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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5488 | Post No. : | 17922 |
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The Voice of Mukesh #76
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Celebrating the Centenary of Mukesh
“o jaane waale ho sakey to laut ke aana. . .”
The film is ‘Bandini’ from 1963. Words from the pen of Shailendra and the music composition from the mind of SD Burman. The voice – is the voice that has embellished nearly a thousand songs, with an attractive rendition that makes the listeners fall in love with every song.
Yes, Mukesh.
The words – that come from the heart, imploring – could there be some way to call back, them who have departed. But alas, no one returns from the land of beyond now. And yet the heart waits. 53 years is not age to go. Yes, for the ones dear to heart, there is no age to go. But then 53. In an alien land, far away from family and friends. No reason why one would decide to call it a life. But then – one just expresses helplessness. These departures are not within our power to influence.
A century to measure – just a tradition to follow, nothing more. The memories that we celebrate are not dependent on these milestones. These memories get celebrated every day, each and every time that we listen to the voice, every time a song is heard, the memories in our vaults will rise up and create an upsurge – an upsurge of happy appreciation, an upsurge of gratitude to have been blessed to be born in this era, and also an upsurge of regretful longings – may that these unnamed associations would have been longer.
Yes, Mukesh. A voice that is always so different from others, and will remain so forever. Not that the word ‘divine‘ has not been associated with other singers. It has been, with many. And each of those voices have their own singular and exceptional attributes. But then, among all these heavenly voices, this one voice stands out – by its simplicity and deep seated honesty. As one listens, one believes. One is convinced instantly that the words being rendered are just and true. It is the voice that creates this feeling within. It carries such a soothing comfort in itself that one does not have a make an effort to believe. It just happens.
The feelings that arise within are like the flowing Ganga, the rays of the rising sun, the cool fragrant breeze and the clear blue skies. And the serene moonlight on a clear calm night. That is comfort that permeates the self, when the sounds of this voice settle into the mind when it says “Kise Yaad Rakhun, Kisey Bhool Jaaun. . .”. Or “Tum Jo Hamaare Meet Na Hotey. . .”, or “Saaranga Teri Yaad Mein. . .”. When this voice tells me “Chanda Ke Des Mein Rehti Ik Raani”, the mind, the self accepts it as a truth, and not a child’s fairy tale. When the words “Kaise Manaaun Piyava. . .”, are heard, the mind resonates with the sweet melancholy of a simple soul honestly examining itself. When this voice tells me “Hum Us Des Ki Vaasi Hain. . .”, the mind does not falter in its belief of this phrase. The words “Jaaun Kahaan Bata Ae Dil. . .” when heard in this voice, instantly evoke that restive helplessness within borne from a lifetime of despair. And the self wants to be up and dancing when this voice tells me “Tum Aaj Mere Sang Hans Lo. . .”. Another time and place when this voice renders “Dheere Re Chalo Mori Baanki Hiraniya”, almost as if on cue, the mind slows down to wait, for the sounds to catch up. The mind wells up with gratitude and contentment so true that the self feels fulfilled and all desires realized when the words in this voice tell me “Bahut Diya Dene Waale Ne Tujhko. . .”.
The songs are a thousand. And their emotional pull is endless. I could go on an on with the songs that this voice has rendered. I could lay down the sensitivities of each one of them. And at the end of it all, just one essence will remain – the soul. This sound comes from the truth, the purity and the honesty of the soul. That is the essential touch of divinity in this voice.
Ah Mukesh ji, it was a lifetime too short. No, I do not intend to take up an issue with destiny. Whatever transpired, that was supposed to be. Just that there is a petite setting within, an area of eternal emptiness that could have been not so vacant, only if. . .
I present today a song that has an utterly unique rarity associated with it. In a manner of speaking, the existence of this song was completely unknown to anybody prior to this centenary event six days ago. This song has never figured in any lists or any compilations before, for the simple reason that its origins lie in anonymous rarity completely away from the all the known regular channels where such music is traditionally made, recorded and disseminated. This song belongs to that completely unknown fringe area of music that we are all aware of, and at the same time, completely unaware.
This song is a recording from All India Radio.
A brief background here – over the decades, AIR has created a colossal amount of non-film music completely on its own. There is film music, and then there is non-film music that is created by the known commercial enterprises. Along with these, AIR itself commissioned and recorded a wealth of non-film music to be played on their broadcast channels and radio stations. This music has primarily been the property of AIR. It got played on the radio waves, but it was never ever distributed to the general public by any means.
When any artist performs on the AIR, it is a live presentation, and a onetime occasion. AIR had this need to be able to store and replicate these performances, to be repeat broadcast at different times and from different locations of their network of radio stations. So these performances were recorded, as they were rendered. To facilitate the distribution of such individual items, AIR pressed these recordings onto gramophone records. The labels on these records were AIR’s own. These records were distributed to all stations on the network, to enable their replay as and when required by the individual stations as per their own program itineraries. The existence of these gramophone records was not known at all, outside AIR.
Things have changed, technologies have changed, recording and storage methods have become more advanced. The gramophone records eventually became redundant and were just occupying space in their station premises. In recent past, over the last few years, AIR has been disposing off its collection of old media – gramophone records and spool tapes, along with a massive stock of old machinery and sound equipment that is now outdated. In this process the gramophone records also have come out of their storage. However, even now, not many people are aware of their existence.
A few months earlier this year, in Feb-Mar time frame, my dear collector friend, Zafar Shah, acquired a huge consignment of these AIR records in a very competitive auction. I was with him one of the days in March, at his warehouse when many sacks, not cartons, but huge sacks full of such records, were being delivered. Over the next few days, I visited him, and sat with him as he was going through the content of these sacks. I daresay that over a period of a couple of weeks, I was just able to witness the opening and browsing of the contents of just a couple of sacks.
As we browsed through, we chanced upon this record on the very first day. This famous Krishna bhajan written by Soordas ji about five centuries ago. This bhajan has been rendered and recorded by numerous singers. But this bhajan in the voice of Mukesh – we had never come across this before. After some detailed checking from some sources, we realized that we had made a stupendous discovery – this bhajan in the voice of Mukesh, is a completely unknown entity. We agreed that this discovery is of magnitude enough that it deserves to be shared with the world at large on the occasion of the singer’s birth centenary. Zafar Bhai kept his promise and posted this song on his channel, on 22nd July. The planned and promised post on our blog by yours truly has however been delayed by almost a week. Unpardonable, no excuses, just that personal circumstance in the past almost a fortnight have been very trying.
That said, we come back to this song. Soordas ji writes the words, as if writing on behalf of Kanhaiya. The lines are a lament and a complaint by a child, who at time would just be standing maybe not even waist high to Yashoda ji. He is bemoaning after the fact that whole village considers him to be a maakhan chor, the child thief who steals butter from wherever. Yashoda is probably furious as to why Kanhaiya has to go steal at other households, when there is no dearth of milk and butter at his own home. And even at home, why does he have to stealthily pilfer butter from the chheenka (छींका) (the earthen pot in which butter is stored and is hung with a rope from a hook in the ceiling, to ward off cats etc from reaching at it), when he can have as much as he desires just for asking. And so one day when she catches him literally white handed with butter on his hands and smeared all over his face, she is preparing to give it to him with a cane. As the flowing thoughts came to this juncture, Soordas ji could contain himself no more, and he sang, on behalf of Kanhaiya,
maiya mori
main nahin maakhan khaayo
O dear Mother of mine, believe me
I have not eaten the butter
Quite a pretentious and an audacious assertion to make, given that he has been caught white handed.
Now Kanhaiya was at an age then, when he had started tending to the cows, and would take them for feeding and exercise every day, in the company of Nand Baba, Balram Bhaiya and other coterie of friends. So now he complains to Yashoda
bhor bhayo gaiyan ke paachhe
madhuban mohey pathaayo
chaar pehar bansi bat bhatkeyo
saanjh parey ghar aayo
Since early morning I have been tending after the cows, at your bidding. I walk with them to Madhuban, where you instructed me to take them. For almost the entire sunlight hours, I am wandering with the cows in the grass fields of Madhban and Bansi Bat. It is only as the sun comes down and the evening is nigh that I returned home with them. When would I have the time to steal butter?
In the Indian scheme of marking time, one pehar (or prehar) is of three hours duration. There are eight pehars in a day, four of which are the sunlight hours of daytime, and the other four are the night hours of darkness. So Kanhaiya is complaining that I have been tending cows for twelve hours at your bidding, and I am tired for the day. And you are accusing me of having enough energy to steal butter.
Madhuban and Bansi Bat (or Bansi Vat – बंसी वट; वट being the word for a banyan tree), are two locales in the forests around Vrindavan which are identified as two of the many लीला स्थली of Lord Krishna, places of Krishna’s pastimes, in the Braj area. It is said that these places of pastime became lost over the ages. Then, during the Bhakti period, when Shri Gaurang Mahaprabhu came to Vrindavan, he trekked across the area to re-discover these locales and restored them to their earlier prominence.
main baalak bahiyan ko chhoto
chheenko kehi vidh paayo
gwaal baal sab bair parey hain
barbas mukh laptaayo
Look at me, I am just a toddler, shorter even than my brother Balram. How do you think I could have reached the chheenka that is hanging from the ceiling? It is my so called friends, the other cowherds, who are bearing some jealousy towards me, and they have turned into enemies. It is them who have forcibly smeared this butter that you see on my face and on my hands. It is not I, but them, they have done this to me.
Now Kanhaiya is deflecting. He is now placing the blame on his elder brother and other cowherd friends in the coterie. He expresses great but simple logic, that with his height being what it is, it is impossible for him to reach the high placed chheenka and pull butter from it. So all that is evident as the commissioning of crime, is not his doing, but that of the group of friends.
ye le apni lakuti kamariya
bahut hi naach nachaayo
surdas tab bihasi yashoda
lai ur kantth lagaayo
Now Kanhaiya turns into the aggrieved party. He lays out the challenge that he will not go for tending to the cows henceforth. And as a good measure of offense, he tells Yashoda that he is putting aside the cowherd stick (lakuti) and the cowherd blanket (kamariya) and will not be using it anymore. After all the day’s hard work, if he has to face accusations of being a thief, then he does not want to tire himself doing the cow tending. And that he has been dancing to her tune so far, but no more. A bemused Yashoda who has been listening thus far to this tirade of saam daam dand bhed (साम दाम दंड भेद) from the tiny pleader, as he moves from trying to gain sympathy, then to shift the blame elsewhere, from logically explaining why he can’t reach the chheenka, and finally to challenging her that he will be stopping work in protest; now she can control her laughter no more, and bursts out in a delightful hilarity, and pulls Kanhaiya to herself and squeezes him in a loving embrace.
The kamariya mentioned in the bhajan is a blanket, a multipurpose cowherd device – protection against the elements be it cold, harsh sun or rain; something to lie on when tired; something to roll into a pillow and use for relaxing etc. The word comes from the Hindi word for blanket – kambal. And there are other variations in use also. Krishna is referred to as ‘Kaali Kamli Waale’. This ‘Kaali Kamli’ is this blanket only. In every such reference that we come across in scriptures and literature, the color of this blanket is always denoted as black.
There are thousands of bhajans written by the Saints who have spent a lifetime in their quest of love for Krishna. Some names we are familiar with, and there are numerous more names that are well known in the Braj area. The traditional literature of verses written in praise of and in love for Krishna, is a huge ocean. Of the some that I have been able to listen to and study, this bhajan is in my opinion, the most beautiful and the most loving description of a wayward child and his admonishing mother, and how everything finally just melts into love, the Love for that Supreme One.
The wonder of Krishn Leela is that the Lord incarnates and comes to live with the cowherds and farmers of the villages, and blends Himself so magically into that milieu. Even till today, in Braj area, the general feeling amongst the populace is that of Him being one of them, and not that of Him being the Lord. To some he is the son, to some he is a brother, to some he is a friend, to some he is a wonderfully helpful child, to some he is a nephew, and on and on. Yes there are temples in His honor and He is prayed to as a Royal Diety. And yet, when they will refer to Him, talk about Him, talk to Him, he is forever Kanhaiya for them, a naughty child eight nine years old, who still tends to the cows in the forests of Vrindavan, and still barges into homes to steal butter. Tradition has it that there are still many households in Braj area, that prepare fresh butter every day, and keep it early morning on the window sill, or just outside their door, with the belief that Kanhaiya will come to partake that butter.
Aah, those wondrous locales of Braj, those blessed people who lived there and still do. The endless tales of amazing pastimes. A place where Kanhaiya never wore any footwear. And for that reason, the dust of that area is considered divine and blessed, because it has been touched by the prattling feet of the Supreme One turned into a child. The child who played in the streets and alleys of Vrindavan, played pranks everyday with his coterie of cowherds, a child that never really grew up. He is forever the Kanuwa for the locals. (Kanuwa is the short form of Kahhaiya).
And when an annoyed Yashoda confronts him for his transgressions, with an innocent demeanor completely bereft of guilt, he responds
maiya mori
main nahin maakhan khaayo
So much said about Kanuwa, and it seems still more is to be expressed.
And so too, for this divine voice, so much said, and it feels so inadequate. At the beginning of this post is an expression of a longing for this voice to somehow return. One knows in the depths of the heart that this is not possible.
And then the voice itself responds
duniya se jaane waale
jaane chale jaate hain kahaan
koi dhoondhe kaise un ko
hain nahin kadmon ke bhi nishaan
Mukesh – a hundred years, and forever.
Song – Maiya Mori Main Nahin Maakhan Khaayo (NFS) (1958) Singer – Mukesh, Lyrics – Soordas (Traditional), MD – Unattributed
Lyrics
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
bhor bhayo gaiyan ke paachhe
madhuban mohey pathaayo
chaar pehar bansi bat bhatkeyo
chaar pehar bansi bat bhatkeyo
saanjh parey ghar aayo
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
main baalak bahiyan ko chhoto oo oo oo
main baalak bahiyan ko chhoto
chheenko kehi vidh paayo
maiya mori
chheeko kehi vidh paayo
gwaal baal sab bair parey hain
gwaal baal sab bair parey hain
barbas mukh laptaayo re
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
ye le apni lakuti kamariya
bahut hi naach nachaayo
surdas tab bihasi yashoda
surdas tab bihasi yashoda
lai ur kantth lagaayo
maiya mori
main nahin maakhan khaayo
maiya mori
main nahin maakhan khaayo
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
भोर भयो गैय्यन के पाछे
मधुबन मोहे पठायो
चार पहर बंशी बट भटक्यो
चार पहर बंशी बट भटक्यो
साँझ परे घर आयो
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
मैं बालक भैय्यन को छोटों ओ ओ ओ
मैं बालक भैय्यन को छोटों
छींको केही विध पायो
मैया मोरी
छीको केही विध पायो
ग्वाल बाल सब बैर परे हैं
ग्वाल बाल सब बैर परे हैं
बरबस मुख लपटायो
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
ये ले अपनी लकुटी कमरिया
बहुत ही नाच नचायो
सूरदास तब बिहसी यशोदा
सूरदास तब बिहसी यशोदा
लै उर कंठ लगायो
मैया मोरी
मैं नहीं माखन खायो
मैया मोरी
मैं नहीं माखन खायो
This article is written by Arunkumar Deshmukh, 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.
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Blog Day : |
4238 | Post No. : | 15450 | Movie Count : |
4256 |
Today’s song is from the film Jhankar-42. The song is sung by Rajkumari and chorus. It is a traditional song written by Amir Khusro.
This film was a special film for many people. The Music Director of this film was Bashir Dehlavi who started his career as a Music Director with this film. The film was the first film made by the banner-Silver films, Bombay. The director was S. Khalil making his debut with this film. The cast of the film was Chandra Mohan, Pramila, M.Kumar, Azuri, Shehzadi, Gope, Altaf, Ghulam Mohammed, Chandra kumar and many others.
The cast of the film displays names of artistes who had almost passed their best years. Most actors were from the 1930s and now they tended to do side roles since lead roles were not coming that frequently. Due to excess alcohol, the handsome fine actor Chandramohan was on his way to self destruction. By 1949, his condition was worsoned irreversibly and he died of Liver Cirrhosis. Ghulam Mohammed, once a Hero, was reduced to character roles and after Partition he migrated to Pakistan.
Pramila did only one more film Beqasur-50 and retired from films. In 1942, she did 4 films. The last 1942 film she did was her husband’s film Jhankar-42. Kumar shifted his focus to producing and directing films and finally he too migrated to Pakistan. He continued acting in Pakistan films. Altaf was the husband of actress Khurshid jr. (elder sister of Meena kumari), who was getting edged out slowly as an actress. Actress Shehzadi Jr. also migrated to Pakistan after failing as a Producer (Utho Jaago-47). Gope’s and her last film as a leading pair was Hanso hanso aye duniyawalon, also in 1942. After this film, Gope became a Comedian for full time.
With such cast and debutante director and music director, the new company tried to make a Comedy film. I have not seen this film and I could not find its story or review anywhere on internet or in Film India magazine. However, from the film’s advertisements in the magazine and the news bits in it, I find that the film was not very successful, but must have given enough boost for the producers to go ahead and make 6 more films in next 8 years.
One of the owners of this banner- Silver Films – was actor M. Kumar, who was a successful artiste in the 30s and 40s, having worked with many prestigious banners. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India, on 23-9-1906. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.
He was a handsome and tall person. He was keen on joining cinema, so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Sitara-32 and Zinda Lash-32, he was hero in PURAN BHAGAT in 1933. Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a Muslim name of the hero of PURAN BHAGAT, in the tense atmosphere of Calcutta.The director of the film was Kumar Debaki Bose,a person from a Royal family. He took a decision and told Mijjan,” from today, I am giving you a part of my name. You will become KUMAR now.” This solved the film release problem and thus his name became KUMAR, then onwards. Truly enough, Debki Bose, thereafter never used his name Kumar again in his life !
After doing Yahudi ki Larki, Kumar came to Bombay. First he worked in Sagar ( 3 films) , Imperial (2 films)and then joined Ranjit Studios.
He married another actress PRAMILA , who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947. They got a son and a daughter Naqi Jehan (who too became a Miss India in 1967, exactly 20 tears after her mother.) Naqi acted opposite Rajesh Khanna in Akhari Khat, as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage. His first wife and children shifted to Pakistan after the Partition.
Kumar did many films in Ranjit, but in 1942, he was removed from Ranjit. At the same time, his friend, CHANDRAMOHAN also left Minerva Movietone (reason-despite PUKAR-39 being a blockbuster, his salary was not increased inspite of a promise by Sohrab Modi).They both decided to launch own company and on 16-3-1942, SILVER FILM CO. was launched. Its first film was Jhankaar-42. They produced Bhalai-43, Bade Nawab Saab-44, Devar-46, Naseeb-45, Dhun-53 and Bahana-60. Kumar acted in these films. He also directed Dhun and Bahana.
He produced and directed Aap-Beeti-1948 under his own company, Kumar Studios.Then under Shama Productions, he made Nahle pe dehla, Dhoom Dham and Dilbar. Later in life he made Badal aur Bijlee and Jungle King under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.
From Najma in 1943, Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, Khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)
In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in 22 Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. He gave one Superhit and three Hit films in Pakistan. Interestingly, he continued to act in the name of Kumar only, without using his original Muslim name there. Kumar died on 4-6-1982.
Film Jhankar-42 director S.Khalil directed only 7 films – jhankar-42, Nai Zindagi-43, Bhai Jaan-45, Shahkar-47, Sartaj-50, Gunehgar-53 and Benazir-64.
There is one more name ” Chandra Kumar” in the cast. Hardly, anyone will know who this actor was. He was none other than actor Anil Kumar (real name- Sardar Gul), who actually started his career with Minerva Movietone with its first film ” Said-E-Havas”-36, with the name Chandrakumar. After that he took the name Anil Kumar, but in this film he acted with this name, surprisingly. May be in few other films too he used this name.
Actor Anil Kumar (Sardar Gul) was born in 1915 at Calcutta. His father had a fruit business. They were from Peshawar (just like Dilip Kumar). He was not much educated but could speak Hindi, Urdu and English fluently. Once he went to Bombay to meet a friend. There he met an old acquaintance, who took him to Sohrab Modi.
The good looking Sardar Gul was liked by Modi and he offered him the lead role in his film ‘ Saed E Havas’-36. Sardar Gul was given a screen name of Chandra Kumar. The film was based on a translation of William Shakespeare’s drama- King John, by Agha Hashra Kashmiri in 1907. Sardar Gul was to get Rs. 200 for this work. The film was a flop and Sohrab Modi refused to pay him more than Rs 50. Annoyed, he left Bombay and returned to Calcutta.
However he came back in 1938 and did his first film with a new screen name Anil Kumar. The film was Talwar ka Dhani-38. Soon he was well known and acted in 10 films in next 3 years. As the decade of the 40s saw many new actors, producers and directors, he was reduced to Character roles and side roles. By 1950, he was almost like an extra. He did work in many films, but only few films credited him, as his roles were negligible. We find his name in just 30 films, where he was credited, the last such film being Tarzan and Deliailah-64.
Today’s song is sung by Rajkumari and chorus. The MD Bashir Dehlavi started his career with this film and gave music to 6 more films. His last film was Hawai Khatola-46. The song is a traditional one, written by Amir Khusro (1253 – 1325). This song is used in many films. some films are Heer Ranjha-48, Suhag Raast-48, Nadir Shah-68, Maang bharo Sajna-80 and Umrao Jaan-81 etc. Amir Khusro’s some other songs in films are Chhap tilak sab chhini re in Main Tulsi tere aangan ki- 78 and Rain suhag ki jaagi in Junoon-78.
Let us now enjoy this traditional song. With this song, Film Jhankar-42 makes its Debut here.
Song-Kaahe ko byaahi bidesh re lakhi baabul morey (Jhankaar)(1942) Singer-Rajkumari Dubey, lyrics-Amir Khusro, MD-Basheer Dehalvi
Lyrics
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
gudiya khilaune maine taak mein chhode
gudiya khilaune maine taak mein chhode
chhoda saheliyon ka saath re
lakhi Baabul more
chhoda saheliyon ka saath re
lakhi Baabul more
Kaahe ko byaahi bides re lakhi baabul morey
sona bhi deenha baabul rupa bhi deenha
sona bhi deenha aa aa aa aa aa aa
sona bhi deenha baabul rupa bhi deenha
deenha ratan jadaau re
lakhi baabul more
deenha ratan jadaau re
lakhi baabul more
Kaahe ko byaahi bides re lakhi baabul morey
itna dihin baabul ???
itna dihin baabul ???
saas nanand bole bol re lakhi baabul morey
saas nanand bole bol re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
aam tale se dola jo niksa
aam tale se ae ae ae
aam tale se dola jo niksa
koyal sabad sunaaye re lakhi baabul morey
koyal sabad sunaaye re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
tu kya boley meri kaali koyaliya
tu kya boley meri kaali koyaliya
chhoda baabul ka des re lakhi baabul morey
chhoda baabul ka des re lakhi baabul morey
Kaahe ko byaahi bides re lakhi baabul morey
Kaahe ko byaahi bides
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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