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

Archive for the ‘Translation by Sudhir’ Category


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.

Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.

This is a significant and a noteworthy film by Shantaram. Durga Khote performed one of her most memorable roles. K Narayan Kaale wrote the story and screenplay, with dialogues by Pt. Narottam Vyas. The cast included Durga Khote, Chandra Mohan, Shanta Apte, Vasanti, Nandrekar, Keshav Narayan Kaale etc. etc. Songs by Shanta Apte, especially “Suno Suno Ban Ke Praani“, whose records sold by thousands and a duet by Apte and Nandrekar, “Aaj Hamen Ban Behad Bhaata” were very popular.

The film was about a rebellious woman turning into a pirate, because of the injustice meted out to her. She was a queen who suffered due to severe male oriented laws and was denied custody of her only son, when she separated from her husband. This outstanding adventure film – the first pirate film in Hindi – was the first Indian film to be screened at the Venice Film Festival. The film became a box office hit because of three reasons. One – Durga Khote’s excellent acting, and two – the special effects and the novel, unusual pirate story and three – it’s popular songs and music.

Durga Khote, in her Autobiography, ‘I, Durga Khote’ has stated the following about this film,

A film like Amarjyoti, an imaginary story and beautiful in every respect, happens only once in a rare while. The cinematography, sets, costumes, jewellery, songs, and backgrounds were so perfectly attuned, that the audience went crazy with every scene. Every element, whether it was shots of ships, surging waves and enormous rocks, or the casting and performances with minute shades of expression, heroism, self-sacrifice, and extreme tyranny—was striking in itself, and in complete harmony with every other element of the complicated plot. Shanta Apte’s songs became very popular. Vasanti’s lovable charm, the harsh anger that I, as Saudamini, expressed against injustice, Chandramohan’s impressive performance, light eyes flashing—were all wonderfully effective. The costumes of the smugglers, their lifestyle, the weapons they carried, were all imaginary, and yet they came through so convincingly on screen. Every costume was so precisely selected that it fitted in its place perfectly, as if carved for that space.

Though Durga Khote was the main and central character of the film, the romantic respite was provided by Shanta Apte and B Nandrekar. Now Shanta Apte is a well known name but who was this Nandrekar ?

In the days of silent movies, the only requirement for males to get into films was that they should be reasonably good looking and must have good height and physique. For the females the requirement was beauty and consent to do romantic scenes, including kisses, if required. If these points were in order, their entry to the films was assured. Due to these conditions, mostly uneducated good looking girls from tawaiaf and kothewali families used to join films. Anglo-Indians, Germans and other foreigner girls too joined film world. For them kissing or romantic scenes were no great issues. In males too, uneducated young men from poor families, having a good muscular body and good looks joined the films.

However, when the talkie films started, the requirements included good Hindi/Urdu/Hindustani speaking skills and ability to sing a song, if needed. Almost all Anglo-Indian, Jew, German and other girls left films as they did not know Hindi language or singing. There were, of course, few dedicated girls who learnt better Hindi and singing to remain in films. Some examples are Savita Devi, Sulochana, Madhuri etc.

In males most actor had no problem, but those who came from regions other than Bombay could not speak Hindi well and had no scope. The most well known example was that of Master Vithal, who excelled in silent films but was a failure in talkie films for his inability to speak Hindi fluently. No doubt he was selected to be the hero in India’s first talkie film, ‘Aalam Ara’ (1931), but when he failed to mouth Hindi dialogues, his role was curtailed and he was portrayed as unconscious for a major part of the film.

Actors like Master Bhagwan had no problem. He had been working in silent films since ‘Bewafa Aashiq’ (1930), and he smoothly walked into talkie films as Hindi speaking skills were good. There was yet another actor who easily transitioned from silent films to talkie films. This was  B Nandrekar or Baba Saheb Nandrekar.

Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).

His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

Another lesser known actress is Vasanti. Vasanti Vinayakrao Ghorpade, was born on 26-3-1924 in Kolhapur. Her father’s sister Tanibai was a famous classical singer. Married to Bapusaheb Kagalkar, she was active in films till 1931 in Kolhapur. Vasanti was trained by Pt. Vamanrao Sadolikar and Ustad Bamman Khan. She first acted in ‘Dharmatma’ (1935) as a child artist. Then came ‘Amar Jyoti’ and ‘Duniya Na Maane’ (1937). Her songs in these films were popular. She left Prabhat in 1939 and joined Ranjit. She appeared in ‘Sant Tulsidas’ (1939), ‘Musafir’ (1940), ‘Diwali’ (1940), ‘Achhoot’ (1940), ‘Beti’ (1941), ‘Sukh Dukh’ etc. She also sang in ‘Aapki Marzi’ (1939), ‘Bhaktaraj’ (1943) and ‘Qurbani’ (1943). Vasanti acted in 15 films. She sang 60 songs in 14 films – all for herself only.

In 1944,she married Indubhai Patel and went to Bangalore. Her last film was ‘Bachchon Ka Khel’ (1946). [Note: In this film Meena Kumari appeared in an adult role for the first time].

The music director of this film, Krishnarao Ganesh Phulambrikar was a Marathi actor, composer, and musicologist. He was an architect of the golden period of Sangeetnatak in Marathi Theatre. He was born in Alandi near Pune in 1898. He was the son of a professional pandit who died when Krishnarao was only 6, reducing the family to abject poverty. He was weak in health. He did not have much formal education, but his sweet, elastic voice facilitated entrance into the Natyakala Pravartak Mandali, where he did small roles. After 1910, he left to learn classical music under Bhaskarbuwa Bakhle in Pune.

In 1918, Bal Gandharva employed him in the Gandharva Natak Mandali as male lead actor and music director, though he did some women’s roles as well. He developed as a most versatile composer who, with Govindrao Tembe, helped Bal Gandharva in spreading Hindustani classical music. He left the Mandali in 1933 to become music director for V Shantaram’s Prabhat Film Company, scoring highly original songs for ‘Dharmatma’ i.e. ‘Soul of Dharma’ in 1935, ‘Maanus’ i.e. ‘Life Is for the Living’ in 1939, and other movies. He gave music to 10 films and composed 104 songs for them. Being a singer, he sang  11 songs in 3 films. Later, he joined MG Rangnekars Natyaniketan. His classical-based light music for Rangnekar’s plays like ‘Kulavadhu’ i.e. ‘Family Bride’ in 1942 and ‘Ek Hota Mhatara’ i.e. ‘There Was an Old Man’ in 1948 is considered a Sangeetnatak landmark. Among his many books on music, he wrote a seven-volume series for vocal and instrumental training, titled Raagsangraha i.e. Raaga Anthology, in 1940-71. He also contributed to popularize the Jaipur gharana. He passed away in the year 1974.

The film had a total of 11 songs. Four songs are already on the Blog. This will be the fifth song. The song is having a lilting tune. After you hear it completely, I am sure it will not leave your memory because of the old Natya Sangeet style of singing.

A brief summary of the film is,

Saudamini (Durga Khote) is denied custody of her son by the Queen (Karuna Devi) and Durjaya, the tyrannical Minister of Justice (Chandra Mohan) after she separates from her husband. Durjaya tells her that a woman is the slave of her husband and essentially has no rights. This enrages Saudamini and she vows vengeance and becomes a pirate. She and her pirates capture a ship which is supposed to be carrying the princess Nandini (Shanta Apte). However, she finds her old enemy Durjaya and takes him prisoner cutting off one of his legs. Nandini has been hiding in chest, and when she comes out of it, the imprisoned Durjaya sees her. He falls in love with her and offers her his food. Nandini however falls in love with a young shepherd boy Sudhir (Nandrekar). When she meets Saudamini and her helper Rekha (Vasanti) she joins them as a pirate and tells Sudhir off. Durjaya escapes with the help of Sudhir and arrives to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir marry and Rekha carries forward Saudamini’s legacy.

 

———————————————————
Translation (Provided by Sudhir)
———————————————————

karte rahna mismaar, duniya zulm o jafaa ki
This world is of cruelty and injustice
Demolish it, raze it to ashes
[Notes: mismaar = to demolish, raze]

phir se basaao sansaar
himmat waala, izzat wala, jannat waala
amrit dhaara sukh sansaadi bahe wafaa ki
Let us build a new world again
A world of courage
A world of dignity and esteem
A world that is like heaven
Where flows the elixir of love and justice
Having all happiness and resources
[Note: sansaadi = resources; also means complete, undivided, unified]

lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
Let the swords shimmer like the waves of the ocean
Let there be no respite (for the tyrannical and the wicked)
Fight, and seize the wealth of this world
You are the brave amongst the young
In the battlefield, be unperturbed and composed

karna duniya mein manmaani
ban jaawo ho jaawo laasaani
tan de dena, dhan de dena
vachan naa apna nishfal karna
Have your own way with this world
Become matchless, unconquerable
Stake your assets, and yourself
But never let your word, your promise be fruitless
[Note: laasaani = matchless, incomparable]

bal dikhlaayenge, mar khap jaayenge
kadam badhaayenge, safal kahaayenge
We shall display our valour, our strength
We may die, may be destroyed
But we shall always move forward
We shall always be known as the victors

[Editor’s Note: As noted by Arun ji, this song appears in the film more than once. As one starts to view this film, this song is the very first thing that plays after the initial credits. In this initial playing, the main singers are Saudamini (Durga Khote) and Rekha (Vasanti), with crew of their pirate ship joining in chorus. Nandini (Shanta Apte) is not yet on the scene. Later in the sequence of events, when Saudamini has been captured by Durjaya (Chander Mohan), this song is initiated once again by Rekha, to bring life and strength to the ship’s crew, who are completely demoralized after the capture of their leader. At this stage, Nandini has also joined the ship. In this reprise of the song, the singing voices are now of Vasanti, Durga Khote and Shanta Apte. The video clip that is accompanying this post, is the clip of this second playing of the song. The song starts as a chorus background. Then the young Rekha starts to sing the initial lines, then there is a flashback as Saudamini is shown being taken away as a prisoner. This part of the song is in Durga Khote’s voice, part of the same lines that she sings in the initial playing of this song. Then Nandini joins the singing, and the voice here is of Shanta Apte. The ship’s crew then steps in once again with chorus. In the initial playing, the lines being sung by Nandini (in this video clip) are also sung by Saudamini.]


Song – Karte Rehna Mismaar Duniya Zulm o Jafaa Ki (Amar Jyoti) (1936) Singer – Vasanti, Durga Khote, Shanta Apte, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Chorus

Lyrics 

karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
phir se basaao sansaar
himmat waala
izzat wala
jannat waala
amrit dhaara
sukh sansaadi
bahe wafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki

lehron mein lehron si shamsheer chamke
lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji

karna duniya mein manmaani
karna duniya mein manma..aani
ban jaawo ho jaawo laasaani
ban jaawo ho jaawo laasaani
tan de dena
dhan de dena
tan de dena
dhan de dena
vachan naa apna nishfal karna
bal dikhlaayenge
mar khap jaayenge
kadam badhaayenge
safal kahaayenge
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
फिर से बसाओ संसार
हिम्मत वाला
इज्ज़त वाला
जन्नत वाला
अमृत धारा
सुख संसादी बहे वफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की

लहरों में लहरों सी शमशीर चमके
लहरों में लहरों सी शमशीर चमके
पावे ना मुहलत
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी

करना दुनिया में मनमानी
करना दुनिया में मनमा॰॰आनी
बन जावो हो जावो लासानी
बन जावो हो जावो लासानी

तन दे देना
धन दे देना
तन दे देना
धन दे देना
वचन ना अपना निष्फल करना
बल दिखलाएंगे
मर खप जाएँगे
कदम बढ़ाएँगे
सफल कहायेंगे
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया॰॰॰


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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.

zamaanaa bade shauq se sun raha tha
hameen so gaye daastaan kehte kehte
hameen so gaye

Today is the remembrance day of legendary singer Mukesh. (23 July 1922 to 27 August 1976).

“Each word from his lips was a pearl. No one could sing the way Mukesh did, with the right diction, inflexion and intonation. His vocal timbre was out of this world.”

These are the words of composer Salil Choudhary in praise of the voice of Mukesh.

There are many die-hard fans of Mukesh and his tribe swears by him. To hear his voice, is to understand the world around us in its purest form. For his voice represents truth, purity, honesty and it was sung straight from the deepest portions of his heart. A soothing voice to the disheartened, God’s own voice in his bhajans, optimism in his patriotic songs, true love in romantic numbers, and moreover the voice of the greatest showman our country has ever seen, the voice of Mukesh will remain an inseparable chapter in the annals of HFM.

Jaane Kahaan Gaye Wo Din” (‘Mera Naam Joker’, 1970) was sung as if a lifeless body was screeching for the injustices it had been subjected to. The more one hears this song in solitary confinements, the more one wonders how a playback singer could emulate the character with such authentic despondency.

Dost Dost Na Raha” (‘Sangam’, 1964) portrays the entire film in 3 minutes. It’s the voice which gives potency to the emotional expressions of all the three characters involved.

Listen to “Ramaiyya Vastavaiya” (‘Shri 420’, 1955) and “Dil Ne Phir Yaad Kiya” (‘Dil Ne Phir Yaad Kiya’, 1966). The voice that appears late in the songs, makes one to sit up and take notice.

Kisi Ki Muskuraahaton Pe Ho Nisar” (‘Anaari’, 1959) , “Haal e Dil Hamara” (‘Shriman Satyawadi’, 1960),  and “Chhodo Kal Ki Baaten Kal Ki Baat Puraani” (‘Hum Hindustani’, 1960) etc. brim with confidence and instil optimism in the minds of the listeners.

Kahin Door Jab Din Dhal Jaaye” (‘Anand’, 1970) explains the loneliness of the actor, even though the whole film is about his lively nature and knowing very well that it’s the dusk of his life.

It would not be an exaggeration to say for the film ‘Kabhi Kabhie’ (1976), the title song sung by Mukesh is what continues to remain in public memory after all these years.

OP Nayyar, who used Mukesh sparingly, just for less than half a dozen songs, reluctantly gave his only solo to the singer in ‘Sambandh’ (1969) for a background song during the rolling of titles. Today, what remains of the film is the song “Chal Akela, Chal Akela, Chal Akela”.

The list of such impeccable playback sounds rendered to the character’s portrayal on the screen is quite long and almost seems to be endless. Each song, a perfect gem, sung with utmost sincerity and humility.

Today, I bring to the music lovers, a NFS, again the voice articulating melancholy, the virtue for which Mukesh will remain unforgettable.

Translation (Provided by Sudhir)
———————————————-

aabaad raho mere dil ko jalaane waale
tum shaad raho meri hasti mitaane waale

May you be and remain well settled
O the one who has burnt my heart to cinders
May you be ever cheerful and happy
O the one who has erased my very being and existence
[Notes: shaad = happy, cheerful;
hasti = being, existence]

aana kabhi turbat pe do aansoo bahaane ko
teere e nazar se khoon ke dariya bahaane waale

Pray that you may visit my grave sometime, some day
And shed just a drop of tear (for me)
O the one who has shed rivers of blood
With the arrows of glances
[Notes: turbat = grave, earth]

shama bhi jala dena mere mazaar pe tum
har dam hi aashiqon ke dil ko jalaane waale

May you light a lamp
When you come visiting my burial crypt
O the one who has always lit the fires
To burn the hearts of the admirers
[Notes: shamma = lamp, light
mazaar = tomb, masoleum
aashiq = lover, admirer]


Song – Aabaad Raho. . . Mere Dil Ko Jalaane Waale  (Mukesh – NFS) (1950) Singer – Mukesh, Lyrics – Madhukar Rajasthani, MD – V Balsara

Lyrics

aabaad raho o o o
aabaad raho o o o
mere dil ko jalaane waale ae
dil ko jalaane waale
tum shaad raho o o o
tum shaad raho o o o
meri hasti miṭaane waale
hasti miṭaane waale

aana kabhi turbat pe
do aansoo bahaane ko
o o o o o
aana kabhi turbat pe
do aansoo bahaane ko
o o o o o
teere e nazar se khoon ke
teere e nazar se khoon ke
o dariya bahaane waale ae
dariya bahaane waale

shamma bhi jala dena
mere mazaar pe tum
shama bhi jala dena
mere mazaar pe tum
har dam hi aashiqon ke
har dam hi aashiqon ke
o dil ko jalaane waale ae
dil ko jalaane waale
aabaad raho o o oo
aabaad raho oo
mere dil ko jalaane waale
dil ko jalaane waale

————————————–
Devnagri script lyrics (Provided by Sudhir)
—————————————
आबाद रहो ओ ओ
आबाद रहो ओ ओ
मेरे दिल को जलाने वाले
दिल को जलाने वाले
तुम शाद रहो ओ ओ
तुम शाद रहो ओ ओ
मेरी हस्ती मिटाने वाले
हस्ती मिटाने वाले

आना कभी तुरबत पे
दो आँसू बहाने को
ओ ओ ओ ओ
आना कभी तुरबत पे
दो आँसू बहाने को
ओ ओ ओ ओ
तीर ए नज़र से खूं के
तीर ए नज़र से खूं के
ओ दरिया बहाने वाले
दरिया बहाने वाले

शम्मा भी जला देना
मेरे मज़ार पे तुम
शम्मा भी जला देना
मेरे मज़ार पे तुम
हर दम ही आशिकों के
हर दम ही आशिकों के
ओ दिल को जलाने वाले
दिल को जलाने वाले

आबाद रहो ओ ओ
आबाद रहो ओ
मेरे दिल को जलाने वाले
दिल को जलाने वाले


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
—————————————————-

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॰ ॰ ॰


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.
Read more on this topic…


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
———————————————
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…


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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

13579

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Movies with all their songs covered =1015
Total Number of movies covered =3721

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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