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

Archive for the ‘Yearwise breakup of songs’ Category


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.

“Bihaari”(1948) was directed by K D Katkar and A R Zameendaar for Samajchitra, Bombay.. This “Social” movie had B Nandrekar, Surekha, H Prakash, Nimbalkar, Samson, Sheikh, Fayazbai, Shabnam etc in it.

This obscure movie had ten songs in it that were penned by four lyricists and composed by two music directors.

One song from the movie was covered in the blog some three years ago. Here is the second song from “Bihaari”(1948) to appear in the blog.

This rare song is uploaded on YT by our own Mr Sadanand Kamath. normally I avoid discussing songs uploaded by him, preferring that he himself covers the song. But he has given us all an open offer to discuss these songs. Moreover, he on these days has left foor his annual activity, viz on a trek to mountains of Himalayas, so he may be back only after a few weeks.

This song is sung by Amirbai Karnataki. This is the only song in the movie whose lyricist as well as music director are unknown. The movie had Naresh Bhattacharya and Ramkrishna Shinde as the two music directors. It appears to me that the music is more Mumbai school rather than Bangal school so I have considered this song as a composition by Ramkrishn Shinde. I request our knowledgeable readers to throw light on the movie, its lyricist and music director and also on the picturisation of this song.

Lyrics of this song were sent to me by Avinash Scrapwala long back in 2014.


Song-Prem ke moti laayi badariya (Bihaari)(1948) Singer-Amirbai Karnataki, MD-Ramkrishn Shinde

Lyrics (Provided by Avinash Scrapwala)

laayi laayi laayi
prem ke moti laayi badariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi
aao aao mere saanwariya aa
aao aao mere saanwariya aa
prem ke moti laayi badariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi

tere liye mein haar banaaun
chanda ki kirnon se sajaaun
taare na maaren tujh ko najariya
taare na maaren tujh ko najariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi
hansi khushi main naachoon gaaun
sambhal sambhal kar kadam uthaaoon
sambhal sambhal kar kadam uthaaoon
odh ke aa mori hari chundriya
prem ke moti laayi
prem ke moti badariya
prem ke moti laayi

hans hans kar kaliyon ki jawaani
kahti hai mujhko
kahti hai mujhko roop ki raani
aayenge ab wo tere saanwariya
aayenge ab wo tere saanwariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi
aao aao mere saanwariya aa
aao aao mere saanwariya aa
prem ke moti laayi badariya
prem ke moti laayi
prem ke moti laayi badariya
prem ke moti laayi

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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.

After discussing over 13600 songs in the blog, which is roughly 25 % of all Hindi movie songs created upto 1980 and nearly 40 % percent of all the available songs (my rough estimate), one may feel that almost all great songs have already been covered in the blog. May be we have covered majority of “well known” songs, but I keep discoveing great “lesser known” or “forgotten” gems almost on a daily basis. some of them are such great songs to listen to that I want to hold them back for special occasions. But I find that there are so many of them and holding all of them back for special occasions would mean that I would have very few songs available for immediate discussion.

For instance, I would like to discuss Mubarak Begam songs in the blog. At present she has 76 songs in the blog, including her well known songs. The “lesser known” Mubarak Begam songs that I have discovered are such great songs that I am in a dilemma. And I am also surprised how these songs have stayed hidden for this long.

Another such singer is Talat Megmood. He sang some 450 plus songs in all. This blog already has 366 Talat Mehmood songs. So less than 100 Talat Mehmood songs are left to be discussed. And what great songs they are. Just now I “discovered” a Talat Mehmood song, which I held back- no, not for a special occasion, but as one that deserves at least a special writeup. Then I discovered another Talat Mehmood song. Instead of postponing the discussion of such great songs, I decided that present time was as good a time as any to discuss this song.

This song is from “Rishta”(1954). This movie was produced by Rashid Parvez and directed by Aslam for Rajasthan Productions, Bombay. This movie had Nigar Sultana, Suresh, Anwar, S Nazir, Rai Mohan, Leela Mishra, Neelam, Faizi, Agni, Sheikh, Ramlal, K R Thapar, Baby Chaand, Nadir, Kalyan, Vijaylami etc in it.

This movie had seven songs in it. Three of these songs have been covered in the blog in the past. This includes a great song sung by Mubarak Begam.

The song under discussion is sung by Talat Mehmood. Pt Phani is the lyricist. Music is composed by K Datta aka Datta Korgaaonkar.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song. Even otherwise, this is a great song to listen to. A forgotten gem indeed.


Song-O jaane waale tum na maane (Rishta)(1954) Singer-Talat Mehmood, Lyrics-Pt Phani, MD-Datta Korgaonkar

Lyrics

khata kya hamaari ee ee
ada kya tumhaari ee ee
jo roothhi hai hamse mohabbat hamaari

o jaane waale ae
o jaane waale
jaane waale
tum na maane
tum na samjhe
tum na jaane
aur chal diye
chal diye
o jaane waale

o o
dard jaga kar aankh churaai
maaregi ye hamen judaai
maaregi ye hamen judaai
tum na jaane
ham deewaane
kaun thhikaane aur chal diye
chal diye
o jaane waale

haan aan aan
aankh ke moti
aankh mein toote ae ae
pyaar ke waade jhoothhe jhoothhe
aa aa aa
apne sapne
haaye na apne ae
ho begaane
aur chal diye
o jaane waale
o jaane waale
jaane waale
tum na maane
tum na samjhe
tum na jaane
aur chal diye
chal diye
o jaane waale

o o
dil ki ye dhadkan tumhen pukaare
shaam suhaani
jeet ke haare
shaam suhaani
jeet ke haare
tum na bole
tum na dole
is bahaane aur chal diye
chal diye
o jaane waale


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.

“Baaghi Sardaar”(1956) was directed by Majnoo for Baroda Theatre Super Movies, Bombay. This “costume drama” (Veshbhoosha Pradhan) movie had Daljeet, Chitra, Majnoo, Ameeta, Amarnath, Prithvipal, Sheikh, Ramesh Thakar, Helen, Kammo, Shakuntala, Satish batra, Kanchanmala, Jugal Kishore etc in it.

The movie had eight songs in it. One song from the movie has been covered in the past. That was as far back as in june 2011 and that song was the song number 3999 for this blog. 🙂

Here is the second song from “Baaghi Sardaar”(1956) in the blog. This song is sung by Geeta Dutt and chorus. S H Bihari is the lyricist. Music is composed by B N Bali.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Zindagi fasaana hai beraham zamaana hai (Baaghi Sardaar)(1956) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-B N Bali
Chorus

Lyrics

zindagi fasaana hai
hmm hmm hmm
beraham zamaana hai
hmm hmm hmm
muskuraana aadmi ka rone ka bahaana hai
zindagi fasaana hai
badhe chalo
badhe chalo
badhe chalo
badhe chalo

ro rahi hai ye zameen een
chup khada hai aasmaan
aa aa aa aa
is jahaan mein lut gaya aa
zindagi ka kaarvaan
hans raha hai baghbaan
ke jalta aashiyaana hai
zindagi fasaana hai
hmm hmm hmm
beraham zamaana hai
hmm hmm hmm
muskuraana aadmi ka rone ka bahaana hai
zindagi fasaana hai
badhe chalo
badhe chalo

naam jiska hai bahaar
wo khizaan ka rang hai
aa aa aa aa
zindagi fareb hai ae ae
har khushi umang hai
har khushi ki ragini mein
gham bhara taraana hai
zindagi fasaana hai
badhe chalo
badhe chalo

keh rahi hoon alvida aa
apne dil ko thhaam ke
aa aa aa aa
mil gaye naseeb se ae
ashk subaho shaam ke ae
har kadam pe motiyon ka lut raha khazaana hai
zindagi fasaana hai
hmm hmm hmm
beraham zamaana hai
hmm hmm hmm
muskuraana aadmi ka rone ka bahaana hai
zindagi fasaana hai
(badhe chalo
badhe chalo
badhe chalo badhe chalo
)
alvida alvida
(badhe chalo
badhe chalo
)
alvida alvida
alvida alvida


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.

Saga Of Sleepless Nights – 3
– – – – – – – – – – – – – – –

neend kabhi rehti thi aankhon mein
ab rehte hain saanwariya

Aah, so now we know, the sleep can no longer come to the eyes, for the eyes are already occupied with the images of the beloved. You cannot accommodate two swords in a single scabbard. Or for that matter, two lions in the same cave. So it has to be that sleep will have to wait outside, while the joys of visions of the beloved crowd all the room inside the eyes.

I fall back on Shakespeare, yet once again – this endearing snippet from a sonnet, that tells of why the eyes are without sleep, although the limbs are dreadfully tired. Just read these lines,

weary with toil, i haste me to my bed,
the dear repose for limbs with travel tired;
but then begins a journey in my head
to work my mind, when body’s work’s expired:

for then my thoughts–from far where i abide–
intend a zealous pilgrimage to thee,
and keep my drooping eyelids open wide,
looking on darkness which the blind do see:

save that my soul’s imaginary sight
presents thy shadow to my sightless view,
which, like a jewel hung in ghastly night,
makes black night beauteous, and her old face new.

He is putting the blame on his thoughts; that they are intending to make a pilgrimage to you, and intend to keep the drooping eyelids open wide. And when that sight is reached – “thy shadow to my sightless view”, it is like a bright shining jewel hung in the darkness of the ‘ghastly night’. And the consequential effect – the night becomes ‘beauteous’ and her old tired face seems so new. And this jewel of an image is preferred over the fatigue of the limbs and the sleep that they are demanding.

But even Shakespeare sound somewhat rough around the edges, when we compare his creation to the similar sounding songs of Hindi films. Think of “Neend Kabhi Rehti Thi Aankhon Mein, Ab Rehte Hain Saanwariya” (‘Aasra’, 1966). And my mind would prefer the soft melody of this song. Or the lilting strains of “Meri Aankhon Mein Bas Gaya Koi Re, Mujhe Neend Na Aaye Mein Kya Karoon” (‘Barsaat’, 1949).

Today’s song is somewhat unfamiliar – from the 1950 film ‘Muqaddar’. The singer is Nalini Jaiwant. Lyrics are from the pen of Raja Mehdi Ali Khan, and the music is composed by Khemchand Prakash and Bhola Shreshtha. Yes, the Geet Kosh indicates that the music is composed by the two together. This would be one of the very last films of Kehmchand Prakash, as he passed away on 10th Aug of 1950. So it is possible that the work begun by him, was completed by Bhola Shreshtha.

Nalini Jaiwant has a small repertoire of songs she has rendered in Hindi films. Her singing in films is clustered in two periods – from 1941 to 1943 and then from 1948 to 1950. One solo film follows in 1955. The films are ‘Bahen’, ‘Nirdosh’, ‘Radhika’ in 1941, ‘Aankh Micholi’ in 1942 and ‘Adaab Arz’ in 1943. Then we have ‘Gunjan’ in 1948, ‘Chakori’ in 1949, and then ‘Hindustan Hamaara’ and ‘Muqaddar’ in 1950. The film in 1955 is ‘Chingaari’. Total songs she has sung in films is 40, as per Geet Kosh listings. On the blog, we already have showcased six songs in her voice. This is her seventh rendering to be represented here.

Listen to this perky rendering, and if in love, prepare for another night without sleep.

And so continues the saga of sleepless nights. . .

 

 

Song – Jab Nainon Mein Koi Aan Basey  (Muqaddar) (1950) Singer – Nalini Jaiwant, Lyrics – Raja Mehdi Ali Khan, MD – Khemchand Prakash-Bhola Shreshtha

Lyrics

jab nainon mein koi aan basey
jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
jab dil mein pyaar ki hook uthey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab boley papiha piya piya
jab boley papiha piya piya
thar thar kaanpe haaye mora jiya
thar thar kaanpe haaye mora jiya
jab thandi hawa betaab bahe
jab thandi hawa betaab bahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab prem badariya chhaai ho
jab prem badariya chhaai ho
aur yaad
aur yaad kisi ki aai ho
aur yaad kisi ki aai ho
ik dil ko ik dil yaad kare
ik dil ko ik dil yaad kare
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

kuchh keh gaye aankhon aankhon mein
kuchh keh gaye aankhon aankhon mein. . .
dil le gaye
dil le gaye baaton baaton mein
dil le gaye baaton baaton mein
jab dil na kisi ke paas rahe
jab dil na kisi ke paas rahe
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan

jab nainon mein koi aan basey
phir neend kahaan
o phir chain kahaan
phir neend kahaan
o phir chain kahaan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
जब नैनों में कोई आन बसे
जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ
जब दिल में प्यार की हूक उठे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब बोले पपीहा पिया पिया
जब बोले पपीहा पिया पिया
थर थर काँपे हाए मोरा जिया
थर थर काँपे हाए मोरा जिया
जब ठंडी हवा बेताब बहे
जब ठंडी हवा बेताब बहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब प्रेम बदरिया छाई हो
जब प्रेम बदरिया छाई हो
और याद
और याद किसी की आई हो
और याद किसी की आई हो
इक दिल को इक दिल याद करे
इक दिल को इक दिल याद करे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

कुछ कह गए आँखों आँखों में
कुछ कह गए आँखों आँखों में॰ ॰ ॰
दिल ले गए
दिल ले गए बातों बातों में
दिल ले गए बातों बातों में
जब दिल न किसी के पास रहे
जब दिल न किसी के पास रहे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

जब नैनों में कोई आन बसे
फिर नींद कहाँ
ओ फिर चैन कहाँ
फिर नींद कहाँ
ओ फिर चैन कहाँ

 


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 film Ghar Ki Izzat (1948). It is a lively duet of Shamshad Begum and Ram Kamlani. The film is produced and directed by Ram Daryani, under the banner of Murli Cinetone, Bombay. Music was given by Pt Gobind Ram and songs and dialogues were by Ishwar Chandra Kapoor. The cast of the film was Mumtaz Shanti, Dilip Kumar, Gope, Gulab, Dixit, Manorama, Jeevan, Suleiman etc etc.

In the early decades of talkie era, i.e. in the 1930s and 40s, many Muslim actors and actresses took on Hindu names, for obvious reasons. Here are some such examples – Mumtaz Shanti (real name – Mumtaz Begum), Renuka Devi (Begum Khurshid Mirza), Neena (Shahida), Meena Shorey (Khursheed Jehan), Geeta Nizami (Rasheeda Begum), Madhubala (Mumtaz Jehan), Indurani (Ishrat Jehan), Veena (Tajour Sultana), Shyama (Khurshid Akhtar), Dilip Kumar (Yusuf Khan), Jayant (Zakaria Khan), Kumar (Syed Ali Hasan Zaidi), Suresh (Naseem Ahmed), Sudhir (Shah Zamaan Khan) and many more.

However, not all did this. Those who did not change name were Mehboob Khan, Mazhar Khan, Ashraf Khan, Najmul Hasan, Zubeida, Noorjehan, Khursheed etc etc.

After Independence, this trend diminished, but a new trend started – that of taking on a screen name other than the real name. Some examples are Sunil Dutt, Balraj Sahni, Sanjeev kumar, Raaj Kumar, Jeetendra, Rajesh Khanna, Akshay Kumar etc. A full article can be written on this subject, but this is enough for now.

Film ‘Ghar Ki Izzat’ was the only film Mumtaz Shanti did with Dilip kumar. Compared to young Dilip Kumar, Mumtaz Shanti was more successful and experienced with films like ‘Basant’ (1942) and ‘Kismet’ (1943). She had worked with top actors of that era, like Ashok Kumar. In this film, you can see an awkward Dilip Kumar and a vibrant and seasoned actress Mumtaz Shanti.

Mumtaz Shanti or Mumtaz Begum was born in 1922 at village Dinga in Punjab (now in Pakistan). She lost her parents early and she was brought up by her uncle who was a police constable. After his transfer to Lahore, Mumtaz was able to continue her schooling. She learnt dancing and music. She was also an expert in household chores. At the start of filmi career, she was at first rejected by Shorey Pictures. But then the famous writer/lyricist Wali Saheb helped her and took her to Calcutta’s East India Film Co. to work in a Punjabi film ‘Sohni Kumharan’ (1937). She also did another Punjabi film ‘Chambey Di Daali’ (1941) in Calcutta. Now the things were different and she was invited by Shorey Pictures to Lahore, to act in their Punjabi film ‘Mangti ‘ (1942). This film was immensely successful and ran for 65 weeks giving her name and fame.

Rai Bahadur Chunilal Of Bombay Talkies  offered her a role in their film ‘Basant’ (1942). She came to Bombay and did Basant and then ‘Kismet’ (1943). Both the films were hits all over India.  Mumtaz was good looking, tall and lithe, so looked attractive. After ‘Kismet’ she became a free lancer and worked with many different studios. Her notable films are ‘Badalti Duniya’ and ‘Sawaal’ (1943), ‘Bharthari’, ‘Lady Doctor’ and ‘Pagli Duniya’ (1944), ‘Chaand Chakori’ (1945), ‘Shravan Kumar’, ‘Dharti’, ‘Magadhraj’ and ‘Pujari’ (1946), ‘Dekhojee’ and ‘Doosri Shadi’ (1947), ‘Padmini’, ‘Heer Ranjha’ and ‘Ghar Ki Izzat’ (1948), ‘Putli’, ‘Biwi’ and ‘Aahuti’ (1950). Her last film in India was ‘Zamaane Ki Hawa’ (1952). In all she worked in 21 Hindi and 4 Punjabi films. She did 2 films in Calcutta, 4 in Lahore and the rest in Bombay.

She married lyricist/writer/director Wali Saheb in 1947. He directed her in 3 films in India. He was very strict and forced her to come to studios only in burqa. She was not allowed to talk to anyone. No one was allowed to touch her, even in any scene. They migrated to Pakistan after 1953. She retired from films and remained a housewife only. Wali Saheb did 3-4 films in Pakistan, without much success. He passed away in 1977. Mumtaz Shanti passed away in 1993/94, unsung and unknown in Pakistan.

After Independence films were being made on social values which the Indian people wanted to inculcate in their new life, like importance of joint families, need to do hard work, need to abolish bad customs like dowry, bridging the gap between the rich and the poor, importance of education, women’s emancipation, abolition of castes and untouchability, respecting elders and traditions etc. Thus it will be seen that every film had some or the other message for the society.

This was also one such film, in which the makers stressed the need to strengthen the joint family tradition and to reduce the gap between the rich and the poor. The film had become quite popular, as it did not sound like a propaganda film but the message was conveyed in a very entertaining way. The songs were good and became popular. The music of this film is composed by Pt Gobind Ram.

Pt Gobind Ram was a highly respected composer in the industry for his originality. Stalwarts like C Ramchandra considered Sajjaad Husain and Pt Gobind Ram ji as the original composers. It is stated by Pankaj Raag in his book ‘Dhunon Ki Yatra’ that in the mid 1940s, “. . . when K Asif planned his magnum opus ‘Mughal e Azam’, he had initially engaged Gobindram ji as the music director”. It is another thing that the film was delayed, for other reasons, by almost 15 years. Almost all the main players in the film got changed during this period of delay, including the music director. During his career, Pt Gobind Ram gave music to 32 films from 1937 to 1955, composing 302 songs.

Just before writing this article, I saw this film on YouTube to refresh my memory. I had seen the film in the early 1950s in its second run in Hyderabad. The cast of the film includes the name Dixit.  Only a handful readers will recollect who he was, but there was a time in the early talkie era of 1930s and the 40s when he was a popular name. He and actor Ghory had formed a comic pair on the lines of the Laurel and Hardy team of the English cinema. In those days 4 comedians were popular – Dixit, Ghory, Kesari and Charlie.

Manohar Janardan Dikshit (this became Dixit in film line) was born on 12-11-1906 at Sinnar in Nashik district of Maharashtra. It seems, his arrival in this world was predicted by a sadhu. Somehow, in Dixit’s career, roles of sadhu played a vital role. He acted as a sadhu in as many as 31 films. His father was a district judge and was very strict at home. Due to frequent transfers, Dixit lost interest in studies. After two unsuccessful attempts in matriculation, he stopped going to school.

He started his film career as an assistant cameraman in Navjeevan Studio, with the help of Mama Varerkar, a noted Marathi writer who was associated with many studios of Hindi films. Of course Dixit did not learn anything of cinematography and did only manual works like carrying the camera etc. On the 14th November 1929, he faced the camera for his first role in the silent film ‘Sparkling Youth’ with P Jairaj and Madhav Kale. In Navjeevan Studios he did 3 more silent films and then joined the prospering, upcoming Ranjit Film company. Here he met his future partner Nazir Ahmed Ghory, who was born on 11-8-1901 at Bombay. Ghory was a graduate in those days. They paired in their first comedy film, ‘Char Chakram’ (1932), directed by Jayant Desai. The four ‘chakrams‘ in the film were Dixit, Ghory, Eddie Bilimoria and Madhuri. It was a hit film and the comedy pair became famous. They copied Laurel and Hardy. They even looked like them. Dixit was the Hardy part of the team.

They continued working together till 1947. I do not know exactly, but my guess is that they worked together in about 20 films. After partition, Ghory migrated to Pakistan and Dixit worked alone. Dixit was described by Baburao Patel as ‘our best comedian’. He was the darling of film critics too. Unfortunately, all the Ranjit Films where in they worked together were destroyed along with other negatives and except for few photos and stories about them, nothing remains now. Dixit worked in 4 silent and 66 Talkie films in 17 years’ time. For a person carrying 220 pounds weight, it was really creditable.

After the film ‘Ghar Ki Izzat’, Dixit suffered from a heart attack and he passed away on 29-6-1949 (adapted from Eena Meena Deeka and MuVyz, with thanks.)

The story of the film,

Seth Chunilal (Dixit) is a rich person. His daughter Radhika (Manorama) has married Chaman (Gope) who is their ‘ghar jamaai‘. He does not work anywhere. Radhika’s mother (Gulab) taunts him every now and then and one day, frustrated Radhika leaves the house along with Chaman. They start an insurance business and prosper in a village nearby. Chunilal’s son Chander (Dilip Kumar) becomes a lawyer. He visits his sister in the village. In same village, lives Roopa (Mumtaz Shanti) with her two brothers (Jeevan and Suleiman).

Chander gets introduced to this family, falls in love with Roopa and they get married. Upon coming to the city home, Chander’s mother starts taunting the new bahu on her poverty. Bahu, being adarsh bhartiya nari tolerates everything, but Chander gets frustrated and starts drinking. Sister Radhika and Chaman bring him to their house.

Chander’s mother and father start repenting and finally they go to Chander and Roopa, beg their pardon and bring them back with honour. They even call Chander and Radhika, but they refuse to come back, as they have prospered now.

So, all is well that ends well.

 

This film has 11 songs. According to the blog 6 songs are already discussed, but it transpires that one song ‘Ae Dard Zara Dum Le’ posted on 17-5-2011 and included as this film’s song, is actually a song from film ‘Zamana’ (1938). It was only used in this film as a radio song. So actually only 5 songs are covered. Today’s song is the 6th song from this film. In the video, Gope and Manorama singing this melodious song. The newer generation folks will remember the Chachi in the 1972 film ‘Seeta Aur Geeta’. Ah yes, this is the same Manorama.


Song – Aankhon Ko Aankhon Se Do Chaar Kiye Jaao (Ghar Ki Izzat) (1948) Singer – Ram Kamlani, Shamshad Begum, Lyrics – IC Kapoor, MD – Pt Gobind Ram
Shamshad Begum + Ram Kamlani

Lyrics 

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao
aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

hai teer nigaahon mein
aur bijli adaaon mein
hai teer nigaahon mein
aur bijli adaaon mein
bas yun hi mere dil pe
tum vaar kiye jaao
bas yun hi mere dil pe
tum vaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

o mast nazar aaj tu
masti ko luta de
aur chaand se chehre se zara
zulfen hataa de
jo dil mein tere hai
jo dil mein tere hai
wo nigaahon se suna de
ulfat ke nibhaane ka iqraar kiye jaao
ulfat ke nibhaane ka iqraar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

pehlu mein mere chhota sa ik
sehma hua hai dil
har taar hai is dil ka
tere pyaar ke kaabil
aa dekh sajaa rakhi hai
kis thaath se mehfil
aa dekh sajaa rakhi hai
kis thaath se mehfil
ji jaan ka nazraana sarkaar liye jaao
ji jaan ka nazraana sarkaar liye jaao
pyaar kiye jaao ji
pyaar kiye jaao

aankhon se aankhon ko
aankhon se aankhon ko do chaar kiye jaao
pyaar kiye jaao ji
pyaar kiye jaao

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

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ
आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

है तीर निगाहों में
और बिजली अदाओं में
है तीर निगाहों में
और बिजली अदाओं में
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
बस यूं ही मेरे दिल पे
तुम वार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

ओ मस्त नज़र आज तू
मस्ती को लुटा दे
और चाँद से चेहरे से ज़रा
ज़ुल्फें हटा दे
जो दिल में तेरे है
जो दिल में तेरे है
वो निगाहों से सुना दे
उल्फ़त के निभाने का इक़रार किए जाओ
उल्फ़त के निभाने का इक़रार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

पहलू में मेरे छोटा सा इक
सहमा हुआ है दिल
हर तार है इस दिल का
तेरे प्यार के क़ाबिल
आ देख सजा राखी है
किस ठाठ से महफिल
आ देख सजा राखी है
किस ठाठ से महफिल
जी जान का नज़राना सरकार लिए जाओ
जी जान का नज़राना सरकार लिए जाओ
प्यार किए जाओ जी
प्यार किए जाओ

आँखों से आँखों को
आँखों से आँखों को दो चार किए जाओ
प्यार किए जाओ जी
प्यार किए जाओ


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.

“Sultaana Daaku”(1956), not to be confused with “Sultaana Daaku”(1972), was produced by Ramesh Ganatra and Rajni Modi and directed by Mohan Sinha for R D films, Bombay. This “social”(?) movie had Sheila Ramani, Jairaj, Roopmala, B M Vyas, Anil Kishore, Dubey, Amrit Rana, Krishnakumari, Heera Sawant, Ameena Bai, Raju, Lily Kelkar, Abdul azmeri, Master Babla etc in it.

This by now obscure movie had seven songs in it that were penned by four lyricists and were sung by more than eight singers.

Here is the first song from “Sultaana Daaku”(1956) to appear in the blog. This song is sung by Lata. Tanveer Naqvi is the lyricist. Music is composed by Bipin Baabul.

Only the audio of this song is available. I request our knowledgeable readers to throq light on the movie and also on the picturisation of this song.

While I have been able to get most of the lyrics right, there are still some words where I have got stuck. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

This is a nice song to listen to, though I wonder what this song in doing in a movie titled “Sultaana Daaku”(1956) where characters should be rough and tough and not used to the tender feelings that this song expresses. 🙂

With this song, “Sultaana Daaku”(1956) makes its debut in the blog.


Song-Hai qismat ka khel dilon ka mel (Sultaana Daaku)(1956) Singer-Lata, Lyrics-Tanveer Naqvi, MD-Bipin Babul

Lyrics

hai qismat ka khel
dilon ka mel
arre dil deewaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
gham ki lay par gaate gaate
gham ki lay par gaate gaate
doob chali aawaaz
taaren bikhrin naghme ujde
taaren bikhrin naghme ujde
toot gaya hai saaz ho o o
ho gaya dil paamaal
hamaara haal zamaana kya jaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
is duniya mein pyaar bhare dil
is duniya mein pyaar bhare dil
hote hain barbaad
kitne dilon ke rotey armaa..aa..aan
kitne dilon ke rotey armaan
karte hai fariyaad ho o
aansoo thhe anjaan
rahe nakaam wafa ke afsaane
ye hai kaisi reet
ki apne meet
bane hain begaane
hai qismat ka khel
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
है किस्मत का खेल
दिलों का मेल
अरे दिल दीवाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल

ग़म कि लय पर गाते गाते
ग़म कि लय पर गाते गाते
डूब चली आवाज़
तारें बिखरीं नग़मे उजड़े
तारें बिखरीं नग़मे उजड़े
टूट गया है साज हो ओ ओ
हो गया दिल पामाल
हमारा हाल ज़माना क्या जाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल

इस दुनिया में प्यार भरे दिल
इस दुनिया में प्यार भरे दिल
होते हैं बर्बाद
कितने दिलों के रोते अरमा॰॰आं॰॰आं
कितने दिलों के रोते अरमां
करते हैं फरियाद हो ओ
आंसूं थे अंजान
रहे नाकाम वफा के अफसाने
ये है कैसी रीत
कि अपने मीत
बने हैं बेगाने
है किस्मत का खेल


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.

“Daaera”(1953) was produced and directed by Kamal Amrohi for Kamal Pictures, Bombay. the movie had Meena Kumari, Nasir Khan, Kumar, Roopmala, Nana Palsikar, Protima Devi, Kammo, Jankidas, H Prakash, Romesh Kapoor, Zarina etc in it.

The movie had eight songs in it. Seven songs from the movie have been covered in the blog. Here is the eighth and final song from “Daaera”(1953) to appear in the blog. This song is sung by Mubarak Begam. Majrooh sultanpuri is the lyricist. Music is composed by Jamal Sen.

I have failed to get the lyrics right at quite a few places. I request our readers with keener eras to help fill in the blanks/ suggest corrections in the lyrics as applicable.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this ghazal.

With this song, “Daaera”(1953) joins the list of movies that have all their songs covered in the blog.


Song-Jali jo shama zamaane ko ho gaya maaloom(Daaera)(1953) Singer-Mubarak Begam, Lyrics-Majrooh Sultanpuri, MD-Jamal Sen

Lyrics

jali jo shamma aa aa
jali jo shamma
zamaane ko ho gaya maaloom
jo ham pe beet rahi hai
kisi ko kya maloom

mili thhi ham ko jo
do din ki zindagi ae dil
mili thhi ham ko jo
do din ki zindagi ae dil
ajab tarah se kategi
hamen na thha maaloom

yahi jo hai gham e hasti
to kya ilaaj iska
yahi jo hai gham e hasti
to kya ilaaj iska
suna hai maut dawa hai
to wo bhi kya maaloom

koi bataaye ke hai
kis taraf safar apna
na manzilon ka pata hai
na raasta maloom
jali jo shamma

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

जली जो शम्मा॰॰आ॰॰आ
जली जो शम्मा
ज़माने को हो गया मालूम
जो हम पे बीत रही है
किसी को क्या मालूम

मिली थी हमको जो
दो दिन की ज़िंदगी ए दिल
मिली थी हमको जो
दो दिन की ज़िंदगी ए दिल
अजब तरह से कटेगी
हमें ना था मालूम

यही जो है ग़म ए हस्ती
तो क्या इलाज इसका
यही जो है ग़म ए हस्ती
तो क्या इलाज इसका
सुना है मौत दवा है
तो वो भी क्या मालूम

कोई बताए के है
किस तरफ सफर अपना
ना मंज़िलों का पता है
ना रास्ता मालूम
जली जो शम्मा॰॰॰


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.

This post is the 13600th post, 600th song of Sahir Ludhianvi and 1100th post of Sudhir Jee in the blog.

One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.

Ah yes, all this is being said because I have been trying to locate a good, attractive favorite song penned by Sahir Sb, for this celebration post today. So yes, this post is celebrating two major milestones. We arrive at the 13,600th station in this musical journey. In the same stroke, we are also celebrating a score of 600 songs posted, that have come from the pen of Sahir Ludhianvi. Congratulations to one and all members of this musical bandwagon, and all readers and friends on this blog. The going has been somewhat slow during the recent few weeks, but we continue to trek along these musical paths. The going is still strong – we still just at 35 to 40% of the known songs, considering the period from 1931 to 1980 (as covered in the first five volumes of the HFGK).

However, the same cannot be said of the artists. As we continue to progress and as we start getting near to the total number of songs of an artist, it then becomes somewhat of an effort, to search out a suitable, likeable song from the remaining lot. I have been working through the lists of remaining songs of Sahir Sb much of the early part of today. I picked out a few candidate songs, from across the years his career spans. With an excellent poet like him, I notice that majority, and I mean majority, of the songs written by him are accounted for. I run through the Geet Kosh, and the film name will tell me, not even try looking into the list, because this film is most certainly already ‘Yippeee’d’. Oh yes, I do pick up some, as I said earlier, but reaching 1964, checking out this film ‘Dooj Ka Chaand’, I was surprised that this film is not yet part of the Yippeee list on the blog. Scanning the list of songs, it is almost goose bumps running down my back, as I see this song listed. Quick check on the blog and I find this song is not yet present on the blog. I have made this faux pas a few times in the past, so I quickly send an email to Atul ji, to get a confirmation. I start to prepare the post in anticipation, as I wait for his response. The confirmation email from him a little while later is quite a relief, as you may understand. 🙂

The story of Sahir is a journey in bittersweet loneliness. His own life, his experiences and his personal emotions are quite reflected in the songs and his poetry. A romantic at heart, he was once expelled from his college (in Lahore) by the principal, who saw him sitting in the college lawns with a lady student. That same college today has an auditorium named after him. A childhood that begins with bitter family experiences – a strict and abusive father, and a mother who left the household on that account. He was close to his mother, who ensured that his education continued, even though she was not part of the family, strictly speaking. His poetry budded and took shape within him, and he published his first collection while still at college. The collection is titled ‘Talkhiyaan’ (तल्खियाँ). Literally, it means ‘bitternesses’. . .

The saga of the mutual love and attraction between Sahir and Amrita Pritam, the famous Punjabi poetess and author, is well known. It is not really clear what kept them apart. Was it that Amrita was already a married woman when they met? Was is familial or community apprehensions? We would not know. Theirs was an association of silence, and that is how it has remained – a mystery in silence. At one place, Amrita has written –

“our meetings and being together, were passages of silence. . . for me, it seemed as if the loneliness and silences of my soul took a human shape and came to sit besides me. . . he would be smoking all the time, and when he left, what remained behind was an ashtray full of half smoked cigarettes. . . I would keep them as treasures, and once in a while, would smoke them. . . holding that cigarette in my hand was like him holding my hand. . .”

There is one reference one finds to this personal affair. It is said that Sahir once said to his mother that the only one that could have been her ’bahu’ was Amrita.

Cigarettes and drink became his life, and he passed away quite early – just 57. Lines from two songs simply sum up his passage from the world of living. One – “Main Zindagi Ka Saath Nibhaata Chala Gaya”; I refer to the line “Har Fikr Ko Dhuen Mein Udaata Chala Gaya”. And the second – “Mehfil Se Utth Jaane Waalo”; I refer to the line “Mere Saathi. . . Mere Saathi. . . Mere Saathi Khaali Jaam”. A romantic – lived as one, passed away as one.

Today’s song is a wonderful duet between Lata ji and Asha ji. ‘Dooj’ is the second day in the waxing cycle of the moon. It is on this day that the first crescent of the moon really becomes visible. This view of the moon is considered to be the most auspicious. The Muslims celebrate their Id when this crescent moon is sighted. And in scriptures and books of Hinduism, this sighting finds many mentions, as an auspicious occasion. There is couplet (author unknown) which goes like,

avasar kaudi  jo chuke,  bahuri  diye ka  lakh
duij na chanda dekhiye, udai kaha bhari pakh

That a timely helping hand of just one ‘kaudi’ is worth much more than lakhs given when not needed; so is the sighting of the moon on ‘dooj’; seeing it that day is worth seeing it in all its phases for the rest of the fortnight.

The crescent moon and the star – which is an occasional sighting of the moon and the planet Venus in conjunction, has been considered as the most beautiful sights. It is the conjunction of the mind (मन) and beauty – moon represents the मन and the Venus represents beauty. Poets and authors have written that this sight is more beautiful than ‘Chaudhvin Ka Chaand’, which is the full moon.

Enjoy this lovely song. It depicts the age old tradition of unmarried girls praying to and paying their respects to this sighting of the moon, asking for the blessing of a beautiful loving husband. On screen, the song is performed as a group dance. B Saroja Devi is the lead dancer, accompanied by Madhumati and other ladies. They are teasing Saroja Devi to pray to the moon, and she is responding by saying that the one who may love her should come seeking her. And her friends respond by saying that her ‘bindiya’ and her ‘paayal’ are giving a different message. A lovely tete-a-tete.

Music is vintage Roshan, what a lovely and endearing melody this one is.

Song – Sajan Salona Maang Lo Ji Koi  (Dooj Ka Chaand) (1964) Singer – Asha Bhosle, Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – Roshan
Chorus

Lyrics

o ooo oo oo
ooo ooo ooooo
ooo ooo ooo ooo ooo ooo

sajan salona maang lo ji koi
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

mohe meethi naahi laage aisi baat
sakhi chhedo na
mohe meethi naahi laage aisi baat
sakhi chhedo na
naina chaahe kisi chhaliye ka saath
sakhi chhedo na
aa ha
tu na chaahe kisi mitwa ka saath ri sakhi
ke tori chham chham karti paayal chaahe
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

jaa ko bhaaun wo hi maange mera haath
main to maangun na
jaa ko bhaaun wo hi maange mera haath
main to maangun na
badi aai hai ye dooj ki raat
main to maangun na
haaye
tu na maange kachhu aaj ki raat
ri sakhi
ke tori cham cham karti bindiya maange
koi matwaara rasiya
suno to gori
ui maa
kaahe ki chori
ui maa
sajan salona maang lo ji koi
nikla hai dooj ka chaand sakhi ri
aaj na kariyo laaj sakhi ri
aaj na kariyo laaj

la la la la laa
la la la la laa
laaa aaaa la la laa
oo ooo ooo
hmmm hmmm hmmm
hmmm hmmm hmmm
hooo ooo ooo ooo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ओ ओss ओs ओs
ओss ओss ओsssss
ओss ओss ओss ओss ओss ओss

सजन सलोना मांग लो जी कोई
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
मोहे मीठी नाही लागे ऐसी बात
सखी छेड़ो ना
नैना चाहें किसी छलिए का साथ
सखी छेड़ो ना
आ हा
तू ना चाहे किसी मितवा का साथ री सखी
के तोरी छम छम करती पायल चाहे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
जा को भाऊँ वो ही मांगे मेरा हाथ
मैं तो माँगूँ ना
बड़ी आई है ये दूज की रात
मैं तो माँगूँ ना
हाए
तू ना मांगे कछु आज की रात री सखी
के तोरी चम चम करती बिंदिया मांगे कोई मतवारा रसिया
सुनो तो गोरी
ऊई माँ
काहे की चोरी
ऊई माँ
सजन सलोना मांग लो जी कोई
निकला है दूज का चाँद सखी री
आज ना करियो लाज सखी री
आज ना करियो लाज

ल ल ल ल ला
ल ल ल ल ला
ला आ ल ल ला
ओ ओ ओ
हम्म हम्म हम्म
हम्म हम्म हम्म
हो ओ ओ ओ


This article is written by Peevesie’s mom, 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.

Hullo to all in Atuldom

Today’s post is under instructions from my husband- Peevesie’s Dad. Oh yes, he is a silent-satulite (a term coined by team Atulites when referring to spouses of Atulites, the term has no geographical or scientific connotation and will be found only in Atulite-lingo 🙂 ). He had asked me to write a post after we returned from a pilgrimage of Sabarimala, which is the abode of Swami Ayyappa. And as far as possible I fulfil every farmaish/ request of his (actually the children, Peevesie more than her brother, rag the two of us for going out of our way to fulfil each other’s requests- there have been no demands between the two of us only requests).

A recent program that I attended at Chowdiah Memorial with Asha Bhonsle as the attraction is a case in point – we were scheduled to go to Kerala on that date to drop my dear mom-in-law at our native village and my husband (sweetly) asked me to go ahead and book tickets for the show and he himself went with his mom. So, when he indulges me how can I not do what he says? 🙂 These last two months I had been looking for a song that would accompany the post but never found any song or bhajan dedicated to Ayyappa in a Hindi song album- filmy or non-filmy. Even looking up dubbed movies drew a blank. Whatever the internet had to offer were songs in the south Indian languages. But now I think I have found a way out.

The pilgrimage to Sabarimala is neither easy nor tough; what it needs is commitment on the part of the devotee. It can be undertaken by all men and females below the age of 10 and above the age of 50. There are a few legends to explain why this restriction is in place for the ladies. But the main reason, for ladies of age group 10-50 not being allowed is biological and instead of arguing against it; which some sections of the equality for females brigade has undertaken, my personal view is we should respect it. If some rule has been in place for an activity we follow it. If there is a dress code to a party we adhere to it. I have seen people follow the rule of covering their heads at gurudwaras and mosques (am not sure if churches have this rule, but have seen some sections of Kerala Christians cover their heads). If rules can be followed at these places then why not at Hindu places of worship. (I hope that my thoughts are not construed to be against equality for the female gender, they are just my way of looking at things)

The Sabarimala temple is open for a few days (of the Malayalam calendar) every month and from November 15th to January 20th (I think). Devotees who plan to undertake the trip normally live a satvik life for a period of 40 days. They abstain from wine and women, the stricter followers make their own food, visit an Ayyappa temple twice a day, walk bare foot and also don’t shave. Then just before leaving for the trip they have a ritual wherein they gather the main things needed for the pilgrimage in a bag which is carried on their heads till they reach the temple. The bag typically contains two or three coconuts, one of which is filled with ghee for the abhishek of the deity. Plus, pooja items like camphor, agarbatti, pan-supari, beaten rice etc.

The temple itself is in the Periyar Tiger Reserve of western ghats in Kerala’s Pathanamthitta District. One can go up to the Pampa river (which is at the base of the path leading up to the temple) by road, from where it is a climb of about 5 kms of which the initial 2 km or so is very steep. Of course, there are a few palkhis available to carry up those who find the climb difficult. But when one sees the passion in those climbing alongside us it spurs us to try and do the distance without palki assistance. That is what happened with me. I felt a sense of tiredness after the initial half an hour; then I saw who were the people around me. There was a small boy taking his almost 80-year-old grandparents with him. Then there was a man with a twisted ankle making his way uphill and that made me feel I should complete the route. And there is the chant of Swamiye Sharanam Ayyappa (we take refuge in you ayyappa) reverberating about the route, enough to egg you on. A seasoned devotee (like my husband who has gone close to 25 times) may do the path in about two or two and half hours depending on the weather; and I took about two hours and forty minutes in spite of the initial panting and nausea due to the height. But I must admit that then it had felt like a never-ending walk.

Now any person undertaking the pilgrimage for the first time is called a “Kanni Ayyappan” and our group had two of us. And then last month around Onam time when the temple was open my sister’s family- her husband and two nine-year-old sons- also went to the temple. The twins were the life of the group along with a few other kids. About 10-15 years back my aged parents-in-law and parents had undertaken the trip. So, what I am trying to say is age and health should not stop a determined soul from making the trip and there are experienced Ayyappas (that is the term with which the male devotees address each other) to guide those who want to make the trip and believe me it was a great experience enough to make me feel I should redo it.

Reading the above description may have sent images of the trek to Kedarnath, Yamunotri or Vaishno Devi to the reader. Even I recalled my Kedarnath, Yamunotri trip as I was chanting Swamiye Sharanam Ayyappa and singing all the Ayyappa songs I knew to myself during the walk. And in my mind, I visualised my dearest mom-in-law undertaking the Vaishno Devi pilgrimage about 10 years back. Hats off to her spirit! I hope I am half as energetic when I reach her age.

Now that I have mentioned vaishno devi I looked for a song that will show the journey to the temple in the Himalayas in Kashmir. And I found that there is a song in the 1980 released J. Om Prakash movie which shows Rameshwari and Jeetendra going to Vaishno Devi as “Mannat” fulfilment of his mother Sulochana. (wonder why she didn’t accompany them 🙂 ) it shows them trudging up to the temple along with other devotees much like what I experienced. But the difference is the distance which my mom-in-law says is close to 14 kms. The song is from the pen of Anand Bakshi and Laxmi- Pyare are the music directors. Narendra Chanchal and Mohd. Rafi are the playback.
I think this is a good song to start Navaratri with. Bolo Jai Mata Ki!

Editor’ note:- This is the sixth and final song from “Asha”(1980) to appear in the blog. with this song, “Asha”(1980) joins the list of movies that have all their songs covered in the blog.


Song-Toone mujhe bulaaya shera waaliye (Asha)(1980) Singers-Narendra Chanchal, Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus
Rafi + Chanchal

Lyrics

saanchi jyoto waali maata
maata
teri jay-jay-kaar
jay-jay-kaar
jay-jay-kaar
jay-jay-kaar

toone mujhe bulaaya shera waaliye ae
main aaya
main aaya shera vaaliye

toone mujhe bulaaya shera vaaliye
main aaya,
main aaya shera vaaliye

o jyota vaaliye
pahaada vaaliye
o mehra vaaliye ae
toone mujhe bulaaya shera vaaliye
main aaya,
main aaya shera vaaliye

o o
toone mujhe bulaaya shera vaaliye
main aaya
main aaya shera vaaliye

saara jag hai ik banjaara
saara jag hai ik banjaara
sabki manzil tera dwaara
oonche parvat lamba rasta
oonche parvat lamba rasta
par main rah na paaya shera vaaliye
toone mujhe bulaaya shera vaaliye
ho o
main aaya,
main aaya shera vaaliye
toone mujhe bulaaya shera vaaliye

soone man mein jal gayi baati
tere pathh mein mil gaye saathi
munh kholoon kya tujhse maangoon
munh kholoon kya tujhse maangoon
bin maange sab paaya
shera vaaliye ae

toone mujhe bulaaya shera vaaliye
o o o
main aaya
main aaya shera vaaliye

toone mujhe bulaaya shera vaaliye

kaun hai raaja
kaun bhikhaari
kaun hai raaja
kaun bhikhaari
ek baraabar tere saare pujaari
toone sabko darshan de ke
toone sabko darshan de ke
apne gale lagaaya shera vaaliye
toone mujhe bulaaya shera vaaliye
o jota vaaliye
pahaada vaaliye
o mehra vaaliye ae
toone mujhe bulaaya shera vaaliye
main aaya
main aaya shera vaaliye

o prem se bolo
jay maata di
o saare bolo
jay maata di
o aate bolo
jay maata di
o jaate bolo
jay maata di
o kasht nivaare
jay maata di
o paar utaare
jay maata di
devi maan bholi
jay maata di
bhar de jholi
jay maata di
o jode dar par
jay maata di
maa deke darshan
jay maata di
o jay maata di
jay maata di
jay ay ay maata di
jay maata di

jai bhavaani ki jai
pahaada vaali ki jay,
vaishno raani ki jay
ambe raani ki jay
pahada waali ki jai


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.

“Malika e Alam Noorjahaan”(1954) was produced by Mafatlal D Shah and directed by Gunjal for Amar Keerti Pictures, Bombay. The movie had Asha Mathur, Kamal Kapoor, Jageerdaar, Pradeep Kumar, Jankidas, Noorjahaan, Indu Pal, Jagdish Kamal, Khwaza Sabir, M A Aziz, Rajan Kapoor, Jago etc in it.

This by now forgotten “historical” movie had eight forgotten songs in it.

Here is the first song from “Malika e Alam Noorjahaan”(1954) to appear in the blog. This song is sung by Asha Bhonsle. P L Santoshi is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

With this song, “Malika e Alam Noorjahaan”(1954) makes its debut in the blog.


Song-Jo dil hi dil mein rote hain (Malika e Alam Noorjahaan)(1954) Singer-Asha Bhonsle, Lyrics-P L Santoshi, MD-Avinash Vyas

Lyrics

jo dil hi dil mein rote hain
jo dil hi dil mein rote hain
wo zaahir gaaya karte hain
wo zaahir gaaya karte hain
hanste to hain hansne ke liye
hanste to hain hansne ke liye
par dard dabaaya karte hain
par dard dabaaya karte hain
jo dil hi dil mein rote hain

wo husn bhi kya jo beparda ho
raaj hi kya jo khul jaaye
ae ae ae ae ae
jo sachche chaahne waale hain
jo sachche chaahne waale hain
wo pyaar chhupaaya karte hain
wo pyaar chhupaaya karte hain

dil ki haqeeqat dil jaane
ae ae
wo samjhen chaahe na samjhen aen
hum aankh churaate hain lekin
hum aankh churaate hain lekin
dil to lagaaya karte hain
hum dil to lagaaya karte hain
jo sachche chaahne waale hain
wo pyaar chhupaaya karte hain

dil kehta hai dekhen unko
nazren kehti chupke bachke ae ae ae ae ae
kuchh baat zaroor anokhi hai
kuchh baat zaroor anokhi hai
jo hum sharmaaya karte hain
jo hum sharmaaya karte hain
jo sachche chaahne waale hain
jo sachche chaahne waale hain
wo pyaar chhupaaya karte hain
wo pyaar chhupaaya karte hain


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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 13600 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

13605

Number of movies covered in the blog

Movies with all their songs covered =1020
Total Number of movies covered =3725

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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