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

Posts Tagged ‘Jayaprada


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.

Blog Day :

4470 Post No. : 15968 Movie Count :

4376

13/10/2020 – 33rd death anniversary of Kishore Kumar
——————————————————————————–

Today is that day when we all remember the phenomenal Kishore Kumar. I should have planned ahead, but could not do so. Firstly I am working on so many posts at once that it is becoming a blur what is done and what is not. Secondly, I was under the weather for the whole weekend, and antibiotics make me more blurred than anything else.

Well, a post is to be done so one must look for a song. There are scores of songs to choose from. I have thought of a song from “Kaaran”, but I found today that it is already posted. Next I thought of the song from Poonam(1981) “main hoon haseena khol darwazaa dil ka”, which is not posted, but it turned out to be Amit Kumar’s song. It is possible for me to confuse Kishore Kumar and Amit Kumar songs, as both sing in the same style and have similar voices. For example for a long time I was under the impression that bade achche lagte hain from Baalika Badhu is Kishore Kumar singing.

Then I looked for songs in the year 1980, thinking how there were so many songs which Kishore Kumar sang with Mohammed Rafi sahab. There was a pattern there where songs of major film in 1979, 1980 and 1981,in movies like, Shaan, Abdulla, Dostana, Naseeb, Karz, The Burning Train, Jaani Dusham, Kaala paththar, Raajput, The Great Gambler, Aap ke deewane, Aap to aise na thhe, Aas Paas, Bulandi, Ham Paanch, Raam Balram, Swyamvar , Kaalia, Khuda Qasam, Deedar-e-Yaar etc. were divided among the two of them.

Not specifically looking for Rafi-Kishore song, almost decided on a background Kishore solo from “Apne Paraaye”, which is a sad song, with everyone crying (there are many characters including Shabana Azmi) except Amol Palekar, who is smiling in his inimitable way. This is a “afsardaa” or a despairing category song.

But I moved beyond this one too and have landed on a song from “Zabardast” (1985). I am glad to be listening and viewing this song. I have not seen this movie either, but it was a multi-starrer of a kind and four of those stars are present in this outdoor picnic song. What with school kids carrying colour full flags, school bus, Rajeev Kapoor and Rati Agnihotri with an umbrella as a prop, Bagpiper like music in the interlude, and two cars on Table land of Panchgani.

Give me such songs anytime, I prefer these type of songs to club, party or dance songs. The song starts with Rati Agnihotri and Rajeev Kapoor arguing on Table land, Sunny Deol and Jayaprada march in with the school kids carrying flags. Sunny Deol hands over the white flag to Rati Agnihotri as a peace offering and Rajeev Kapoor starts singing the song. The Umbrella prop is visible throughout.

Song is a solo by Kishore Kumar, entirely sung on screen by Rajeev Kapoor, who is trying to woo Rati Agnihotri. Sunny Deol and Jaya Prada are also present and looking on. A good, catchy and feel good song, composed by R. D. Burman and written by Majrooh Sultanpuri.

This movie is making its debut here with this song. Out of total 2709 songs recorded by Kishore Kumar 1209 are posted in the blog.
A tribute to the ‘harfanmaula’ on this Remembrance Day.

Audio :

Video :

Song-Jab chaaha yaara tum ne aankhon se maara tum ne(Zabardast)(1985) Singer-Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics

Jab chaaha yaara tum ne
aankhon se maara tum ne
honthon se zindaa kar diyaa aa
ho ho ho
jab chaaha yaara tum ne
aankhon se maara tum ne
honthon se zindaa kar diya
arrey tumhaari marzi
pe chal rahe hain
khataa hamaari kya
ho
jab chaaha yaara tum ne
aankhon se maara tum ne
honthon se zindaa kar diya aa

chalo ji ham bure sahi
chalo ji ham jhoothhe hain
magar issi nigaah se
hazaar dil toote hain aen
chalo ji ham bure sahi
chalo ji ham jhoothhe hain
magar issi nigaah se
hazaar dil toote hain
arre qasam se kehnaa
hamaari soorat
nahin hai pyaari kya
ho
jab chaaha yaara tum ne
aankhon se maara tum ne
honthon se zindaa kar diya aa
arrey tumhaari marzi
pe chal rahe hain
khataa hamaari kya
ho
jab chaaha yaara tum ne
aankhon se maara tum ne
honthon se zindaa kar diya aa

samajh sako to hamsafar
hamen tum apna jaano
udhar nahin idhar chalo
kabhi to kehna maano o o
samajh sako to hamsafar
hamen tum apna jaano
udhar nahin idhar chalo
kabhi to kehna maano
arrey lipat ke poochho
ke aage marzi
hai ab hamaari kya
ho
jab chaaha yaara tum ne
aankhon se maara tum ne
honthon se zindaa kar diyaa
arrey tumhaari marzi
pe chal rahe hain
khataa hamaari kya
ho
jab chaaha yaara tum ne
aankhon se maara tum ne
honthon se zindaa kar diya aa


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

Blog Day:

4356 Post No. : 15678

“One good thing about music, when it hits you, you don’t feel pain”.

Thus spoke Bob Marley (1945-1981), the famous Jamaican singer and songwriter, about the power of music. From the most casual to the most formal, every activity, every endeavor of human existence is in one form or another, quite inextricably linked with music. Music pervades our lives and our beings. In many an instance, music appears quite unexpectedly in our lives.

Back in 1981, the Minister of Culture of France was a gentleman by the name Jack Lang. He appointed Maurice Fleuret as the Director of Music and Dance. One observation Maurice had about the cultural ethos of France – “the music everywhere, the concert nowhere”. He conducted a sample survey of the French population. The survey brought out some very interesting results; the most important one was which established that almost half the population was adept at playing one or another type of musical instrument.

Armed with this result, Maurice dreamt of bringing this talent for music, out in the open. Working with his minister, Maurice set out to design a method which would allow common people to be able to perform for others. From this pursuit was born the concept of ‘Fête de la Musique’ or the ‘Festival of Music’. After preparing and communicating for many weeks, finally the date for this public festival was decided as 21st June. In the year 1982, this event was rolled out across the length and breadth of France.

Ever since, the phenomena has spread to practically everywhere. This festival is now held in more than a thousand cities across 170 countries.

One basic feature of this celebration is that it is free. The artists and musicians perform for free. And also, all performances are free for the viewing public.

When writing about music, I have occasionally fallen back on the 1985 film ‘Sur Sangam’, for a suitable song for the post. Once again today, as I write to celebrate this worldwide event, I bring to the readers another wonderful song that tells about the nature and practice of music. The beginning words of this song lay out such an adept definition,

saadh re mann sur ko saadh re
ek mann ko doosre se baandh re

Yes, a force that brings together and binds the minds and hearts of people. Need I say more – the experience of the regulars of this musical bandwagon will speak for itself.

As I noted in my write up for the song “Aaye Sur Ke Panchhi Aaye”, as far as the memory serves, the film ‘Sur Sangam’ is probably the last film that I can remember, that has music as its central theme. After 1985, I cannot recall any other Hindi film built on the theme of music.

The film is a Hindi remake of the iconic Telegu film ‘Shankarabharnam’. It has been produced by V Ramesh for Vijay Madhavi Pictures, Madras and is directed by K Vishwanath. The eminent star cast of this film includes Girish Karnad, Jayaprada, Sachin, Sadhna Singh, Deven Verma, Bharti Achrekar, Paintal, Tabassum, Asrani, Bhushan Tiwari, Dina Pathak, Mohan Choti, OP Singh, Jeet Mohan, Sulabha Deshpande, SP Dubey, Urmila, Master Akash Singh and Baby Mamta.

The film has a set of very wonderful 11 songs, all written by Vasant Dev, and set to wonderful classical melodies by Lakshmikant Pyaarelal. Five songs of this film are already showcased on our blog. And the sixth makes its appearance today on the occasion of the World Day of Music. The singing voice is that of Rajan Sajan Misra.

May there be delightful music today, and every day in our lives.

Song – Saadh Re Mann Sur Ko Saadh Re (Sur Sangam) (1985) Singer – Rajan Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics

saadh re
mann sur ko saadh re
saadh re
mann sur ko saadh re

ek mann ko
doosre se
baandh re
saadh re
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re

taa..aa..aan hai suraj kiran
taa..aa..aan hai suraj kiran
alaap neelam ka gagan
alaap neelam ka gagan
ab ugey ankur dhara par
baandh aisa raag re..ae..ae
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

ma pa nee nee nee dha
nee. . . sa
ga nee ma pa
pa ga
ma re
re pa

megh se malhaar le tu. . .
megh se malhaar le tu
gandh se gandhaar le tu
gandh se gandhaar le tu
dhol pancham kokila ka
tu bahaa re raag re. . .
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

mann yahi tu dhyaan rakh
mann yahi tu dhyaan rakh
sur ki sahi pehchaan rakh
sur ki sahi pehchaan rakh
tu rahe ya na rahe
par sur rahe abaad re..ae
ae..ae

saadh re..ae
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

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

साध रे
मन सुर को साध रे
साध रे
मन सुर को साध रे

एक मन को
दूसरे से
बांध रे
साध रे
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे

ता॰॰आ॰॰आन है सूरज किरण
ता॰॰आ॰॰आन है सूरज किरण
आलाप नीलम का गगन
आलाप नीलम का गगन
अब उगे अंकुर धरा पर
बांध ऐसा राग रे॰॰ए॰॰ए
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

म प नी नी नी ध
नी॰ ॰ ॰ स
ग नी म प
प ग
म रे
रे प

मेघ से मल्हार ले तू॰ ॰ ॰
मेघ से मल्हार ले तू
गंध से गंधार ले तू
गंध से गंधार ले तू
ढोल पंचम कोकिला का
तू बहा रे राग रे॰ ॰ ॰
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

मन यही तू ध्यान रख
मन यही तू ध्यान रख
सुर की सही पहचान रख
तू रहे या ना रहे पर
सुर रहे आबाद रे॰॰ए
॰॰ए॰॰ए

साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे


This article is written by Peevesie’s Mom, 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.

Blog Day :

4323 Post No. : 15611

Hullo Atuldom

These days we have people from all walks of life connecting with each other over video calls, chat groups coming together on various online platforms etc. Similarly there are people who are going ‘live’ on Facebook and YouTube. On these ‘live’ days they showcase their talents in singing and dancing etc. I have watched a few and must say, rather admit, that this period of Lock-down is helping everyone rediscover their passion in singing and other art forms. All the best to all of them

Some videos of these ‘live’ acts are doing the rounds on the social media called Whatsapp. My husband forwarded me one such video which had the South Indian stalwart SP Balasubramaniam singing one of his popular songs from the 1979 Telugu movie ‘Shankarabharanam’.

That movie had some great songs which were based on Carnatic Ragas and told the story of an exponent of classical music Sankara Sastri (JV Somayajulu) and his ardent fan cum disciple Tulsi (Manju Bhargavi). The movie was written and directed by K Viswanath, had music by KV Mahadevan and lyrics were by V Sundararama Murthy. K Viswanath later remade this movie in Hindi as ‘Sur Sangam’ in 1985.

The Hindi version had Girish Karnad and Jaya Prada playing the roles of Pandit Shivshankar Shastri and Tulsi. The film made its debut on the blog on 19th May, 2013 with the song “Mai Ka Piya Bulaave Apne Mandirva“. (In that sense, it is like a seven-year challenge. 🙂 )

Our dear Sudhir ji had posted one song from this movie on the occasion of World Music day in 2017 “Aaye Sur Ke Panchhi Aaye“. The movie has eleven songs in all with “Aaye Sur Ke Panchhi Aaye” appearing as two parts in the movie. Then we also have the song Dhanya Bhaag Sewa Ka Awsar Paaya which was shared by Khyatiben in July 2014 as part of the build up to the 10000th post. Sudhir ji then later wrote a heartfelt tribute to Girish Karnad in his post on the song “Hey Shiv Shankar Hey Karunakar” last year.

I feel Sudhir ji has given us a good biography of Girish Karnad in his post last year. So I shall go directly to the next song from this film. In this song we see the Shastri ji teaching a small boy a classical bhajan. He is unaware that the boy is actually the son of his fan/disciple Tulsi. He feels that the little boy has a lot of potential to take over the mantle from him. In fact the second anatara shows the child singing what he has learnt from the guru and the mother envisions the guru himself. The song is in the vocals of the Mishra brothers – Rajan and Sajan Mishra, with Lata Mangeshkar. Lyricist is Vasant Dev with Laxmikant-Pyaarelal as the music composers. I must admit here that I have no knowledge about the Raag or Taal that this song is in. I expect knowledgeable readers to help here.

Thinking of the versatile actor Girish Karnad today on his 82nd birthday.

Song – Jaaun Torey Charan Kamal Par Vaari  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lata Mangeshkar, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal
Rajan-Sajan Misra + Lata Mangeshkar

Lyrics 

jaa..aaun torey charan kamal par vaari
o ho 
jaaun torey charan kamal par vaari
hey gopal govind murari
hey gopal govind murari 
sharnaagat hoon dwaar tihaare
jaaun torey charan kamal par vaari
jaa..aaun torey charan kamal par vaari

kitna ghana bana andhiyaara
kitna ghana bana andhiyaara
ghulta mai saara ka saara
ghulta mai saara ka saara 
tu hi mera ek adhaa..aa..aar
aa a a aa aaaa aaaa
ga re pa ga dha pa
dha pa ga re ga pa dha re
re ga ga re sa dha pa ga re
ga pa dha pa re
sa dha ga pa
ga dha pa ga
pa ma ga re
ma ga re sa
re ga re ga pa dha pa
sa dha pa ga re sa
tu hi mera ek adhaar
sharanaagat hoon dwaar tihaare
jaaun torey charan par vaari
jaa..aaun torey charan par vaari

sana nana nana nana
sana nana pawan jhakora aata
sana nana pawan jhakora aata
haara mann tapta gabraata
haara mann tapta gabraata
toot raha saanson ka taar
aaaaaa aaa
toot raha saanson ka taar 
sharanasgat hoon dwaar tihaare
jaaun torey charan kamal par vaari
jaa..aaun torey charan kamal par vaari

morpankh ki kiran jaga kar
jaga kar
morpankh ki kiran jaga kar
adharon par muskaan uga kar
adharon par muskaan uga kar 
har le mann ki piir apaa..aa..aar
sa re sa ga sa pa
sa dha sa pa dha pa ga re
sa dha sa
har le mann ki piir apaar
sharanaagat hoon dwaar tihaare
jaa..aaun torey charan kamal par vaari
hey gopal govind murari
sharanaagat hoon dwaar tihaare
jaaun torey charan kamal par vaari
jaa..aaun torey charan kamal par vaari

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

जाऊँ तोरे चरण कमल पर वारी
ओ हो
जा॰॰आऊँ तोरे चरण कमल पर वारी
हे गोपाल गोविंद मुरारी
हे गोपाल गोविंद मुरारी
जाऊँ तोरे चरण कमल पर वारी
जा॰॰आऊँ तोरे चरण कमल पर वारी

कितना घना बना अँधियारा
कितना घना बना अँधियारा
घुलता मैं सारा का सारा
घुलता मैं सारा का सारा
तू ही मेरा एक आधार
आ आ आs आsss आsss
ग रे प ग ध प
ध प ग रे ग ध प रे
रे ग ग रे स ध प ग रे
ग प ध प रे
स ध ग प
ग ध प ग
प म ग रे
म ग रे स
तू ही मेरा एक आधार
शरणागत हूँ द्वार तिहारे
जाऊँ तोरे चरण कमल पर वारी
जा॰॰आऊँ तोरे चरण कमल पर वारी

स न न न न न न
स न न न पवन झकोरा आता
स न न न पवन झकोरा आता
हारा मन तपता घबराता
हारा मन तपता घबराता
टूट रहा साँसों का तार
आsssss आss
टूट रहा साँसों का तार
शरणागत हूँ द्वार तिहारे
जाऊँ तोरे चरण कमल पर वारी
जाऊँ तोरे चरण कमल पर वारी

मोरपंख की किरण जगा कर
जगा कर
मोरपंख की किरण जगा कर
अधरों पर मुस्कान उगा कर
अधरों पर मुस्कान उगा कर
हर ले मन की पीर अपा॰॰आर
स रे स ग स प
स ध स प ध प ग रे
स ध स
हर ले मन की पीर अपार
शरणागत हूँ द्वार तिहारे
जाऊँ तोरे चरण कमल पर वारी
जाऊँ तोरे चरण कमल पर वारी
जा॰॰आऊँ तोरे चरण कमल पर वारी


This article is written by Avinash Scrapwala, a fellow enthusaist 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.

Blog Day :

4281 Post No. : 15526 Movie Count :

4281

If there was a category like ‘post inspired by fellow Atulite’ or ‘post inspired by Atulite WA group chat’, this post would have been included under that category. This past Sunday there was a discussion between me and Peevesie’s Mom ji regarding the theme of the ‘Rangoli’ this week, which was Jaya Bhaduri/Bachchan, and so I messaged to her that I was expecting a post from her. Instead, she asked me that even I can do a post. And she also pointed out the birth anniversary of actor Jeetendra (and so if there was a song of Jaya Bachchan and Jeetendra, it would have been suitable for the post).

But then, few days back I myself had sent a song to Atul ji requesting to post it on the birth anniversary of another Jaya i.e. Jayaprada whose birth anniversary was on 3rd April. And that thought inspired (? 😊) me – Yes, I can do this post combining the anniversaries of both Jayaprada and Jeetendra – and yes, this song, which I liked, was already there and the film has not made a debut on the blog. And one more purpose was getting achieved i.e. to introduce ‘movie with the same title’ on the blog. So here is a song from ‘Tohfa’ (1984). One movie with the same title ‘Tohfa’ was released in 1947 and this movie has already been represented on the blog with seven songs covered out of total ten songs in it.

The 1984 film ‘Tohfa’ was directed by K Raghavendra Rao for Suresh Productions, Madras. It was produced by D Rama Naidu. The star cast includes Jeetendra, Sridevi, Jayaprada, Kader Khan, Shakti Kapoor, Mohan Choti, Urmila Bhatt, Leela Mishra, Jagdeep, Aruna Irani, Jayshree T, Master Rinku and others. Asrani makes a friendly appearance in this movie.

Dialogues for this movie are written by Kader Khan and editing of this movie was done by KA Marthand. The movie was passed by Censor Board on 21.01.1984.

The film has five songs (including one two-part song). Lyrics are written by Indeevar. Music of this movie is composed by Bappi Lahiri. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and SP Balasubramaniam have given their voices to the songs in this movie.

Today’s song is sung by Kishore Kumar and Lata Mangeshkar and lip syncing it on screen are Jeetendra and Jayaprada respectively.  Also seen in the picturization of this song is Master Rinku who gets to lip sync few lines in between the song in the voice not credited in the movie titles and also not mentioned in HFGK Vol-VI (1981-1985).

3rd April was actress Jayaprada’s fifty eighth (born on 03.04.1962) birth anniversary and here on the blog we are wishing her a belated Happy Birthday and a happy, healthy and peaceful life ahead.

Also, Jeetendra celebrates his seventy-eighth birth anniversary today on 7th April (born on 07.04.1942) and we wish him too a very Happy Birthday today and a happy, healthy and peaceful life ahead.

Now coming back to 1984. This year, Jeetendra and Jayaprada were seen together in the following movies;

S No Movie Name Music Director Passed by Censor Board
1 Haisiyat Bappi Lahiri 10.08.1984
2 Maqsad Bappi Lahiri 30.04.1984
3 Tohfaa Bappi Lahiri 21.01.1984

If we consider the annual ‘Binaca Geetmala’ list of 1984 as many as four songs from the movie ‘Tohfa’ were represented there. Today’s song ranked at number twenty-seven, while other songs ranked at number 3 – “Pyar Ka Tohfa Tera, Bana Hai Jeevan Mera” (title song), number 4 was “Ek Aankh Maaroon To”, and number twenty-six was “Gori Tere Ang Ang Mein’.

And if we consider movies with music composed by Bappi Lahiri, the annual list Binaca Geetmala of 1984, contained as many as eight movies – ‘Sharaabi’, ‘Tohfaa’, ‘Mawaali (1983)’, ‘Maqsad’, ‘Haisiyat’, ‘Wanted’, ‘Kaamyaab’, and ‘Qaidi’.

Let us now enjoy the today’s song, which I like most from this movie. In the movie, the second stanza of the song is repeated when Jayaprada dies, leaving a child behind to Sridevi and Jeetendra also present there.

With this song ‘Tohfa’ (1984) makes its debut on the blog.

Editor’s note:- This song happens to be the 200th duet of Lata and Kishore Kumar in the blog.

Video

Audio

Song – Albela Mausam, Kehta Hai Swagatam (Tohfa)(1984) Singers – Lata Mangeshkar, Kishore Kumar, Lyrics – Indeewar, MD – Bhappi Lahiri
Unidentified Voice
Lata Mangeshkar + Kishore Kumar
Lata Mangeshkar + Kishore Kumar + Unidentified Voice

 

Lyrics (Based on audio link)

o ho o ho o
ho ho ho o

o ho ho o
o ho o ho o

mehki kyun gali gali
khili kyun kali kali
kya kehti hai hawa

mehki kyun gali gali
khili kyun kali kali
kya kehti hai hawa

tujhe har khushi miley
lambi zindagi miley
deti hai ye dua

albela mausam
kehta hai swaagatam

albela mausam
kehta hai swaagatam

ringa ringa roses
pocket full of posies
hai sha
bu sha
all fall down

ha ha ha
ha ha ha

kaun sa hai wo phool
ke jis’se aangan banta hai gulshan
jab aanchal mein laal hansega
ghar ban jaayega madhuban
kaun se hain wo deep ke jin se
darte hain andhiyaare
ghar mein ujaala. . .
bhar dete hai

sundar nain tumhaare
sundar nain tumhaare

albela mausam
kehta hai swaagatam
albela mausam
kehta hai swaagatam

johnny johnny
yes pappa
eating sugar
no pappa
telling lie
no pappa
open your mouth
ha ha ha

ha ha ha ha

kyun pooja ke baad hi bolo
maang bhara karte hain
lambi umar sindoor ki ho
ham ye maanga karte hai
ye to kaho jeevan ke safar ki
aakhri aarzoo kya hai
tujh se pehle main utth jaaun
maine ye socha hai
agley janam mein, , ,
donon milenge. . .
apnaa ye waada hai
apnaa ye waada hai
albela mausam
kehta hai swaagatam
albela mausam
kehta hai swaagatam

mehki kyun gali gali
khili kyun kali kali
kya kehti hai hawa

tujhe har khushi miley
lambi zindagi miley
deti hai ye dua

albela mausam
kahta hai swaagatam
albela mausam
kahta hai swaagatam

—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–

ओ हो ओ हो ओ
हो हो हो ओ

हो हो हो ओ
ओ हो ओ हो ओ

महकी क्यूँ गली गली
खिली क्यूँ कलि कलि
क्या कहती है हवा

महकी क्यूँ गली गली
खिली क्यूँ कलि कलि
क्या कहती है हवा

तुझे हर ख़ुशी मिले
लम्बी ज़िन्दगी मिले
देती है ये दुआ

अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम

रिंगा रिंगा रोज़ेस
पाकेट फुल ऑफ पोज़ीस
हू शा
बू शा
औल फॉल डाउन

हा हा हा
हा हा हा

कौन सा है वो फूल
के जिससे आँगन बनता है गुलशन
जब आँचल में लाल हंसेगा
घर बन जाएगा मधुबन
कौन से हैं वो दीप के जिनसे
डरते हैं अंधियारे
घर में उजाला. . .
भर देते है
सुन्दर नैन तुम्हारे
सुन्दर नैन तुम्हारे

अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम

जॉनी जॉनी
येस पाप्पा
ईटिंग शुगर
नो पाप्पा
टेल्लिंग ए लाई
नो पाप्पा
ओपन योर माउथ
हा हा हा

हा हा हा हा

क्यूँ पूजा के बाद ही बोलो
माँग भरा करते है
लम्बी उम्र सिन्दूर की हो
हम ये मांगा करते है
ये तो कहो जीवन के सफ़र की
आखरी आरज़ू क्या है
तुझसे पहले मैं उठ जाऊं
मैंने ये सोचा है
अगले जनम में॰ ॰ ॰
दोनों मिलेंगे॰ ॰ ॰
अपना ये वादा है
अपना ये वादा है
अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम

महकी क्यूँ गली गली
खिली क्यूँ कलि कलि
क्या कहती है हवा

तुझे हर ख़ुशी मिले
लम्बी ज़िन्दगी मिले
देती है ये दुआ

अलबेला मौसम
कहता है स्वागतम
अलबेला मौसम
कहता है स्वागतम


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Blog Day : 3982 Post No. : 15069

In some cases, it is the voice – some people will impress you, attract you with their voice. Girish Karnad’s voice has one of the most relaxing sound quality that I have heard. And his presence, his demeanor, his being in a scene, on screen or on stage, always had the same expression of comfort and relaxation as his voice. Seeing him, listening to him, one could never imagine if this person could be moved to a hasty or an impatient action.

He passed away, the day before. The news said that he was 82. I was surprised, it couldn’t be. Over the years since I had first seen him live in a drama in Delhi – almost a millennium ago, and then through films and media images, he always seemed to be the same, never changing, nor ageing. Be it the memories and images from the 60s, 70s, or even recent. He always appeared to be the same.

So when I read this one line in a media news item, I was very taken aback. Sure, I had not seen him active for the past few years, but the thought process probably had never projected far enough to make believe that he was past his 80th. In fact, as I reviewed his filmography in preparation for this article, I find that 5 of his upcoming films are slated for released through the rest of 2019.

Mid 1960s to 70s was an era for the theatre in India. One sees an upsurge in the quality of drama, the subject matter handling by the playwrights and the abilities of the dramatists. If it was Badal Sircar in Bangla (east), it was Vijay Tendulkar in Matathi (west); if it was Mohan Rakesh in Hindi (north), it was Girish Karnad in Kannada (south). These playwrights brought in some very incisive, some very timeless creations, that brought a completely fresh air, breaking new grounds in understanding the human psyche – how the humans interact, with each other and within themselves, how the social influences mould the individual behaviors, and in reverse, how the human expressions manipulate the social conduct. And together, how they shape the movement of history.

Girish K broke out a very crisp and a surprisingly innovative line of enquiry, with his very first play – ‘Yayati’. Most of the readers will be familiar with this episode from the epic, Mahabharat. Yayati is a king in the lineage of the Chandravansh, the lineage of Chandra, the Moon God. He is portrayed as an irresponsible king, consumed by his obsession with young age and the pleasures to be derived from it. He is afraid of getting old. His wife is Devyani, daughter of Rishi Shukracharya. Sharmishtha is the name of one of the ladies in waiting of Devyani. Actually a princess herself from another kingdom, Sharmishtha becomes a bounden server to Devyani due to certain events. As the events unfold furhter, Yayati has an extra marital affair with Sharmishtha, who bears three sons for him. Devyani too has three children, one daughter and two sons. Devyani complains to her father, who is the purohit (high priest) of the demon clan. Incensed by the behavior of his son-in-law, he curses him to a premature and a prolonged old age.

Yayati is shattered. He goes to Shukracharya, begs for forgiveness and removal of the curse. Shukracharaya tells him that his curse cannot be reversed, but it can be transferred to a person willing to take on such a curse. Yayati is overjoyed, but the joy is short-lived as he finds out that no one is ready to accept his curse. Finally, one of his sons, Puru, agrees to take on the curse of his father, wanting to bring peace to his father. Yayati enjoys another one thousand years of youth, donated by his son Puru.

This is a well known tale, and it has its own share of interpretations, analysis and philosophical discourse in literary critique over the ages. Girish K stepped in and asked a question that was never asked for many a millennia. What about Chitralekha?

It is not clear whether this character by this name exists in the annals of Mahabharat. Girish K is alluding to, and enquiring about Puru’s wife. A man goes ahead and takes on the curse of old age for a thousand years. There is name and fame, for this sacrifice. But no one ever asked, what about his wife? What happened to her life and her time, and whether and how did she endure this abnormally changed circumstance foisted upon her. With certain modifications to the original plot, Girish K is the first scholar to ask this question.

This play came about during Girish K’s journey to England by ship in 1960. The version of Mahabharat by C Rajagopalachari was published in 1951. This version of the epic influenced Girish K, and he went on to create two great plays based on themes from this epic. By his own account, ‘Yayati’ came so naturally to him, almost as if someone was dictating and he was just transcribing. The writing of this play was completed on this sea voyage of three weeks. He was traveling to London, having been awarded the Rhodes Scholarship at the Oxford University. During his stay and studies, he completed a triple MA, simultaneously in philosophy, politics and economics. The second play, that was born out of the influence of Mahabharat, sat in his mind for almost three decades, and then was born as ‘Fire and Rain’, which was staged first time in 1995.

His other most celebrated theatrical creation is another view into the history of India. Titled ‘Tuglaq’, this play took the theatre world, the audiences and the socio-political commentators by storm when it was first staged in 1966. In 1972, this play was enacted by the National School of Drama, directed by Ebrahim Elkazi, and presented on the ramparts of the Old Fort (Purana Qila) in Delhi. Using the ruins of the Old Fort as the backdrop, the play was enacted, to a very critical acclaim. Personally, that was my first introduction to Girish K. Quite enchanted by the theatre scene in Delhi, I have seen this enactment of the play while I still was in school.

The play covers the last 5 years of the reign of Mohammed Bin Tuglaq. The protagonist, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his kingdom degenerated into anarchy. His proclamation to move his capital from Delhi to Daulatabad, resulted in a massive exodus that brought misery and sorrow to a huge population. This was seen by the commentators as an allegory to the Partition of the country in 1947, and mass movement of people from both sides of the border.

In his later discussions, Girish K has revealed that the play was not originally written with an intent to comment on the then current political scenario in the country. Writing about the commentary on his play, Girish K has stated – “I did not consciously write about the Nehru era, I am always flattered when people tell me that it was about the Nehru era and equally applies to development of politics since then. But, I think, that is a compliment that any playwright would be thrilled to get, but it was not intended to be a contemporary play about a contemporary situation.”

Girish K started his theatre career in Madras, with a drama group called the Madras Players. Starting with ‘Yayati’ we see the development of a multi-faceted career that has lasted for almost six decades – author, teacher, playwright, director, stage actor, film actor, director of FTII Pune, chairman of the Sangeet Natak Academy – there is so much in his career to write and tell about.

His association with the cinema begins with ‘Samskaara’ (1970) and ‘Vamsh Vriksh’ (1972), both in Kannada, and both well recognized and well awarded films. Girish K was also the co-director of ‘Vamsh Vriksh’. The storylines for both films are a very strong statement on the evolving nature of human relationships, as each individual passes through his or her own pleasures, travails, dreams and anguish. The stories tell of compelling human emotions that drive human beings, to behave in manners that are quite out of the ordinary expectations. In ‘Samskaara’, Praneshcharaya (role played by Girish K), a devout Brahmin, is so convinced of moksha being the ultimate goal of life, and being so focused to achieve it, marries an invalid, so he can remain a celibate all his life. His antithesis is life is Narayanappa, a Brahmin who has given up the traditions – he eats meat and lives with Chandri, a lady of lower standing in the society. As the events unfold, Narayanappa passes away. His final rites become a controversy – a non-Brahmin cannot perform his rites, and no Brahmin in the village is ready to perform the rites for one who has fallen from the tradition. In the midst of all this, Praneshcharya one night wakes up in the lap of Chandri. Unable to reconcile with his own actions, he leaves the village in despair. Chandri secretly performs the last rites of Narayanappa and leaves the village too. In the last scene, Praneshcharya is seen returning to the village. Did he confess and atone for his actions? – the question remains unanswered.

‘Vamsh Vriskh’ is a complex narrative of the progression in a family, the interrelationships, the hidden connects and the invisible knowns. The protagonist, Srinivasa Shrotri, goes through many a tribulation in life, and tries to keep his mental peace intact. Having lost or settled all his affairs, he finally renounces householder’s life to become a sanyaasi.

In 1974, Girish K appeared in a children’s film ‘Jaadu Ka Shankh’. Not much more information about this film is locatable.

In the next three years, we see Girish K in three films that are outstanding statements of the new-wave cinema. In 1975, we see him in ‘Nishaant’ as the timid but principled schoolmaster, whose wife is abducted by the brothers of the landlord. The film has a kind of idealist ending, with the schoolmaster fatally attacking the landlord during a religious celebration and the entire village rising up against the landlord and lynching him and his entire family. In 1976 came ‘Manthan’ – the story of the white revolution in India. Girish K has played the role of Dr Rao, a chemist assigned in the rural areas, to help villagers determine the quality of their milk and to help free them from the clutches of the milk contractors by establishing co-operative societies. In 1977, we see Girish K in ‘Swami’, assaying the role of Ghamshyam, an upright and principled eldest son in the family, after passing away of his father, handling the family matters and his own personal life very maturely and with wisdom, in the presence of a hostile step mother.

In the next four decades , Girish K has appeared in almost 100 films, in Hindi, Kannada, Telugu, Tamil, Malyalam and Assamese. I remember seeing him in ‘Man Pasand’ (1980), playing the role of Kashinath, a close friend of Pratap, the protagonist (role played by Dev Anand). Later, I have seen him in ‘Aasha’ (1980), ‘Ek Baar Chale Aao’ (1983), ‘Tarang’ (1984), till the waning interest in newer films kept me away. Ah yes, he was part of the dear ‘Malgudi Days’ series on the television, playing the role of Swami’s father. In his other directorial outings, he has directed ‘Godhuli’ (1977) and ‘Utsav’ (1984), films that have earned a lot of critical acclaim. He has also made a number of documentaries, like one on the Kannada poet DR Bendre (1972), ‘Kanaka-Purandara’ (English, 1988) on two medieval Bhakti poets of Karnataka, Kanaka Das and Purandara Das, and ‘The Lamp in the Niche’ (English, 1989) on Sufism and the Bhakti movement in India. Many of his films and documentaries have won several national and international awards.

Girish K’s accomplishment as an actor is simply his complete comfort with being the character he is playing. Watching him on the screen, one has this confidence that he knows all the ins and outs of the character he plays, and that in some incarnation he has lived that role himself. The authenticity of portrayal is simply magnificent.

In 1985, he appeared in the role of Pandit Shiv Shankar Shastri in the film ‘Sur Sangam’. The film, and his portrayal of the senior patriarchic exponent of classical music, are my all time favorite. I have written about this film in an earlier article with the song “Aaye Sur Ke Panchhi Aaye”. The film revolves around classical music and the story of Pt Shiv Shankar Shastri, one of the greatest living exponents of this art form. The story line brings in Tulsi (role played by Jayaprada), who is musically inclined and who reveres Shastri ji. The turn of events brings a certain unexplainable element – Tulsi is sexually assaulted, and the man responsible also throws down the portrait of Shastri ji. In a fit of violent anger, Tulsi slays the man with a shard of glass from broken portrait, runs off into the night, and boards a train departing from the local station. As destiny would have it, she barges into a first class coupe whose sole occupant is Shastri ji, who is traveling for participating in an out of town program. The two travel together, and return. Tulsi starts living in the same house as Shastri ji. He is a widower and has a girl child. Slowly, Tulsi becomes a part of the household. Being inclined for classical music, she also starts to practice while staying at Shastri ji’s home. One night, there is a special celebration at the temple of Lord Shiv. Shastri ji is to perform. Tulsi accompanies him, as usual. With the performance about to begin, Shastri ji motions Tulsi to pick up and play the taanpura in accompaniment. At this, all his participating disciples become incensed and leave the stage one by one. Tulsi rushes back home (and then leaves the household for good), the audience leaves and Shastri ji is the sole person left in the temple. In the absence of any accompaniment and musical support, he resolves to make his musical presentation regardless, to the Lord. And he presents this song, alone in a deserted temple, to Lord Shiv.

I picked this song specially, to highlight one aspect of Girish K’s artistic expressions, which was probably hidden until then. An accomplished performer, he has performed the dance steps as part of this song. Every review of the film at that time, commented on the dancer in Girish K. He revealed in an interview that he had taken on special dance training to prepare for this song. You can see the performance for yourself. It is no less than an accomplished and well trained dancer, presenting these steps in unison with the music.

This one song, in my humble opinion, is the best artistic performance that I have seen from Girish K. See the manner in which he starts his dialogue with the Lord. His singing, his facial expressions, his gestures and movements, all coalesce into a fluid expression of a conversation with Lord Shiv. No one else is present so this is a very private conversation, in which Shastri ji is telling the Lord to listen to His own sound coming from inside him. This entire clip is a one wonderful performance by Girish K that probably has not been surpassed.

It is a sad goodbye that we bid today. The person, the artist, and a scholar – it is truly a great loss to the cultural landscape of this sub continent that may never be made up.

One commentator has written about Girish K’s creations, that “. . . Girish Karnad allowed his characters to ask the questions, to struggle with the inconclusive, and hence his stories truly never ended.” Yes, that is the legacy of this multi-faceted artist – his creations, his stories, his characters – all still have a lot be explored for. That “struggle with the inconclusive” is so appropriate a passage dealing with the complex realities and relationships in the course of a human life. His stories have not really ended. And neither has his legacy.

Girish K – Rest in Peace. . . Enduring Peace

 

Song – Hey Shiv Shankar, Hey Karunakar  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

hey..ey..ey shiv shankar
hey..ey..ey karunakar
parmanand maheshwar

hey shiv shankar
hey karunakar
hey shiv shankar
hey karunakar
parmanand maheshwar
mere bheetar tum gaate ho
mere bheetar tum gaate ho
sun lo tum apna ye swar
hey shiv shankar
hey karunakar
parmanand maheshwar

maun gaan ka dhyaan jamaaya
maun gaan ka dhyaan jamaaya
yog raag ko hi maana
tum hi baney ho taan praan ki
tum hi baney ho taan praan ki
mere tan mann ko paawan kar
hey shiv shankar
hey karunakar
parmanand maheshwar

rudra been jhankar tumhaari
rudra been jhankar tumhaari
shudra janon se rahi ansuni
dhanya tumhi ho jaavo sureshwar
dhanya tumhi ho jaavo sureshwar
apne mukh se sun apna swar
hey shiv shankar
hey karunakar
parmanand maheshwar [

nabh chaaya ghan ghor bijuriya damke jhamke
adharon ki muskaan tumhaari cham cham chamke
aaaa aaaaa aaaaa aaaaaa aaaaaa
ghir ghir aaye megh bhayankar garaj garajte
goonja nupur naad tumhaara thirak thirkate
jhuk gaya matha ki tum ne haan kaha jis pal umapati
sheesh ki ganga dharaa par utar aayi chhal-chhalaati
ga ga re ni re ga ma
dha ni re ga re sa
geet ki har lehar par tum jhoom kar naacho nateshwar
aaj is anand varsha mein nahaao tum maheshwar
aaa aaaaaa aaaaaaj is anand varsha mein
nahaa..aavoo tum maheshwar
shiv shankar
maheshwar
shiv shankar
aaaa aaaaa aaaaaaa

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

हे॰॰ए॰॰ए शिव शंकर
हे॰॰ए॰॰ए करुणाकर
परमानन्द महेश्वर

हे शिव शंकर
हे करुणाकर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर
मेरे भीतर तुम गाते हो
मेरे भीतर तुम गाते हो
सुन लो तुम अपना ये स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

मौन गान का ध्यान जमाया
मौन गान का ध्यान जमाया
योग राग को ही माना
तुम ही बने हो तान प्राण की
तुम ही बने हो तान प्राण की
मेरे तन मन को पावन कर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

रुद्र बीन झंकार तुम्हारी
रुद्र बीन झंकार तुम्हारी
शूद्र जनों से रही अनसुनी
धन्य तुम्हीं हो जावो सुरेश्वर
धन्य तुम्हीं हो जावो सुरेश्वर
अपने मुख से सुन अपना स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

घन छाया घनघोर बिजुरिया दमके झमके
अधरों की मुस्कान तुम्हारी चम चम चमके
आsss आssss आssss आsssss आsssss
घिर घिर आए मेघ भयंकर गरज गरजते
गूँजा नूपुर नाद तुम्हारा थिरक थिरकते
झुक गया माथा कि तुमने हाँ कहा जिस पल उमापति
शीश कि गंगा धरा पर उतार आई छल-छलाती
ग ग रे नि रे ग म
ध नि रे ग रे स
गीत की हर लहर पर तुम झूम कर नाचो नटेश्वर
आज इस आनंद वर्षा में नहाओ तुम महेश्वर
आ आ आ॰॰आज इस आनंद वर्षा में
नहा॰॰आवो तुम महेश्वर
शिव शंकर
महेश्वर
शिव शंकर
आsss आssss आssssss


This article is written by Peevesie’s mom, 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.

There are few south Indian singers who made a mark for themselves in the world of Hindi film Music. I think Yesudas is one of them who was followed by SPB etc. I am a child as far as knowledge regarding earlier singers is concerned. I am sure there might have been others before Yesudas or Dassettan as we Keralites love to call him {a matter of convenience for me to call myself a Keralite as far as this allegiance to this singer is concerned otherwise I am a proud Mumbaikar ;-)} .
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Have you ever felt like a student taking an examination who is unable to recall the correct answers during the examination, only to be able to recall them perfectly well after the exam is over ? well, I am feeling the same way vis a vis Holi songs.
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It is a very long song, which is one second short of 10 minutes long. And the song is so nice to listen to that these 9:55 minutes pass in a trice. Initially Asha Bhonsle sings the song and towards the second half of the song, Kishore Kumar makes a cameo appearance.
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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 over TWELVE years. This blog has over 15900 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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Movies with all their songs covered =1229
Total Number of movies covered =4377

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