eid Ka Chaand) (1964) Singer – Mohammed Rafi, Lyrics – Kaifi Azmi, MD – Alla Rakha (AR Qureshi)
Chorus
Lyrics
bhalaai duniya ki jo
suboh shaam karte hain
bhalaai duniya ki jo suboh shaam karte hain
falak se unko farishtey salaam karte hain
bhalaai duniya ki jo suboh shaam karte hain
falak se unko farishtey salaam karte hain
bhalaai duniya ki jo suboh shaam karte hain
aaa aaa aaa aaa
khuda ki raah mein lutaate hain maal o zar apna
wo apne ghar ko samajhte nahin hain ghar apna
aaaa aaaaaaaa aaaaaaa aaaaa
zameen pe reh ke falak par muqaam karte hain
zameen pe reh ke falak par muqaam karte hain
falak se unko farishtey salaam karte hain
bhalaai duniya ki jo suboh shaam karte hain
falak se unko farishtey salaam karte hain
bhalaai duniya ki jo suboh shaam karte hain
haaan aaa aaan
unhen sukoon nahin milta kabhi ameeri mein
ke baadshaahi bhi karte hain wo faqeeri mein
haan aaaa aaaa aaaaan
museebaton mein wo umren tamaam karte hain
falak pe unko farishte salaam karte hain
bhalaai duniya ki jo suboh shaam karte hain
falak se unko farishtey salaam karte hain
bhalaai duniya ki jo suboh shaam karte hain
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Hindi script lyrics (Provided by Sudhir)
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भलाई दुनिया की जो
सुबहो शाम करते हैं
भलाई दुनिया की जो सुबहो शाम करते हैं
फलक से उनको फरिश्ते सलाम करते हैं
भलाई दुनिया की जो सुबहो शाम करते हैं
फलक से उनको फरिश्ते सलाम करते हैं
भलाई दुनिया की जो सुबहो शाम करते हैं
आsss आsss आsss आsss
खुदा की राह में लुटाते हैं माल ओ ज़र अपना
वो अपने घर की समझते नहीं हैं घर अपना
आssss आssssssss आsssssss आsssss
ज़मीन पे रह के फ़लक पे मुक़ाम करते हैं
ज़मीन पे रह के फ़लक पे मुक़ाम करते हैं
फलक से उनको फरिश्ते सलाम करते हैं
भलाई दुनिया की जो सुबहो शाम करते हैं
फलक से उनको फरिश्ते सलाम करते हैं
भलाई दुनिया की जो सुबहो शाम करते हैं
हाँ आंsss आंsssss
उन्हें सुकून नहीं मिलता कभी अमीरी में
के बादशाही भी करते हैं वो फ़क़ीरी में
हाँ आंss आंss आंsssssss
मुसीबतों में वो उमरें तमाम करते हैं
फलक से उनको फरिश्ते सलाम करते हैं
भलाई दुनिया की जो सुबहो शाम करते हैं
फलक से उनको फरिश्ते सलाम करते हैं
भलाई दुनिया की जो सुबहो शाम करते हैं
Us Jaan e Do Aalam Ka Jalwaa
Posted on: June 26, 2017
This article is written by Avinash Scrapwala, 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.
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 55 # Qawwalis – 7#
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Under this series today we have this beautiful ‘Sufi Qawwali’ composed by C.Arjun and which is written by none other than Sahir Ludhianvi for the movie ‘Nawaab Sahib-1978’. I have vague memories of watching this movie in late seventies or early eighties, but I do not remember much about this movie or its story line. The only memory of this movie that I had carried over in my growing years and thereafter was this song ‘Hum Mein Hai Kya Ke Hamen Koi Haseena Chaahe’ sung by Mohd Rafi.
Read more on this topic…
Hashr Mein Unka Jab Saamna Ho Gaya
Posted on: March 1, 2016
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Naatiyaa qawaali | Post by Avinash Scrapwala | qawwali | Songs of 1970s (1971 to 1980) | Songs of 1975 | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
- 4 Comments
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 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.
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#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 33 # Qawwaalis – 2
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Talking about qawwaalis, I remember, in my childhood there used to be programs of Qawwali muqabla (competition) and mushairas, and in ‘quawwali muqablas’ the names that easily come to mind is the name of Shakila Bano Bhopali, Jaani Baabu Qawwaal and Aziz Nazaan.
Read more on this topic…
Falak bola zameen boli
Posted on: April 30, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Earlier today, in another post I had mulled over the decline of films with mythological themes. Extending that concern further, I would also include the theme of Muslim religious and social films, which seem to be on the decline. Once again, in the 90s and later, I cannot really recall any significant film based on Islamic social and religious values.
Read more on this topic…
Muraaden leke sab aaye hain
Posted on: October 4, 2011
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
A qawwaali that is true to its art form, a naatiyaa kalaam, presented in the honor of an un-named saint. Apparently, it is a some celebration at the dargaah of a departed saint. The words tell about the divine powers of just being there, and requesting in humble supplication, and the desires and aspirations will be fulfilled.
Read more on this topic…
Aankhon mein hai tu
Posted on: July 3, 2011
“Laila Majnu” (1953) is one of the earlier movies of Shammi Kapoor and here he had played the role of Majnu opposite Nutan playing Laila.
Read more on this topic…
“Aakhri Sajdaa” (1977) is a forgotten low budget movie that escaped public attention. The reason why I and like minded music lovers are interested in this movie is for a very important reason. It is the last movie of Sajjad Hussain as a music director. And that is a big reason for music lovers to be interested in this movie, or to be more precise, in the songs of this movie.
Read more on this topic…
Popular wisdom about Sajjad Hussain is that he last composed for a Hindi movie in 1963. Fortunately, that is not the case. He, despite his troubles with movie makers continued to work till late 1970s. his last movie as a music director was in 1977 and this movie was “Aakhri Sajdaa” (1977). The star cast for this movie includes Maya Sinha, Tabrez, Murad, Veena, Jagdeep, Helen, Husn Banu etc.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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