Archive for the ‘Semi Classical song’ Category
Phir Bhor Bhayee Jaaga Madhuban
Posted on: August 18, 2018
- In: "film Shooting" song | "Recording" song | Devaki Pandit Solo Songs | Devaki Pandit Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Peevesie's mom | Semi Classical song | Song about Nature | Song in Film Inside Film | Songs of 1990s (1991 to 2000) | Songs of 1998 | Yearwise breakup of songs
- 2 Comments
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 : | 3683 | Post No. : | 14585 |
18th August is the birthday of another veteran of Bollywood. She has been around from the age of 8 beginning as a child star in ‘Gunga Jumna’ (1961). She has been awarded the filmfare best supporting actress award twice and also the Life Time Achievement award. I am here talking of Aruna Irani. She turns 64 today.
Here is a song on the occasion which presents her in a different style from her usual dancing self. Also a thing to be noted is that in this clip, they have used visuals from black and white movies especially from the days when Madhubala and Dilip Kumar were a hit pair. Plus another thing that struck me was the chemistry between the two leading actresses – Shabana Azmi and Aruna Irani (playing the elder sister). The story line is somewhat based on the life of the two famous singing sisters in the industry – Lata Mangeshkar and Asha Bhosle.
‘Saaz’ was produced and directed by Sai Paranjpe in 1998. Jaaved Akhtar is the lyricist. This particular song is Zakir Hussain’s composition. It is sung by Devaki Pandit.
Happy birthday to Aruna Irani.
Song – Phir Bhor Bhayee Jaaga Madhuban (Saaz) (1998) Singer – Devaki Pandit, Lyrics – Javed Akhtar, MD – Zakir Hussain
Lyrics
mmmmmmm
aaa aaa aaaaaa
aaaaaaa aaaaaaa
phir bhor bhayi jaaga madhuban
phir bhor bhayi jaaga madhuban
phir mehki hawa
phir behki hawa
phir mehki hawa
phir behki hawa
phoolon se mili phir koi kiran
aaa aaaa aaaa
phir bhor bhayi jaga madhuban
phir bhor bhayi
phir mausam ras chhalkaane laga
phir mausam ras chhalkaane laga
phir kaliyon mein rang aane laga
phir koi nadi balkhaane lagi
phir koyal mann me gaane lagi
phir goonja mere mann ka aangan
aaa aaaa aaaa
phir bhor bhayi
phir geet hawa mein ghulne lage
phir bol suron mein dhulne lage
phir raagini machli saanson mein
phir shehad ghula aawazon mein
phir jhoom utha yeh neel gagan
aaa aaaa aaaa
phir bhor bhayi jaga madhuban
phir bhor bhayi
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मम्मम्ममम
आss आss आsssss
आssssss आsssssss
फिर भोर भई जागा मधुबन
फिर भोर भई जागा मधुबन
फिर महकी हवा
फिर बहकी हवा
फिर महकी हवा
फिर बहकी हवा
फूलों से मिली फिर कोई किरण
आss आss आsssss
फिर भोर भई जागा मधुबन
फिर भोर भई
फिर मौसम रस छलकाने लगा
फिर मौसम रस छलकाने लगा
फिर कलियों में रंग आने लगा
फिर कोई नदी बलखाने लगी
फिर कोयल मन में गाने लगी
फिर गूँजा मेरे मन का आँगन
आss आss आsssss
फिर भोर भई
फिर गीत हवा में घुलने लगे
फिर बोल सुरों में धुलने लगे
फिर रागिनी मचली साँसों में
फिर शहद घुला आवाज़ों में
फिर झू उठा ये नील गगन
आss आss आsssss
फिर भोर भई जागा मधुबन
फिर भोर भई
- In: Feelings of heart | Guest posts | Love song | Lyrics by Sudhir | Lyrics contributed by readers | NFS | philosophical song | poetry based song | Post by Bharat Upadhyay | S Janaki Solo Songs | S Janaki Songs | S Janki NFS | Semi Classical song | Songs of 1970s (1971 to 1980) | Songs of 1980 | Yearwise breakup of songs
- 6 Comments
This article is written by Bharat Upadhyay, 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 : | 3679 | Post No. : | 14571 |
[Dated 06 Aug, 2018]
Yesterday I was NOT on earth, for more than four hours . Now I know how joyful it will be in Heaven. I was a VIP guest at Jaidev’s 100 year Birthday celebration organised by by Hariharan and Chhaya Ganguli. I had full one and a half hours on back stage with artists and even was given a centre first row seat.
During that heavenly program Jaidev’s creations were presented by Hariharan, Penaaz Masani, Vibhavari Joshi, Mahalakshmi Iyer and Suresh Wadkar. Many luminaries like Shivkumar Sharma, Amol Palekar, Ashit Desai (who conducted the 20 piece orchestra for all the singers) etc talked about their association with Jaidev.
Penaaz Masani surprised everybody by singing a non-film, hardly heard composition written by the great poet Ramdhaari Singh Dinkar ji – a segment from his mahakavya ‘Urvashi’. She interjected every stanza with the translated English poetry written by Khushwant Singh.
It may not be popularly known that Jaidev – the underrated genius composer, probably the best of our times, has composed literary pieces from poets like Ghalib and Kabeer to Harivanshrai Bachchan, Mahadevi Varma, Jaishankar Prasad, Maithilisharan Gupt and Ramdhaari Singh ‘Dinkar’.
I present today Jaidev ji composition of a renowned literary work – a lovely melody for Ramdhaari Singh Dinkar’s legendary opus – ‘Urvashi’. Unfortunately this partial composition, rendered by S. Janki remained unheard as the project got shelved and never completed. Jaidev truly was the Literary Composer.
In my khazaana I have a video of Jaidev ji in his own voice talking about how he composed ‘Urvashi’ and the subsequent singing by S Janki – popularly and aptly called Lata from South India.
Enjoy this enchanting NFS, by listening to the song – you will want to listen to it repeatedly.
[Editor’s Note: ‘Urvashi‘ is a legendary lyrical drama, which is written by one of the greatest poets of modern India – Ramdhari Singh Dinkar. This creation was first published in 1961. This is a long play in 5 acts. It deals with the subject of beauty, love and passion, and the goes much beyond the superficial in exploring the depth of the quest for the truth behind the male-female union in this creation. The basis of this lyrical storytelling is the love saga of Urvashi and Pururava.
Urvashi is an apsara from swarg lok. As per the pauraanic texts, she appeared during the churning of the ocean – सागर मन्थन – the joint endeavour of the devatas (demigods) and the asuras (demons) in the quest for अमृत – the nectar of immortality. In another narrative, it is stated that when Narayan Rishi was doing penance and meditation in the Himalayas, Indra, the king of demigods, afraid for his throne, sent a group of apsaras to disturb his penance. Narayan Rishi became incensed, and to show Indra his powers, created a most beautiful apsara by simply stroking his chest (ur – ‘उर’), whose beauty surpassed the combined attraction of all the ones sent by Indra. Since she was created from the उर of Narayan Rishi, her name became Urvashi.
Pururava is the primeval male personality of the chandra vansh – the Lineage of the Moon (in which after many generation, Lord Krishna also appears as an incarnation). As per the Puraanas, at the beginning of creation, Manu and Shraddha, the original primal man and woman created by Brahma, called upon Vashisht Rishi to perform a yajna (यज्ञ) for begetting a child. Manu wanted a son to be born, and Shraddha wanted a daughter. As the outcome of this yajna, a duaghter was born. On seeing the disappointment on the face of Manu, Vashisht Rishi gave a boon and turned the daughter into a son. He was named Sudyuman (सुद्युम्न). When he grew up, once he went to a forest for hunting. Unknown to him, the forest was cursed, and he was not supposed to enter it. Being in the presence of that curse, he reverted to his original female form, and now he/she was named Ila (इला). In good time, Ila was married to Budh, the son of Chandrma, and from their union, a child was born who became the first generation of the chandra vansh. He was named Pururava.
In metaphysical terms, Urvahsi represents the epitome of the eternal female of this creation, and Prururava is the representation of the eternal male. Pururava is of the earth, and he desires for the pleasures and gratifications of the swarg lok. Urvashi is of the swarg lok, and with an innate and natural certainty, wants to partake the pleasures of the earth. She descends from the heavens to the earth and the two share a relationship of love. Urvashi is a representation of unbridled desires and passions, but having descended from the heavens, she is free from inner conflict and struggles. Pururava represents the earthly persona who is distracted and inconvenienced by a multitude of disturbing vibrations (रव).
In this lyrical creation, Dinkar explores the depth of the quest in a man-woman relationship. The thesis expounded is that inside a man, there is another level of existence of a man, beyond the physical. And the same holds true for the woman. Their longing for each other is a pursuit of seeking out this inner existence within each other. Their quest does not end simply on the physical union but goes much deeper, seeking the true ‘other’, the true counterpart for a more fulfilling and nourishing accord.
Dinkar received the Sahitya Academy award for this creation in 1959, and the Jnaanpeeth Award in 1972.]
Song: Main Roop-Rang-Ras-Gandh-Poorn Sakaar Kamal (S Janaki NFS) (1980)Singers: S Janki, Lyrics: Ramdhari Singh Dinkar, Music: Jaidev
Jaidev
[Ed Note: The clip includes some initial lines of this piece, in the voice of Jaidev ji himself.]
Lyrics (Provided by Sudhir)
par kya bolun?
kya kahoon?
bhraanti, yeh deh-bhaav
[Brief commentary by Jaidev ji]
main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .
par kya bolun?
kya kahoon?
bhraanti, yeh deh-bhaav
main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .
main nahin sindhu ki sutaa
talaatal-atal-vital-pataal chhod
neele samudra ko phod
shubhr jhalmal fenanshuk mein pradeept
naachti urmion ke sir par
main nahin mahatal se nikli
main nahin gagan ki lata
taarkao mein pulkit phoolti hui
main nahin vyompur ki baala
vidhu ki tanya chandrika sang
poorima sindhu ki parmojjwal abha-tarang
main nahin kirnon ke taaron par
jhoolti hui bhu par utri
main naam-gotr se rahit pushp
ambar mein udti hui mukt anand-shikha
itivrittheen saundrya chetna ki tarang
sur-nar-kinnar-gandharv nahin
priye main kewal apsara
vishw-nar ke atript ichha-saagar se sumudhbhoot
jan-jan ke mann ki madhur vhni
pratyek hriday ki ujiyaali
naari ki main kalpana charam
nar ke mann mein basne waali
main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .
—————————
Hindi script lyrics
—————————
पर, क्या बोलूँ?
क्या कहूँ?
भ्रांति, यह देह-भाव
[जयदेव जी द्वारा संक्षिप्त समीक्षा]
मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰
पर, क्या बोलूँ?
क्या कहूँ?
भ्रांति, यह देह-भाव
मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰
मैं नहीं सिन्धु की सुता
तलातल-अतल-वितल-पाताल छोड़
नीले समुद्र को फोड़
शुभ्र, झलमल फेनांशुक में प्रदीप्त
नाचती उर्मियॉ के सिर पर
मैं नहीं महातल से निकली
मैं नहीं गगन की लता
तारकॉ में पुलकित फूलती हुई
मैं नहीं व्योमपुर की बाला
विधु की तनया, चन्द्रिका-संग
पूर्णिमा-सिन्धु की परमोज्ज्वल आभा-तरंग
मैं नहीं किरण के तारों पर
झूलती हुई भू पर उतरी
मैं नाम-गोत्र से रहित पुष्प
अम्बर में उड़ती हुई मुक्त आनन्द-शिखा
इतिवृत्तहीन, सौन्दर्य चेतना की तरंग
सुर-नर-किन्नर-गन्धर्व नहीं
प्रिय मैं केवल अप्सरा
विश्वनर के अतृप्त इच्छा-सागर से सुमुद्भूत
जन-जन के मन की मधुर वह्नि
प्रत्येक हृदय की उजियाली
नारी की मैं कल्पना चरम
नर के मन में बसने वाली
मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰
Raat Basanti Main Raswanti
Posted on: February 20, 2018
- In: "chaayageet" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Seduction song | Semi Classical song | Songs of 1960s (1961 to 1970) | Songs of 1965 | Yearwise breakup of songs
- Leave a Comment
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 : | 3504 | Post No. : | 14080 |
Missing Films of 1960s – 60
– – – – – – – – – – – – – – –
The debut film for today is ‘Bhakt Prahlad’, the quintessential historical / mythological saga that has been repeated so often across the decades. I would say that, along with the tale of Raja Harishchandra, the story of Bhakt Prahlad probably forms the most times filmed pair of historical / mythological tales. As per Geet Kosh, the story of Bhakt Prahlad has been presented on the silver screen no less than six times – the years in chronological order being 1932, 1934, 1946, 1959, 1965 and 1967. Besides this set of films in Hindi, this tale has also been a subject of many other films released in regional cinema.
The 1965 version of this film was produced under the banner of Madan Movies, Bombay, and is directed by Kamal Sharma. The star cast consists of the following, Anjali, Bablu, BM Vyas, Malika, Sheikh, Rajkumar, Helen, Jeevankala, Ravi Kumar, Ramesh, Mohan Modi, Raja Saleem, Nazeer Kashmiri, Dalda, Maqbool, Pal Sharma, and Jagdish Vyas etc.
The film has eight songs listed in the Geet Kosh. All the songs have been penned by Bharat Vyas. The music direction is by BN Bali (aka Baldev Nath Bali). The song is sung by Asha Bhosle.
I have heard this song, long long back, and then I have not heard it for many years. Today, as I started search for an appropriate song, I came across this one. To start with the words did not ring a bell, and I simply clicked on to play. And as it started to play, the song came alive in the mind along with the memories of radio listening days.
The song is a seduction song, of course presented in a very sober and decent manner. The words and the year remind me of another similar seduction song which is from the 1965 film ‘Jewel Thief’ – “Raat Akeli Hai Bujh Gaye Diye. . .”. As I continued to listen, the second antaraa reminded me of another song from the same year. The film – ‘Mere Sanam’ and the song “Ye Hai Reshmi Zulfon Ka Andhera. . .”. Interestingly, all the three songs have been rendered by Asha Bhosle. And I am wondering – same year, three different songs from different films, all in the same genre. The subject matter i.e. seduction, is the same; but the treatment is literally ages apart. Hmmm. . . gives me an idea for a series on seduction songs; let me see if I can muster up enough songs to do a complete series.
But regardless, listen to and enjoy this gem of a song from an obscure film, reviving memories of a wonderfully melodic era.
Song – Raat Basanti Main Raswanti (Bhakt Prahlad) (1965) Singer – Asha Bhosle, Lyrics – Bharat Vyas, MD – BN Bali
Lyrics
jogi..ee..ee..ee
jogi..ee..ee..ee
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti
dekh wo chanda ras barsaaye
dekh wo chanda ras barsaaye
dekh pawan lehraaye
ye chaandi ki jhilmil kirnen
ye chaandi ki jhilmil kirnen
tan mein chubh chubh jaayen
[. . .]
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
hoye hoye hoye hoye hoye
raat basanti
dekh lachakti gori baahen
dekh lachakti gori baahen
dekh thirakte naina
ghunghat palat jo lat bikhra doon
ghunghat palat jo lat bikhra doon
din ban jaaye raina
ho oo oo oo
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जोगी॰॰ई॰॰ई॰॰ई॰॰ई
जोगी॰॰ई॰॰ई॰॰ई॰॰ई
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती
देख वो चंदा रस बरसाए
देख वो चंदा रस बरसाए
देख पावन लहराए
ये चाँदी की झिलमिल किरणें
ये चाँदी की झिलमिल किरणें
तन में चुभ चुभ जाएँ
[॰ ॰ ॰]
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
होए होए होए होए होए
रात बसंती
देख लचकती गोरी बाहें
देख लचकती गोरी बाहें
देख थिरकते नैना
घूँघट पलट जो लट बिखरा दूँ
घूँघट पलट जो लट बिखरा दूँ
दिल बन जाये रैना
हो ओ ओ ओ
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती
This article is written by Sadanand Kamath, 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 first gramophone recording of songs in India was done in November 1902. However, the records were marketed only in 1903. A cursory glance at the various issues of Society of Indian Records Collectors (SIRC) indicates that early gramophone recordings were confined mostly to songs sung by ‘Bais’, ‘Devis’, ‘Jaans’, ‘Begums’ etc who mainly belonged to professions like courtesans, dancing, private concert singers etc. In view of their background, they recorded mostly semi-classical songs in the genre of Thumri, Dadra, Ghazals, Bhajans, Hori, Chaiti, Folks music etc. These genres of songs were popular among the masses thanks to theatres where some of the above mentioned singers acted in the plays. The popularity of these songs gave gramophone recording companies profitable business opportunity.
With the advent of talkies in 1931, the genre of semi-classical songs found place in the films as well. And who could have sung such songs better than the popular ‘gramophone’ singers like Jahanara Kajjan, Mukhtar Begum, Begum Akhtar, Mallika Pukhraj, Mushtari Bai, Jaddan Bai, Waheedan Bai, Indubala, Kamala Jharia etc. They found avenue to become actor-singer in the films of the 1930s and 40s.
In the initial period of talkies, music directors were mostly from the theatre background. A cursory perusal of the available songs of the films released during early 1930s reveals that their song compositions were mostly influenced by semi-classical genres like ghazals, thumris, dadras, bhajans etc. Some of the songs in films during this period were customised based on the popular songs sung by the semi-classical singers. There are many such instances from 1930s through 1960s. I will not go into the detailed listing. They are still in vogue even now in the guise of remix songs. However, I wish to share a few of them from films of early 1930s which came to my notice while writing this article:
1. Lagat karejwa mein chot phool gajra na maaro re from the film MADHURI (1932) sung by Chanda Bai. Unfortunately, the gramophone record for this song was not issued. It is based on a traditional bandish in raag Bhairavi which I guess, Chanda Bai may have sung umpteen times during her association with Parsi Theatres in the 1920s. By the way, Chanda Bai was Begum Akhtar’s first inspiration to become actor-singer when she was barely 7 years old.
2. Raam rang rang le mann aatm rang rang le mann from the film BHARATI MATA(1932). Again, the song is not available. Probably, the gramophone record may not have been issued for this song. I strongly feel that this Hindi version song may have been based on a popular Bhajan in raag Yaman sung by Panditrao Nagarkar in Marathi musical play ‘Sangeet Tulsidas’ (1928). This bhajan was made more popular by Pandit Bhimsen Joshi in the later years.
3. hai kya kya jalwa bhara hua and deejo darshan mujhe bansi ke bajaanewaale from the film AANKH KAA TAARA (1932) were first recorded as non-filmy bhajans by Indubala in June 1931. Later, Indubala sang these two songs in the film.
4. Koyaliya mat kar pukaar karjewa laage kataar from the film JAWAANI KAA NASHA (1935) was sung by Begum Akhtar in the film but the gramophone record was not issued. Later, she recorded this Dadra in 78 RPM record as non-filmy song and also a fuller length (over 10 minutes) in concerts which was also recorded as non-filmy song, probably in early 50s.
My emphasis in this article is to show that the inspirations for the filmy songs especially during the early period of talkies, by and large, came from scores of non-filmy semi-classical songs which were recorded during 1902 to say 1940.
Now let me talk about one more inspired song, inhi logon ne le leena dupatta mera which became very popular in 1972 when the film PAAKEEZAH (1972) was released. The song is still popular as a mujra song. At that time, I was not aware that a similarly worded song was sung by Shamshad Begum in the film HIMMAT (1941) until 2012. I wrote an article on the song in the Blog on the next day of my becoming aware of this song. The song was also repeated in AABROO (1943). The credit for the lyrics went to Majrooh Sultanpuri, Aziz Kashmiri and Tanveer Naqvi, respectively in the order of the films’ names which appear above. Of course, all the lyricists have made some minor changes in the lyrics.
During the discussion on the article mentioned above, Arun ji had mentioned that this was a traditional song sung in kothas (by courtesans). I had also mentioned in my article that the Shamshad Begum’s version gave a feel of a kotha song. After about 5 years since I wrote the article, it is now more or less confirmed that this is indeed a traditional kotha song. For this, I thank Girdharilal Vishwakarma ji for making available the traditional version of the song on YT about three months back.
Today, I am presenting a non-filmy version of ‘inhi logon ne le leena dupatta mera’ (1921) sung in Dadra style by Akhtari Jaan of Lucknow, a courtesan. Other than this, I have no information on Akhtari Jaan. It seems, her name has been mixed up with that of Akhtari Bai (Begum Akhtar) on the internet.
The lyrics of Akhtari Jaan’s version the last stanza has somewhat different wordings as against wordings of Shamshad Begum version. I assume that Aziz Kashmiri has made changes in the last stanza in Shamshad Begum’s version. Akhtari Jaan has rendered the Dadra with aalaaps. The name of the music director is not known. With only harmonium and percussion as musical instruments, I guess even the tune may be a traditional one.
After listening to the four versions of this song, Lata Mangeshkar’s version of the song still remain popular due to a better voice, a better orchestration and the improved technical support available for the song recording.
This non-filmy song becomes the second oldest recorded song on the Blog.
Song-Inhin logon ne le leena dupatta mera (Akhtari Jaan NFS)(1921) Singer-Akhtari Jaan
Lyrics
aaa aaa aa aa
inhin logon ne le leena dupatta mera
inhin logon ne le leena dupatta mera
inhin lo..gon ne
inhin lo..gon ne
inhin lo..gon ne
inhin lo..gon ne
inhin logon ne le leena dupatta mera
haan
inhin logon ne le leena dupatta mera
na jaano ba..jajwaa se poochho
na jaano ba..jajwaa se poochho
jisne asharfi gaz deenaa dupattaa mera
haan
jisne asharfi gaz deenaa dupattaa mera aa
inhi logon ne le leenaa dupattaa mera
na jaano rangrejiya se poochho
na jaano rang
na jaano rangrejiya se poochho
jisne gulaabi rang deenaa dupattaa mera
jisne gulaabi rang deenaa dupattaa mera
aaa aaa aaa
aa aa aa
aa aa aa re haan
inhin logon ne le leena dupattaa mera
inhin logon ne le leena dupattaa mera
na jaano more sainyyan se poochho
na jaano more sainyyan se poochho
jisne bula ke maza leena deenaa dupattaa mera
jisne bula ke maza leena deenaa dupattaa mera
inhin logon ne le leena
aaaa aa
aa aa aaa
aa aa aa aa re haan
inhin logon ne le leena dupattaa mera
inhin logon ne
[mera naam Akhtari Jaan Lucknow se hai]
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.
“Sapna” (1952) was directed by Kidar Sharma for Hindustan production company. The movie had Kishore Sahu, Bina Rai, Cuckoo, Shakuntala, Moni C., Hiralal, Rani Chanda, Narbada Shanker, Paul Sharma etc in it.
Read more on this topic…
Chaaru chandra ki chanchal chitwan
Posted on: August 4, 2017
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.
Hullo to all Atulwaasis
So, we are on that date of the year when we write a special post for a very special person. We have two posts by kids of the 70s who grew up listening to the works of this special person. For once I waited to see what these two are going to say before I pen my own thoughts. This is because I have come to realise that the three of us love the same things about this person- his multi talents- singing (first and foremost), comedy (acting), direction, music direction and he has also written a few songs. We are his fans and he was said to be a huge fan of K.L. Saigal. His aim was to sing like Saigal.
Read more on this topic…
Tarap tarap sagri rain gujri
Posted on: July 27, 2017
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.
Hullo to all in Atuldom
At the outset let me post my usual disclaimer: I am no encyclopaedia as regards the birth and death anniversaries of my favourite Bollywood actors, actresses, singers, music directors, lyricists, choreographers etc. I am assisted in keeping track of the dates by the list on our blog and the good old trust-worthy Vividh Bharati services of All India Radio. And today (27 july 2017) also I am writing this after looking up the list on our blog and listening to “Aaj Ke Phankaar” on radio.
Read more on this topic…
Recent comments