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

Posts Tagged ‘RC Boral


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

Saga Of Sleepless Nights – 2
– – – – – – – – – – – – – – –

koi chupke se aa ke
sapne sulaa ke
mujhko jagaa ke boley
ke main aa raha hoon. . .

Our dear departed President had once made a statement that has now become a quotable quote, appearing in many PR campaigns and posters. He had said, “Dream is not that which you see while sleeping, it is something that does not let you sleep”.

President Abdul Kalam was a very influential statesman. His work, his accomplishments, and his vision are a shining example of a motivated personality with a very positive world view. In recent times, this is a quote that has become one of the top inspirational guiding light, for students and young generations.

No, I do not wish to take away the import and the magnitude of significance that this statement entails. I just want to point out that this theme, this concept has been written about by the poets, especially the romantic types, since time immemorial. That the dreams keep you awake. It is the thoughts of the beloved that will occupy the mind’s inner spaces. The dreams will go on an on – about the one you love, being with the one you love, missing the one you love, pining for the one you love, and. . . just simply dreaming to be with the one you love.

Shakespeare has something to say about this,

All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.

That even the days are dark and lonely, like nights when I do not see you; but when I see you even in my dreams, the nights turn into bright days.

It is well known that we dream when we sleep. But tell me, when we are dreaming, does it not seem so very real? Does it not seem that we are living a real experience in real time? Till of course you wake up. And when you wake up from some dreams, it is hard to believe for a few moments that you were asleep – the experience was so very real.

And so the poets write about being awake in the dreams. The poetry that they write about dreams, especially when dream is about love and is about the loved one, tells us about how the beloved comes and wakes you up while you are dreaming – and the trance continues.

So many songs from Hindi films to pick about this experience. The one that is dearest to me is the song from ‘Anubhav’ (1971) – mentioned at the start of this article. Today, I present another lovely song, back from before the golden era of HFM. The song comes from a team that has created so many delightful musical offerings for us to savor. Words from the pen of Kedar Sharma, music from the mind of RC Boral and the lilting voice of Kaanan Devi. As I was searching for a song about dreams – ‘सपना’, I chanced upon this wonderful melody from the 1939 film ‘Sapera’.

The film is produced under the banner of New Theatres, and is directed by Debaki Bose. The cast is impressive – Kaanan Devi, Nawab, Pahadi Sanyal, Prithviraj Kapoor, KC Dey, Bikram Kapoor, Sham Laha, Satya Mukherji and Vinay Goswami etc. As is characteristic of RC Boral’s creations, the song has a significant prelude, before the singing comes on.

The song tells about the sleepless nights when the beloved comes visiting in the dreams. There is a touch of sensuousness – the words tell about meeting of lovers’ lips in the dream. There is a touch of melancholy – the words tell of tears flowing when the lovers’ eyes meet. And there is a strong presence of the emotions of longing throughout the song. Listen. . . and dream of your beloved.

 

Song – Sapnon Mein Koi Aata Hai  (Sapera) (1939) Singer – Kaanan Devi, Lyrics – Kedar Sharma, MD – RC Boral

Lyrics

sapnon mein koi aata hai
sapnon mein koi aata hai
kuchh chupke se keh jaata hai
kuchh chupke se keh jaata hai
hothon se honth milaata hai
hothon se honth milaata hai
hriday ka kanwal khilaata hai
hriday ka kanwal khilaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai

main thandi aahen bharti hoon
main thandi aahen bharti hoon
wo aisi aag lagaata hai
koi poochhe mere saajan se
koi poochhe mere saajan se
koi poochhe mere saajan se
jo us se aankh ladaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai

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

सपनों में कोई आता है
सपनों में कोई आता है
कुछ चुपके से कह जाता है
कुछ चुपके से कह जाता है
होंठों से होंठ मिलाता है
होंठों से होंठ मिलाता है
हिरदे का कंवल खिलाता है
हिरदे का कंवल खिलाता है
सपनों में कोई आता है
सपनों में कोई आता है

मैं ठंडी आहें भरती हूँ
मैं ठंडी आहें भरती हूँ
वो ऐसी आग लगाता है
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
जो उस से आँख लड़ाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
सपनों में कोई आता है
सपनों में कोई आता है

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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 film, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).

During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.

In a short life span of just 48 years (1486-1534), he did extraordinarily religious and reformative work in the 16th century in the regions of Bengal (both the current East Bengal (now in Bangladesh) and West Bengal), Bihar, Jharkhand, Manipur, Assam and Orissa. Not much information is available about him in other regions, so here is a short biography of Shri Chaitanya Mahaprabhu, adapted and edited from Stephen-Knapp.com – with thanks.

Sri Chaitanya Mahaprabhu (pronounced ‘चैतन्य’) (February 27, 1486 to 1534 AD) was born in Navadvipa, Bengal, on a full moon night during a lunar eclipse. It is typical for people to bathe in the Ganges during an eclipse and chant the Lord’s holy names for spiritual purification. So, everyone in the area was chanting the holy names when He was born. His parents, Shri Jagannatha Misra and Mata Shachi Devi, gave Him the name of Vishvambhara, meaning the support of the universe, because astrologers had predicted His super human qualities and that He would deliver the people of the world. He was also nicknamed Nimai because He had been born under a nima tree.

During His childhood He exhibited extraordinary qualities, even having philosophical discussions with His mother. While growing up, His brilliant intelligence began to become apparent. While still a child, He mastered Sanskrit and logic to the point of defeating local pandits, and established the truth of the spiritual and Vedic philosophy. He became so well known that many logicians of various religious and philosophical persuasions began to fear His presence and refused to debate with Him. Thus, Sri Chaitanya established the authority of the Vaishnava tradition through the process of debate and logic.

When Sri Chaitanya went to Gaya on the pretext to perform ceremonies for the anniversary of His father’s death, He received Vaishnava initiation from Shri Ishvara Puri. Thereafter, He lost all interest in debate and simply absorbed Himself in chanting and singing the names of Lord Krishna in devotional ecstasy. Upon returning to Navadvipa, He gathered a following with whom He would engage in congregational singing of the Lord’s holy names. Thus, He started the first ‘sankirtana‘ movement (congregational devotional singing), and established the importance of chanting the names of God in this age as the most elevated of spiritual processes, and the prime means for liberation from material attachments. At first, His chanting with people was for the few participants who were a part of His group, but then Sri Chaitanya ordered that the ecstasy of love of God be distributed to all people of the area. He gave no recognition for the privileges of caste, or for position, or type of philosophy a person had, or yogic asceticism. He only emphasized the devotional chanting of the Lord’s holy names, using the Hare Krishna mantra – “Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare / Hare Rama, Hare Rama, Rama Rama, Hare Hare”, which has the power to bring out the natural loving sentiments for God.

It was at the age of 24 when He shaved His head and took the order of sanyaasa, the renounced stage of life, when He accepted the name of Krishna Chaitanya from Shri Keshav Bharati during the initiation. He then spent four years travelling through South India, and also visited Vrindavana and Varanasi. During this time he also gave special instructions to his main followers, Shri Roop Goswami and Shri Sanatana Gosvami, who then also spread the glories of the Divine Love for Radha and Krishna. They settled in Vrindavana where they spent their years in writing many books elaborating the instructions of Lord Chaitanya and the glories of bhakti for Radha and Krishna. They also revealed the places where Radha and Krishna performed many varied pastimes in that land of Vrindavana, which have remained special spots where devotees can become absorbed in the bliss of love of Radha and Krishna.

Lord Chaitanya spent His remaining years in Jagannatha Puri. During this time He was absorbed in ecstatic devotion to Krishna in the loving mood of Radharani, in which He would lose all external consciousness. He freely distributed the divine nectar of this love for Krishna to everyone and anyone, day and night. Even His presence or mere touch could transform everyone that came near Him into the same devotional mood. He remained like this until He finally left our vision at the age of 48.

Lord Chaitanya is considered and was established by Vedic scripture as the most recent incarnation of God. The Lord always descends to establish the codes of religion. This is confirmed in Bhagavad-gita (4.6-8) where Lord Krishna explains that although He is unborn and the Lord of all living beings, He still descends in His spiritual form in order to re-establish the proper religious principles and annihilate the miscreants whenever there is a decline of religion and a rise in irreligious activity.

The birthplace of Shri Chaitanya Mahaprabhu, popularly known as Mayapur, is located on the banks of the Ganges river, at the point of its confluence with the Jalangi, near Navadveep, West Bengal (India), 130 km north of Kolkata (Calcutta). The headquarter of ISKCON (International Society for Krishna Consciousness) is situated in Mayapur. It is considered a holy place of pilgrimage by a number of other traditions within Hinduism. It is of special significance to followers of Gaudiya Vaishnav tradition, as the birthplace of Shri Chaitanya Mahaprabhu, regarded as a special incarnation of Krishna in the mood of Radha. It is visited by over a million pilgrims annually.

Mayapur can be reached by boat, and more commonly by train or bus. ISKCON Kolkata operates regular bus service from Kolkata to Mayapur. Frequent train service is available to Krishnanagar, Nadia from Kolkata’s Sealdah Station, then 18 km by auto or cycle rickshaw to Mayapur. During the visit one can see the huge headquarters of ISKCON and a long stream of saffron-robed devotees chanting the Hare Krishna mantra. I visited the place about two decade ago. For all those who visit Kolkata, it is like a rite of passage to visit Mayapur.

The music director of this film is the legendary RC Boral aka Raichand Boral, famous for his New Theatre, Calcutta  films and songs. Once upon a time New Theatres was a great institution. It gave many entertaining and meaningful films, in Bangla and Hindi. A highly capable band of authors, writers, actors, actresses, directors, music directors, lyricists, singers and a whole lot of technical staff started their careers here, and spent their best and most productive years with this institution. New Theatres was known for clean entertainment. This was true in the 20s, 30s and till late 40s. The atmosphere in the studio was like a family.

However, it is the law of nature that whatever goes up must come down also, with time. This process started from the mid 1930s itself when Nitin Bose and Debaki Bose had a big tiff – an ego clash. Later on PC Barua also left, followed by Kaanan Devi, who joined the new company founded by Barua. Uma Shashi eloped with some outsider. In the early 1940s a group of artistes, consisting of actors and directors left NT, to go to Bombay. KL Saigal, Prithviraj Kapoor, KN Singh, Kidar Sharma etc. left for Bombay. Around 1943, Nitin Bose came to Bombay. The Second World War had already broken the back of Film Industry in Calcutta. Additionally, this exodus caused greater harm. People like Pankaj Mullick, though unhappy in NT, did not leave. By about 1950, New Theatres was almost a non-entity !

A giant like Raichand Boral, music director, was invited by Nitin Bose to Bombay. Wanting to try his hand, RC Boral did 3 films in Bombay, namely, ‘Dard e Dil’ (1953) – a film made by Nitin Bose himself, ‘Shri Chaitanya Mahaprabhu’ (1953), a film made by the giant Prakash Pictures of the Bhatt brothers and ‘Swami Vivekanand’ (1955), a film made by Amar Mullick. RC Boral’s music was still in the traditional Bangla style. In Bombay, during the 1950s, the trend was for fast melodies. New generation MDs Shankar-Jaikishan were in full swing. C Ramchandra and SD Burman etc. were churning out  fast melodies. The newer generation of the music lovers was wary of the slow, sentimental, bhajan-like songs now. Boral’s traditional music was unacceptable to them. Therefore the music from none of the three films become popular. Moreover 2 of the 3 films of Boral, had subjects meant only for a limited captive audience of middle age to old age category. Thus Boral proved to be a failure and after these 3 films went back to Calcutta to be amongst his comfort zone of Bangla films.

RC Boral (19-10-1904 to 25-11-1981) was undoubtedly one of the greatest composers of Indian films – be it Bangla or Hindi. From his first Hindi Talkie film ‘Zinda Laash’ (1932) till his last Hindi film ‘Amar Saigal’ (1955),  Boral gave music to 33 Hindi films, most of which were made bilingual in Bangla and Hindi at Calcutta. According to the famous film music historian Dr. Ashok D Ranande, Boral made a significant contribution to the Indian film music. First, he gave lot of importance to background music to enhance the effectiveness of screen images. Secondly, he developed the concept of prelude and interlude music segments in film songs. Thirdly, he is credited with the introduction of playback singing in films . The songs of ‘Pooran Bhagat’ (1933), ‘Chandidas’ (1934), ‘President’ (1937), ‘Mukti’ (1937), ‘Street Singer’ (1938), ‘Lagan’ (1941), ‘Saugandh’ (1942), ‘Wapas’ (1943) and ‘Hamraahi’ (1944) are enough to make him immortal in the annals of film music in India. KL Saigal, Kaanan Devi, Pahadi Sanyal, Harimati and Binota Bose owe their fame and name to Boral. He composed the present tune of our national anthem “Jana Gana Man“, for his film ‘Hamrahi’. Boral got the President’s award in 1959, Sangeet Natak Academy award in 1978 and the prestigious Dada Saheb Phalke award in 1979. He passed away on 25-11-1981 but RC Boral-the legend will always live in the minds of music lovers.

Not only RC Boral, but many other artists from Bengal, who came to Bombay for their career felt uncomfortable and uneasy with the Bombay film culture and they always tried to gather Bangla artists in their work environment to feel safe. This was not so with Bombay film people when they went to Bengal or South. Even the musicians and directors from the South, operated in Bombay atmosphere quite comfortably. Probably, for the Bangla artists, the impact of regional pride and language of Bengal was a hindrance in Bombay.

The film ‘Shri Chaitanya Mahaprabhu’ had a total of 16 songs. In the 1950s, the Hindi films had an average of 8 to 10 songs only. Along with Asha, Lata, Rafi and Talat, Boral also used Dhananjay Bhattacharya and Binota Chakraborty from Calcutta, as playback singers. The name of Binota Chakraborty sounds completely Bengali, but she was a Marathi mulgi from Bombay and her real name was Vinita Amladi. Today’s song is sung by her.

Vinita Raghvendra Amladi was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father, Raghavendra, used to play tabla. Her elder sister Hemlata, sang classical music. Vinita learnt singing from her sister Hemlata. Once, when Vinita was about 15-16 year old, she sang in a private birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in film ‘Rain Basera’ (1947), at a princely sum of Rs.250/-. After this film she also sang in the film ‘Renuka’ (1947).

When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. She then met composer Vinod. She says-

“I was introduced to the sound recordist of Shorie films, at a song and dance group meeting. He in turn took me to Vinod. He heard my singing and included me in the chorus of a song of Lata in ‘Ek thi Ladki’ (1949). Then he said, “You have met me very late. Now I have only one song left. You sing it”. The song was “Dilli Se Aaya Bhai Tingu” from ‘Ek Tthhi Ladki’. The song became a super hit in those days.”

After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from  her family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in film ‘Yatrik’. When she went to New Theatres for recording this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically tranformed from Vinita to Binota in the Bengali style. As Binota Chakrawarty she sang songs in yet another Hindi film from Calcutta ’25th July’ (1951).

In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in ‘Kasturi’ and ‘Shri Chaitanya Mahaprabhu’, both in 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai.

The cast of the film was Bharat Bhushan, Ameeta, Krishnakumari, Durga Khote, BM Vyas, Umakant, Madan Puri, Raj Kumar, Pinakin Shah etc. Bharat Bhushan had received the Filmfare best actor Award for this film, in 1955. (Though the film was censored in 1953 December, it got released only in 1954).

Enjoy the song.


Song – Nimai Chaand, Gore Chaand (Shri Chaitanya Mahaprabhu) (1953) Singer – Binota Chakravarty, Lyrics – Bharat Vyas, MD – RC Boral

Lyrics 

nimai chaand
gore chaand o mere
chhod mohe kahaan. . .
kahaan re chalaa

ghar soona soona
kar ke chala re. . . hey. . .
o bap ik baar
mukhda dikha re
o bap nimai mere tu
ek baar mukh to dikha re. . .
ey. . .
nimai chaand

mann pinjre mein
panchhi hriday ka..aa..
jatnon se jisko main ne samaaya
haaye
udd gaya chhalia..aa
tod ke taala
bole vishnu ke ab hoon
roye
roye re
re. . . hey. . .
kaise dheer hey bandhaaun main
o bap nimai mere
kaise dheer hey bandhaaun main
??
nimai chaand

baal umar mein
bairaagi na hoyio
sanyaasi na hoyio
ghar reh ke let naam re nimai
maai ko tu layio re nimai
baal umar mein
sanyaasi na hoyio

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

नीमाई चाँद
गोरे चाँद ओ मोरे
छोड़ मोहे कहाँ॰॰॰
कहाँ रे चला

घर सूना सूना
कर के चला रे॰॰॰
हे॰॰॰
ओ बप इक बार
मुखड़ा दिखा रे
ओ बप निमाई मेरे तू
इक बार मुख तो दिखा रे॰॰॰
ए॰॰॰
नीमाई चाँद

मन पिंजरे में
पंछी हृदय का॰॰आ॰॰
जतनों से जिसको मैंने समाया
हाय
उड़ गया छलिया॰॰आ॰॰
तोड़ के ताला
बोल विष्णु के अब हूँ
रोये
रोये रे
रे॰॰॰
हे॰॰॰
कैसे धीर हे बंधाऊँ में
ओ बप निमाई मेरे
कैसे धीर हे बंधाऊँ में
??
निमाई चाँद

बाल उमर में
बैरागी ना होइयो
सन्यासी ना होईओ
घर रह के लेत नाम रे निमाई
माई को तू लईओ रे निमाई
बाल उमर में
सन्यासी ना होईओ


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

The most common milestone in this blog is century of songs in the blog. Then we also have some associated milestones viz centuries by artists, contributors etc.

After this blog touched the five figure mark of songs on 20 july 2014, some of the regulars began to point out some “special” numbers that the blog was approaching. Though not round figures like centuries, these numbers held arithmetic significance and we in the blog decided to associate these numbers with special writeups.

The first of such “artificial” milestones was post number 11111. We marked the occasion by discussing a special song where as many as five artists completed their individual centuries in the blog with the same song.

The next such “artificial” milestone was post number 12345. Some regulars kept reminding Sudhir Jee and me about this milestone. We kept up a brave face telling everyone that we were aware of the special occasion. In reality we were all at sea to decide what song to discuss on that special occasion. Just at the nick of time, Sudhir Jee hit upon an ingenious idea and discussed a special song that had one lyricist, two music directors, three singers, which was piturised on four actors and this song appeared in the movie five times !

That done, we heaved a sigh of relief thinking that the next “artificial” special number was far off. We were mistaken. Mr Avadh Lal, a musically cum mathematically inclined regular suggested that the next “special” number was just round the corner. This number was 12357- all prime numbers.

If chosing a suitable song for post number 12345 was a challenge then chosing a song for post number 12357 turned out to be an even tougher challenge. How Sudhir Jee managed to pull off the feat of posting a song for post number 12357 is something that I have not understood even to this date.

Now, more than 1200 songs later, we arrive at another magic number, or a honky tonk number, as Sudhir Jee puts it. 13579 is the mumber, consisting of all odd numbers in ascending order.

Unlike the earlier honky tonk numbers, I am surprised (and somewhat relieved) to realise that the regulars of the blog have not noticed that we are approaching this number and as a result we have not received any reminders for this special number.

Unlike the songs that we found for the earlier three honky tonk numbers, finding a “suitable” song number 13579 is a tall order and I was quite unable to come up with a suitable and justifiable idea that our wise readers would find plausible and believable.

After giving the matter some thought, I realised that the ideas used for earlier occasions were not applicable in this case and we needed to come up with some original ideas.

After toying with some unpractical ideas, I thought up this idea that this post needed to be somehow associated with DMY format, viz 13-5-79.

So, I scanned google to find out if I could get some film personalities that were either born on 13-5-79 or they died on this date. I drew a blank. I came to know that the crown prince of an European nation was born on this date but no personality who could be even remotely associated with HFM was born on this date, nor did someone die on this date on that year.

There was one actress who was born on this date in a later year, but this blog is a U rated blog and so I would be very hesitant to have to do anything with her on this blog. 🙂

I also came to know that ‘Mr Natwarlal’ was released on 14 may 1979 (if it is correct), so it narrowly missed being a movie with 13-5-79 connection, not that it would have helped though, seeing that all songs from this movie have already been covered.

So, I decided that I needed to get some HFM related personality who has something to do with 13 may and hope that he/ she had something to do with the figure 79 as well.

A little search on our anniversary page revealed that two singers namely Utpala Sen and A R Oza had died on 13 may, though on years other than 1979. Did any of them die at the age of 79. If yes, then that would clinch the issue. Very little information is available on A R Oza, and whatever is avilable is contained in this very blog, thanks to the article by our beloved inhouse encyclopaedia, Mr Arunkumar Deshmukh. Going through his articles revealed that the date and year of birth of A R Oza is not available. So he is ruled out.

When I checked up the dates for Utpala Sen, I found that she was born on 12 March 1924 and she died on 13 May 2005 at the age of 81.

So I began to think of a combination. Let Utpala Sen supply 13-5 component of the jigsaw. Let the other portion of the jigsaw, viz 79 be supplied by someone who is associated with Utpala Sen in a Hindi movie song.

On checking up, I realised that Utpala Sen has sung very few Hindi movie songs (may be 15 or 16) and most of them are already covered in the blog. She sang most of these songs with Pankaj Mullick and all available songs of this combination are already covered.

I found that Utpala Sen had sung in ‘Wasiyatnama’ (1945) under the baton of RC Boral. Could RC Boral supply the other half of jigsaw ? I checked his biodata. He was born on 19 October 1903 and he died on November 1981. So he was just over 78 years of age. What a narrow miss ! Or was it ? If one counts the number of calendar years that RC Boral saw in his lifetime, he saw a total of 79 calender years ! So there is the other half of the jigsaw puzzle, nicely getting dovetailed with the other half with a satisfying sound !

‘Wasiyatnaama’ (1945), by now a forgotten movie, was directed by Soumen Mukherji for New Theatres, Calcutta. The movie had Asit Baran, Sumitra Devi, Bharati, Latika Bannerji, Ahindra Chaudhary, Hiralal, Devi Mukherji, Shor, Tandon, Natwar, Tulsi etc in it.

The movie had six songs in it and two of these songs are covered in the blog.

This third song from the movie, which is the 13579th song post for the blog, is sung by Utpala Sen and it is composed by RC Boral. The song is penned by Zakir Hussain and no details are available for him, so he was in any case of little use to us in our search for our magic numbers.

Here is this special song post for the blog. This song, like most such songs, is quite a rare song.

So, my dear readers of this song, here is song post number 13579 in the blog. Enjoy !

And hopefully this takes care of our honky tonk numbers for the near forseeable future. Phew, this was close ! 🙂

[Ed Note: In the second antaraa, the word ‘mrigya’ (मृग्या) is a modified form of the word ‘mrig-trishna’ (मृग तृष्णा), which translates to ‘mirage’ in English. It is the optical illusion created in the deserts, which makes the travellers and also animals in the desert, see things, especially water, at a distance, even though it is not actually there.]


Song – Gaaye Jaa Tu Geet Suhaane, Kaun Kisi Ke Mann Ki Jaane (Wasiyatnama) (1945) Singer – Utpala Sen, Lyrics – Zakir Hussain, MD – RC Boral

Lyrics

gaaye jaa tu geet suhaane
gaaye jaa tu geet suhaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki jaane
gaaye jaa tu geet suhaane
suhaane

deepak ka hai kaam jalaana
deepak ka hai kaam jalaana
aur patange ka jal jaana
jal jaana
aur patange ka jal jaana
is mein kya hai dosh kisi ka
is mein kya hai dosh kisi ka
marne ke hain laakh bahaane
marne ke hain laakh bahaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki jaane

jagmag jagmag ret jo chamke
mrigya jal ki lahren damken
jagmag jagmag ret jo chamke
mrigya jal ki lahren damken
kaisa hai ye sundar dhokha
aa aa aa
kaisa hai ye sundar dhokha
aa aa aa
aag se jaaye pyaas bujhaane
aag se jaaye pyaas bujhaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki

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

गाये जा तू गीत सुहाने
गाये जा तू गीत सुहाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की जाने
गाये जा तू गीत सुहाने
सुहाने

दीपक का है काम जलाना
दीपक का है काम जलाना
और पतंगे का जल जाना
जल जाना
और पतंगे का जल जाना
इस में क्या है दोष किसी का
इस में क्या है दोष किसी का
मरने के हैं लाख बहाने
मरने के हैं लाख बहाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की जाने

जगमग जगमग रेत जो चमके
मृग्या जल की लहरें दमकें
जगमग जगमग रेत जो चमके
मृग्या जल की लहरें दमकें
कैसा है ये सुंदर धोखा
आ आ आ
कैसा है ये सुंदर धोखा
आ आ आ
आग से जाये प्यास बुझाने
आग से जाये प्यास बुझाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की


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

 

I was in the midst of writing a short write-up on a song from the film ‘Jawaani Ki Reet’ (1939) produced under the banner of New Theatres. The film was not available to view in DVD/VCD format. Luckily, I could get a short review of the film in February 1940 issue of  ‘Filmindia’ magazine which gave me some indication as to the theme of the story. The story reminded me of the film ‘Kangan’ (1939) produced under the banner of Bombay Talkies, as I had watched the 40-minute snippet of the film on YT a few days back.
Read more on this topic…


This article is written by Srinivas Ganti, a fellow enthusiast of Hindi movie music and a new 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.

Journey Through Lata’s Melodies – 02
– – – – – – – – – – – – – – – – – – – –

Even though this is my first post, I don’t feel like a new comer on this forum, since I have already met several of you in person. Thanks to Sudhir ji for making this possible by inviting me to Mumbai Gangout last year.
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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.

The first lady of Bangla cinema. And the first lady singing superstar of Indian cinema. It is said that at the height of her popularity, she required protection when she was traveling.

Remembering Kanan Devi on the anniversary of her birth today (22nd April). (It is her 99th anniversary)
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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.

Chilly winter greetings to all from a cold, cold Delhi. As I sit and write this post, the minimum temperature that continues to be maintained is in the range of 2 – 4 degrees C.  Add to that the fog that keeps the warm sun away from the view.  And top it up with rain that has been visiting us off and on.  When I woke up today morning, it was drizzling.  And the leaves of the trees waving in a brisk breeze told the story that it is going to be another chilly day.  And so it has been for the past couple of weeks.  Although I enjoy such weather, but there have been other circumstances, associated with the weather, that have kept me occupied and away from the blog activities.  But today, we must celebrate.
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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13600 song posts by now.

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

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