Posts Tagged ‘1951’
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Blog Day : |
4547 | Post No. : | 16124 |
“Lachak”(1951) as produced by Shreeram Vohra and directed by M I Dharmsi for Shrre Films, Bombay. This “social” movie had Geta Bali, Amarnath, Kuldeep Kaur, Agha, Paro, Nayantara, B M Vyas, Ramkumar, Shanti Sharma, Rukhsana, Zareena, Cecil, Ram Singh, Anand, Sheikh etc in it.
The movie had nine songs in it. To songs have been covered so far.
Here is the third song from “Lackah”(1951) to appear in the blog. THe song is sung by Shamshad Begam and chorus. Balkrishn Vohra is the lyricist. Music is composed by Moti Ram.
Only the audio of the song is available. I request our knoledgeable readers to thro light on the picturisation of this song.
Song-Ho thhanda thhandaa paani nadiya mein behta jaaye (Lachak)(1951) Singer-Shamshad Begam, Lyrics-Balkrishn Vohra, MD-Pt Motiram
Chorus
Lyrics
Ho thhanda thhanda
ho thhanda thhanda
ho thhandaa thhandaa paani
nadiya mein behta jaaye
haaye nadiya mein behta jaaye
ye prem ki aag mere dil mein lagaaye
ye duniya deewaani kare apni manmaani
ho o apni manmaani
ye duniya deewaani kare apni manmaani
ho o apni manmaani
darr lagta hai mujhko
kahin doobe na jawaani
ho o doobe na jawaani
darr lagta hai
darr lagta hai mujhko
kahin doobe na jawaani
ho o doobe na jawaani
chhoti si ye baat
chhoti si ye baat
mujhe kaun bataaye
ho o
chhoti si ye baat
mujhe kaun bataaye
ye prem ki aag mere dil mein lagaaye
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa
hoy thhandaa thhandaa paani
nadiya mein behtaa jaaye
haaye nadiya mein behtaa jaaye
ye prem ki aag mere dil mein lagaaye
o mere banmaali
phool khile daali daali
ho o khile daali daali
o mere banmaali
phool khile daali daali
ho o khile daali daali
mere man ki muraad
aaj jaaye nahin khaali
ho o jaaye nahin khaali
mere man ki muraad
aaj jaaye nahin khaali
ho o jaaye nahin khaali
dil ki lagi
dil ki lagi ko ab kaun bujhaaye
o o
dil ki lagi ko ab kaun bujhaaye
ye prem ki aag mere dil mein lagaaye
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa paani
hoy thhandaa thhandaa
hoy thhandaa thhandaa paani
nadiya mein behtaa jaaye
haaye nadiya mein behtaa jaaye
ye prem ki aag mere dil mein lagaaye
Jagmag jagmag deep jale
Posted on: November 14, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4502 | Post No. : | 16040 |
As a simpleton, I thought that Deepawali is a one day festival which is celebrated on amawasya day. Now I realise that Deepaawali begins two days in advance, namely on tryodashi (or teras). This day is popularly called Dhanteras. Next day viz chaturdashi is Narak Chaturdashi aka Chhoti deewaali. Next day, viz amawasya is the day of Laxmi pooja, and it is the real Deepaawali day. Next day, the first day of next lunar cycle, is Govardhan pooja. Next to that is Bhai dooj. That is not all. On the sixth day after Deepaawali is Chhat, a very important festival in Bihar.
I am not the only simpleton. There are others. For instance, there are people who think that Govardhan pooja has something to do with Gobar (cow dung). 🙂 Not really, Govardhan pooja is pooja of Govardhan parvat, the parvat that Lord Krishna lifted to protect Gokulwasis from severe rain.
In addition to simpletons, even agenda driven activists have a field day during Deepaawali festival. They leave no stones unturned to tell us that bursting crackers during Deepaawali is the cause behind air pollution, and that fire cracker burning deewaali celebrators are big polluters.
On checking up, I found that in India 51% of air pollution is due to industrial activities, 27 % due to vehicles, 17% due to crop burning and only 5% due to fireworks.
So, Deepaawali contributes just 5 % of total air pollution. crop burning, which takes place in the same season contributes thrice as much pollution. vehicles, which ply round the year and not just on the day of deepaawali have been subjecting our lungs to five times more pollution that too round the clock throughout the year.
If we have to do introspection, we have to do wholesale introspection, and not just point an accusing finger towards deepaawali celebration.
The World Health Organization evaluated the concentration of PM2.5 particles to determine the most polluted place on Earth. PM2.5 (fine particulate matter 2.5) refers to tiny particles or droplets in the air that are two and one-half microns or less in width. These particles come from car, truck, bus, and off-road vehicle exhausts and from operations that involve the burning of fossil fuels such as wood, heating oil, or coal. They can also originate from indoor sources such as smoking tobacco, cooking, burning candles, or using fireplaces.
PM2.5 is an air pollutant that is a concern for people’s health when levels in the air are high. These particles reduce visibility and make the air appear hazy when levels are elevated. Some cities, such as New York, issue a PM2.5 Health Advisory when conditions are considered to be unhealthy for sensitive groups.
The Air Quality Index (AQI) is an index calculated for major air pollutants regulated by the Clean Air Act: particle pollution (PM2.5), ground-level ozone, carbon monoxide, and sulfur dioxide. The AQI ranges from 0 to 500, with zero representing clean air and 500 being the most hazardous. Values of 100 or below are generally thought of as satisfactory; however, when values are above 100, air quality is considered unhealthy for certain at-risk groups of people and becomes more unsafe as the value increases.
The cleanest countries in the world, as determined by the Environmental Performance Index (EPI), have high air quality, clean water, and strong environmentally-friendly policies and initiatives. These countries include Switzerland, France, and Denmark.
A total of 92 nations were evaluated to determine which had the highest number of PM2.5 – or which nations were the most polluted.
Air pollution is a severe problem in several countries. I found out that one can accurately classify countries as first world, third world etc based on air pollution level. The countries suffering the worst pollution level in the world are- Bangladesh (97.1 microgram/ cubic metres), Pakistan(74.27), India (72.5), Afghanistan (61.8),Bahrain (59.8), Mongolia (58.8). They are followed by Kuwait, Nepal, UAE, Nigeria and Indonesia.
Interestingly, first world countries like USA, European countries, Japan, Singapore etc actually have clear air, even though some of them are densely populated and highly industrialised. For example USA (9.05), Germany (13.01), Japan (12), Great Britain (10.83), France (13.16), Singapore (14.8) etc have clean air, even though some of them are located in the neighbourhood of third world countries. For instance, Singapore is located near Indonesia. Taiwan (18) is located adjacent to China (41), Israel (18) is surrounded by countries with higher pollution etc.
One can see that China, for all its pretensions of being the second largest economy in the world does not have clean air that first world countries have. So China, like India, is very much a third world country, air quality wise.
One can notice that India and almost all its neighbours have the worst air quality in the world. Except India and Nepal, other neighbours of India do not even celebrate Deewaali, nor are they industrialised. So, it is all about discipline, viz following rules (including pollution control rules) in our day to day lives. India and its neighbours are the most indisciplined countries in the world, who disobey laws and rules with abandon, and pay the price. They do not even realise that they are paying a heavy price. We in our region are taking in highly polluted air into our lungs day in and day out.
AQI (Air Quality Index) which is a superset of PM2.5 based rating is widely used to check the air quality of places. AQI below 50 is supposed to be GOOD. 51-100 is Moderate, 101 to 200 is poor, 201-300 is unhealthy, 301 to 400 is severe, 401 to 500 is hazardous.
Today, New Delhi has AQI of 390 (PM2.5 of 233), Mumbai 64 (31), Pune 221 (48), Kolkata 122 (53).
It is not that entire India is suffering from air pollution. We have places in Tamilnadu, Karnataka, Kerala etc whose AQI is below 50 which means they enjoy clear air. For instance, Mysore, Hubli, Kozhikode, Chennai etc have acceptable air quality as of now. So if we can achieve acceptable air quality in parts of India (thanks to disciplined and responsible behaviour), it can be done elsewhere as well. Though there has been no dearth of people telling us about the ill effects of Deepaawali fire crackers, few people seem to bother about the alarming air quality throughout. It is high time we became aware of that and started taking action to rectify this situation. We cannot hope to become a first world country if we have third world level air quality.
So, unlike some others who would exhort people to shun fire crackers, I exhort people to become aware of the fact that India has very poor air quality and we are breathing in highly polluted air. We must act to improve our air quality. We need to do far far more than just shun fire frackers. We need to stop polluting the air which we are doing thanks to our irresponsible industrial and agricultural activities. Countries far more industrialised than us have managed to have cleaner air. It is time we did the same.
For now, let us celebrate Deepaawali in a responsible and safe way. Deepaawali is the festival of light. Light here does not simply mean physical light, it also means being better informed. Incidentally, the word “enlightened”, which is a synonym of “informed” has the word light in it, and that is no coincidence. Let us be enlightened and let us realise that deepaawali is the festival of lights. In addition to physical light, let us light the light of enlightenment as well.
Deepaawali is the day of Laxmi poojan. Laxmi, the goddess of wealth blesses those who are enlightened though education, training, research etc and who are able to create wealth through their enlightened activities, be they manufacture of goods, or provision of services. We find that the people whom Goddess Laxmi blesses on this day are those people who provide quality goods and services. Those who are buying these products are serving as willing couriers of wealth and they are handing over their wealth to the providers of quality goods and services. All this while, people doing deepaawali shopping are under the illusion that they are worshipping goddess Laxmi, whereas Goddess Laxmi has already been worshipped by those who are selling their stuff to the shoppers. 🙂
On the occasion of Deepaawali, here is a deepawali song from “Jeewan Tara”(1951). This movie, apparently a dubbed movie from south, was produced and directed by Joseph Teliyeth for Citadel Films Corporation Limited, Madras. The movie had T R Mahalingam, T R Rajkumari, P S Veerappa, K Sarangpaani,C V Nayagam,K P Kamatchi, C V V Tirupathi, Somu, Swaminathan, T P Rajalakshmi,V Susheela,T S Jaya, Lallitha,Padmini etc in it.
The song, second song from the movie to appear in the blog, is sung by Asha Bhonsle and chorus. Prem Dhawan is the lyricist. Music is composed by Vasant Desai.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
I take this opportunity to wish everyone a happy and prosperous deepaawali.
Audio link:
Song-Jagmag jagmag deep jale (Jeewan Tara)(1951) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-Vasant Desai
Chorus
Lyrics(Provided by Prakashchandra)
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
door huaa andhiyaaraa
chamkaa hai cham cham ujiyaaraa
aaa…aaa…aaa…aaaa
chamkaa hai cham cham ujiyaaraa
aaa…aaa…aaa…aaaa ..aaa…aaa….aaa
kar ke haar singaar
thummak thummak chali naar
kar ke haar singaar
thummak thummak chali naar
chhamm chhamm jaisey koyi dulhan chaley
chhamm chhamm jaisey koyi dulhan chaley ae
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jhoothh ki aaj haar huyee
aur sach ki jai jaikaar huyi
jai jai kaa..aaa…aa..aaa..aaar
jhoothh ki aaj haar huyee
aur sach ki jai jaikaar huyi
jai jai kaa..aaa…aa…aaaar
naach uthha sansaar
mehak uttha gulzaar
o o o o o o o o o
oooo o oo o o o
ho o o o o o o o o
naach uthhaa sansaar
mehakk uthha gulzaar
ghar ghar aashaa ke phool khiley
ghar ghar aashaa ke phool khiley ae
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
jagmag jagmag deep jaley
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4495 | Post No. : | 16025 |
Recently I have written a few posts for songs of films Laila Majnu(1945) and Laila Majnu(1953). In the past also, now that I checked, I have written posts for 5 songs of Laila Majnu(1976).
Ab agar hamse khudaayi bhi khafa ho jaaye
Barbaad e muhabbat ki dua saath liye jaa
Is reshmi paazeb ki jhankaar ke sadqe
Likh kar tera naam zameen par
Ye deewaane ki zidd hai
I have revisited the above posts, just to confirm if I have written my real thoughts on these legends of undying love, which end in tragedy and death. Obviously this sort of love is also unfruitful. The romanticism and glorification of this type of folk love stories and legends has no basis in truth or even historical facts. The civilization has been around for a few millennia now and last few millennia have been recorded by historians. If there was even a bit of truth in these legends, they have had enough time and exposure to intelligent humans to surface by now. So these are legends, myths, folklore, the purpose of creation of these things in the eastern regions, the so called ‘mashriq’, the conservative, the tolerant, the deeply religious and the more civilized compared to the western region, is unclear to me. All those philosophies of ‘love is paramount’, ‘love is pure’ and all are fine. As per my habit I am wondering again, if there are any research papers on this topic. It may have had a certain appeal or fantasy value, beyond this I don’t find any usefulness of it. It fired the imagination of certain poets in West Asia, who wrote eulogies of their stories.
I am giving a part of a story here:
A brave chieftain has three sons. His wife died soon after giving birth to the youngest son, now 10 years old. The chieftain, who had deeply loved his beloved wife, must remarry now for political, social and family reasons. His mother who has looked after the family so far is very old and cannot do so for much longer. The youngest son comes to the father to express his apprehensions about the marriage and the doubt that the fathers love for the sons may be diminished or divided. The father explains to the young son, very patiently, describing the values, culture and traditions of their family and tribe etc. He tells his son, that “when I looked into the ‘gazelle’s eyes’ of your mother for the first time, it was as if I had found the world. When she bore 3 sons for me, it was as if she had given me the world. We couldn’t thank the Almighty enough for this gift. Then she died, but she left to me, her world and my world, in you all.” There after he goes on to explain to the young son, through analogies, how a father’s love for his children never diminishes and cannot be divided.
The above simple story has deep love, love for beauty, family love, tragedy, wisdom, loyalty, duty, eternal love and undivided love. Above all the story has continuity of life. It has thankfulness to God, shows that one can cope with tragedy and move on in due course.
In contrast, the stories of eternal love, obsession of the beloved, so much so that the characters prefer to die, then live without each other, is just a hollow confrontational rhetoric’s. More so, because these are imaginary characters, advocating obsessions with physical beings, though they talk of connections with the souls. These have misled the generations of human societies, with an artificial cloak of ‘commitment’. Self-obsessed and obsessed with each other just doesn’t cut it.
I am going down memory lane in a bid to try and explain my thoughts. When my son was born, my father-in-law said that “ye hamare ghar ka chiraag hai”. In my forthright way, I would have asked him, if he means it so, as it is a son. But that thought did not even completely formulate and never reached the utterance level. For I knew, my father-in-law had a special place in the heart of daughters and sons. Both my mother-in-law and father-in-law had their hearts in correct places in this regard. This is my takeaway from having been part of a family whose core dignity and integrity is what made my relation with them so much more meaningful. May Allah subhan-o-ta’ala grant them both elevated status in jannat-ul-firdous.
So what did my father in law mean, when he called my son ‘ghar ka chiraag’? My son is the youngest one of his generation in the family. It has taken me all these years to realize that my father in law meant that he is youngest one, so the torch bearer of the family to the farthest point in the future. ‘Chiraag’ is the torch which allows you to see in the darkness. Though the future is a dark place, here is a lamp taking the family towards the future. Though the ‘male progeny’ is also part of the statement, but the aspect are not disproportionate. I feel it so, as he was not proclaiming it to all, but said it to me personally. Though there are other grandchildren including sons, but he did not call anyone as ‘ghar ka chiraag’. Part of the intention, may have been the prayer and hope of brighter future of the child. Young kids are also lovingly called ‘budda’ (or ‘budha’ meaning old person). This is again a wish that the child will live a long life till very old.
Thus, in my well thought out opinion, these stories of Laila-majnu, Shirin-Farhad etc. are a part of the flimsy whim which made the myths and gods out of such sacrificial love. They are a relic of past storytelling, and that is where they belong, they have no role to play and importance in the practical living world.
Next song in the “dheere dheere” series is this special all female qawwali, from the film ‘Ghazab’ 1951. The qawwali is referring to Laila-Majnu, Shirin-Farhad etc. Actually I found the song with mukhda “nazar se mil hi jaayegi nazar” in the song list of film Baazaar 1949, when I checked the list of songs posted in the blog, this song was missing, and it shows 15/16 posted. When I searched for the song on youtube, I found the song with same mukhda but not from Baazaar 1949, but from Ghazab 1951. It is listed with the same mukhda in both the films song list at myswar. It can be that it was recorded for Bazaar and used in Ghazab, as the MD’s are different.
The song is in ‘dheere dheere’ category as the mukhda has the words “aahistaa aahistaa”. When I found the qawwali with three singers, a while ago, I had high hopes of it. I was expecting a spectacular qawwali, but after listening to it a few times, I have reached the conclusion that the spectacular thing about it is the crystal clear voice and diction of Lata Mangeshkar. Her co-singers are Zohrabai Ambalewali and Kalyani. It is written by A. Karim, and music director of Ghazab 1951 is, Nisaar Bazmi. For some reason, the Music director for this qawwali is not mentioned.
The following three songs of Ghazab 1951 are posted:
Dil ko nahin hai chain haaye re
Nazar milaa ke muskaa ke
Tere kaaran sabko chhoda
This qawwali is the only song by Lata Mangeshkar in this movie, whereas “Bazaar” 1949 has 6 songs by Lata Mangeshkar. Lyrics credited to A. Karim, are the only clear link with ‘Ghazab’ 1951, as A. Karim is the writer/director of the film. It is quite possible that the qawwali was composed and recorded for Bazaar, and the composer could be Shyam Sunder as no one is credited under Ghazab listing, and somehow it got listed under both the films.
Editor’s note:-“Ghazab”(1951) had two music directors namely Nisaar Bazmi and Naashaad. Record of this song does not mention the music director (which has to be either of the two music directors) so no music director is credited for this song.
Song-Nazar se mil hi jaayegi nazar aahistaa aahistaa(Ghazab)(1951) Singers-Lata, Zohrabai Ambalewali, Kalyani, Lyrics-A Karim, MD-Nisar Bazmi
Chorus
Lyrics
Nazar se mil hi jaayegi nazar
nazar se mil hi jaayegi nazar
aahistaa aahistaa
meri aahon mein aayega asar
meri aahon mein aayega asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aa aaa
aaaaaa
mazaar-e-qais par
jab rooh-e-laila
ek din aayi ee ee
sau armaaonon ke
murjhaaye huye
kuchh phool bhi laayi ee
haan aan
lagi jab phool rakhne ae
qabr se aawaaz ye aayi ee
chadhaana phool jaan-e-man magar
chadhaana phool jaan-e-man magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aa aaa
thha dil mein keh rahaa farhaad
shirin se judaa ho kar
mohabbat mein teri mehfil mein
kya paaya dil kho kar
utthaaya uss ne phir “??auq” kahaa
? ? se yun ro kar rr
mere dil ke karo tukde magar
mere dil ke karo tukde magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
gayi jab raami dhoban
ek dariyaa par nahaane ko
wahan baitthaa thha Chandi Das
afsaana sunaane ko
kahaa uss ne ke raani chhod de
saare zamaane ko oo
basaana hai agar ulfat ka ghar
basaana chaahe gar ulfat ka ghar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
hamaari daastaan bhi
laila majnu ka fasaana hai ae
tumhaare waaste
ab dil mein mitne ki tamanna hai ea
aa aaaa
hamaare tumhaare pyaar mein
bas farq itnaa hai ea ea
udhar to jaldi jaldi hai idhar
udhar to jaldi jaldi hai idhar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
muhobbat ki bhari ee
mehfil mein yeh
kaisa nazaara hai
tumhaare hain qadam
aur unn se liptaa dil hamaara hai
na iss ko bhool jaanaa aa
dil hamaara
ghar tumhaara hai ea
mera dil todnaa chahaa magar
mera dil todnaa chahaa magar
aahistaa aahistaa
meri aahon mein aayegaa asar
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aaa aaaaaa
jawaani ne abhi
ulfat ka afsaana nahin seekhaa aa
kisi ke waaste
barbaad ho jaana nahin seekhaa aa
aa aaaa
abhi meri adaa ne bhi eee
sharmaana nahin seekhaa aa
mujhe sab kuchh sikhaa denaa magar
mujhe sab kuchh sikhaa denaa magar
aahistaa aahistaa
meri aahon mein aayegaa asar
aaa aaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aaaaa aaaaaaa
meri aahon mein aayegaa asar
aahistaa aahistaa
meri aahon mein aayegaa asar
aahistaa aahistaa
Mera toota sapna pyaaraa
Posted on: October 18, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4475 | Post No. : | 15977 |
“Aazaadi Ke Baad”(1951) was directed by D K Chatterjee for The Great Oriental Pictures, Calcutta. This “social” movie had Asit Baran, Meera Mishra, Tandon, Parvati, Miss Pearl, Kalpana, Faiz, Shareif Dehalvi, Dr Rose, Puttan, Pannalal Bose, Vrindawan, Shree Nripen, Rekha, Sudha, Leela, Sujata, Bela etc in it.
This obscure movie had ten obscure songs in it. Details viz record numbers, singers etc are not available on HFGK.
It turns out that some of these songs are gradually becoming available on YT, which shows that records of these songs were made and they are still available with some collectors.
One such song has been covered in the blog in the past.
Here is the second song from “Aazaadi Ke Baad”(1951). Like the earlier discussed song, this song too is sung by Suprabha Sarkar. M Razi Banarasi is the lyricist. Music is composed by K P Sen.
I have not been able to get the lyrics right to my satisfaction. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics as applicable.
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 the song.
Song-Mera toota sapna pyaara (Aazaadi Ke Baad)(1951) Singer-Suprabha Sarkar, Lyrics-M Razi Banarsi, MD-K P Sen
Lyrics
Mera toota sapna pyaara aa
Mera toota sapna pyaara
?? ke sukh ?? nainon se ae ae
?? ke sukh ?? nainon se ae ae
koi nahin sahaara
mera toota sapna pyaara
sulag rahi hai meri duniya
baanch raahi hoon
o o o o
baanch raahi hoon
likha vidhi ka aa aa aa
aag lagi hai
sukh jalte hain
hriday bana angaara
mera toota sapna pyaara
dharti par hai aag barasti ee
ujad gayi ee ee
ujad gayi is man ki basti ee ee ee
dharti par hai aag barasti ee
ujad gayi is man ki basti ee ee
chamka thha jo ek gagan mein
?? gaya wo taara
Mera toota sapna pyaara
bhool gaye wo khel wo gaana
toot gaya wo
o o o
toot gaya wo
sapna suhaana aa aa
?? hai mera jeewan saathi
ab to nahin hamaara
mera toota sapna pyaara aa
mera toota sapna pyaara
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4461 | Post No. : | 15941 |
“Dashaavtaar”(1951) was produced by Kikubhai Desai and directed by Jayant Desai for J K Films, Bombay. This movie had Nirupa Roy, Trilok Kapoor, Niranjan Sharma, Umakant, Vasantrao Pahalwan, Praveen Kumar, Baby Tabassum, Murad, Master Dhulia, Revashankar, Satyanarayan, Chandabai, Charubala, Neerja. Nagolkar, Pt Iqbal etc in it with guest appearance by Jeewan.
The movie had twelve songs in it. Two songs have been covered in the past.
Here is the third song from “Dashaavtaar”(1951) to appear in the blog. The song is sung by Rafi and chorus. Munshi Saaghar Hussain is the lyricist. Music is composed by Avinash Vyas.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
The audio of this song is not very clear. I have not been able to get the lyrics of the song to my satisfaction. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics wherever applicable.
Song-Dhanwaanon ki dhan nagri ki sun lo raam kahaani (Dashavtaar)(1951) Singer-Rafi, Lyrics-Munshi Saagar Hussain, MD-Avinash Vyas
Chorus
Unknown voice
Lyrics
dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kaahaani
dhanwaanon ki dhan nagri ki sun lo raam kahaani baaba
sun lo raam kahaani
rupaiyya unka raaja
athanni unki raani
tewanni (?)
tewanni (?)
do ladkiyaan manmaani
siyaavar ramchander ki jay
building bangle banwaane ki bechaaron ko ?? cash
aur kiraaydaaron se pagdi lene ki
jhanjhat
??
khoon paseena ek kiya
??
paanch hazaar maang rahe hain??
hazaar maangte hain ??
o ho ho ho
bank balance badhaane ko wo karen khoon ka paani
siyavar ramchander ki jay
arre paas na apne building bangla
sadkon par hum sote
khaate jo bhagwaan khilaaye
bhojan ko nahin rote
hmm
raam naam hai bank hamaara
jisko na aaye haani
siyaavar ramchandr ki jay
dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kahaani
haan
dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kahaani
ae ae ae
income tax bachaane ko wo dhakke khaayen dar dar
arre unko jhat bukhaar aa jaaye jaana pade jo mander
ae mandar ko kahaan le jaate ho income tax office le jaao
office waalon ko aur
bhool jaayen parmeshawar ko nahin bhoolen rakam bachaani
siyavar ramchander ki jay
arey tax vax ki fikar na phaaka
tax vax ki fikar na phaaka
paas na apne damdi
chimta jholi dhan hai apna
vastr tan ki chamdi
paas hamaare aaye jo chinta mar jaaye uski naani
siyavar ramchander ki jay
arre sukh hi sukh hai
hahahaha
sukh hi sukh hai hum logon ko joru hai na jaata
le de ke bas ek hamaara raam naam se naata
raakhe ja vidh raam rahenge
yahi hai man mein thhaani
siyavar ramchandr ki jay
dhanwaanon ki dhan nagri ki sun lo raam kahaani
baaba sun lo raam kahaani
ha ha
dhanwaanon ki dhan nagri ki sun lo raam kahani baaba
sun lo raam kahaani
rupaiya unka raaja
athanni unki raani
chawanni duanni
do ladkiyaan manmaani
rupaiya kiska bhaiya
athanni kiski saathi
chawanni duanni
yoon aati hai yoon jaati
tike na hargiz ek jagah
ye jaise bahta paani
siyavar ramchander ki jay
Dil pe kar control
Posted on: September 25, 2020
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4452 | Post No. : | 15915 |
Today’s song is from the film Daaman-51. The film was produced by M.R. aka Madhukar Rajaram Navalkar, under the banner of his own Madhukar pictures. Surprisingly, the film was directed by Nanabhai aka Yashwant aka Batukbhai Bhatt, who mostly directed Stunt or Mythological films. He did few Social films also. He was the father of Mahesh and Mukesh Bhatt.
Daaman was a Social film like any other film, but it became famous for its Music. Lata Manageshkar, who was favoured by the Music Director K.Datta, in his Marathi films, sang some of her memorable songs like ‘ Tirulilla, Tirulilla ‘ and ‘ Chakori ka Chanda se pyar ‘. film Daaman also became a Historical milestone as it featured the First ever duet of the sisters Lata and Asha ” ye ruki ruki hawaen ‘. Out of the 10 songs of the film Lata featured in 5 songs, with 3 solos and 2 duets.
Song ‘ Tirulilla Tirulilla ‘ became the First ever song in which the singer-Lata- takes her own name like ” Gaaye Lata Gaaye Lata “. Later, Kishore Kumar repeated this feat in his famous song ” Khush hai zamana, aaj Pahli taarikh hai ” from film ‘ Pahli Taarikh ‘-54, in which he took his own name. Still later Lata repeated her feat again in the song ” Ye tanhai haay re” from film ‘ Tere ghar ke saamne’-1963, in which she takes her own name. Besides these, I am not aware of any other song- other than these 3 songs, in which the singer takes his/her own name. If any reader has information, please let us know.
K. Datta was one Music Director who was completely besotted with Noorjehan’s voice. He was so much involved in her songs that after Noorjehan migrated to Pakistan, for some time Datta felt as if his inspiration was lost. Though he supported Lata in his music, he could never come out of the Noorjehan’s aura.
K. Datta or Datta Korgaonkar aka D.P.Korgaonkar alias Anna saheb, was born in Sawantwadi in Konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He formed a Music school, ” Gayan Kala Mandir”, along with another singer Sadashiv Nevrekar. When Nevrekar became a Music Director, he also decided to become one and closed the school.
He was called to Kolhapur in 1937 to give music to a Marathi film, made by General Films of Siraj Ali Hakeem- Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq (Hindi and Marathi),followed by Alakh Niranjan-40 (Hindi and Marathi), Geeta-40 ( in Hindi and Marathi) and Yaad-42.
He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. He composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.
His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44, with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Astrology. He used to have a special Pooja every Thursday, when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. ( Only 3 people in the Hindi film Industry were called Anna Saheb. By coincidence, all 3 were MDs. They were Annasaheb Mainkar, K.Datta and C Ramchandra). He died of heart attack in G.T.Hospital, Bombay, on 23-12-1978.
He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”).
K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!
The cast of the film included Nigar Sultana, Ajit, Pran, Heeralal, Agha, Yashodhara Katju, Achla Sachdev etc. The comic pair of Agha and Yashodhara was popular in those days. In their films, there certainly used to be a comedy song, filmed on them. In this film too, today’s song is that comedy song shot on these two artistes.
Yashodhara Katju (born 15 April 1928 – died – 1974), a forgotten actress of Indian Cinema, belonged to a reputed Kashmiri Pandit family from Lahore that had moved to Lucknow, where her father Jeevan Lal Katju, was a Zamindar and owned lands in Warburton in Khupra district, Punjab. He was appointed to a senior Administrative position by the British Government. J L Katju later resigned his Government job and joined the freedom struggle of the country. Her Mother’s name was Kailashwati (sister of well known Urdu poet & Judge of Allahabad High Court Late Anand Narain Mulla).
Yashodhra was fondly called as Chunnu by her parents. Other members of this Katju family were her brothers Moti Lal Katju , Pyare Lal Katju & her three sisters Chandra (Manno)-a Professor, Usha (Panno)-an M.A., and Manorama- a Doctor.
Yashodhara studied in English medium schools and was fluent in English, Hindi and Urdu. She did her Junior Cambridge. Apart from that, she was a highly talented girl who was equally well versed with singing and dancing. For some time she also joined Bhatkhande Music Institute, Lucknow to learn music but devoted more time to dancing and got herself trained as a professional dancer (Kathakali, Katahk and Manipuri) from some Masters of Lucknow. Later she took dancing lessons in Delhi as well.
All this apart , this talented girl nursed a desire from her childhood to join films. In 1941, Agha jani kashmiri , who was on a Talent Hunt, saw her in Lucknow and talked to her parents. Finally, much against the wishes of her family, she moved to Bombay in 1941. The family is reported to have sought intervention of Pandit Jawahar Lal Nehru also to dissuade her from joining films but she proved adamant. Katjus were closely related to Pandit Jawahar lal Nehru’s family. It is said that Chandra Mohan Wattal, another Kashmiri actor of that period too tried to dissuade her from acting in films but she remained adamant. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1973. Her parents finally consented to her decision and ensured a boarding and lodging for her in Bombay .
Prior to Yashodhara, Shyama Zutshi was the kashmiri Girl who joined films. (She acted in Vishnu Bhakti produced in 1934 and Karvaan E Hayat-35). However, the first Kashmiri girl to work in films was Gulab (real name Saraswati Devi), who worked from 1924 to 1964, in 160 films.
In 1941, at a young age of 14 years, she was offered a role of ” Aarti” in a movie Titled “Lalaji” produced by National Studios. The movie was completed in 1942. Her co-actors in that movie were Yakub, A. R. Kabul, Wasker, Amar, Sunalini, Vatsala Kumtekar, Maya Devi and Krishnakant.
Yashodhara always wanted to be an actress and on 15th August 1941 she joined National Studios. She played heroine and side heroine parts in films like Mahatma Vidur (1943), Dulhan (1943), Vijay Laxmi (1943) etc. Later she was reduced to character roles and became a popular comedienne in the 1950s. Her short plump stature and mischievous eyes really aided her in transitioning from leading to comedy roles. In films like Naujawan (1951), Dholak (1951), Sindbad the Sailor (1952), Ek do Teen (1953), Baaz (1953) etc she was cast in happy-go-lucky roles and even paired with other popular comedians of her time e.g. Bhagwan in Sindbad the Sailor (1952) and Gope. Her last few films as character actress were released in early 1970s including Seema (1971), Hare Rama Hare Krishna (1972), Do Phool (1973) etc .
Between Lalaji (1942 Her first Movie) and Do Phool (1973 her last movie), she acted in about 85 films. Her co stars included most of the well known artistes and stars of her times. From the younger generation, her co-stars included Rakhee Gulzar, Rakesh Roshan, Hema Malini, Simi Garewal, Kabir Bedi, Zeenat Aman, Vinod Mehra, Mumtaz and Mehmood Junior. She worked with almost all prominent directors in the Film industry including S. S. Vasan, Devendra Goel, Guru Dutt, Mohan Segal, P. L. Santoshi, M.Sadiq, D. N. Madhok, H.S.Rawail, B. R. Chopra, Rafiq Rizvi, Kishore Sahu, Dev Anand and Mahesh Kaul.
She started as a co-star, moved to lead roles, shifted to comedy (Mostly with another comedian of her time known as Bhagwan and Gope) and finally did some memorable performances as a character actress (Seema, Hare Rama Hare Krishna and Do Phool etc.).
Her close friends included Nalini Jayawant, Laita Pawar and Nirupa Roy. Sometime in around 1958, she married a Naval officer (Commander Bhandari) and lived a happy married life. After 1973, she did not act in films and slipped into Oblivion. She died of a sudden heart attack, in 1974 (Autar Mota).
(Thanks to Suresh Sarvaiya, Blog Chinar, Film Directory-46 and my notes).
The story of the film Daaman was given by me earlier once, so I am not repeating it here. Today’s comedy song is sung by Shamshad Begum and Trilok Kapoor. This singer Trilok Kapoor is a case of ‘ Same name confusion’. There was another actor Trilok Kapoor ( famous for the role of Mahadev in Mythological films) operating at the same time in the industry. Since he was the more famous one, most sites, Blogs and enthusiastic new music lovers credit this singer’s songs to the actor.
Singer TRILOK KAPOOR too was from Multan, just like the actor Trilok kapoor, and was keen on singing in films. He and his wife have sung many Punjabi songs.
Singer Trilok Kapoor sang a song in film Birhan-48 (Tu chanda main teri chakori – a duet with Dilshad Begum- record No. GE 5232). The film was in production in 1946 at Lahore, but was released in 1948 due to Partition in 47.
The singer of this song can not be the actor Trilok kapoor, for the simple reason that he was busy in making 4 films in 1946 in Bombay and it is impossible that just to sing a song in a film, anybody would go to Lahore in those tumultuous days.
Anyway, after the Partition, the singer Trilok Kapoor became a displaced person. He came to Bombay and met MD Shyamsunder, who sympathised with him, being a Punjabi himself from the same region. Shyam Sunder gave him a song in Bhai Behan-1950, a duet with Shamshad Begum. He got a job in Radio and continued singing in films like Guru Dakshina-50, Kashmir-51, For Ladies only-51, Daaman-51, Saloni-52, Raag Rang-52, Goonj-52, Naya Raasta-53, Toote Khilone-54, Miss Mala-54, Laadla-54 and lastly Trolly Driver-58. Total 14 films and 17 songs.
So, the actor Trilok Kapoor and singer Trilok Kapoor are two different persons-
1) Actor Trilok Kapoor never sang after 1942.
2) Singer Trilok Kapoor never sang in any film featuring actor Trilok Kapoor.
3) If actor Trilok Kapoor was a singer himself, he would have sung his own songs in his films, instead of taking playback from other singers, e.g. G M Durrani in Mirza Sahibaan-47. Those who are singer actors rarely take playback from others.
4) The voice of Trilok Kapoor in songs and the dialogues in films is different.
5) It is likely that the song of Aaj ki Duniya-40 and the duets of Raja Rani also were sung by the singer Trilok kapoor, as he sang a song in Birhan in 1946, as mentioned above with a record number. the entry in HFGK may be just a case of ” Same name confusion” (like few other cases). Since the songs are not available, the benefit of doubt should go to singer Trilok Kapoor because he was a singer and NOT to actor Trilok Kapoor as he was NOT a singer.
6) The final verdict was – Shamshad Begum had confirmed that Trilok Kapoor with whom she sang was NOT the actor/brother of Prithviraj Kapoor, but was a different person.
So, please remember, actor Trilok Kapoor and singer Trilok Kapoor were two different persons.
Here is the song…..Enjoy.
Song-Dil pe kar control (Daaman)(1951) Singer-Trilok Kapoor, Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-K Datta
Both
Lyrics
hmm
martaa hoon tum pe jaise
kali pe bhanwra marta hai
kali pe bhanwra marta hai
jaise kali pe bhanwra marta hai
ghoonghat khol de ae
ae zaalim
dil dhhak dhhak dhhak karta hai
dil dhhak dhhak dhhak karta hai
dil dhhak dhhak dhhak karta hai
dil phhad phhad phhad karta hai
dil gud gud gud karta hai
dil pe kar control
?? mera dil hai
dil pe kar control
?? mera dil hai
ration hai
ration hai
ghoonghat pat pat khol
ghoonghat pat pat khol
ration hai
ration hai ration hai
dil pe kar control prem mera dil hai
ek jhalak dikhta do ration card bina ho gori
ek jhalak dikhta do ration card bina ho gori
husn ki sarkaar mein dekho
ho nahin sakti chori
ho nahin sakti chori
?? pe ration hai
dil pe kar contol ?? ke ration hai
ration hai
ration hai
?? hai
hum deputy collector hai
?? collector ??
tu deputy collector hai to ham ration inspector hain
inspector inspector
inspector inspector
ho yahaan se gol
abe ho yahaan se gol
prem pe ration hai
ration hai ration hai
ration hai
achcha to phir
prem lene jaate hain ham
?? baazaar mein
prem lene jaate hain ham
?? baazaar mein
muft mein maare jaaoge jaaoge
mat phansna aise pyaar mein
muft mein maare jaaoge jaaoge
mat phansna aise pyaar mein
kyaa karoon main bol ?
ama ghoonghat pat mat khol
abe dilpe kar control
apne dil jigar mein tu
??
karenge ham manzoor ise
hui hamaari marzi
abhi na hamse bol
dil hai daanwaadol
dil hai daanwaadol ke
ration hai
ration hai
ration hai
??
??
??
??
gore ??
????
bach ke bach ke
bach ke
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This is his 900th write-up in the blog.
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Blog Day : |
4442 | Post No. : | 15887 |
My God ! This is my 900th post on the Blog !
I just can’t believe it. I feel like having written my First post just the other day. How time flies !
But this also means that I have enjoyed writing posts on this Blog. It has been exactly 8 years that I have been writing posts, primarily on old time films, songs and the people connected with them. My first post appeared here on 1-10-2012, when I was 72 year old. At the end of the 8 years period, I have 900 articles on my name and I am 80 years old.
When my first post appeared here on 1-10-2012, I had already posted 400 comments, film reviews and information tit bits on old films on the Blog. With so much of information, it was expected by Atulites that someday I will write posts. Personally. I had never thought of that. There is a story behind how my posts started appearing on this Blog.
At the end of September 2012, one of my friends sent me a song from the film Savitri-1937. I was quite excited to get such a rare song. Savitri-37 was the first Mythological film by Bombay Talkies and also their popular Hero Ashok Kumar ( later he acted in one more Mythological film ” Uttara Abhimanyu”-46. Thank God he never acted in another Mythological film ! He was a perfect misfit in them.). I wrote to Atul ji that I had that song and suggested that he should post it. I volunteered to provide the necessary details of the film etc. He wrote back asking me to send him the information on that song. Enthusiastically, I wrote a long essay-like post about the film, song, story etc. and sent it to him, so that he should post the rare song.
Next day i.e. on 1-10-2012, I got an email from Atul ji that he has posted the write up on film Savitri song, as my Post. I was pleasantly surprised. Honestly, I was thrilled too ! My post and on this Blog ? How sweet ! By evening, there were 36 comments on the post. Most Atulites welcomed my step of becoming a post contributor. I was really overwhelmed. Then I decided, anyway I was in the Swimming Pool, so why not enjoy swimming ?
Thus started my journey of 900 posts. All the credit goes to our Leader- ATUL JI. His encouragement, motivation and help from time to time was an asset for me. Atul ji is not expressive about the good deeds he does, but I am indebted to him. I learnt using the Computer when I was past my 70 years of age. So, there used to be many mistakes in my typing the articles like in using the upper/lower cases, use of Capitals, Punctuation marks, construction of sentences etc etc. But Atul ji and Sudhir ji stretched their tolerance limits to maximum and accepted me as I was. Since 2018 onwards, I conscientiously made changes in my writing, checking the article for mistakes, doing corrections before sending it etc. I also changed the type of the script Font that I was using, for more clarity of reading and today, I feel, my writings are far better than earlier times. Sudhir ji’s help has been particularly useful in the last 8 years. Thank you, ATUL JI and SUDHIR JI, for making me what I am today in the Blogosphere and amongst the like minded people of the Internet, Facebook etc.
My 800th post was on 29-9-2019. The 900th post too is in September. Thanks to all my readers, friends, Group Atulites and well wishers.
Today’s song is from the film Malati Madhav-1955. This is a story from the Sanskrit play ‘Malti Madhav’ written by Bhavbhuti. Wikipedia has this to say about Bhavbhuti and the story of Malati Madhav….
Bhavabhuti was an 8th-century scholar of India noted for his plays and poetry, written in Sanskrit. His plays are considered the equal of the works of Kalidasa. Bhavabhuti was born in Padampura, Vidarbha, in Gondia district, on the Maharashtra and Madhya Pradesh border. His real name was Srikantha Nilakantha, and he was the son of Nilakantha and Jatukarni. He received his education at ‘Padmapawaya’, a place some 42 km South-West of Gwalior. Dayananidhi Paramahansa is known to be his guru. He composed his historical plays at ‘Kalpi’, a place on the banks of river Yamuna.
He is believed to have been the court poet of king Yashovarman of Kannauj. Kalhana, the 12th-century historian, places him in the entourage of the king, who was defeated by Lalitaditya Muktapida, king of Kashmir, in 736 AD.
The play is set in the city of Padmavati. The king desires that his minister’s daughter Malati marry a youth called Nandana. Malati has been in love with Madhava ever since she saw him and drew his portrait. Madhava reciprocates, and draws a portrait of her in turn. Malati suspects her father’s motives in falling in with the King’s plans for her. A side plot involves the lovers’ friends Makaranda and Madayantika. The latter is attacked by a tiger, and Makaranda rescues her, getting wounded in the process. After numerous travails, all ends well, with the two couples uniting. According to the renowned Sanskritist Daniel H.H. Ingalls, the Malatimadhava is a work that combines love and horror with a felicity never again equaled in Sanskrit literature.
Today’s song is sung by Malati Pande and chorus. Malati Pande is one of my most favourite marathi singers. Her Bhavgeets in the 50’s decade were extremely popular in Maharashtra and with all the Marathi people wherever they were in the world. Malati Pande was also a Classical singer and has sung very few songs in Hindi films, but excelled in Classical and Marathi songs. Her songs like ” tya tithe, palikade, tikde, maziya priyeche zopde” or ” kunihi paay naka vajavu” are evergreen. She is one of those Marathi singers like Manik Verma, Jyotsna Bhole, Hirabai Badodekar, Saraswati Rane, Shobha Gurtu, Nalini Mulgaonkar, Ram Marathe, Bhimsen Joshi, D.V.Paluskar etc, who just visited Hindi films out of curiosity, but returned to their comfort zones immediately.
Malati was born on 19-4-1930 at Poona, She was attracted to music from her childhood. She was trained by several teachers like Bhaskarrao Ghodke, Trivedi Master, Vilayat Hussain Khan, Vinayak buwa Patwardhan, Bholanath Ghatt and also her husband Pt. Padmakar Barve. At the age of 15 years, she was invited to sing on A.I.R. Poona. She did her Ph.D in Music.
When Sudhir Phadke brought her to Prabhat for audition, for songs of Marathi version of ‘ Aagey Badho ‘-47, Fattelal was very happy with her style of singing and thanked Phadke. Malati Pande’s first lori song “kunihi Paay Naka vajavoo…” was with Singer & Music Director Gajanan Watve and poet Shrinivas Kharkar. It is said that afterwards, many singers and music directors recorded lori songs, but Malati Pande’s this lori song is the best and is still remembered by the Marathi listeners.
Malati Pande sang many Marathi songs under the music direction of Gajanan Watve, Sudhir Phadke, Ram Phatak, Shrinivas Khale, Datta Dawjekar, Madhukar Pathak etc.
Malati Pande sang some 15 Hindi songs under the music direction of K. Bhole, Avinash Vyas, Sudhir Phadke in the following Hindi films – Seeta Swayamvar-48, Maya Bazar-49, Shrikrishna Satyabhama-51, Shri Vishnu Bhagwan-51 and Malati Madhav-55.
Malati married classical singer Pt. Padmakar Barve. They have a son Rajiv Barve who is a singer. His daughter Priyanka Barve is also a famous singer in Marathi and Hindi films. Malati Pande died on 27-12-1997.
Let us now enjoy her last song in Hindi films…
Song-Motiyon se maang bhare sundari suhhaaye re (Maalti Madhav)(1951) Singer- Malti Pande, Lyricist- Pt.Narendra Sharma, MD- Sudhir Phadke
Chorus
Lyrics
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
aarsi na dekho
kahin drishti lag jaaye re
drishti lag jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
nakh range hain laadli ke
choomti usha charan
nakh range hain laadli ke
choomti usha charan
jaise laal laal kamal
khil rahe hain man haran
jaise laal laal kamal
khil rahe hain man haran
ye charan ki jodi kahin
door chali jaaye re
door chali jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
mukh hai jaise chandr chaandni si roop mohani
mukh hai jaise chandr chaandni si roop mohani
apni aaj kal paraayi hogi sakhi sohini
dekho kaali naagin si veni lehraaye re
veni lehraaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
aarsi na dekho
kahin drishti lag jaaye re
drishti lag jaaye re
sundari suhhaaye re
sundari suhhaaye re
Motiyon se maang bhare sundari suhhaaye re
sundari suhhaaye re
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