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

Archive for the ‘Stage song’ Category


This article is written by nahm, 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 :

4431 Post No. : 15862

Remembering Rishi Kapoor on his 68th Birth Anniversary :

A journey started on 4th September, 1952. Rishi Kapoor’s life journey through his histrionics in tinsel town, starting with his father’s epic “Mera naam joker”, to the chocolate boy in ‘Bobby’ to the authentic Majnoo in “Laila Majnu” to the slick tycoon in “ Yeh Wada raha”, via the semi-villain in ‘Hum kisi se kam nahi”, with a heart of gold, no less. The hapless husband of ‘‘Damini” , the sacrificing lover boy of ‘Chaandni”, mark the fulfilling journey and career of a shining star with the a extra twinkle in the eyes. The nick name Chintu Kapoor suited him. And great things do come in small packages, or so I have heard.

Rishi Kapoor has more than justified the Kapoor khandaan’s legacy, with a kaleidoscope of films which people want to see again and again , just for his expressions and acting. I have just now seen the song .

This is one song I keep forgetting to mention while talking about RDB’s songs. In the song, though Rishi Kapoor is sitting in the restaurant and watching the song, it is clear who is emoting the best effect of the feel of the song. Clearly he was among the best actors of 70’s and 80’s heroes. May be Rajesh Khanna and Sanjeev Kumar were better than him, not counting Amitabh bachchan here.

Rishi Kapoor lost the battle to cancer on 30th April 2020, while the entire world was reeling under the ‘pandamic’. I could not pay a proper tribute to him at that time, so I am trying to do it now.

The pandemic’s lasting after affects are emerging like the rippling of the volcano. We all need to deal with these in a calm and collected manner, and keep faith that the things will improve in near and distant future.

Here is a small ghazal, for motivation:

– Kabhi maayoos mat honaa –

Main maantaa hoon waba’a ke din hain
Magar yeh din bhi khudaa ke din hain

Dilon se maayoosiyaan nikaalo
Zara sa aage shifa’a ke din hain

Guzar gayi umr ghaflaton mein
Yahi to rab se wafaa ke din hain

———-

Waba’a – widespread illness
Shifa’a – recovery from illness
Ghaflat – carelessness

Coming to the song, it is from the film “Deewaana”(1992). Singer is Kumar Sanu of this lengthy, long mukhdaa and long stanza’s song. Sameer is the lyricist and Nadeem-Shrawan are the music directors.

The following two songs from this film were posted way back in March 2009:
Paayaliyaa ho ho ho ho
Aisi deewaanagi

Someone made this comment in 2020 to this 28 year old song, on youtube :

कल के मधुर संगीत ,
आज के भंगार संगीत
जमीन आसमान का फर्क

Can’t disagree here, as the song is really “madhur”. This was also a personal favourite in 1992, though I might have seen this film on cable TV. The late Divya Bharti is the heroine with Rishi Kapoor, with Shah Rukh khan playing a third in a negative role, this character is not with a heart of gold 🙂 .

Rishi Kapoor is singing this song on stage with a bevy of dancers(One too many), my memory did not recall the extra dancers on stage. At least they are not in garish colour, so everyone is in heavenly sparkling white.

And may the departed souls rest in heavenly peace.

Sochenge tumhe pyar karen ke nahin – Deewana(1992)

Song-Sochenge tumhen pyaar karen ke nahin (Deewaana)(1992) Singer-Kumar Sanu, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

Hey hey
Hey hey
hmmm mmmm
hmmmmm
hmmm mmmm
hmmmmm
ooo oooo
aa haa haaa

sochenge tumhen pyaa aa aar
karen ke nahin
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko o o
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko
miloge hamen tum jaanam
kahin na kahin ee ee en
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin

tum ho khiltaa mehkaa sa kanwal
tum ho khiltaa mehkaa sa kanwal
ham jo gaayen
tum ho wo ghazal
kamsin bholaa sa mukhdaa
lagti ho chaand ka ik tudkaa
ham kitni taareef karen
dekh ke tum ko aahen bharen
tum sa nahin hai koyi
pyaaraa sanam mm
pyaaraa sanam mmmm
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin

hey hey
hey hey hey
la la la la la la
la la la la laa aa
hey hey hey hey hey

jis din tum ko
dekhegi nazar
jis din tum ko
dekhegi nazar
jaane dil pe
hogaa kya asar
rakhhenge tum ko nigaahon mein
bhar lenge tumhen baahon mein
zulfon ko ham suljhaayenge
ishq mein duniyaa bhulaayenge
ye beqaraari ab to o o
hogi na kam m
hogi na kam mmmm
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko o o
khwaabon mein chhupaayaa tum ko
yaadon mein basaayaa tum ko
miloge hamen tum jaanam
kahin na kahin ee een en
sochenge tumhen pyaa aa aar
karen ke nahin
ye dil beqaraa aa aar
karen ke nahin
hey hey
la la la la laa aaa
la la la la la laa laa
hey hey hey hey hey


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 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 :

4413 Post No. : 15813

———————————–
This Week, That Year – 1
– – – – – – – – – – – – – – – – – –
16Aug – 22Aug, 2010
————————————————-
Blog ten year challenge (2010-2020)- Song Number 56
————————————————–
Reviewing the week of Aug16 – Aug22, I just thought of doing the analysis in one more way – to just see where all we had been and what all were we listening to during the time from the start of the blog on 19Jul2008 to 22Aug2010. Interesting things appeared.

It all started with thought – what is the distribution of songs across the decades in the week under review. I did a quick sort check and came up with the following data. This week we had seen 31 songs posted in all. And these 31 songs were distributed according to decade as follows,

1930s

1

1940s

4

1950s

16

1960s

9

1970s

1

The distribution is quite as expected – of the 31 songs, 25 songs (80%) are from the decades of 50s and 60s. Goodness, aren’t these the most favorite years of practically all listeners of Hindi film music.

The thought then prompted me to take a view of the total songs posted thus far, i.e. till 22Aug of 2010. By the end of that week, the total number of posts was 2827, and the total number of songs posted was 2928. The 100 odd more songs are due to multiple songs being included in a single post – multipart and multi version songs.

And the results are pretty much along the same lines, as expected. The overall distribution for all songs till 22Aug2010 stands as follows,

1930s 26
1940s 228
1950s 972
1960s 1069
1970s 511
1980s 89
1990s 30
2000s 5

The overall % of the songs from 50s and 60s dips a little – down to 71%, but still, overwhelmingly most songs are still coming from that era. There is a sizeable interest in the 1970s – 17%. I am sure that is due to the fact that we are still listening to our favorite artists from the Golden Era. To approximately round off, the 30s-40s component is 8% and for 80s and beyond the allocation is 4%. In tabular form, as follows

30s-40s 8%
50s-60s 71%
70s 17%
80s+ 4%

Well, much as expected – the distribution of the listening and selection preferences of this group. Well, not maybe every week, but I will try to revisit this analysis after 2/3 months, and see the evolution of our selection preferences with time.

Let’s do the numbers for that week. Total posts that came on board that week is 31. Number of films represented is 27, with four films making a double appearance. Four films had made their debut that week, and no films were yippeee’d. However, since that week over the past 10 years, 24 of these films have been yippeee’d and seven remain pending. Also, that week we had one dot day.

Blog Ten Year Challenge (2010-2020) Series

Sl.No. Movie Name Year HFGK NoS ASAD NoS Deb/Yip Milestone Film Status Pending
16-Aug-10
1 Bade Sarkaar 1957 4 4 D Yippeee’d
2 Madhumati 1958 11 11 Yippeee’d
3 Ardhaangini 1959 7 7 Yippeee’d
4 Gumnaam 1965 8 8 *BC – 2800 Yippeee’d
17-Aug-10
1 Vidyapati 1937 13 13 Yippeee’d
2 Aan 1952 11 11 Yippeee’d
3 Shri 420 1955 8 8 Yippeee’d
4 Raagini 1958 12 10 Pending 2
5 Madhumati 1958 11 11 Yippeee’d
6 Ek Shrimaan Ek Shrimati 1969 7 5 Pending 2
18-Aug-10
1 Mastaana 1954 8 9 Yippeee’d
2 Raftaar 1955 10 5 D Pending 5
3 Chandi Pooja 1957 8 4 D Pending 4
4 Ek Shola 1958 8 6 Pending 2
5 Suraj 1966 7 7 Yippeee’d
6 Do Kaliyaan 1968 7 7 Yippeee’d
19-Aug-10
[No Posts]
20-Aug-10
1 Dahej 1950 10 10 Yippeee’d
2 Sharda 1957 9 9 Yippeee’d
3 Basant 1960 14 10 Pending 4
21-Aug-10
1 Rattan 1944 10 10 Yippeee’d
2 Boot Polish 1953 7 7 Yippeee’d
3 Dharamputra 1961 8 8 Yippeee’d
4 Shaadi 1962 7 7 Yippeee’d
5 Do Badan 1966 6 6 Yippeee’d
6 Ek Shrimaan Ek Shrimati 1969 7 5 Pending 2
22-Aug-10
1 Rattan 1944 10 10 Yippeee’d
2 Jogan 1950 15 15 Yippeee’d
3 Amaanat 1955 6 6 Yippeee’d
4 Samrat Chandragupta 1958 8 8 Yippeee’d
5 Do Badan 1966 6 6 Yippeee’d
6 Balidaan 1971 6 2 D Pending 4

The special event recorded for that week was a blog century. I have now inserted another column in the chart to track the appearance of century milestones. On 16 Aug 2010, the song “Jaan Pehchaan Ho” from the 1966 film ‘Gumnaam’ clocked in on the 28th century milestone for the blog. It was the 2800th post to come on board. Going back to revisit some of these posts, it is very enlightening. It is a delight to recall and refresh the large amount of trivia that is now silently sitting in the electrons on this blog’s storage. About this post – this was a special request post that Greta Memsaab had written for the blog. At 2800 posts, this was only the 12th guest post till then, and the second on by Memsaab. Poring through the article and the comments, one learns and re-learns so much more about these songs – names of the guitarists, name of the dancers, the fleeting appearance by Helen, the fact that the lead in dance music is lifted from the song “Teen Kanastar Peet Peet Kar” (‘Love Marriage’, 1957), and that an ad by Heinken has used this song – the entire lead in music and the mukhda of the song, in the voice of Rafi Sb. It is a revival experience par excellence.

And so, getting into this week. Seven films, and eight challenge opportunities for the team members. I must acknowledge that members are sending in challenge contributions – lyrics and sometimes articles too. And we need more of that. Gear up, and happy posting.

‘Raagini’ of 1958 is one of the two films pending for today’s date. The song being presented is a stage dance song, and as the performance rolls to the end, one finds that it is actually dream sequence song. It is being played out in a dream being experienced by Padmini, as she visualizes herself to be Anaarkali, dancing in the court of Prince Saleem, that is Kishore Kumar, the person she is love with.

The lyrics of this song are penned by Qamar Jalaalabaadi, the music is composed by OP Nayar and the singing voice is that of Asha Bhosle.

Lyrics for this song have been sent in by Prakash ji.

With this post, the film ‘Raagini’ moves closer to gaining yippeee status, with just one more song pending.

[Author’s Note: This post is the beginning of a weekly series that is about the story of this blog. This story has already been appearing as the weekly challenge information being shared on Whatsapp group. In discussion with Atul ji, we agreed that the weekly presentation of this evolving story has become as good as a post by itself. And so we decided that the weekly information post on Whatsapp will also be duplicated as a post on the blog itself, making a more firm documentation of this story. Hence, this series.]

Video

Audio

Song – Tujhe Dekh Ke Machal Gaya Aaj Mera Mann  (Raagini) (1958) Singer – Asha Bhosle, Lyrics – Qamar Jalaalabaadi, MD – OP Nayar
Chorus

Lyrics (Provided by Prakashchandra)

aaa aaaa aaa aaa aaaa aaa aaaa aaa
ummm ummmmm ummmm ummm
aaaa aaaa aaa
aaa aaaa aaa
aaaa aaaa aaa
aaaa aaaa aaa
o o o o o o o o
o o o o o o o o

kuchh aisa chhed
umangon ka raag aaa..aaa..aaj ki raat
ke jaaye khwaab jawaani ke jaag aaj ki raat
zamaana jis ko
muhabbat ki aag
kehta hai..ae
dil o jigar mein lagaa dey
wo aag aaj ki raat

haaan aaan aaan aaan
tujhe dekh ke machal gayaa aaj mera mann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
tujhe dekh ke machal gayaa aaj mera mann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
mere dil ki paayal baajey saiyyaan chhann chhann chhann

wo muskuraayen
inaayat isi ko ke..ehthe hain
nazar churaayen
sharaarat isi ko kehthe hain
ye meethi aankh micholi
ye dillagi ye adaa..aa
aji huzoor muhabbat isi ko kehthe hain
haaan aaan aaan aaan
tujhe dekh ke machal gaya aaj mera mann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
tujhe dekh ke machal gaya aaj mera mann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
mere dil ki paayal baajey saiyyaan chhann chhann chhann

aaa aaa aaa aaa aaa aaa
tu hai saleem mera
main teri anaarkali
qubool kar meri ulfat ki purbahaar kali
o taajdaar mere
ishq ki bahaa..aa..ar hai tu
khila de aaj mere dil ki beqaraar kali
haaan aaan aaan aaan
tujhe dekh ke machal gaya aaj mera mann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
tujhe dekh ke machal gaya aaj mera mann
mere dil ki paayal baajey saiyyaan chhann chhann chhann
mere dil ki paayal baajey saiyyaan chhann chhann chhann

aaaaa aaaaa aaaaaa aaaaa aaaaa
aaaaa aaaaa aaaaaa aaaaa aaaaa
aaaaa aaaaa aaaaaa aaaaa aaaaa
aaaaa aaaaa aaaaaa aaaaa aaaaa
aaaaa aaaaa aaaaaa aaaaa aaaaa

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

आ आ आ आ आ आ आ आ
अम्ममम अम्ममम अम्ममम अम्ममम
आ आ आ
आ आ आ
आ आ आ
ओ ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ

कुछ ऐसा छेड़
उमंगों का राग आ॰॰आज की रात
के जाये ख्वाब जवानी का जाग आज की रात
ज़माना जिसको
मुहब्बत की आग कहता है॰॰ऐ
दिल ओ जिगर में लगा दे
वो आग आज की रात

हाँ आं आं आं
तुझे देख के मचल गया आर मेरा मन
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
तुझे देख के मचल गया आर मेरा मन
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न

वो मुस्कुराएं
इनायत इसी को कहते हैं
नज़र चुराएँ
शरारत इसी को कहते हैं
ये मीठी आँख मिचौली
ये दिल्लगी ये अदा॰॰आ
अजी हुज़ूर मुहब्बत इसी को कहते हैं
हाँ आं आं आं
तुझे देख के मचल गया आर मेरा मन
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
तुझे देख के मचल गया आर मेरा मन
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न

आ आ आ आ आ आ
तू है सलीम मेरा
मैं तेरी अनारकली
क़ुबूल कर मेरी उलफत की पुरबहार कली
ओ ताजदार मेरे
इश्क़ की बहा॰॰आर है तू
खिला दे आज मेरे दिल की बेक़रार कली
हाँ आं आं आं
तुझे देख के मचल गया आर मेरा मन
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
तुझे देख के मचल गया आर मेरा मन
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न
मेरे दिल की पायल बोले सैंया छन्न छन्न छन्न

आ॰॰ आ॰॰ आ॰॰ आ॰॰ आ॰॰
आ॰॰ आ॰॰ आ॰॰ आ॰॰ आ॰॰
आ॰॰ आ॰॰ आ॰॰ आ॰॰ आ॰॰
आ॰॰ आ॰॰ आ॰॰ आ॰॰ आ॰॰


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:

4356 Post No. : 15678

“One good thing about music, when it hits you, you don’t feel pain”.

Thus spoke Bob Marley (1945-1981), the famous Jamaican singer and songwriter, about the power of music. From the most casual to the most formal, every activity, every endeavor of human existence is in one form or another, quite inextricably linked with music. Music pervades our lives and our beings. In many an instance, music appears quite unexpectedly in our lives.

Back in 1981, the Minister of Culture of France was a gentleman by the name Jack Lang. He appointed Maurice Fleuret as the Director of Music and Dance. One observation Maurice had about the cultural ethos of France – “the music everywhere, the concert nowhere”. He conducted a sample survey of the French population. The survey brought out some very interesting results; the most important one was which established that almost half the population was adept at playing one or another type of musical instrument.

Armed with this result, Maurice dreamt of bringing this talent for music, out in the open. Working with his minister, Maurice set out to design a method which would allow common people to be able to perform for others. From this pursuit was born the concept of ‘Fête de la Musique’ or the ‘Festival of Music’. After preparing and communicating for many weeks, finally the date for this public festival was decided as 21st June. In the year 1982, this event was rolled out across the length and breadth of France.

Ever since, the phenomena has spread to practically everywhere. This festival is now held in more than a thousand cities across 170 countries.

One basic feature of this celebration is that it is free. The artists and musicians perform for free. And also, all performances are free for the viewing public.

When writing about music, I have occasionally fallen back on the 1985 film ‘Sur Sangam’, for a suitable song for the post. Once again today, as I write to celebrate this worldwide event, I bring to the readers another wonderful song that tells about the nature and practice of music. The beginning words of this song lay out such an adept definition,

saadh re mann sur ko saadh re
ek mann ko doosre se baandh re

Yes, a force that brings together and binds the minds and hearts of people. Need I say more – the experience of the regulars of this musical bandwagon will speak for itself.

As I noted in my write up for the song “Aaye Sur Ke Panchhi Aaye”, as far as the memory serves, the film ‘Sur Sangam’ is probably the last film that I can remember, that has music as its central theme. After 1985, I cannot recall any other Hindi film built on the theme of music.

The film is a Hindi remake of the iconic Telegu film ‘Shankarabharnam’. It has been produced by V Ramesh for Vijay Madhavi Pictures, Madras and is directed by K Vishwanath. The eminent star cast of this film includes Girish Karnad, Jayaprada, Sachin, Sadhna Singh, Deven Verma, Bharti Achrekar, Paintal, Tabassum, Asrani, Bhushan Tiwari, Dina Pathak, Mohan Choti, OP Singh, Jeet Mohan, Sulabha Deshpande, SP Dubey, Urmila, Master Akash Singh and Baby Mamta.

The film has a set of very wonderful 11 songs, all written by Vasant Dev, and set to wonderful classical melodies by Lakshmikant Pyaarelal. Five songs of this film are already showcased on our blog. And the sixth makes its appearance today on the occasion of the World Day of Music. The singing voice is that of Rajan Sajan Misra.

May there be delightful music today, and every day in our lives.

Song – Saadh Re Mann Sur Ko Saadh Re (Sur Sangam) (1985) Singer – Rajan Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics

saadh re
mann sur ko saadh re
saadh re
mann sur ko saadh re

ek mann ko
doosre se
baandh re
saadh re
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re

taa..aa..aan hai suraj kiran
taa..aa..aan hai suraj kiran
alaap neelam ka gagan
alaap neelam ka gagan
ab ugey ankur dhara par
baandh aisa raag re..ae..ae
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

ma pa nee nee nee dha
nee. . . sa
ga nee ma pa
pa ga
ma re
re pa

megh se malhaar le tu. . .
megh se malhaar le tu
gandh se gandhaar le tu
gandh se gandhaar le tu
dhol pancham kokila ka
tu bahaa re raag re. . .
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

mann yahi tu dhyaan rakh
mann yahi tu dhyaan rakh
sur ki sahi pehchaan rakh
sur ki sahi pehchaan rakh
tu rahe ya na rahe
par sur rahe abaad re..ae
ae..ae

saadh re..ae
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

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

साध रे
मन सुर को साध रे
साध रे
मन सुर को साध रे

एक मन को
दूसरे से
बांध रे
साध रे
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे

ता॰॰आ॰॰आन है सूरज किरण
ता॰॰आ॰॰आन है सूरज किरण
आलाप नीलम का गगन
आलाप नीलम का गगन
अब उगे अंकुर धरा पर
बांध ऐसा राग रे॰॰ए॰॰ए
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

म प नी नी नी ध
नी॰ ॰ ॰ स
ग नी म प
प ग
म रे
रे प

मेघ से मल्हार ले तू॰ ॰ ॰
मेघ से मल्हार ले तू
गंध से गंधार ले तू
गंध से गंधार ले तू
ढोल पंचम कोकिला का
तू बहा रे राग रे॰ ॰ ॰
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

मन यही तू ध्यान रख
मन यही तू ध्यान रख
सुर की सही पहचान रख
तू रहे या ना रहे पर
सुर रहे आबाद रे॰॰ए
॰॰ए॰॰ए

साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4340 Post No. : 15641

Sai Paranjpye has so far directed 8 feature films in Hindi. She has written story and script for all these films. Each of these films has some interesting background as to what prompted her to make those films. In this article, I am covering her film ‘Saaz’ (1997) which was produced by Amit Khanna under the banner ‘Pulse Films’ of the Plus Channel of which he was the managing director during 1989-2000.

Sometime in 1995-96, Plus Channel decided to produce some ‘middle-of-the-road’ films. Directors like Shyam Bengal, Basu Chatterjee, Sudhir Mishra, Aruna Raje, Gautam Ghosh and Sai Paranjpye were enlisted to direct  such genre of films which resulted in the release of films, ‘Sardari Begum’ (1996), ‘Gudgudee’ (1997), ‘Is Raat Ki Subah Nahi’ (1996), ‘Bhairavi’ (1996), ‘Gudia’ (1997) and ‘Saaz’ (1997), respectively.

Shabana Azmi had worked with Sai Paranjpye in ‘Sparsh’ (1980) and ‘Disha’ (1990). As per Sai Paranjpye’s Marathi book, ‘Sai – Maaza Kalapravaas’ (2016), one day Shabana came to her with a proposal on behalf of Plus Channel to direct a film with a woman-oriented story in which she would like to work. Sai Paranjpye accepted the proposal. The subject of sibling rivalry in the professional fields had attracted Sai Paranjpye but she had not thought of making a film on the subject. With this proposal, she thought as to why not make a film on sibling rivalry.

We are aware that there have been many instances of sibling rivalries – be in epics, history, business, media, industrial houses etc in India where there was thin line of difference between the professional and personal rivalries. According to Sai Paranjapye, sibling rivalry of Lata Mangeshkar and Asha Bhosle is unique in the sense that their personal relationship by and large has remained intact over the years in the midst of their professional rivalry. And Sai Paranjpye wanted to bring this uniqueness in the film.

When Sai Paranjpye worked on the script of the film, she realised that the film was leaning towards making of a biopic on Asha Bhosle. She felt uncomfortable to make a film on such a script involving the personal lives of the siblings. Furthermore, she has no acquaintance with both the sisters.  The idea of making a film depicting Asha Bhosle was, therefore, dropped. However, in the revised script, the main theme of two playback singing sisters were kept in mind with some twists in the stories just to segregate her story from the real life story of Lata and Asha Bhosle. However, a couple of events which actually happened during the lives of  Asha Bhosle and Lata Mangeshkar were incorporated as they were in the public domain, written by those who had witness those events.

The star cast of ‘Saaz’ (1997) included Shabana Azmi, Aruna Irani, Parikshit Sahani, Raghuveer Yadav, Ayesha Dharker, Zakir Hussain, Amar Talwar, Brijbhushan Sahani, Bhupen Hazarika etc. The story, script and dialogues were written by Sai Paranjpye who also directed the film. The film was mostly shot around Mumbai. Some last part of the film were shot in Seychelles.

The film was certified by the Censor Board on 31-12-1996. But film failed to get release in theaters. The reason is stated to be the ban put by the Theater Owners Association on the exhibition of films produced by Plus Films due to the non-payment of arrears of rent from Plus Channel to some theater owners. I am not aware whether the film was released in the theater after this ban. Probably, the film got released later on TV.  It was only after reading some parts of the script of the film published verbatim in Sai Paranjpye’s Marathi book referred to above that made me to watch the film. I am pleasantly surprised to note that she has handled the theme of sibling rivalry of playback singing sisters very delicately and objectively. There are some poignant moments between the two sisters which are very heart-touching.

The film’s story has been told in a flash-back mode during Bansi’s (Shabana Azmi)’s sessions with a psychiatrist played by Parikshit Sahani. She needed this treatment as she has lost the will to sing after the death of Hemang Desai (Zakir Hussain) with whom she was in love and would have married him. In all her sessions, Bansi reveals events from her childhood to playback singing career as to how she was always played second fiddle to her elder sister. How she broke the relationship with her didi for 10 years due to snatching of her chance to sing on India’s Independence Day at Delhi. But after the sudden death of her elder sister, Bansi feels guilty of depriving  her elder sister of spending time with her daughter.  Towards the end of the film, Bansi gets a good news that her daughter has won the award as a promising playback singer. This pleasant news makes Bansi to sing live in front of the audience in Seychelles. The tape of her singing is sent to psychiatrist who comes at the airport to receive her and announces that she does not need any more treatment. So his relationship with Bansi as a doctor and a patient is over. Instead, he wants now to be her friend. The films end with both them walking together out of the airport.

In my view, this film is not one of the best among the films Sai Paranjpye has directed. Probably, in trying to make the film different from that of the sibling rivalry of Lata and Asha Bhosle, too many characters were introduced. As a result, about last one hour of film does appear some disconnect from the first part of the film which has some brilliant stamp of Sai Paranjpye. However, I feel that she has succeeded in creating sympathy of the audience for the younger sister without their malice towards the elder one.

In keeping with the subject of the story, ‘Saaz’ (1997) has as many as 11 songs (including a multiple version song). Songs are written by Javed Akhtar which have been set to music by 4 music directors – Ustad Zakir Hussain, Bhupen Hazarika, Raj Kamal and Yashwant Deo. The reason given by Sai Paranjpye for multiple music directors is that since sisters are playback singers working with different music directors, the songs in the film should reflect the different style of music direction. Two of the music directors, Ustad Zakir Hussain and Bhupen Hazarika also acted as music directors in the film.

Out of the 11 songs of the film, 3 songs have been covered in the Blog, all by Peevesie’s Mom. I am presenting the 4th song from the film which is a multiple version song. The song is “Baadal Ghumad Badh Aaye”. The male version of the song is sung by Suresh Wadkar and Kavita Krishnamurthy sings the female version. Both the versions of the song are set to music by Yashwant Deo in Raag Megh-Malhar. In the credit titles of the film, only Javed Akhtar’s name appears as a lyricist. But in reality, both the versions of the song have been written by Sai Paranjpye. There is an anecdote as to why Sai Paranjpye had to write the lyrics of the song as revealed by her in her Marathi book referred to above.

Javed Akhtar has written all the songs except the one under discussion which was last to be written. Despite repeated reminder, Javed Akhtar could not write the song. Yashwant Deo who was to set the song to music had booked the recording room and taken the dates of Suresh Wadkar and Kavita Krishnamurthy. All the musicians were also booked for the date of recording. Now only two days had left for the recording of the song but both the version of song’s lyrics was not yet ready. Just one day before the song recording date, it came to light that Javed Akhtar has gone to Khandala with a film producer. The cancellation of recording of the song would have entailed a huge loss and also the shooting schedules would have been affected entailing further loss.

Yashwant Deo mentioned to Sai Paranjpye that even if he gets the song in the morning of the song recording date, he can manage somehow to complete the rehearsals and record the song at the appointed time at noon. Sai Paranjpye came home at night and completed the lyrics of two versions of the song, foregoing her sleep. In the morning, she handed over the lyrics to Yashwant Deo and recording of the songs took place as schedule.

On return from Khandala on the next day, Javed Akhtar was shocked to learn that the songs have already been recorded. He got annoyed on Sai Paranjpye.  After 3-4 days, an executive from Plus Films came to her asking for her lyrics which Javed Akhtar wanted to read. He took lyrics to Javed Akhtar. There was no further development which meant that Javed Akhtar had no issue with the lyrics. On this issue, Shabana Azmi remained neutral.

Javed Akhtar won the National Film Award for the best lyrics in ‘Saaz’ (1997).

It is not an easy task for a novice to write lyrics based on Hindustani classical raags. The choice of words shows that Sai Paranjpye has hold over Sanskritised Hindi. For the first time, I have heard the word kanakalankrit bhor (dawn of golden colour). While the male version of the song is reflective of the onset of the rains, the female version of the song signals the end of the rains and the sun is shining giving a dawn of hope. This is symbolic for the resurgence of playback singing career of Bansi (Shabana Azmi) after she lost her will to sing.

Suresh Wadkar version of the song is pictuirsed on Raghuveer Yadhav who has played the role of a father of singing sisters, Mansi and Bansi. The picturization of the song is based on a true story in the life of Dinanath Mangeshkar who had gone to the house of Vishram Bedekar (Marathi and Hindi film director) in the midnight, drenched under heavy rains to borrow money to quench his thirst for alcohol. Bedekar taunted him by saying that it did not behove well for such a great artist to beg for money. Dinanath Mangeshkar retorted by impromptu singing a bandish in Raag Megh-Malhar and after completing the bandish, he took money from Bedekar as a present for his rendering.

Enjoy both the version of the songs in the backdrop of the approaching monsoon season.

Video (Suresh Wadkar Version)

Audio (Suresh Wadkar Version)

Video (Kavita Krishnamurthy Version)

Audio (Kavita Krishnamurthy Version)

Song – Baa..dal Ghumadh Badh Aaye (Saaz) (1997) Singer – Suresh Wadkar, Kavita Krishnamurthy, Lyrics – Sai Paranjpye, MD – Yashwant Deo

Lyrics

Suresh Wadkar Version

baa…dal ghumad baddh aaye

baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..o..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
 
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
ghanghor
ghanghor
ghanghor
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
ghan barsat utpaa..aa..aa..t
aa aaa aa aaa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa 
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
baa..dal ghumad
baa…dal ghumad baddh aa..aa..aa..ye

Kavita Krishnamurthy Version

baa..dal ghumad baddh aaye
baa..dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay ka
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baadal baras ab maun bhaye
baadal baras ab maun bhaye
 
ravi ujjwal prajawalit gagan mein
prajawalit gagan mein
gagan mein
gagan mein
gagan mein
ravi ujjwal prajawalit gagan mein
kanakaalankrut bho..or
jai mangal jai ghosh gagan kaa
jai ghosh gagan kaa..aa..aa
aaaaaaaaaaaaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
jai mangal jai ghosh gagan kaa
shubh utsav chahun o..or
shubh utsav chahun o..or
baa..dal baras ab maun bhaye
baa..dal baras
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baadal baras ab maun bhaye..ae
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
baadal baras
baadal baras
baadal baras ab maun bha..ye..ye


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: 4334 Post No.: 15630

“Mud Mud Ke Na Dekh”(1960) was directed by Ramesh Tiwari for N C Films, Bombay. This “Social” movie had Bharat Bhushan, Anita Guha, Jeewan, Tiwari, Prem Chopra (debut), Krishnakumari, Bela, Kammo, Helen, Naaz, Mishra, Anwari Bai, Narbada Shankar, Rajinder Kathana, Ratan Gaurang, Nemo, Prakash, Robert etc in it.

The movie had eight songs in it. Seven songs have been covered in the past.

Details of the seven songs covered in the blog are :-

S N Song Post number in blog Date of posting
1 Haseen ho Khudaa to nahin ho 1524 28-June-2009
2 Tere peechhe phirte phirte ho gayaa pooraa saal re 2441 30-Apr-2010
3 Auraton ke dabbe mein mard aa gayaa 2447 3-May-2010
4 Jahaan tu tu tu wahaan main main main 12362 10-Sep-2016
5 Baaghon mein kabootar kaale 13845 28-Dec-2017
6 Ye hai june ka maheena aaye bada hi paseena 15100 1-July-2019
7 Raat kaali jugnu chamken 15614 20-May-2020

Here is the eighth and final song from “Mud Mud Ke Na Dekh”(1960). This song is sung by Asha Bhonsle and Geeta Dutt. At least another unknown female voice is there in addition to chorus. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl

The song is picturised as a stage song and it is a song with a message as it is against the dowry system.

I am unable to identify the actors seen in the picturisation. I request our knowledgeable readers to help identify them.

With this song, all the eight songs of “Mud Mud Ke Na Dekh”(1960) get covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Aao aao ladki waalon…dulha bikta beech baazaar (Mud Mud Ke Na Dekh)(1960) Singers-Asha Bhonsle, Geeta Dutt, Unknown female voice, Lyrics-Prem Dhawan, MD-Hansraj Bahl
Chorus

Lyrics

aao aao ladki waalon
ladka mila ?? raha hai
dulhan ke liye dulhe ka daam ho raha hai
ye hai ladka B A
iski bolo boli
ek hazaar
ek nahin bhai
do hazaar
arre do nahin bhai
chaar hazaar
arre chaar bhi kya hai
das hazaar
aji das to kya hai
bees hazaar
bees hazaar
bees hazaar ek
bees hazaar do
bees hazaar teen

dulha bikta beech baazaar
ye hai shaadi ya vyopaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopar

mera ladka M A
iski keemat jo bhi bole
baarah man wo chaandi laaye
sona teen sau tole
satrah jode do sau suit
bahan ki saadi bhai ka boot
ghadi sasur ki saas ka joda
do motor ek baggi ghoda
palang radio aur kaaleen
rang birange sofe teen
ye sab do
ye sab do to kar sakta hoon main kuchh soch vichaar
hai aisi shaadi pe dhikkaar
dhikkaar
dhikkaar

dulha bikta beech bazar
ye hai shadi ya vyopar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopar

mera ladka anpadh phir bhi keemat poora laakh
laakh to den par kahaan seth ji dulhe ki ??
arre ek haath ka hai ek laakh
do ka leta main do laakh
kyun ladke ki itni fees
hai ye khaandaani raees
chaar sau beeghe hai jaageer
khulegi ladki ki taqdeer
aisa var
aisa var
aisa var na milega chaahe dhoondho sab sansaar
hoye aisi shaadi pe dhikkaar dhikkaar dhikkaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar

kab tak dukhiya baabul apni kanya rakhe kanwaari
roz ye paudha chadhta jaaye
badhe ye jimmewaari
aaj khuda ban baithe hain ye beton ka vyopaari
kya ho sab ghar bar bike bik jaye kapde tan ke
laaunga jo bhi maagoge bete waalon bhihkaari banke
main bhikhaari banke
main bhikhaari banke
main bhikhaari banke ae

motor bangla chaandi sona
haan haan haanji aur kaho na
nakdi laakh nahin to n
sab manzoor hai kahdo haan
acchha to ha,
haan
haan
ja ri ja ri dulhaniya pyaari
tere baabul ne waari tujhpe duniya saari

ja ri ja ri dulhaniya pyaari
(aa aa aa aa aa)
tere baabul ne waari tujhpe duniya saari

hamen bulaa ke ghar pe tumne diya ye dhokha kaisa
laalach buri bala hai
milta hai jaise ko taisa
abhi saza ye kam hi mili hai
bhaago yahaan se laala
warna pakad se pitwaayenge
hum munh karke kaala
upar se daalenge gale mein hum jooton ka haar

rrr
yoon na karna
isse achcha hai marna
kya tumko daulat pyaari
na na ji izzat pyaari
to paaon pe rakh do pagdi
maangoon ne ek bhi damdi
to karlo aaj se tauba
mere to baap ki tauba
kya maan li tumne haar
haan chhoda ji chhoda ye beton ka vyopaar
aisi shaadi pe dhikkaar dhikkaar dhikkaar
dulha bikta beech bazaar
ye hai shadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4299 Post No. : 15559

———————————–
Hindi Songs in Bangla Films – 25
———————————–

The personality I am going to persent in this article is one of the greatest exponents of Hindustani classical music. He has been often referred to as the ‘Tansen of the 20th Century’. He is also credited with creating an unique style of rendition with shorter ‘aalaaps’ and ‘vilambit’ (slow), greater emphasis on ‘taans’ and ‘sargams’ much against the likings of purists among the Hindustani classical vocalists. He did these improvisations to make his presentation interesting to his audience. This style of renditions was later to become an integral part of Kasur-Patiala Gharana for the nextgen vocalists. He is none other than Padma Bhushan Ustad Bade Ghulam Ali Khan whose 52nd Remembrance Day falls today, the April 25th.

Ustad Bade Ghulam Ali Khan (02/04/1902 – 25/04/1968) was born in Kasur, Punjab (now in Pakistan) in the family of three generations of singers. I had discussed in detail the profile of Khan Saheb in my article “Prem Jogan Ban Ke”. So, I will skip that part. During the intervening period, I have come across some interesting information especially from the writings of Professor BR Deodhar and GN Joshi, both Hindustani classical singers and musicologists. GN Joshi was also associated with HMV for a long time in popularising the classical and semi-classical music. Both of them were the close friends of Khan Saheb.

Khan Saheb started his training as a vocalist in Khayal singing. But it was his unique way of singing Thumris that enthralled his audience. Thumri as one of the forms of semi-classical singing was on the declining trajectory after the Indian mutiny in 1857 and the consequential decline of aristocracy which used to patronise the Hindustani classical musicians and singers. It was Khan Saheb who revived the Thumri form of semi-classical singing and made popular among the masses by improvising his presentation which sometime defied the traditional form of rendition.

Professor BR Deodhar has described an incident in one of his articles which appeared in 1949. He pointed out to Khan Saheb as to why his recitals left in a state of unfulfillment for purist like him. Without giving him reply to his query, Khan Saheb invited him to attend one of his forthcoming concerts to get the answer. In that concert, Khan Saheb sang Raag Darbari Kanhra in a traditional format. After the end of the concert, Professor Deodhar was very pleased and asked him as to why he was not singing the way he sang in the concert. Khan Saheb’s reply was that not all the audience were musically intelligent like him. A majority of audience who have only the basic knowledge of Hindustani classical music would like some kind of sensation and ‘harkat’ in presentations. Otherwise they would think that I am a sickly person.

The above incidence shows how Khan Saheb was adaptable to the audience’s interest. His singing was always a two-way interaction between him and the audience. That was the reason that when he gave concerts in halls, he would not allow the switching off lights in the area where the audience sit. He felt that by seeing the faces of the audience, he would be inspired to give his best performance.

According to Professor BR Deodhar, Khan Saheb was always immersed in music. He will always have with him his Swarmandal (Indian Harp), be at home or outside because he would get inspirations to sing from anything around him. He quoted an incidence which happened sometime in late 1940s when both of them were coming out of All India Radio, Mumbai. It was a rainy season and they were walking on Marine Drive to reach their homes. The high waves from Arabian Sea were hitting the sea wall of Marine Drive. It soon started raining. Khan Saheb was so much enchanted by the whole atmosphere that he sat on the sea wall and started singing Raag Megh Malhar. Professor Deodhar noted that Khan Saheb’s taans would reach in high octave to synchronise with the noisy rising sea waves hitting the sea wall. he would sing taans in lower octave to synchronise with the less noisy receding waves in the sea. He sang for nearly 45 minutes drenched in heavy rains and in the splash of the waves until his son forcibly took him away to the home.

Khan Saheb was active as a Hindustani classical vocalist from 1936 when he gave his first public performance in Calcutta (now Kolkata) to almost until his death in 1968. However, in terms of discography, very small fractions of his renditions are available in recorded format. The reason was that at the initial stage of his singing career, by and large, he avoided recording of his performances both for All India Radio and for the gramophone record companies. Generally, Khan Saheb would not say ‘no’ for recording of his singing but he would give excuses at the last moment for his inability to record the singing. Sometime in the middle of 1940s, he revealed that he was afraid of recording his singing as he felt that the quality of his voice would be severally affected by the electric wires of the recording equipment.

It was with great patience that music lovers like GN Joshi of HMV could persuade Khan Saheb to record his songs. Hence, in the initial period, his singing was recorded for 78 RPM records of about 3 minutes of duration because Khan Saheb felt that the shorter duration would not affect the quality of his voice. By 1960s, Khan Saheb had completely come out of his misgiving about the recording and had started recording the longer duration of his singing for All India Radio and the gramophone recording companies.

According to Ustad Raza Ali Khan, the grandson of Khan Saheb, contrary to general belief, Khan Saheb was not averse to singing in films. In 1944, Khan Saheb’s younger brother, Ustad Barkat Ali Khan had sung in films ( I checked and found a song in the film ‘Shukriya’,1944). Probably, at that time, Khan Saheb may have also got interested in singing in films. He had shown his desire to sing in the film to RC Boral, the music director for New Theatres. At that time, RC Boral had told Khan Saheb that it was below his dignity to sing in films when he had such a high stature as a Hindustani classical vocalist. This statement made him not to sing for any films in future (Source: The Times of India, April 02, 2020). The only exception he made was when Khan Saheb had to sing two songs in K Asif’s ‘Mughal e Azam’ (1960) against his wish. Despite quoting an astronomical fee of Rs.25000/- per song as a way of discouraging him from singing in the film, K Asif accepted his demand.

Since 1948, Khan Saheb had spent most of his life in India by renewing his visa during which time, he was on concert tours mainly to Bombay (now Mumbai), Calcutta (Kolkata), Hyderabad, Lucknow Delhi etc. After getting Indian Citizenship in 1957, Khan Saheb was staying in a Bungalow in Malabar Hill in Mumbai. In 1961, he had a paralysis attack which prevented him from singing for some time. He made a good recovery from paralysis and had started singing in concerts with the vocal supports from his son, Ustad Munawwar Ali Khan. In 1963, he shifted his base to Hyderabad and stayed in Basheer Baug Palace. Khan Saheb left for the heavenly abode on April 25, 1968 after a prolong illness arising out of the paralysis attack in 1961.

As a tribute to Ustad Bade Ghulam Ali Khan on his 52nd Remembrance Day, I have chosen one of his most popular thumris which was first recorded in 1948 though he had started singing this thumri much earlier in his concerts and on All India Radio. I am referring to his thumri “Aaye Na Baalam Ka Karoon Sajni” which he has rendered in Raag Sindh Bhairavi. It is a surprise discovery for me that Khan Saheb had rendered this thumri as a playback singer for the actor Basanta Chowdhury in Bangla film ‘Basanta Bahar’ (1957).

I was under the impression that Khan Saheb has rendered only two film songs in his life time – “Prem Jogan Ban Ke” and “Shubh Din Aayo Raaj Dulaara” in ‘Mughal-E-Azam’ (1960). How come Khan Saheb sang, “Ka Karoon Sajni. . .” in Bangla film, ‘Basanta Bahar’ (1957), that too as a playback singer ? Unfortunately, I did not find the record version of this thumri from the film other than what Khan Saheb recorded it as a non-film thumri sometime in 1948 (Record No. VE.5052), the audio clip of which I have also attached for the sake of comparison.

It is said that the bandish of the thumri under discussion and also another popular thumri, “Yaad Piya Ki Aaye” were written and composed by Khan Saheb after the untimely demise of his wife Ali Jiwai in 1932. These thumris are called the classical thumris of longing. Many stalwart vocalists of Hindustani classical music have rendered beautifully these two thumris – both within the Patiala Gharana as also from other Gharanas. But for me, Khan Saheb still rules in these two thumris.

Video Clip: (Film sound track)

Audio Clip: (Non-film thumri)

Song – Kaa karoon sajni aaye na baalam (Basanta Bahaar) (Bangla )(1957) Singer – Ustaand Bade Ghulam Ali Khan, MD – Pt Jnan Prasad Ghosh

Lyrics: (Based on Video Clip)

aaaaaaaaaaaaaa
aaa aaa aaa aaa
aaaa aaaa aaaa aaaa
aaye na baalam
ka karoon sajni ee
aaye na baalam
aaye na baalam
baalam
aaye na baalam
tadpat beeti mori
aaa aaa aaaa aa
tadpat beeti mori
un bin ratiyaan aan aan aan
aaye na baalam
baalam

rowat rowat kal naahin aaye ae ae
nis din mohe birahaa sataaye
yaad aawat jab unki batiyaan aan aan aan
aaye na baalam
aaye…na aa aa …baalam
pa
ga ma ga pa
ma dha ma dha pa
pa ga ma pa
sa ni ni da pa ni
ni da pa ma ga pa
ga ma pa ma ga ma ni da sa
aaye na baalam
baa..lam
baa……la…….m
aaye ae ae……naa…baalam re
ae ae ae
baalam re
aaye na baalam
ka karoon sajni
sajni
aaye na baalam
aaaaaaaaaaaa
baalam
aaye na ba..
baa…….la….m…….aa aa aam
aaye na baalam
tadpat
dh re ma sa re ma
ma ga pa
ga ma pa
tadapt beeti mori
un bin ratiyaan aan aan
aaye na baalam
aaye na.. baalam ma aa
baa..la..m
aa aa aa aa
baa..lam
aaye na baa..la..m
ka karoon sajni ee
aaye na baalam re..

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

आssssssssss
आs आs आs आs
आsss आsss आsss आsss
आए ना बालम
का करूँ सजनी॰ ॰ ॰
आए ना बालम
आए ना बालम
बालम
आए ना बालम
तड़पत बीती मोरी
आsss आsss आsss आsss
तड़पत बीती मोरी
उन बिन रतियाँ॰ ॰ ॰
आए ना बालम
बालम

रोवत रोवत कल नहीं आये॰ ॰ ॰
निस दिन मोहे बिरहा सताये
याद आवत॰ ॰ ॰ जब उनकी बतियाँ॰ ॰ ॰
आए ना बालम
आए॰ ॰ ॰  ना॰ ॰ ॰  बालम


ग म ग प
म ध म ध प
प ग म प
स नी नी ध प नी
नी ध प म ग प
ग म प म ग म नी ध स
आए ना बालम
बा॰॰लम
बा॰॰ ॰॰ल॰॰ ॰॰म
आए॰ ॰ ॰ ना॰ ॰ ॰ बालम रे
ए ए ए
बालम रे
आए ना बालम
का करूँ सजनी
सजनी
आए ना
आssssssssss
बालम
आए ना बा॰ ॰ ॰
बा॰॰ ॰॰ल॰॰ ॰॰म॰ ॰ ॰ आ आ आ म
आए ना बालम
तड़पत
ध रे म स रे म
म ग प
ग म प
तड़पत बीती मोरी
उन बिन रतियाँ॰ ॰ ॰
आए ना बालम
आए ना॰ ॰ ॰ बालम॰॰म॰॰म
बा॰॰ल॰॰म
आ आ आ आ
बा॰॰लम
आए ना बा॰॰ल॰॰म
का करूँ सजनी॰ ॰ ॰
आए ना बालम रे

 


This article is written by Peevesie’s mom, a fellow enthusaist 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 :

4250 Post No. : 15470 Movie Count :

4264

Hullo Atuldom

i am just unable too stay away from the blog.

7th March is the 65th birthday of a highly versatile actor who goes by the name Anupam Kher. His journey in Bollywood began with a movie, where as a 28-year-old, he portrayed the character of a 65 year old senior whose son dies in the US and the senior has to struggle his way through corrupt excise officers to get the mortal remains of his son released from cargo. Anupam was excellent in that role and he won all awards possible in that year. But what followed this success was- he was stuck portraying characters much older than his calendar age- Madhuri Dixit’s father in Tezaab, Anil Kapoor (who is a year younger to Anupam) had Anupam playing his grandfather in Vijay (1988). As if playing Anil Kapoor’s grandfather was not enough his character was father to Hema Malini and Raj Babbar, father in law to Rajesh Khanna and Moushmi; and finally even Rishi Kapoor’s grandfather. The only other actor (in my knowledge) who has played older character with elan is Sanjeev Kumar.

He is a two-time winner of the special jury award at the National Film Awards, eight-time Filmfare Award winner of which five-times were as Best Comedian. He is also a Padma Shri and Padma Bhushan winner.

It is difficult to pin-point which is my favourite Anupam Kher character from all of his (close to) 500 movies. But his role of an alcoholic singer, trying to cope with the demons in his mind and his relationship with his daughter, in the 1989 Mahesh Bhatt directed “Daddy”, is what i would like to present a song from, today on his 65th birthday. The movie was released on Doordarshan and i don’t think it had a theatrical release.(That was the time when many low-budget films were being premiered on television.) It had Pooja Bhatt making her debut with Soni Razdan, Neena Gupta, Sulbha Arya, Suhas Joshi, Raj Zutshi, Manohar Singh, Satish Kaushik, Akash Khurana as others in the cast. “Daddy” was said to be director Mahesh Bhatt’s window to his own life. This is one of the movies where Anupam Kher was the protagonist, another movie that I recall was also a film that released on television “Zevar”, which was produced and directed by Basu Chatterjee where Anupam Kher got to play a character of his (then calendar) age.

Today’s song is written by Suraj Sanim and Rajesh Roshan is the music director. Talat Aziz is the playback singer.


Song-Aaina mujhse meri pehli si soorat maange (Daddy)(1989) Singer-Talaz Aziz, Lyrics-Suraj Sanim, MD-Rajesh Roshan

Lyrics

aaina mujhse meri pehli si soorat maange
aaina mujhse meri pehli si soorat maange
aaina mujhse meri pehli si soorat maange
mere apne mere hone ki nishaani maange
aaina mujhse meri pehli si soorat maange

main bhatkta hi raha dard ke veeraane mein
waqt likhta raha chehre pe har pal ka hisaab
meri shohrat meri deewangi ki nazar huyi
pi gayi mai ki botal mere geeton ke kitaab
aaj lauta hoon toh hansne ki ada bhool gaya aa
yeh shehar bhoola mujhe
main bhi isey bhool gaya
mere apne mere hone ki nishaani maangen
aaina mujhse meri pehli si soorat maange

mera phan phir mujhe baazaar mein le aaya hai
yeh woh jaa hai ke jahaan mehr o wafaa bikte hain
baap bikte hai aur lafze jigar bikte hai
kokh bikti hai dil bikte hain sar bikte hain
iss badalti huyi duniya ka khuda koi nahin
saste daamon mein har roz khuda bikte hain
bikte hain
bikte hain
mere apne mere hone ke nishaani maangen
aaina mujhse meri pehli si soorat maange

har khareedaar ko baazar mein bikta paaya
hum kya paayenge kisine yahaan kya paaya
mere ehsaas mere phool kahin aur chalen
bol pooja meri bachchi kahin aur chalen
aur chalen
aur chalen


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 :

4216 Post No. : 15417

Fabulous Foot Tappers – 10
– – – – – – – – – – – – – – –

Ah, a post waiting for some time now to come on board. This post and this song is specially for dear Avinash ji. 🙂 🙂

As you listen to the song, and the words settle down in the mind, you can almost imagine – Avinash ji, on his flight back from Kenya to India, thinking about this song. And then the landing at Mumbai, then passing thru the immigration and baggage collect. He bumps into an old friend while waiting for the bags. The friend asks him where from he is returning. Avinash ji says, Kenya. The friend says – अरे यार, वो भी कोई जगह है देखने की, see, I am returning from Barcelona, now that is a place to visit. And instantly Avinash ji breaks into this song, telling his friend “Tum Ne Dekha Kya Bhala, Gar Na Dekha Aafrika”. And there is a loud applause from the crowd waiting for their baggage.

And then, Avinash ji decides that this song must also be screened for the musical bandwagon on our blog. The Atulites must be made aware – they have missed something significant in life – “तुमने क्या देखा भला, जो ना देखा आफ्रिका”.  🙂

The song is performed as a club dance cum stage dance setting. A fiesty rock and roll number, which should have been heard more. But maybe then, the 1960s was overflowing with such rollicking dance numbers. The film itself, of course did not seem to have made any impact, and so this superb song seems to have dived below the radar of listeners.

The first one to make an entrance is Bela Bose, all made up as a native African belle. Next on the scene is Bhagwan Dada, also in an African attire and face wash. The first stanza goes by. And then, in the second stanza, we have Chandrashekhar make his appearance – a white man, suited and booted, riding in an open car. He declares that he was on way to America (jeez) but then the beauty of Africa and the African ‘माहजबीं’ made him change his mind. Quite a stretch of imagination here by Bakshi Sb (I mean Anand Bakshi 🙂 ), calling a dark and dusky damsel as ‘माहजबीं’ (literal meaning – moon faced).

And then we are on to the third stanza, in which Bhagwan Dada, feeling threatened by the invasion of the white male competitor, advises his heart throb that the fair color is not so fair, if the heart is not in the game.

In the interludes, we see the audience as well as a quartet of sinister looking ‘thugs’ who are apparently up to no good, and most likely are looking for somebody. Could be the scenario is that Bhagwan and Chandrashekhar are on the run followed by this quartet, and they both mingle in with this performance, trying to hide behind the disguises. Now isn’t that so original 🙂

The film is ‘Hum Deewaane’ from 1965. Produced under the banner of Young India Entertainer, Bombay, the film is directed by Bhagwan himself. The star cast is listed as Mumtaz, Chandrashekhar, Bhagwan, Helen, Iftikhar, Anwar, Agha, Maruti, Rajan Haksar, Kundan, Prem Sagar, Rajan Kapoor, Kanchanmala and Bela Bose.

The songs are written by Anand Bakshi, and the music is by C Ramchandra under the name of Anna Saheb. This song is an all male duet in the voices of C Ramchandra himself, as Chitalkar, accompanied by Mahendra Kapoor.

Goodness, almost one and a half years since the last post in this series. I need to pull up my socks. 🙂

 

Song – Tum Ne Dekha Kya Bhala, Gar Na Dekha Aafrika (Hum Deewaane) (1965) Singer – Chitalkar, Mahendra Kapoor, Lyrics – Anand Bakshi, MD – Anna Sahab (C Ramchandra)
Chitalkar + Mahendra Kapoor

Lyrics

tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

muskura o dilruba
ho ja fida honay de fida
muskura o dilruba
ho ja fida honay de fida
jeene ka yahi hai
jeene ka yahi hai
tareeka
tareeka
tareeka
hoye tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

thi whaan wo mahjabeen
reh gaya main bhi wahin
thi whaan wo mahjabeen
reh gaya main bhi wahin
jaan tha mujhe
arey jaana tha mujhe
amreeka
amreeka
amreeka
haa haa
tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

o sanam teri kasam
kaale hain par dilwaale hum
o sanam teri kasam
kaale hain par dilwaale hum
dil bina ye rang gora
dil bina ye rang gora
hai pheeka
hai pheeka
hai pheeka
tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

tum ne dekha kya bhala
gar na dekha afrika
tum ne dekha kya bhala
gar na dekha afrika
tanga neeka
taaanga neeka

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

तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

मुस्कुरा ओ दिलरुबा
हो जा फिदा होने दे फिदा
मुस्कुरा ओ दिलरुबा
हो जा फिदा होने दे फिदा
जीने का यही है
जीने का यही है
तरीका
तरीका
तरीका
होय तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

थी वहाँ वो माहजबीं
रह गया मैं भी वहीं
थी वहाँ वो माहजबीं
रह गया मैं भी वहीं
जाना था मुझे
अरे जाना था मुझे
अमरीका
अमरीका
अमरीका
हा हा
तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

ओ सनम तेरी कसम
काले हैं पर दिलवाले हम
ओ सनम तेरी कसम
काले हैं पर दिलवाले हम
दिल बिना ये रंग गोरा
दिल बिना ये रंग गोरा
है फीका
है फीका
है फीका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका

तुमने देखा क्या भला
गर ना देखा आफ्रिका
तुमने देखा क्या भला
गर ना देखा आफ्रिका
टांगा नीका
टां॰॰गा नीका


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 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 : 4209 Post No. : 15404

Greetings all for the celebration today – the anniversary of declaration of our nation as a Sovereign Socialist Secular Democratic Republic.

The Constituent Assembly, consisting of 389 eminent people from across all walks of life and all population segments in the country, was established on 6th December, 1946. After a string of debates, which included public debates in different parts of the country, the Assembly agreed to adopt our constitution on 6th November, 1949. And then on 26th January of 1950, the nation of India, that is Bharat, was declared as being governed according to this document which is the supreme law of our land.

The Preamble to the constitution states the following,

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:

JUSTICE, social, economic and political;

LIBERTY of thought, expression, belief, faith and worship;

EQUALITY of status and of opportunity;

and to promote among them all FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

IN OUR CONSTITUENT ASSEMBLY this twenty sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

 

The constitution become the bedrock foundation for enunciating all the defining principles of governance and jurisprudence, which in turn form the source of all the laws that apply to our country and its citizens.

In terms of an identity, a nation is characterized and represented by a set of symbols which identify and define it. Wherever we may be in this world, whatever may be the query about what India is, the answers will always be in terms of certain symbols that are constant and do not change – our flag, our national emblem, our national anthem, our currency, and more.

As a matter of fact, symbols and symbolism form a very imperative part of our lives. All around us, in our everyday environment, we encounter a multitude of symbols that relate to every aspect of our lives. They could be fashion brands, corporate houses, currency, governments, services, road traffic – well, just any class and category of ‘things’ in and around our lives. These symbols are significant artifacts that represent, convey, and inspire a plethora of meanings and emotions relating to our everyday lives and experiences. These symbols may be local or universal. Everywhere in the world, the sign of dollar is a symbol for money. Traffic lights and signs are universal symbols, recognized across national boundaries. Emoticons we use every day now in our communications, are symbols that represents emotions, things, communication snippets. I could go on describing, and there would be no end to how symbols have become such an integral and pervasive part of our lives.

In a world we live in – a fragmented world of divisions that are represented and controlled on the basis of multiple criteria. We are a world of nation states. And the world over, the national identities are represented and underscored by a set of symbols. The flags, the emblem, colors, badges, plants/birds/animals – in fact each nation has a collection of symbols to characterize and epitomize its national identity. In our native Hindi, the word for flag is ‘निशान’ (nishan), which is a synonym for ‘symbol’.

National anniversaries are also in the nature of symbols of a nation. The celebrations of these anniversaries represent a dynamic continuity of the national identity across the pages of history. There is an evolution and transformation that happens with time, but the basic elements and definitions remain a constant. That constancy is an edifice of identity and a hallmark of stability and continuity in the matters of everyday interactions in the lives of the people of the nation. The presence of these symbols in our lives, and their everyday transactions, generates in our hearts a comfortable feeling of being – being an Indian.

For example, encountering the flag – our Tricolour, evokes in the heart, overwhelming emotions of pride, honor, affinity, affection and belonging. These symbols have become so much a part of our existence, that inside ourselves very strong emotions are now linked with these symbols. These symbols are now a cornerstone of our and our country’s existence.

The matter of honor and pride, linked with symbols and the emotions that these symbols evoke, has been a matter of very personal and a very human experience all across the history. The song being presented in this post today is a very forceful and compelling testimony on the inherent relationship between symbols and matter of national honor. Here is a brief slice of history representing a true episode from the annals of the Rajput history. As the reader will go through this song, one will find many symbols – that of patriotism, personal relations and personal sacrifices – being invoked.

The episode tells a piece of history, about Haadi Rani, who is now a folk heroine in Rajasthan. Haadi Rani was the daughter of King Haada Chauhan of the Kingdom of Boondi. She was married to Rawat Ratan Singh Chundaawat of Salumber (in Udaipur). Ratan Singh was the commander of the army of Maharana Raj Singh of Mewar, India was ruled at that time by the sixth Mughal Emperor – Aurangzeb Alamgir.

In a turn of events, the royal Mughal forces invaded Mewar. Maharana Raj Singh sent an urgent emissary to Rawat Ratan Singh, to raise the army and join the battle against Aurangzeb’s forces. As circumstances would have it, Ratan Singh had just been married one week prior. Initially, he was hesitant to leave his newlywed bride, and go to the battlefield. However, Haadi Rani reminded him of his duty towards the king and the kingdom, and prevailed upon him to join the battle. Ratan Singh left Salumber and his bride, and proceeded to join Maharana Raj Singh with his contingent. However, his mind was still engrossed with the amorous affections for Haadi Rani.

Midway from his march towards Udaipur, he sent back a messenger to his palace, with a message for his bride – that she should send him some token symbol of love – ‘प्रेम चिन्ह’, to sustain him through the times he is away from her. On reading the message, Rani sensed the state of mind of her husband, and at first, was quite bewildered as to what she should do. She apprehended that his mind being engrossed with her, he would not be an effective soldier and commander on the battlefield. But quickly she made up her mind, and decided the commit the ultimate sacrifice. She instructed the messenger quite sternly. Then she proceeded to behead herself with a sword. The messenger, very shocked and shaken, followed her instructions, and carried her bleeding head on golden tray, covered with her bridal finery, to Ratan Singh.

Ratan Singh, waiting eagerly for the ‘प्रेम चिन्ह’, received what he never expected in his wildest dreams. Uncovering the tray, he saw the head of his newlywed bride. His grief and his repentance had no bounds, for in a flash he realized what Haadi Rani had done, and why had she done it. As the folklore goes, he picked up the head and slung it around his neck with the tresses that he had once caressed with love. With this demeanor, he launched himself into the battle. It is said that fought valiantly like a man possessed, and led his army to victory against the forces of the Mughal Emperor. Once the victory was attained and the opposition army was in retreat, Ratan Singh alighted from his horse, knelt down on the ground and proceeded to behead himself.

In the intense and turbulent martial history of Rajasthan, this episode stands amongst the most powerful and most emotional, where the honor of the kingdom, and its security is perceived as a paramount commitment, even above personal engagements and requirements. Haadi Rani made the supreme sacrifice for the sake that her commander husband would not be swayed by the thoughts of his recent matrimony, and that the sight that she eventually presented to her husband would have served as a vicious impetus for him to give his utmost in the battle against the enemy.

The symbolism of honor – the trumpets announcing the onset of warfare. The symbolism of love – the ‘प्रेम चिन्ह’ that  Ratan Singh request for. And the symbolism of sacrifice – the ultimate step taken by Haadi Rani. This song converges these symbolisms into itself. A wonderfully emotional and a soul stirring presentation of one of the most chilling episodes of Rajput history.

The song is from the 1965 film ‘Nai Umar Ki Nai Fasal’. In the film, the setting of this song is as follows. A group of students, including Tanuja, Rajeev and Raj Kishore, are visiting another college in another city, for the annual festival of the latter college. As part of the program, all participant colleges are to present a stage item at the festival. This performance is presented by the protagonist group. In the film, Rajeev is the creative spirit of the team, and he completes the writing of this poem just in time for preparing the performance. On stage, the role of Haadi Rani is played by Tanuja, and that of Rawat Ratan Singh by Raj Kishore. We can see Rajeev doing the rendition of the poem on the mike placed in the wings of the stage.

The words of this poem are written by Manmohan Tiwari, the only song of this film that is not written by Neeraj. Music composition is by Roshan. The singing voice is of Manna Dey – the song has been rendered with such flourish and emotional dexterity.

A stirring reminder again today, the price of breathing in free air is defined through examples like this episode from our history. The finale of the song brings us back into convergence of the historical and the present tense – “O Bharat Maa Teri Jai Ho”.

Whatever else may be our compulsions, our personal motivations, our limitations, our interests, I am sure none of us differs about this sentiment – “O Bharat Maa Teri Jai Ho”.

[Ed Note: With this post, all songs of this film are now represented on our blog. The film ‘Nai Umar Ki Nai Fasal’ is now yippeee’d.]

Song – Thi Shubh Suhaag Ki Raat Madhur  (Nai Umar Ki Nai Fasal) (1965) Singer – Manna Dey, Lyrics – Manmohan Tiwari, MD – Roshan

Lyrics (Provided by Avinash Scrapwala)

thi shubh suhaag ki raat madhur
madhu chalak rahaa tha kan kan mein
sapne jagtey the nainon mein
armaan machaltey the mann mein
sardaar magan mann jhoom raha
pal pal har ang phadakta tha
honthon par pyaas mahakti thi
praanon mein pyaar dhadakta tha
tab hi ghunghat mein muskaati

tab hi ghunghat mein muskaati
pag paayal cham cham chamkaati
raani antahpur mein aayi
kuch sakuchaati kuch sharmaati

mehndi se haath rache donon
maathe par kumkum ka teeka
gora mukhda muskaa de to
poonam ka chaand lagey pheeka
dheere se badh choodavat ne

dheere se badh choodavat ne
raani ka ghunghat pat khola
nas nas mein kaundh gayi bijli
peepal patte sa tan dola

adharon se adhar miley jab tak
lajja ke toote chhand band
rann-bigul dwaar par goonj uthaa aa
rann-bigul dwaar par goonj uthaa
shehnaayi ka swar huaa mand
bhuj bandhan bhoola aalingan
aalingan bhool gaya chumban
chumban ko bhool gayi saansen
saanson ko bhool gayi dhadkan
taj kar suhaag ki sej saji

taj kar suhaag ki sej saji
bola aa na yuddh ko jaaunga
teri kajraari alkon mein
mann moti aaj guthaaunga

pehle to raani rahi maun
phir kaal jwaal si bhabhak utthi
bin baadal bin barkhaa maano
kya bijli koyi kadak utthi
ghayal naagan si bhaunh taan
ghunghat ukhaadkar yoon boli
talwaar mujhe de do apni
tum pehan raho choodi choli
pinjde mein koyi band sher

pinjde mein koyi band sher
sehsa sote se jaag utthe
yaa aandhi andhad saath liye
jaise pahaad se aag utthe

ho gaya khadaa tan kar ranaa
haathon mein bhaala utthaa liya
har har bam bam bam mahadev
har har bam bam bam mahadev
kah kar rann ko prasthaan kiya

dekha pati ka jab veer vesh
pehle to raani harshaayi
phir sehmi tthitthki akulaayi
aankhon mein badli ghir aayi
paagal si gayi jharokhe par

paagal si gayi jharokhe par
par-kite hansini thi adheer
ghodey par chadhaa dikhaa ranaa
jaise kamaan par chadhaa teer

donon ki aankhen huyi chaar
choodavat phir sudhbudh khoyi
sandesh pathaa kar raani ko
mangwaaya prem chinh koi

sewak ja pahunchaa mehlon mein
raani se maangi sainaani
raani jhijhki phir cheekh utthi
boli kah de mar gayi raani

le khadag haath
phir kahaa thahar
le sainaani
le sainaani
ambar bola
le sainaani
dharti boli
le sainaani

rakh kar chaandi ki thaali mein
sewak bhaaga le sainaani
ranaa adheer bola badhkar
laa
laa
laa
laa
laa sainaani

kapda jab magar hataaya to
rah gaya khada moorat ban kar
lahuluhaan raani ka sir
hansta tha rakha thaali par
sardaar dekh kar chitkaar uttha
haa raani
haa meri raani
adbhut hai teri qurbaani
tu sach much hi hai kshatraani

phir ed lagaayi ghode par
dharti boli jai ho jai ho
haadi raani teri jai ho
o bharat maa teri jai ho
o bharat maa teri jai ho o
teri jai ho
o bharat maa teri jai ho o

————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-

थी शुभ सुहाग कि रात मधुर
मधु छलक रहा था कण कण में
सपने जगते थे नैनों में
अरमान मचलते थे मन में
सरदार मगन मन झूम रहा
पल पल हर अंग फड़कता था
होंठों पर प्यास महकती थी
प्राणों में प्यार धड़कता था
तब ही घूँघट में मुस्काती

तब ही घूँघट में मुस्काती
पग पायल छम छम छमकाती
रानी अन्तःपुर में आयी
कुछ सकुचाती कुछ शरमाती

मेहँदी से हाथ रचे दोनों
माथे पर कुमकुम का टिका
गोरा मुखड़ा मुस्का दे तो
पूनम का चाँद लगे फीका
धीरे से बढ़ चूंडावत ने

धीरे से बढ़ चूंडावत ने
रानी का घूँघट पट खोला
नस नस में कौंध गयी बिजली
पीपल पत्ते सा तन डोला

अधरों से अधर मिले जब तक
लज्जा के टूटे छंद बन्द
रण बिगुल द्वार पर गूँज उठा आ

रण बिगुल द्वार पर गूँज उठा
शहनाई का स्वर हुआ मन्द
भुज बंधन भूला आलिंगन
आलिंगन भूल गया चुम्बन
चुम्बन को भूल गयी साँसें
साँसों को भूल गयी धड़कन
तज कर सुहाग कि सेज सजी

तज कर सुहाग कि सेज सजी
बोला॰॰आ न युद्ध को जाऊँगा
तेरी कजरारी अलकों में
मन मोती आज गुंथाऊंगा

पहले तो रानी रही मौन
फिर काल ज्वाल सी भभक उठी
बिन बादल बिन बरखा मानो
क्या बिजली कोई कड़क उठी
घायल नागन सी भौंह तान
घूँघट उखाड़कर यूं बोली
तलवार मुझे दे दो अपनी
तुम पहन रहो चूड़ी चोली
पिंजड़े में कोई बंद शेर

पिंजड़े में कोई बंद शेर
सहसा सोते से जाग उठे
या आंधी अंधड़ साथ लिए
जैसे पहाड़ से आग उठे

हो गया खडा तन कर राणा
हाथों में भाला उठा लिया
हर हर बम बम बम महादेव
हर हर बम बम बम महादेव
कह कर रण को प्रस्थान किया

देखा पति का जब वीर वेश
पहले तो रानी हर्षाई
फिर सहमी ठिठकी अकुलाई
आँखों में बदली घिर आई
पागल सी गयी झरोखे पर

पागल सी गयी झरोखे पर
पर-कटी हंसनी थी अधीर
घोडे पर चढ़ा दिखा राणा
जैसे कमान पर चढ़ा तीर

दोनों कि आँखें हुयी चार
चूंडावत फिर सुधबुध खोयी
सन्देश पठा कर रानी को
मंगवाया प्रेमचिन्ह कोई

सेवक जा पहुंचा महलों में
रानी से मांगी सैनाणी
रानी झिझकी फिर चीख उठी
बोली कह दे मर गयी रानी

ले खड्ग हाथ
फिर कहा ठहर
ले सैनाणी
ले सैनाणी
अम्बर बोला
ले सैनाणी
धरती बोली
ले सैनाणी

रख कर चांदी कि थाली में
सेवक भागा ले सैनाणी
राणा अधीर बोला बढ़कर
ला
ला
ला
ला
ला सैनाणी

कपडा जब मगर हटाया तो
रह गया खडा मूरत बन कर
लहुलुहान रानी का सर
हंसता था रक्खा थाली पर

सरदार देख कर चीत्कार उठा
हा रानी
हा मेरी रानी
अद्भुत है तेरी कुर्बानी
तू सचमुच ही है क्षत्राणी

फिर एड़ लगाई घोड़े पर
धरती बोली जय हो जय हो
हाड़ी रानी तेरी जय हो
ओ भारत माँ तेरी जय हो ओ
ओ भारत माँ तेरी जय हो
तेरी जय हो
ओ भारत माँ तेरी जय हो

 


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.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 : 4199 Post No. : 15383

Hullo Atuldom

Happy festival at the outset.

A festival that goes by various names :- Makara Sankranti (AP, Karnataka, Kerala, Goa, Maharashtra), Pongal (TN & Pondicherry), Lohri (Punjab, Haryana, Delhi), Sakraat & Makraat (Bihar, UP, Uttarakhand), Uttarayan (Gujarat, Diu, Daman), Suggi (in parts of Karnataka), Magh Saaji (HP), Ghughuti – (Kumaon), Makara Chaula (Odhisha), Kicheri (Poorvanchal, East UP), Pousha Sankranti (Bengal and North East), Magh Bihu (Assam), Shishur Sankraat (Kashmir ), etc etc. Outside of the country, in some neighbouring Asian countries to be exact, it is celebrated as Maaghe Sankrast – Nepal, Tirmoori – Sindh Pakistan, Songkran -Thailand , Pi Ms. Lao – Laos, Thingyan – Myanmar, Mohan Songkran – Cambodia etc. Basically we are all celebrating the transition of the Sun across the Equator, on it’s journey from the southern hemisphere to the northern hemisphere.

Each region of India have their own ways of celebrating the event but as I have come to understand there are a few things common to all –Jaggery, til (also called gingelly, or sesame seeds), sugarcane, and freshly harvested ears of corn, wheat or even turmeric (in South India). Then of course the children enjoy themselves with kite flying which takes on the form of competition at times. So let us say Happy Festival. Tamil Nadu has its festivities spread over 3-4 days culminating in what is called Mattu Pongal – celebrated the next day of Sankrant with races with cattle involved. (PETA has tried to bring some order to the extent to which the animals can be made use of, and the conditions in which the races take place).

Last weekend, I was lucky to be asked to join my Chacha and Chachi, to an evening full of OPN songs by a newly formed music group. The members of the group were out to entertain themselves and showcase their talent among their close friends and relatives. The closest anyone of the group had come to anything Bollywood was when the hostess’s father had his ardent fan moment when he came face to face with OP Nayyar sometime in the 70s or 80s. That man was a self taught Harmonica player and encouraged his children and wife to sing along. And the wife and daughter of the (now) deceased man were at the forefront of the group which had female and male singers who sang in their own voices without aping any of the originals and that was a welcome change. The group presented medleys of songs with similar beats- the trade mark tonga-beat songs, and songs dipped in Punjabi folk tunes. The evening began with the song from ‘Sambandh’ – “Chal Akela Chal Akela” and then one song followed the next. The evening climaxed with songs that fell in tune with “Sar Pe Topi Laal Haath Mein Resham Ka Roomal”. In between there was an instrumental rendition of songs from ‘Kashmir ki Kali’, ‘Ek Musafir Ek Haseena’, ‘Kismat’ and ‘Phir Wohi Dil Laaya Hoon’ using the saxophone by Shri Shyam Raj ji who (if I heard right) had been a saxophone player for many of OPN’s songs.

Let me add that we were invited to the evening because my cousin’s husband has taken up singing and joined this group post his retirement. It was a revelation that he sang so well. The first song he sang that evening was “Piya Piya Piya Mora Jiya Pukaare” and “Surma Mera Niraala” was his next. And I must say he “yodels” almost like the Kishore Kumar whose fan he is.

As is my habit (ever since I associated with this blog) the first thing I did on returning home was to look up the anniversary page of our blog and see what was the date of OPN’s anniversaries. Next I checked what songs of OPN are yet to make their appearance on the blog. I found many movies of the 50s & 60s with two or three songs left to attain yyiippeeeehood. Then I began looking up for associated videos on YouTube, these songs are not yet available on YouTube too. In fact only the audio of some songs are available and not the whole movie. So that makes reaching videos difficult. But we cannot let the occasion of remembering OPN go by without a song.

So here it is. A song from the film ‘Raagini’ of 1958. The film is produced by Ashok Kumar, jointly with TS Ganesh, and is directed by Rakhan. This movie had a song which was enacted on screen by Kishore Kumar and playback was by Mohd Rafi. Now I discovered another song, as I was hunting songs for this post, which is again classical raaga based and Ustaad Amaanat Ali Khan and Fateh Ali Khan are the playback singers. On screen we have Padmini performing a classical dance and Kishore Kumar sitting on stage in a classical gaayaki mode and lip-syncing. A very uncharacteristic Kishore and a very uncharacteristic Omkar Prasad Nayyar who was popular as OP Nayyar. The song ends with Padmini matching steps to the brilliant tabla accompaniment.

As I was writing this post I recollected a post by Atul ji where he has mentioned about movies with names of popular actresses of the time but the actresses were not part of the cast of that particular movie, e.g. ‘Kalpana’ (1960) didn’t have Kalpana as heroine. An this film, ‘Raagini’ has Padmini as the heroine; Raagini the actress was her sister.

Let us enjoy this rare presentation, Kishore Kumar lip syncing a classical song in the voice of Bade Fateh Ali Khan.


Song – Chhed Diye Mere Dil Ke Taar Kyun (Raagini) (1958) Singers – Ustaad Amaanat Ali Khan, Bade Fateh Ali Khan, Lyricist – Jaanisar Akhtar, MD – O P Nayyar
Ustaad Amaanat Ali Khan + Fateh Ali Khan

aaaaaaa aaaaaaa
aaaa aaaaaaa aaaaaaaaa
aaaaaaa aaaaaaaa

chhed diye mere dil ke taar kyun
chhed diye mere dil ke taar kyun
baaj rahi paayal madmaati
baaj rahi paayal madmaati
chaal chale pag pag lehraati
chaal chale pag pag lehraati
jhoom raha jiya baar baar yoon
jhoom raha jiya baar baar yoon
chhed diye mere dil ke taar kyun
chhed diye mere dil ke taar kyun

(sargam)
chhed diye mere dil ke taar kyun
(sargam)
chhed diye mere dil ke taar kyun
aaaaaaaa aaaaaaa
chhed diye mere dil ke taar kyun
aaaaaaa aaaaaaaa
aaaaaa aaaaa aaaaaaa aaaaaaaa
aaaaaaa aaaaa aaaaaa
chhed diye mere dil ke tar kyun
aaaaaaa aaaaaa
aaaaa aaaaa aaaaaa aaaaaaaa
aaaaaaa aaaaaa aaaa
chhed diye mere dil ke tar kyun
chhed diye mere dil ke tar kyun

 


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 TWELVE years. This blog has over 15900 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) 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.

Total number of songs posts discussed

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Movies with all their songs covered =1221
Total Number of movies covered =4362

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