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

Archive for the ‘Translations by readers’ Category


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Jaidev Ki Non-Filmi Suraavali – 02
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I missed the birth anniversary of my dear Jaidev ji (3rd Aug), by not presenting a tribute to him. I also regretfully observed that same day on our blog, under to flood of songs of ‘KK’ by his fans, NO Atulite remembered Jaidev ji.

Shame on me. I was a professional video editor for half my life, and still, I could not make a video from the audio I had, for whatever excuses I can find. Thanks are due to dear Sadanand Bhai, who was kind enough to promptly prepare this video on my request.

Looking at the list of NFS covered on our blog, I realised that there is a huge collection of Jaidev-ji’s non film songs in my khazaana, waiting to be shared and admired. In this new series ‘Jaidev ki Non-Filmi Suraavali’ this is the second presentation.

Neelam Sahani was from Delhi and a regular artist performing at ‘Akashvani’. She had the music training from Pt. Mahendra Sarin of AIR Jaipur. She learnt classical and light classical music from Ustad Gaffar Khan of Delhi Gharana. She was also trained by Ustad Iqbal Ahmed Khan of Delhi Gharana who was also with AIR Delhi as a music composer. Whenever she was in Mumbai she recorded numerous songs for Jaidev ji in Hindi, Punjabi and Gujarati languages. Her sweet voice is very much appreciated by the lovers of good music.

Jaidev ji groomed her and under his baton she sang many songs in different languages.  He also introduced her to films like ‘Ram Nagari’ and ‘Jeene Ke Liye’.

Anil Biswas used her voice for the famous serial ’Hum Log’ and ‘Ameer Khusrow’. She was independent MD for tele-film ‘Gumraah’.

She lost her husband Mr Luthra, due to cancer, and soon succumbed to the same decease and breathed her last on April 27, 2010.

(In my writing about Neelam Sahani, I thankfully acknowledge the help of singers Chhaya Ganguli and Meetali Mukherjee, who provided me some of the above mentioned details.)

————————————————-
Tranlsation (Provided by Sudhir)
————————————————-

sham thi tum the, maine chhedi ghazal
jal uthhe muskuraahaton ke kanwal

In the proximate moments of evening
With you by my side
(The feelings within expressed themselves)
I sang these verses (for you)
And your lotus lips
Bloomed with smiles

ae hawaao khilaaye hain kisne
aasmaanon pe mehr o maah ke kanwal

O wandering winds of the skies
Tell me
Who has planted in heavens
These lotuses of the Sun and the Moon
[Notes: mehr = the Sun
maah = the Moon]

ab sahaara nahin raha koi
zindagi se kaho kuchh ab to sambhal

None remains anymore
To bear me, to hold me up
(On these uneven roads of life)
Someone tell this wayward life
To be more wary and cautious

dard e manzil jo dil mein uth’ata hai
bas usi dard ke saahare chal

(Traversing these passages of life)
The ache that throngs in the heart
Of the longings for the destinations we seek
Let that ache be the sole purpose
The sole impetus for the journey


Song – Shaam Thi Tum The Maine Chhedi Ghazal (Neelam Sahani NFS) (1981) Singer– Neelam Sahani, Lyrics– Firaaq Ghorakhpuri, MD – Jaidev

Lyrics

sham thi tum the
maine chhedi ghazal
sham thi tum the
maine chhedi ghazal
jal uthhe. . .
jal uthhe muskuraahaton ke kanwal
sham thi tum the
maine chhedi ghazal
sham thi tum the. . .

ae hawaao khilaaye hain kisne
ae hawaao khilaaye hain kisne
aasmaanon pe. . .
aasmaanon pe mehr o maah ke kanwal
aasmaanon pe mehr o maah ke kanwal
aasmaanon pe mehr o maah ke kanwal
sham thi tum the
maine chhedi ghazal
sham thi tum the
 
ab sahaara nahin raha koi
ab sahaara nahin raha koi
ab sahaara nahin raha koi
zindagi se. . .
zindagi se kaho kuchh ab to sambhal
zindagi se kaho kuchh ab to sambhal
sham thi tum the
maine chhedi ghazal
sham thi tum the
 
dard e manzil jo dil mein uth’ata hai
dard e manzil jo dil mein uth’ata hai
dard e manzil jo dil mein uth’ata hai
bas usi. . .
bas usi dard ke saahare chal
bas usi dard ke sahaare chal
sham thi tum the
maine chhedi ghazal
sham thi tum the
maine chhedi ghazal
jal uthhe. . .
jal uthhe muskuraahaton ke kanwal
sham thi tum the
maine chhedi ghazal
sham thi tum the
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
जल उठे॰ ॰ ॰
जल उठे मुस्कुराहटों के कंवल
शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
शाम थी तुम थे॰ ॰ ॰
शाम थी तुम थे॰ ॰ ॰

ए हवाओ खिलाये हैं किसने
ए हवाओ खिलाये हैं किसने
आसमानों पे॰ ॰ ॰
आसमानों पे मेह्र ओ माह के कंवल
आसमानों पे मेह्र ओ माह के कंवल
आसमानों पे मेह्र ओ माह के कंवल
शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
शाम थी तुम थे॰ ॰ ॰

अब सहारा नहीं रहा कोई
अब सहारा नहीं रहा कोई
अब सहारा नहीं रहा कोई
ज़िंदगी से॰ ॰ ॰
ज़िंदगी से कहो कुछ अब तो संभल
ज़िंदगी से कहो कुछ अब तो संभल
शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
शाम थी तुम थे॰ ॰ ॰

दर्द ए मंज़िल जो दिल में उठता है
दर्द ए मंज़िल जो दिल में उठता है
दर्द ए मंज़िल जो दिल में उठता है
बस उसी॰ ॰ ॰
बस उसी दर्द के  सहारे चल
बस उसी दर्द के  सहारे चल
शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
जल उठे॰ ॰ ॰
जल उठे मुस्कुराहटों के कंवल
शाम थी तुम थे
मैंने छेड़ी ग़ज़ल
शाम थी तुम थे॰ ॰ ॰

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This article is written by Mahesh Mamadapur, 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.

chaman mein sab ne hi gaaya
tarana zindagani ka
magar sab se alag tha rang
meri hi kahani ka

zamanaa sun raha hai jis ko
wo meri kahani hai

 

The voice of Mukesh continues to enthral the world of music. Today (22 July) is his birth anniversary and I present here a short song from the film ‘Jis Desh Mein Ganga Behti Hai’ (1960). This film has already been Yippeee’d on the blog, but this particular rendition can as well be taken as an additional separate song.

The video shows Raj Kapoor on the screen, though he does not lip-sync the song. Mukesh in his usual trademark voice recites two dohas (couplets) of Sant Kabir Das. There are some comments on the internet that this short song and scene were missing in the film. I request readers to throw more light on this aspect.

Though there are many websites dedicated to the dohas of Kabir, I requested our Sudhir ji to not only write the lyrics for me but also translate the same. I thank him profusely for the help rendered.

I feel that the voice and the empathy expressed by Mukesh will be more pronounced and appreciated if one understands the meaning of the dohas first. Mukesh, who has recorded the original rendition of the popular ‘Ramcharit Maanas’ of Tulsidas (abridged version), also has a lot of bhajan’s in the film and non-film category. Quite a few of these bhajanas are yet to appear on the blog.

I have been away from the blog as far as song postings is concerned, due to some personal commitments, but will surely come back with more compilations of Mukesh with the artists in the two on-going series. There are a couple of newly discovered songs which will be introduced in the very near future.

With this short song wherein the clarity of the pronunciation of words and the heart-felt expression in the voice is very much perceptible, I once again join numerous Mukesh fans in remembering him on the anniversary of his birth.

Translation and Notes (Provided by Sudhir)
———————————————————————

kabeer soya kya kare, uth na rovey dukh

Why continuing to sleep
Be awake, be alert
And stop crying for sorrows

jaaka vaasa gor mein, so kyon sovey sukh

For happiness is not the destiny
One who eternally lives in grave
Can he ever sleep in peace

Notes: In his couplets, Kabir Das has a specific addressal. When the message of the couplet is a teaching directed towards others, the form of addressal used is ‘sadho‘. When the message of the couplet is directed inwards, then the addressal used is ‘Kabir‘ or ‘Kabira‘. But as is seen in all cases, the message is meant for all. In this couplet, the poet is cautioning the human, not to continue sleeping. Now this sleeping is not simply the physical sleep that one resorts to when the body is tired. The poet is referring to the sleep of ignorance, that most human being undergo, as they spend their lives on this planet. The ignorance being referred to is the ignorance of the true nature of the self and of this material world. The human seeks happiness, but is almost always drowning in the tears of sorrow. So the poet says, wake up and realize the true nature, and don’t continue to cry for your sorrows. Because the life on this planet has only one destination, that is death. We are all residing in graves that have already been prepared for us. For a living person who is existing in a grave, can there be any happiness to be found (in the grave), can such a person ever have a peaceful sleep.
jaaka = variant of ‘jis ka’; for whom
vaasa = to reside; to live
gor = grave; कब्र

जीवन मरण विचार कर, कूड़े काम निवार

Contemplate the cycle of life and death
And dispose of the menial tasks of life
(do what needs to be done for life)

जिन पंथों तुझ चालना, सोई पंथ संवार

But realize the true paths
That have to be traveled
Strive to improve and enrich
The knowledge of that path

Notes: The poet is exhorting the learner, to contemplate the true nature of the cycle of life and death – that nothing in this world is permanent. The process of living entails certain tasks to sustain the life; these are low level tasks, that need to be dispositioned and done with. Do not lose yourself in this process of life, for there are other truer paths that one has to traverse. Make efforts to improve, enrich, clean up the awareness and the knowledge of these paths, so that the travel on these paths of truth is free of obstacles and pain.

In the given scenario, Raju, the village bumpkin and singer, is torn between how to sort out the problem he is facing – neither the dacoits are willing to just meekly give up their profession and surrender, nor is the police showing any benevolence towards them, to try and bring them in alive. In the scene just before these couplets, Raju is at the residence of the police commissioner (role played by Raj Mehra), and is pleading for leniency in return for their surrender. While this conversation is in progress, one of the dacoits, on the instructions of Raaka (role played by Pran), who is now the new gang leader, throws a message tied to a stone, into the house, breaking a window pane. The message is a challenge to the police commissioner, to hand over Raju and Kammo (role played by Padmini) to the dacoits. (Padmini has left the dacoit’s hideout with Raju, much to the chagrin of Raaka). The police commissioner is infuriated, and in anger expresses his will to capture all dacoits and hang them. Raju is now in a fix; what to do. The police won’t listen to him, and for their own reasons. And Raaka, blinded by his obsession for Kammo, and his vexation at Raju, for being the preferred person in Kammo’s heart, isn’t going to oblige by listening to Raju.

In this quandary, Raju is not able to sleep. And then these two couplets play in his mind. He is not lip syncing, but his expressions are so impressive, as he listens to this voice from within. This voice sings two couplets to him, telling him that it is useless to seek happiness in this life and this world, which is only sorrows – the epithet used is “jaaka vaasa gor mein”; that all humans are living in graves already dug for them. The second couplet advises that one should only contemplate on the truth of life, and seek out the path that will take towards that truth. And once that path is evident in the mind, then the personal striving should be cleanse and enrich this path, leading one towards the truth.

When this second couplet plays, a smile descends on the lips of Raju, a light is seen and a determination is made. Raju leaves the police commissioners home immediately, leaving Kammo sleeping inside the room. One does not see him leave, but the next scene is Kammo waking up only to find Raju missing. On enquiry, she is told that he left during the night, but where he has gone, is not known to anyone. But Kammo knows, that Raju has returned to the gang’s hideout.

 


Song – Kabir Soya Kya Kare (Jis Desh Mein Ganga Behti Hai) (1960) Singer – Mukesh, Lyrics – Kabir Das, MD – Shankar Jaikishan

Lyrics

kabeer soya kya kare, uth na rovey dukh
jaaka vaasa gor mein, so kyon sovey sukh

jeevan maran vichaar kar, koode kaam nivaar
jin panthun tujh chaalna, soi panth sanwaar

jin panthun tujh chaalna, soi panth sanwaar

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

कबीर सोया क्या करे, उठ ना रोवे दुख
जाका वासा गोर में, सो क्यों सोवे सुख

जीवन मरण विचार कर, कूड़े काम निवार
जिन पंथों तुझ चालना, सोई पंथ संवार

जिन पंथों तुझ चालना, सोई पंथ संवार

 


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.

“Anand Math” (1952) was a Filmistan Production. It was directed by Hemen Gupta. This movie had Prithviraj Kapoor, Geeta Bali, Ajit, Pradip Kumar, Bharat Bhushan, S. L. Puri, Jankidas, Ranjana, Murad etc in it.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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. This is his 400th writeup in the blog

apni marzi se kahaan apne safar ke hum hain
rukh hawaaon kaa jidhar kaa hai udhar ke hum hain

-Nida Fazli

[There is no choice for us as to where we embark on the journey.
Where the direction of the wind is the place to which we belong].
Read more on this topic…


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

———————————————
#the Decade of Seventies – 1971 – 1980 #
——————————————–
# Bhoole-Bisre Geet # 33 # Qawwaalis – 2
———————————————

Talking about qawwaalis, I remember, in my childhood there used to be programs of Qawwali muqabla (competition) and mushairas, and in ‘quawwali muqablas’ the names that easily come to mind is the name of Shakila Bano Bhopali, Jaani Baabu Qawwaal and Aziz Nazaan.
Read more on this topic…


This article is written by Arunkumar Deshmukh, 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.

SHANKAR-JAIKISHEN IN THE 50s…Song No. 6
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The mid 50s was a period when one could see the deep impact of the Nehruvian socialism on the film that were made. Great film makers like Mehboob Khan, B R Chopra and Raj Kapoor tried to support Nehru and Gandhian philosophies through their films. Being great artists, they combine socialism with entertainment in a skillful way. Films like Naya Daur, Mother India, Jagte Raho, Phir subah hogi, Do bigha Zameen,Boot polish,Ab dilli door nahin etc and later on films like Son of India and Naya Kanoon etc clearly indicated Socialism.
Read more on this topic…


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.

Missing Films of 1960s – 2
– – – – – – – – – – – – – –

Good intentions are always the undoing. I am sure you would have also experienced this. मेरे साथ तो ये बहुत होता है. Take the case of this series itself.  The second song is being posted today.  When I initiated this series on 30th September with the song “Nigaahon Se Chhup Kar Kahaan Jaaiyega”, I had all the intentions to post one song at least every other day if not every day.  The available list of songs is all identified.  And see, it is the 11th day now that the second post is coming on.  क्या कहना है good intentions का.
Read more on this topic…


This article is written by Mahesh Mamadapur, 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.

Mukesh and his Composers – 5
————————————

Remembering Mukesh (22 July 1923 – 27 August 1976) today (22 july 2015)on his 92nd birth anniversary.

The year 1958 was a turning point in the singing career of Mukesh. Though he had started his career nearly two decades back in 1940 and had some remarkable hits in late 40’s and early 50’s, his foray into acting-singing in the early fifties had some disastrous consequences which in my view affected his whole career in some way or the other. The first three posts in this series clearly show that his songs with those composers stopped sometime after 1949-50. And then there are huge gaps before he was called again by the same composers.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

When ‘Anand’ was released in theatres in 1970, I was still in school. I remember I did not get a chance to see this film on the big screen in the first run.  It would be later re runs that I got to see this film.  Being still not very involved with cinema and music, the best fare for us used to be what we could see on Doordarshan.  Rather, whatever was telecast on Doordarshan was always the quality stuff in my mind.  So having watched films like ‘Sikander’ (1941) and ‘Roti’ (1942) and ’Baazi’ (1951) on TV, the micro mind of mine carried them as benchmarks and anything that we would see on posters and billboards going to and from school, would be just so so.  I remember, when we came to know about this film ‘Anand’, the names Rajesh Khanna and Amitabh Bachchan did not mean much to us.  Rajesh Khanna, to some extent, as we had all heard the “Mere Sapnon Ki Raani Kab Aayegi Tu” that became popular the year earlier.
Read more on this topic…


This article is written by AK, a fellow enthusiast of Hindi movie music and a first time 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.

= = = = = = = = = = == = = = = =

Atul Song-A-Day 10K Song Milestone Celebrations ––44 (Post number 9998)
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

How do you feel when a family member achieves something spectacular? Atul is my family, not only as a fellow blogger, but also because both of us started our professional career at the same Institute. This was a small, beautiful, self-contained place, tucked away in a town back of beyond, at the foothills of a hill (which was literally called पहाड़ी). This Institute was a British creation in 1927, with exceptional facilities thrown in: indoor swimming pool, indoor badminton court, squash court, tennis courts, football field, table tennis, billiards table, lounge, dark room for photography (the world was not digital then), and a huge golf course just outside the complex. Four years of our most exciting young days in this ambience, the life-style, and the traditions created a strong life-long bond with the Institute, and among the alumni. As I entered a few years earlier, I am especially delighted by the awesome achievement of my younger brother, The Incomparable Atul. As he completes the magical number of 10,000 posts I convey my heartiest congratulations to him and all the regular contributors who have made it possible.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13529

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Movies with all their songs covered =1015
Total Number of movies covered =3712

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