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

Posts Tagged ‘Bharat Vyas


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(21st August 2017) is the last Monday of the holy month of Shrawan, in the Southern, Western and some Eastern states of India. For the rest of India the Saawan month had ended on the 7th August itself. Today’s Shiv bhajan is from the film Shri Ganesha janma-1951.

These days, being or showing that you are a religious Hindu amounts to being Communal ! I feel that your religious behaviour should be restricted to your own personal life, without any display of it. If you take a survey today, you may find that hardly 0.1 to 1 % of the population is Atheist ( those who do not believe the existence of God ). The rest are all believers in God. Belief in God and being religious are two entirely different things. Being religious is practicing the ‘karm kands’ or fulfilling the acts described, prescribed or suggested by the religion, like for example, going to the Temples regularly or doing Pooja Archana every day etc. Only those who practice these can be termed as being religious minded. As long as these things do not interfere with your duties towards family and society, no one should have any business commenting/ interfering in that.

A person who likes to listen to Jazz or Rock music and one who likes to listen to western musicals can at best be described as a person liking western music, but he can not be called a Musician. Similarly, when one likes to listen to Bhajans and see Mythological films, he can only be termed as a person who likes religious/devotional music, but can not be called a religious person. I like to listen to any Bhajan or other religious songs.

Hindu Religion is the most elastic, all encompassing and highly adaptive Religion. That is how it has remained for over 5000 years. There may be thousands of Castes, Languages,Ethnic groups and contrasting living patterns, but ALL will visit the SAME temple. There is no division among the variety of Gods that are available to the people. It is said that there are 33 types of-classes of-Gods ( 33 Koti Devtas- misunderstood as 33 crores Gods ), so there is a wide choice for selecting your favourite God. Some may like Shiv ji, some Vishnu,some Shrikrishna while some like Laxmi Devi, but there is ONE God who is loved by one and all,not only in India but also worldwide..and that is GANESHA.

Lord Ganesh is the second son of the celestial couple Shiv ji and Parvati ji. The elder one is Kartikeya (Kumarswamy in south). However, in South, Kartikeya or kumar swamy or Skand is considered as the younger one. There are many stories found in Vedas and various Puranas,about the birth of Ganesha. the most popular,of course, is from Shiv Puran, which says that ,one day parvati made an young boy from the Sandalwood Paste made for her bath.She put life into it and asked him to guard the gate till Parvati finished her bath. After some time,Shiv ji came back,but was stopped by the boy. The Ganas of Shiv ji had a fight with him,and he defeated them. When this news reached the heavens,Dods’ king Indra himself came with his army,but he too was defeated by this boy. Shiv ji got angry and copped off his head with his Trishula. When Parvati learnt about this,she became very sad and angry. Shiv ji sent his Ganas to search for the chopped head,but not founding it,they brought an Elephant’s head. Shiv ji fitted this head and made him alive again. Shiv ji named him GANESH. Here are some other stories of Ganesh janm…
A lesser known story from the Bramha Vaivarta Puran narrates a different version of Ganesha’s birth. On the insistence of Shiva, Parvati fasted for a year (punyaka vrata) to propitiate Vishnu so that he would grant her a son. Vishnu, after the completion of the sacrifice, announced that he would incarnate himself as her son in every Kalpa (eon). Accordingly, Ganesha was born to Parvati as a charming infant. This event was celebrated with great enthusiasm and all the gods were invited to take a look at the baby. However Shani (Saturn), the son of Surya, hesitated to look at the baby since Shani was cursed with the gaze of destruction. However Parvati insisted that he look at the baby, which Shani did, and immediately the infant’s head fell off. Seeing Shiva and Parvati grief-stricken, Vishnu mounted on Garud, his divine eagle, and rushed to the banks of the Pushpa-Bhadra river, from where he brought back the head of a young elephant. The head of the elephant was joined with the headless body of Parvati’s son, thus reviving him. The infant was named Ganesha and all the Gods blessed Ganesha and wished Him power and prosperity.

Another tale of Ganesha’s birth relates to an incident in which Shiv slew Aditya(Lord sun) , the son of a sage. Shiva restored life to the dead boy, but this could not pacify the outraged sage Kashyapa, who was one of the seven great Rishis. Kashyap cursed Shiva and declared that Shiva’s son would lose his head. When this happened, the head of Indra’s elephant was used to replace it.(Linga Puran).

Still another tale states that on one occasion, Parvati’s used bath-water was thrown into the Ganges, and this water was drunk by the elephant-headed Goddess Malini, who gave birth to a baby with four arms and five elephant heads. The river goddess Ganga claimed him as her son, but Shiva declared him to be Parvati’s son, reduced his five heads to one and enthroned him as the controller of obstacles -Vighnesh. (Varah Puran).

The cast of the film was the usual one. After becoming famous with film Har Har Mahadev-1950, the trio of Trilok kapoor, Nirupa Roy and Jeevan became mandatory in almost all mythological films connected with Shiv and Parvati. Jeevan was a standardised Narad in all such religious films. Jeevan had altogether acted as Narad in 49 films, in his career. This was before his second innings featuring as a villain and a sophisticated criminal in the 70s and 80s. In this film also They enacted the same roles. I do not know how far it is true, but it was said that Trilok kapoor had used a real snake around his neck in the role of Shankar ji.

The film was directed by Jayant Desai. Jayant Jhinabhai Desai was born in Surat,Gujarat,on 28-2-1909,in a well to do family. he graduated from Bombay University and entered film line as an exhibitor in Surat. Later on he started writing Screen plays for London Films,Rangoon and then for krishna and Sharada studios. he joined Chandulal Shah’s Ranjit Studios in 1929,as his assistant for film ‘Rajputani’. Director Nandlal Jaswantlal Bhatt ( Nagin,Taj,Champakali etc) was also another assistant in Ranjit.

When Nandlal left Ranjit to go to Europe,Jayant completed his film ‘ Pahadi kanya-1930 ‘. At Ranjit Jayant directed 12 silent films. He was with Ranjit till 1943 and Directed 33 Talkie films,while in Ranjit. Some of these films were Char Chakram,Bhool Bhulaiya,Nadira,Toofanmail,College Girl,matlabi Duniya, Toofani Toli, Billi ( a copy of a Hollywood film,based on P.G.Wodehouse’s novel ” A Damsel in Distress” ), Sant Tulsidas, Diwali,Shaadi, Chandni, Bhaktaraj, Tansen(with Saigal), Zaban etc.

After leaving Ranjit,Jayant Desai established his own studio,Jupitor Films Studio, jayant desai productions and Hemlata Pictures. He also had exhibition interests in Hindmata and Star Theatres in Bombay’s Dadar area. In the 50s, he operated as a Distributor with his Jupiter films.

While in Ranjit, he had Directed K L Saigal in film Tansen. Sardar Chandulal Shah had called Saigal on a contract of 60 days. Jayant completed Tansen in flat 51 days. Kidar Sharma then used those 9 days to make a quickie named Bhanwara, with Saigal.

C.Ramchandra was with Jayant Desai for more than 3 years and gave 5 successful films. It was Jayant Desai who gave him the name C.Ramchandra for using in films. It was also Jayant Desai who was responsible for the rise of C.Ramchandra in a major way. It so happened….

Under the banner of Jayant productions,he made one more Saigal film-Tadbir-1945,with Suraiya in the lead. In his new company,jayant had hired C.Ramchandra as a paid Composer on a salary of Rs. 300 pm. C Ramchandra gave music to many of his films like Zaban,lalkar,manorama,Chandragupta etc and all films became popular.C. Ramchandra was proud of his achievement.

One day C Ramchandra heard a rumour that the great singer Saigal is coming to make a film here. CR became very excited that he would get an opportunity to compose music for Saigal. But he got a shock when he heard that,not he,but one Lal Mohammed (assistant of Ghulam Hyder in Lahore) was being called for that assignment,C.Ramchandra not only was upset but felt hurt too. he went to Jayant Desai and said-

” My salary must be increased”
” How much ?”
” One Thousand Rupees per month”
Jayant was not ready for 1000. he offered maximum 600. He also told CR that there was an opportunity to compose for Saigal,but C.Ramchandra was not ready to accept anything less than 1000.
Finally,C Ramchandra said,” Increase it to 1000 or else….”
Jayant Desai was furious.He asked,” Or else…What ?”
C.Ramchandra said,” Or else,I will quit”.
Without flapping an eyelid,Jayant Desai coolly said,” OK. Your account will be settled in an hour. Stop work and pack up.”
C.Ramchandra was stunned,but the arrow had already left the bow !

C.Ramchandra became jobless and also lost an opportunity to compose music for Saigal. But his luck was strong. The very next day,kavi Pradeep took him to Filmistan and he was appointed there on a salary of Rs. 1000 pm. In Filmistan,C.Ramchandra gave several Hit musicals like Safar,Shehnai,Nadiya ke paar,Shabnam,Samadhi,Sargam,Anarkali,Nastik etc. If Jayant Desai had not removed C.Ramchandra from his company, he would not have reached the heights of his fame and success later on.

Jayant Desai directed 65 films in all. His last film was Zamana Badal gaya-1961. He died in Bombay on 19-4-1976.

The film’s music was composed by Khemchand Prakash and Manna Dey together. There were 12 songs, but HFGK does not give individual credits for each song. Out of these 12 songs, not even a single song was sung by Lata Mangeshkar. In those days Lata usually avoided singing in Mythological films of B and C grades. Reason was, probably because the Producers of such films could not afford her price or may be she was too busy with her assignments with more famous composers and bigger Banners. Such films were left for the second line singers like Asha, Geeta, Sulochana kadam, Sudha Malhotra and others of their ilk. A point to be noted,however, is that though a major singer of those times, Shamshad Begum never had qualms about singing in such films !

Today we end our undeclared Mini Series of Shiv bhajans here only till, may be Mahashivratri in early 2018, when we will enjoy another set of Shiv Bhajans again……


Song-Naiyya paar lagaane waale bigdi banaane waale bhole bhaale hain Bholanath re (Shri Ganesh Janm)(1951) Singers-Geeta Dutt, Manna Dey, Lyrics-Bharat Vyas, MD-Manna Dey
All
Male chorus
Female chorus

Lyrics

Bholanath re
Bholanath re
Bholanath re
Bholanath re

naiyya paar lagaane waale
bigdi banaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
naiyya paar lagaane waale
bigdi banaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
Bholanath re
Bholanath re
o Bholanath re
Bholanath re

o o o o
o o o
o o o

sheesh jata mein gang dhaar
bah gale rund maala hai
sheesh jata mein gang dhaar
bah gale rund maala hai

kar mein shobhit hai trishool
aur kat mein mrig chhaala hai
kar mein shobhit hai trishool
aur kat mein mrig chhaala hai

tan mein bhasmi ramaane waale
damroo bajaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
Bholanath re
Bholanath re
o Bholanath re
Bholanath re

o o o o
o o o
o o o
o o o

bade bade dushton ko tumne
pal mein paar utaara

bholanath re
Bholanath re
o Bholanath re
Bholanath re

bade bade dushton ko tumne
pal mein paar utaara

kaamdev ko nain teesre
se tumne sanhaara
kaamdev ko nain teesre
se tumne sanhaara

hamko dukh se chhudaane waale
mukti dilaane waale
bhole bhaale hain bholanath re
o sohe gori gajaanan donon saath re
Bholanath re
Bholanath re
o Bholanath re
Bholanath re

o o o o
o o o
o o o
o o o

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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.

“Shrawan Kumar”(1960) was produced by Ramubhai Desai and directed by Sharad Desai for Prabha Pictures, Bombay. This mythological movie had Nalini Chonkar, Anant Kumar, Achala, S K prem, Sundar, B M Vyas, Yashodhara Katju, Chaand Burque, Polson, Dabboo, Daya Devi, Kesari, Fazlu, C J Pandey, Kesarbai, V Prem, Premlata, Premi, Radheshyam, Baby Rukhsana, Cuckoo, Madhumati, Raj Prakash etc in it.

The movie, obviously based on the tale of Shrawan Kumar, had ten songs in it. Shrawan Kumar was a contemporay of Lord Ram and his mention is found in Ramayan.

Movies like this aimed to make its audience watch the movie and cry, witnessing the hardships faced by the protagonist. The movie had several songs that are heavy duty listening for me (preachy songs/ tragic songs etc).

Thankfully, there are a few songs that spare us that agony. I have chosen one such song here.

This song is a “missing the beloved” song which is sung by Lata. Bharat Vyas is the lyricist. Music is composed by Shivram.

The song is picturised on a lady whom I am unable to identify. I request our knowledgeable readers ti help identify her.
PS-She is Nalini Chonkar. I thank our knowledgeable reader Mr Suresh Patil for helping to identify her.

With this song, “Shrawan Kumar”(1960) makes its debut in the blog. As many as 111 Hindi movies were released in 1960. “Shrawan Kumar”(1960) becomes the 100th movie to 1960 to find representation in the blog. So with this song, we achieve yet another artificially made up but nevertheless a significant century in the blog.


Song-Tum kahaan chhupe ho saanwre (Shrawan Kumar)(1960) Singer-Lata, Lyrics-Bharat Vyas, MD-Shivram

Lyrics

tum kahaan chhupe ho saanwre
do naina bhaye more baawre
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre ae

tum bin ye jag kaara hai
chaaron taraf andhiyaara hai
o o o o
o o o o
aaj thhaki
man haara hai
kitni door kinaara hai
ho kinaara hai
doley jeevan ki dagmag naav re
naiyya ke khiwaiyya aao re
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre
ho saanwre
ho saanwre

tum kahaan chhupe ho saanwre
do naina bhaye more baawre
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre ae

laakh tumhen hoon bisraati
phir bhi bhool nahin paati
o o o o
o o o o
bichhad gaya jeevan saathi
tel bina jalti baati
jalti baati
aankhon se tera algaav re
hai man mein chhupa ek ghaav re
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre ae

dheere dheere saanjh dhale
ruk ruk meri saans chale
o o aa aa
o o aa aa
dhoondhh thhaki par tum na miley
man tadpe mere praan jaley
mere praan jaley
badi door door tera gaanv re
tere paanv ki deekhe na chaanv re
tujhe khoj khoj main haari
ab thhakne lage morey paanv re
tum kahaan chhupe ho saanwre
ho saanwre
ho saanwre


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 Shiv Bhajan is for the 4th Shraavan Monday – as celebrated in south, west and some eastern states of India. This bhajan is from film ‘Shuk Rambha’ (1953), made by Chandrakala Pictures and is produced and directed by Dhirubhai Desai. The lead actors were Anjali Devi (from south) and Bharat Bhushan. In the cast of this film, you will find a name Rajkumar. Most ‘knowledgeable’ sites and writers treat this actor same as the famous dialogue master Raaj Kumar ‘Jaani’. However, this is not correct. This Rajkumar is different.

The pathetically poor documentation of the history of Hindi films has left many gaping holes. One of these is the menace of ‘Same Name Confusions’. Actors, directors and composers having similar names are the victims as well as the sufferers of this phenomenon. When artistes active around the same time share the same names, their filmography is often overlapped and intermixed. The sufferer is usually the lesser known person amongst the group of same name persons. Their hard work is credited unceremoniously to the more famous and well known person of the same name. In my earlier posts, I have dwelt upon this subject in details. Additionally, I ran a 3 part article series “Same Name Confusions”, which has become a reference point at www.anmolfankaar.com

The case of multiple Raj Kumars, however, could not be solved due to its cluelessness. Fortunately, the blog www.maitrimanthan.wordpress.com took it up as a project and spent considerable time and efforts to collect some information in this case. (They had also done this for Sr and Jr Shashi kapoors. May God bless these blog girls !).

There were in all 5 Raj Kumars in the industry at the same time. The first was the Kannada Hero Dr. Rajkumar. However, he never worked in any Hindi film, so no confusion about him.The second was the famous dialogue master Raaj Kumar ‘Jaani’. Third was Rajkumar Gupta (from Ranchi), who was the main character in popular film ‘Jagriti’ (1954). He never worked again in any film. Fourth was Raj(u) Kumar, a junior artist, who did minor roles, that were mostly uncredited, in films like ‘Shri 420’ (1955), ‘Jaagte Raho’ (1956), ‘Dilli Ka Thug’ (1958), ‘Aaj Aur Kal’ (1963), ‘Ziddi’ (1964) etc. The fifth was this Rajkumar, who mostly worked in religious and mythological films. His full name was Rajkumar Khatri.

Rajkumar Khatri was born in or around 1940. He started as a child artiste in films like ‘Janmashtami’ (1950), ‘Jai Mahakaali’ (1951) and ‘Insaan’ (1952). His first film as an adult was ‘Shuk Rambha’ (1953), in which he did the role of young Shukdev. He was a fine actor, not extraordinary, but there was something special about his screen presence. Apart from his boyish looks, he had an unspoken charm and emanated an inherent goodness. In his second film ‘Tulsidas’ (1954) he did the role of Shri Ram. He was hardly 15-16 year old then. This must be the youngest and most boyish looking Shri Ram ever seen on the screen !

Rajkumar Khatri acted in 61 films, mostly religious and mythological films (47 to be precise). Not that he did not work in any social films, but such films were less. He was seen in films like ‘Sautela Bhai’ (1962), ‘Aaj Aur Kal’ (1963), ‘Ustadon Ke Ustad’ (1963), ‘Ziddi’ (1964), ‘Nai Umar Ki Nai Fasal’ (1965) etc. Due to his boyish face and young innocent looks, he was generally given roles of the younger brother. As Laxman, he acted in 7 films. His last film was probably ‘Chintamani Soordas’ (1987).

In mid 1980s, when films offers became scarce, he joined Prakash Mehra as an assistant. He used to live in Chembur. He was known as Chhota Rajkumar in the industry. He worked with Prakash Mehra for a long time, as Assistant Director and also as his PA. Reportedly, he died in September 2014. No further information on him is available.

Today’s Shiv Bhajan is from an obscure film ‘Shuk Rambha’. In the period from 1951 to 1960, so many religious and mythological films were made that at times there was a shortage of appealing stories. Popular stories from the Ramayana and Mahabharat epics, were exhausted beyond revival and it was not prudent to repeat them frequently. In this period, Nirupa Roy and Trilok Kapoor, probably were the busiest stars. Besides the usual popular stories, producers made films on rare subjects like Shanidev, Nal-Damayanti, Kach Devyani, Ekadashi, Navnaths, Kaali, Laxmi, Vikram and Vetal etc.

Producer-director Shri Dhirubhai Desai took up a totally unknown and obscure topic from the Vedic ‘Shuk Rambha Samvaad’. I appreciate his guts. I did not see this film and I do not know how many people must have seen this ‘never heard’ type of film. The cast of the film included Bharat Bhushan who had become famous after the blockbuster film ‘Baiju Bawra’ in 1952. Anjali Devi from south was his heroine. There were the other usual artistes of this genre like Lalita Pawar, Krishnakumari, Niranjan Sharma, Tiwari, Kusum Thakur etc. The role of young Shukdev was performed by Raajkumar.

Normally, not many people would know who was Shuk. Of course everybody would know about Rambha, that she was an ‘apsara‘ like Menaka and Urvashi etc. Rishi Shuk or Shukdev has an interesting story about his birth. Once Devi Paarvati wanted to know the secret of being Amar or immortal. Only Shiv ji knew about it. When she was after him to know the secret, he agreed to tell her. While Shiv ji was explaining the details, Paarvati went to sleep, but a bird – Shuk (Parrot), sitting on a tree branch outside listened to all the details. When Shiv ji realised this, the bird flew away in fear, and landed straight into the yawning open mouth of the wife of Maharshi Ved Vyas. It remained there safe for 12 years and then took birth. He was named Shuk. He left home to seek Bramha Gyan. Devarishi Narad took him again to Ved Vyas. He taught him and then sent him to King Janaka, who was supposed to be a ‘Jeevanmukta‘, i.e. free from worldly emotions and attachments, even though he was in a human form. Janak advised Shuk to take up ‘grihasth ashram‘ (life as a married householder), as Bramha Gyan was incomplete without this worldly experience and knowledge. Shuk met Rambha who got interested in him and started to lure him. There took place the famous Vedic ‘Shuk Rambha Samwaad’. She tried to teach him the benefits of spending time with beautiful women and he would argue against her.

Here is some additional information on Shuk (from Wikipedia).

Shuka (also Shukadeva, Shuka deva, Suka, Sukadev, Sukadeva Gosvami) was the son of the sage Ved Vyasa who is credited as the organizer of the Vedas and Puraanas,  and the main narrator of the Bhagvata Puraan. Most of the Bhagavata Puraan consists of Shuka reciting the story to King Parikshit, who had been cursed to die within seven days. Shuka is depicted as a sanyasi, renouncing the world in pursuit of Moksha (liberation), which most narratives assert that he achieved.

According to Mahabharat, Shuka was churned out of a stick of fire after one hundred years of austerity by Ved Vyasa, born with ascetic powers and with the Vedas dwelling inside him, just like his father. The Mahabharata also recounts how Shuka was sent by Ved Vyasa for training to King Janaka, who was considered to be a Jeevanmukta, or one who is liberated while still in a physical body. Shuka asked Janaka about the way to liberation, with Janaka recommending the traditional progression of the four ashramas, which included the householder stage. After expressing contempt for the householder life, Shuka questioned Janaka about the real need for following the householder path. Seeing Shuka’s advanced state of realization, Janaka told him that there was no need in his case.

Stories recount how Shuka surpassed his father in spiritual attainment. Once, when following his son, Vyasa encountered a group of celestial nymphs who were bathing. Shuka’s purity was such that the nymphs did not consider him to be a distraction, even though he was naked, but covered themselves when faced with his father. Shuka is sometimes portrayed as wandering about naked, due to his complete lack of self-consciousness.

A completely different version of the later life of Shuka is given in the Devi-Bhagvat Puraan, considered a secondary Puraana (Upapuran) by many, but an important work in the Shaakt tradition. In this account, Shuka is convinced by Janaka to follow the ashrama tradition, and returns home to marry and follow the path of yoga. He has five children with his wife Pivari (who is actually Rambha) – four sons and a daughter. The story concludes in the same vein as the common tradition, with Shuka achieving moksha.

A place called Shukachari is believed to be the cave of Shuka, where he disappeared in cave stones as per local traditional lore. Shuka in Sanskrit means parrot and thus the name is derived from the large number of parrots found around the Shukachari hills. Shukachari literally means abode of parrots in the Sanskrit language.

Film ‘Shuk Rambha’ is primarily based on the story of Shukdev, from Bhagwat Puraan. The film story was written by Kavi Raghunath Brahmbhatt (1892-1983). Born in Gujarat, Kavi Raghunath was called a Raskavi due to his penchant for writing love songs. He wrote mythological and historical dramas, which became very famous. Taking a clue from Parsi Theatre, he resurrected Gujarati theatre by reviving the tradition of Sanskrit dramas in Gujarati. His autobiography ‘Smaran Manjri’ (published 1955) describes the development of Gujarati Theatre. It is said that the famous song “Mohe Panghat Pe Nandlaal. . .” from film ‘Mughal e Azam’ (1960) was taken from his Gujarati drama ‘Chhatra Vijay’ (1919), which was usurped by Shakeel Badayuni. The case was taken up by Writers’ Association of India, which decided the matter in Brahmbhatt’s favour. However, the credit in the film still goes to Shakeel badayuni only. Kavi Raghunath died in 1983.

Film ‘Shuka Rambha’ has 9 songs. One song from this film has been discussed on our blog, long back. So this is only the second song to be posted here. Today is the 4th Monday of the holy month of Shraavan, in the south, west and eastern states of India. For the rest of India, Shraavan has ended on the 7th August – the day of Rakhi Purnima itself. Next Shiv Bhajan on the 21st August will be the last in this  undeclared mini series. So enjoy this Shiv Bhajan today.


Song – Jaag Re Yogi Jaag Re (Shuk Rambha) (1953) Singer – Asha Bhosle, Manna Dey, Lyrics – Bharat Vyas, MD – Manna Dey
Chorus

Lyrics

jaag re. . .
yogi jaag re. . .
jaag re
jaag re
jaag re
jaag re yogi jaag re
jaag re yogi jaag re
ye samaadhi anant yogi tyaag re
jaag re
jaag re

ho o o o o
o o o o o
o o o o o
aaa aaa
yauwan ki behnt mein madhu maas aaya
jungle mein mangal hai chhaaya
jungle mein mangal hai chhaaya
jungle mein mangal hai chhaaya
dharti suhagan ne dhaani chunariya se
ban ban ko upvan banaaya
ban ban ko upvan banaaya
ban ban ko upvan banaaya
kaliyon ke mukh choomen
(aaa aaa aaa aaa)
gumche bhramar ke
(aaa aaa aaa aaa)
kaliyon ke mukh choomen
(aaa aaa aaa aaa)
gumche bhramar ke
(aaa aaa aaa aaa)
vrikshon se lipti lataayen
gun gun gun gun gun gun dolen vaasanti
sheetal sugandh hawaayen
kan kan mein praanon ki baaji baansuriya
ho o o o o o
kan kan mein praanon ki baaji baansuriya
goonje hain jeevan ke raag re
jaag re yogi jaag re
jaag re yogi jaag re
ye samaadhi anant yogi tyaag re
jaag re
jaag re

jaag re
jaag re
jaag re
jaag re
jaag re
jaag re

tu hai purush aai sanmukh ye prakriti
tu hai karam ye kaamini
nainon ko khol yogi aasan se dol
tere sanmukh hai jeevan ki raagini
jad mein chhupi ye chetanta
jal mein chhupi ye aag re
jaag re
jaag re jaag re
jaag re
jaag re jaag re
jaag re
jaag re
jaag re
jaag re

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

जाग रे॰॰॰
योगी जाग रे॰॰॰
जाग रे
जाग रे
जाग रे
जाग रे योगी जाग रे
जाग रे योगी जाग रे
ये समाधि अनंत योगी त्याग रे
जाग रे
जाग रे

हो ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ
आ आ
यौवन की बहंत में मधु मास आया
जंगल में मंगल है छाया
जंगल में मंगल है छाया
जंगल में मंगल है छाया
धरती सुहागन ने धानी चुनरिया से
बन बन को उपवन बनाया
बन बन को उपवन बनाया
बन बन को उपवन बनाया
कलियों के मुख चूमें
(आ आ आ आ)
गुमचे भ्रमर के
(आ आ आ आ)
कलियों के मुख चूमें
(आ आ आ आ)
गुमचे भ्रमर के
(आ आ आ आ)
वृक्षों से लिपटी लताएँ
गुन गुन गुन
गुन गुन गुन डोलें वासंती
शीतल सुगंध हवाएँ
कण कण में प्राणों की बाजी बांसुरिया
हो ओ ओ ओ ओ
कण कण में प्राणों की बाजी बांसुरिया
गूँजे हैं जीवन के राग रे
जाग रे योगी जग रे
जाग रे योगी जग रे
ये समाधि अनंत योगी त्याग रे
जाग रे
जाग रे

जाग रे
जाग रे
जाग रे
जाग रे
जाग रे
जाग रे

तू है पुरुष आई सन्मुख ये प्रकृति
तू है करम ये कामिनी
नैनों को खोल योगी आसन से डोल
तेरे सन्मुख है जीवन की रागिनी
जड़ में छुपी ये चेतनता
जल में छुपी ये आग रे
जाग रे
जाग रे जाग रे
जाग रे
जाग रे जाग रे
जाग रे
जाग रे
जाग रे
जाग रे

 

 


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.

“Bijli”(1950) was directed by Sushil Sahu for Hindustan Chitra, Bombay. This “social” movie had Rehana, Ramesh Gupta, Sitara, Vilas Mohbe, Paro, Badri Prasd, Sushir Sahu, Amirbai Karnataki, Satya Narayan, Narbada Shankar, C L Shah, Kanta, Kazmi etc in it.

This movie had eight songs in it that were sung by five singers. Four songs from the movie have been covered in the past.

Today (10 august 2017) is the 67th remembrance day of Khemchand Prakash ( 12 december 1907- 10 august 1950). On this occasion, here is a song from “Bijli”(1950).

This song is sung by two female singers. HFKG mentions them as Geeta Roy and Paro, whereas the uploader of the song mentions them as Shamshad Begam and Paro. But I think that the voices in the song are of two singers who are not Geeta Roy (alater Dutt), Shamshad Begam or Paro devi, three singers whose voices are quite distinctive and different from the voices in the song. I request our knowledgeable readers to help identify this voices that sound familiar.

PS-Now Sudhir Jee has fished out a clearer version of this song from his collection. There the voices are very clear and they unmistakably belong to Paro and Geeta Roy. I thank Sudhir Jee for helping clarify matters.

Bharat Vyas is the lyricist. Music is composed by Khemchand Prakash. This is and lovely song which sounds like a stage performance song where a city slicker lady complains that she is uncomfortable in the village of her beue and she asks him to take her to Bombay. Very cute and justifiable feelings that most people can readily identify with. I too used to groan like this when I found myself going to my native place (a village) during my younger days. 🙂


Song-O mora jiya ghabraaye tere chhote se gaaon mein(Bijli)(1950) Singers-Paro Devi, Geeta Dutt, Lyrics-Bharat Vyas, Khemchand Prakash

Lyrics

mora jiya ghabraaye
uf mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de
na na na na na na
o mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

tere is chhote se gaanv mein
na motor na rail
ghaas phoos ki jhonpdi mein
kaatoon jeewan jail
balam is jail se chhuda de
balam is jail se chhuda de
dhuaan gaadi pe baitha de
chhuk chhuk chhuk chhuk pahuncha de
o mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

na na na
are wahaan dhaan par ration gori
kapdon par control
kamron par pagdi ka ragda
kamron par pagdi ka ragda
paani bikta mol
wahaan ke log hain rangeele
wahaan ke log hain rangeele
chup chhail chhabeele
tera bhola jiya bharma den
ho mera kaha maan
mat kar gumaan
gori bambai ki baat bhula de

balam mohe bambai shahar dikha de

arre ae
kya likhi karam ki rekha aa
haaye
ab tak na saneema dekha
ab tak na saneema dekha
kaisa thha saawan aaya re
kaisi thhi chandralekha
ab tak na saneema dekha
o mere laadle balam
tohe raam ki kasam
chaupaati ki chaat khila de
haaye mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

ghaas phoos ki jhonpdi meri
jamuna jee ke kinaare
chaand aur sooraj aur ye sitaare
jiske aage bambai tera
pada pada jhak maare
ho gori ye chaandni raaten
aur pyaar ki baaten
zara ghoonghat ki oat muska de
ho mera kaha maan
mat kar gumaan
gori bambai ki baat bhula de

balam mohe bambai shahar dikha de


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.

“Sant Raghu”(1957) was produced by M K Kapadiya and directed by Chandrakant for Kanak Productions, Bombay. This “bhakti pradhan” movie had Nirupa Roy, Anand Kumar, Ulhas, Bipin Gupta, Lalita Pawar, S N Tripathi, Manorama, Babu Raje, Tuntun, Maujoo, Radheshyam, Bhagwan Sinha, R S Dubey, Champak Laala, Sheila Vaz, Rajkumar, Amrit etc in it.

The movie had eight songs in it that had the voices of as many as six singers in them.

Here is the first song from “Sant Raghu”(1957) to appear in the blog. This song is sung by Lata and Talat Mehmood. Bharat Vyas 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 the picturisation of the song.

Listening to the song leaves us in no doubt that this song is influenced from the tune of a well known song from “Naagin”(1946).

With this song, “Sant Raghu”(1957) makes its debut in the blog.


Song-Dagmag doley jeewan ki naiyya (Sant Raghu)(1957) Singers-Lata, Talat Mehmood, Lyrics-Bharat Vyas, MD-Avinash Vyas
Both

Lyrics

dagmag doley jeewan ki naiya
aaja ban ke patvaar re
aaja ban ke patvaar
o o
hauley hauley aaya khivaiya
naiyya lagaane teri paar re
naiyya lagaane teri paar

o o
dagmag doley jivan ki naiya
aaja ban ke patvaar re ae
aaja ban ke patvaar

o o o
nadiya me paani
paani mein lehre
lehron mein baje ghunghru
raaton mein jugnu
phoolon mein khushbu
waise mere dil mein hai tu u u u
waise mere dil mein hai tu

pihu pihu bole praan papiha
tu hai basant mein bahaar re
tu hai basant mein bahaar
o o o
dagmag doley jeevan ki naiya
aaja ban ke patvaar re
aaja ban ke patvaar

o o o
sang na chhoote
pyaar na toote
o mere jeevan saathi
tera mera mel puraana
jaise diya aur baati ee
jaise diya aur baati

darna na sainyaan
chhodna na bainya
aayi preet manjhdaar re
aayi preet manjhdaar re ae
dagmag doley jeevan ki naiya
aaja ban ke patvaar re ae
aaja ban ke patvaar
o o
hauley hauley aaya khivaiya
naiya lagaane teri paar re
naiya lagaane teri paar

o o
dagmag doley jeevan ki naiya
aaja ban ke patvaar re
aaja ban ke patvaar


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 a film called ‘Shiv Kanya’ (1954). The title may surprise some readers. Did Bhagwan Shiv ji have a daughter? Some people may brush it off thinking that it is yet another fruit of the fertile imagination of the “story department” of the production house. Can’t blame them either, because film makers are known experts in creating close relatives of popular film characters. Some examples are ‘Son of Aladdin’ (1939), ‘Daughter of Hatimtai’ (1940 and 1955) or even ‘Son of Zimbo’ (1966). Poor Alladin or Hatimtai would not be even knowing that they had a son or a daughter !

However, as far as mythological film subjects are concerned, there is absolutely no need to imagine or cook up stories, because the old scriptures like Puraanas provide varied situations for making films. That is how there is a film called ‘Krishna Arjun Yuddh’ in 1934, 1945 and 1971, based on a story from Bhagwat Mahapuraan. We also have ‘Ram Hanuman Yuddh’ in 1957 and 1975, based on Valmiki Ramayan. There was even a strange sounding film called ‘Shankar, Seeta, Anusuya” in 1965, made on a story from Garud Puraan and then there was a film called ‘Vish Waman ‘ (1936) based on Waman Puran.

When I first came across this film ‘Shiv Kanya’ in the mid 50s, I was perplexed, because I was not aware of Shiv Ji having a daughter too ! I knew about Kartikeya and Ganesh. Then I looked into a book ‘Stories from Puraanas’ and I learnt about it. Stories in Puraanas have sometimes slightly different versions in different Puraans. For example, Ram Hanuman Yuddh is mentioned in Valmiki Ramayan and you will find a modified version in Vishnu Puraan also. This is because Puraanas are based on Shrutis and there are additions by many scholars over the centuries.

As far as Shiv Kanya is concerned, it is a story of Manasa Devi. (Interestingly, there is a Goddess in Greek Mythology, with the name Ma Na Sa).

Ma Manasa Devi, the snake goddess, is worshipped by Hindus, mainly for the prevention and cure of snakebites and infectious diseases like smallpox and chicken pox as well as for prosperity and fertility. She stands for both ‘destruction’ and ‘regeneration’, akin to a snake shedding its skin and being reborn.

The idol of the Manasa Devi Goddess is depicted as a graceful lady with her body, adorned with snakes and sitting on a lotus or standing on a snake, under a hooded canopy of seven cobras. She is often seen as ‘the one-eyed goddess’, and sometimes portrayed with her son Aastika on her lap.

Also known as ‘Nagini,’ the female serpentine avatar or ‘Vishahara’, the goddess who annihilates poison, Manasa, in the Hindu mythology, is believed to be the daughter of sage Kasyapa and Kadru, and the sister of the serpent king Sesha. She is also the sister of Vasuki, king of Nagas and the wife of Sage Jagatkaru. I present here a simplified version of the myth regards Manasa as the daughter of Lord Shiva. Legends have it that she was rejected by her father Shiva and husband Jagatkaru, and hated by her stepmother, Chandi, who scooped out one of Manasa’s eyes. So, she appears to be foul-tempered, and benevolent only towards her devotees.

Manasa, due to her mixed parentage, is denied full godhead. Ancient Hindu legends in the Puranas, narrate the story of the birth of this powerful serpentine goddess. Sage Kashyapa created goddess Manasa from his ‘mana,’ or mind, so she could control the reptiles that were creating havoc on earth and Lord Brahma made her the presiding deity of snakes. It is believed that Lord Krishna granted her divine status and she established herself in the pantheon of gods.

During the monsoon season, Goddess Manasa is worshipped, mainly in the eastern Indian states of Bengal, Assam, Jharkhand, and Orissa, throughout the months of June, July and August (Ashaad – Shraavan), a time when the snakes leave their nesting ground and come out into the open and become active. In Bangladesh, the Manasa and Ashtanaag Puja is a month-long affair spanning July and August. Devotees pay obeisance to goddess Manasa and perform various ‘pujas’ or rituals to appease her. Special ‘murtis’ or statues of the goddess are sculpted, various sacrifices made, and prayers chanted. In some places, worshippers are seen to pierce their bodies, poisonous snakes are displayed on the altar, and live shows depicting the life and legends of Manasa Devi are performed. (From the book ‘Hindu Mythology-Gods and Goddesses’ by Acharya Shyam Purohit.)

And this is what ‘Hindu Daivat in India’ by Shrinivas Potdar says – “Manasa Devi is also known as the snake Goddess who is worshipped mainly in Bengal and other North-Eastern states of India. It is believed that Goddess Manasa is the one who controls all the snakes on Earth and a snake bite can be cured by worshipping Her. People also worship Goddess Manasa for fertility and prosperity. According to the legends Goddess Manasa is the daughter of Lord Shiva. However some scriptures suggest that she is the daughter of Sage Kashyapa and is distantly related to Shiva. She is the sister of Vasuki and wife to Sage Jagatkaru. Due to the confusion in her parentage, Goddess Manasa has been denied the position which other deities enjoy. Hence, she is an extremely furious Goddess for those who refuse to worship Her while extremely kind to those who worship Her with devotion.”

Film ‘Shiv Kanya’ was made by Chandrakala Pictures, produced by Ravji Bhai Patel and Sharad Desai and was directed by Sharad’s father, Dhirubhai Desai.

Dhirubhai Desai was a Hindi and Gujarati film director. He was born in Kaliawadi, near Navsari, Gujarat, on 31-1-1908. He started at Sharda Studios in 1927 by assisting AP Kapoor. He completed Gujarati film ‘Maya No Rang’, which was left unfinished by PV Chavan and Sunder Rao Nadkarni, when Bhogilal Dave took over his United Pictures Syndicate in 1929. His early work was in silent films of action (17 silent films), in Sharada and later with Indulal Yagnik.

He also worked with Saroj Films of Nanubhai Desai. In 1933, he set up his own studio – Vishnu Cinetone and made ‘Suryakumari’ (1933) with Natwar Shyam Manyar and Chaturbhai Patel. Later he owned Chandrakala Pictures also. After 1940 he directed mainly B grade Mythological films, usually remakes of his silent films. He was one of the few silent film makers, who had a long career in Hindi and Gujarati films. He had directed 17 silent films and 56 talkie films in Hindi. Some of his notable Hindi films are ‘Dilli Ka Thug’ (1935), ‘Fashionable Wife’, ‘Bhakta Prahlad’ (1946), ‘Bhakta Pundalik’, ‘Oonchi Haveli’, ‘Saaranga’ (1960), ‘Kailashpati’, ‘Badrinath Yatra’ and ‘Sampoorna Teerth Yatra’ etc. His last film was ‘Daaku Aur Bhagwan’ (1975). He passed away on 30-7-1990.

The film’s story is written by Pt. Narottam Vyas. Born in Moradabad (UP) in 1896, Pandit ji edited some magazines in Calcutta. He first wrote the story of  film ‘Pooran Bhagat’ (1933), but his name was not in the credits. He also wrote for film “Seeta” (1934). Coming to Bombay he joined Bhavnani Productions and then Prabhat. In all he wrote stories of 50 films. He also wrote more than 50 books. After producing and directing some films, he was fed up and retired to Moradabad in 1964. He passed away on 27-2-1980.

The Music Director of this film is Manna Dey (1-5-1919 to 24-10-2013). Manna Dey was essentially a singer, but initially he wanted to become a composer. So, by becoming assistant first to his uncle KC Dey and later to Khemchand Prakash, he managed to give music to 17 films, composing 129 songs in these films, in his career. None of his composed songs became a hit or very popular. In contrast, he sang in 839 Hindi films and sang 1370 songs ! This output clearly proves that he was a successful singer. The problem with many singers is that they want to become music directors or act in the films or do both or even all three (like Mukesh), but they do not possess that mindset. A composer is a planner and a singer is an implementer. You can either be this or that. In any case an implementer rarely has the talent of a planner. Singers like Mukesh, Talat, SD Batish, Khan Mastana and few others never became famous or popular or successful composers or actors. Singers like Talat realised this too late and spoiled his singing career too.

Today’s song is written by Bharat Vyas and sung by Manna Dey himself. Actually, the tune is quite melodious, but being a B grade film, even good songs do not get wider exposure to become popular. This is the 3rd song from this film,to be posted on the Blog. Enjoy this Bhajan…

[Acknowledgements: The above write up has adapted some material from
a. ‘Hindu Mythology – Gods and Goddesses’ by Acharya Shyam Purohit
b. ‘Hindu Daivat in India’ by Shrinivas Potdar]


Song – Meri Doobti Naiyya Ko Paar Lagaane Waala Kaun. . . Bhola Nath Re. . (Shiv Kanya) (1954) Singer – Manna Dey, Unidentified Female Voice, Lyrics – Bharat Vyas, MD – Manna Dey
Chorus

Lyrics

meri doobti naiyya ko paar lagaane waala kaun
bhola nath re
o meri doobti naiyya ko paar lagaane waala kaun
bhola nath re
meri toot’ti aasha ko dheer bandhaane waala kaun
bhola nath re
o meri doobti naiyya ko paar lagaane waala kaun
bhola nath re

jhukti uthen ghataayen
jab vipda ke baadal chhaaye
kachhu na padey dikaai
manwaa pag pag thokar khaaye
us andhkaar mein. . .
us andhkaar mein aasha deep jalaane waala kaun
bhola nath re
o meri doobti naiyya ko paar lagaane waala kaun
bhola nath re
dukh ke kaanton mein sukh ke phool khilaane waala kaun
bhola nath re
o meri doobti naiyya ko paar lagaane waala kaun
bhola nath re

ban ban baat bigad jaaye
aur ghor niraasha chhaaye
bhagya baney vipreet jisey saari duniya thukraaye
thukraaye jisey. . .
thukraaye jisey duniya usey apnaane waala kaun
bhola nath re
ho meri doobti naiyya ko paar lagaane waala kaun
bhola nath re
meri toot’ti aasha ko dheer bandhaane waala kaun
bhola nath re

bhola nath re
bhola nath re
bhola nath re
o bhola nath re
bhola nath re
bhola nath re
bhola nath re
bhola nath re
bhola nath re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

मेरी डूबती नैय्या को पार लगाने वाला कौन
भोला नाथ रे
ओ मेरी डूबती नैय्या को पार लगाने वाला कौन
भोला नाथ रे
मेरी टूटती आशा को धीर बंधाने वाला कौन
भोला नाथ रे
ओ मेरी डूबती नैय्या को पार लगाने वाला कौन
भोला नाथ रे

झुकती उठें घटाएँ
जब विपदा के बाड़ा छाए
कछु ना पड़े दिखाई
मनवा पग पग ठोकर खाये
उस अंधकार में॰॰॰
उस अंधकार में आशा दीप जलाने वाला कौन
भोला नाथ रे
ओ मेरी डूबती नैय्या को पार लगाने वाला कौन
भोला नाथ रे
दुख के काँटों में सुख के फूल खिलाने वाला कौन
भोला नाथ रे
ओ मेरी डूबती नैय्या को पार लगाने वाला कौन
भोला नाथ रे

बन बन बात बिगड़ जाये
और घोर निराशा छाए
भाग्य बने विपरीत जिसे सारी दुनिया ठुकराये
ठुकराये जिसे॰॰॰
ठुकराये जिसे दुनिया उसे अपनाने वाला कौन
भोला नाथ रे
हो मेरी डूबती नैय्या को पार लगाने वाला कौन
भोला नाथ रे
मेरी टूटती आशा को धीर बंधाने वाला कौन
भोला नाथ रे

भोला नाथ रे
भोला नाथ रे
भोला नाथ रे
भोला नाथ रे
ओ भोला नाथ रे
भोला नाथ रे
भोला नाथ रे
भोला नाथ रे
भोला नाथ रे
भोला नाथ रे
भोला नाथ रे
भोला नाथ रे

 


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Missing the beloved” cum “separation” song form quite important genre of songs in Hindi movies. This blog has close to three hundred songs that fall under this category of “missing the beloved”.

In such songs, it is the lady who is mostly missing her beloved. She tends to miss him the most in the season of “Saawan”. She tends to miss him more in the late hours that say during the day hours.

In olden days, the feeling of “missing” the beloved was more complete that what it is today. Those days, keeping in contact with the beloved was rather difficult. One could send letters but that was a time consuming process and in most cases one was not even sure of getting a reply.

These days, keeping in contact with one’s beloved is so easy. We all have our mobiles and we can keep in contact with our near and dear one’s almost on a regular basis. So, I must say that technology has made separation of one’s beloved rather more bearable these days.

Just think of the past when the luxury of instant communication with others was not avaialble even for the mightiest. Under such circumstances, singing a song of the relevant genre was one of the ways of bearing the separation.

Here is a “missing the beloved” genre of song from “Nakhre”(1951).

“Nakhre”(1951) was produced by Mohanlal Wahai and directed by Surya Kumar for Paro Pictures, Bombay. This by now forgotten movie had Geeta Bali, Nasir Khan, Jeewan, David, Heera Sawant, Vijaya, Badri Prasad, Ramesh, Laxmanrao, M S Pathak, Paro etc in it.

There were ten songs in this movie that were sung by eight singers and penned by four lyricists. Three songs from the movie has been discussed in the blog. The song under discussion is the fourth song from “Nakhre”(1951) to appear in the blog.

This song is sung by Geeta Dutt. Bharat Vyas is the lyricist. Music is composed by Hansraj Bahl.

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.


Song-Andhiyaari kaari raat mein (Nakhre)(1951) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Hansraj Bahl

Lyrics

andhiyaari kaari raat mein
saawan ki barsaat mein
teri yaad sataaye ho
mohe neend na aaye ho
andhiyaari kaari raat mein
saawan ki barsaat mein
teri yaad sataaye ho
mohe neend na aaye ho

baadarva rim-jhim barse
mera jiyara tum bin tarse
baadarva rim-jhim barse
mera jiyara tum bin tarse
tum door wahaan
majboor yahaan
main baithi aas lagaaye
andhiyaari kaari raat mein
saawan ki barsaat mein
teri yaad sataaye ho
mohe neend na aaye ho

barsaat ki in raaton ko
tarsoon main mulaakaaton ko
barsaat ki in raaton ko
tarsoon main mulaakaaton ko
bas ye falak dikhla ke jhalak
koi man ki pyaas bujhaaye
andhiyaari kaari raat mein
saawan ki barsaat mein
teri yaad sataaye ho
mohe neend na aaye ho

is baadal hi ke bahaane
aa jaao to hum jaanen
is baadal hi ke bahaane
aa jaao to hum jaanen
hui kab ki khadi
ginti hai ghadi
aur ghadiyaan beeti jaaye
andhiyaari kaari raat mein
saawan ki barsaat mein
teri yaad sataaye ho
mohe neend na aaye ho


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.

“Bijli”(1950) was directed by Sushil Sahu for Hindustan Chitra, Bombay. This “social” movie had Rehana, Ramesh Gupta, Sitara, Vilas Mohbe, Paro, Badri Prasd, Sushir Sahu, Amirbai Karnataki, Satya Narayan, Narbada Shankar, C L Shah, Kanta, Kazmi etc in it.

This movie had eight songs in it that were sung by five singers. Three songs from the movie have been covered in the past.

Here is the fourth song from “Bijli”(1950) to appear in the blog. This song is sung by Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by Khemchand Prakash.

The fact that Asha Bhonsle, then an up and coming struggler was offered a solo song by a music director of the stature of Khemchand Prakash means that Asha Bhonsle had begun to create favourable impression among music fraternity. This song is a good example to the early promise that Asha Bhonsle was showing, while trying to find her feet in the industry.


Song-Taqdeer bata kya meri khata (Bijli)(1950) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-Khemchand Prakash

Lyrics

taqdeer bata aa
kya meri khata
taqdeer bata kya meri khata
taqdeer bata kya meri khata
jiski ye saza paati hoon main
jiski ye saz paati hoon main aen aen aen
ro ro ke hansoon
hans hans ke miloon
mil mil ke bichhad jaati hoon main
mil mil ke bichhad jaati hoon main aen aen aen
taqdeer bata aa

wo aas meri
dil ki dil hi mein toot gayi
ban ban ke meri taqdeer aakhir phoot gayi
ik dard liye seene mein sanam
ik dard liye seene mein sanam
khaamosh chali jaati hoon main
khaamosh chali jaati hoon main aen aen aen
taqdeer bata aa

main kis se kahoon
meri bhi kahaani khoob rahi
meri naav kinaare
aakar ke bhi doob rahi
nazdeek gayi jitni utni
nazdeek gayi jitni utni
ab door huyi jaati hoon main
ab door huyi jaati hoon main aen aen aen
taqdeer bata aa

barbaad thhi main
barbaad chali ee
tum shaad raho
o o o
haaye
dil ki dua
tum phoolo phalo
aabaad raho
aayi thhi tamannaayen lekar
aayi thhi tamannaayen lekar
aur khaaq liye jaati hoon main
aur khaaq liye jaati hoon main aen aen aen
taqdeer bata aa


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.

“Aadhi Roti”(1957) was produced by Amritlal Gandhi Choksi and Vallabh Choksi and directed by Chandrakant for Gandhi and Choksi, Bombay. This social movie had Bhagwan, Sulochana, Ulhas, Prem Adib, Kumud Tripathi, Manorama, Al Nasir, Bimla Kumar, Master Dabboo, Roop Kumar (Daisy Irani), Ratnamala, Rajan Haksar, Radheshyam, Amirbai Karnataki, Baby Akhtar, Mehrunnissa, Bagla, R S Dubey, Champak Lala, Rajesh Sharma, Shrawan Kumar, Uma Khosla, Shakuntala etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Sapna” (1952) was directed by Kidar Sharma for Hindustan production company. The movie had Kishore Sahu, Bina Rai, Cuckoo, Shakuntala, Moni C., Hiralal, Rani Chanda, Narbada Shanker, Paul Sharma etc in it.
Read more on this topic…


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What is this blog all about

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

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

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

Total number of songs posts discussed

13529

Number of movies covered in the blog

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

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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