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Bahut dinon se bichhda man ka meet mila

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This article is written by Sadanand Kamath, 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.

In our day to day life we face some or the other discomforting and problematic situations, most of which get sorted out over time. The end of such situations is the beginning of happiness.

One of the discomforting situations which I have started facing in the post- retirement years is that I suddenly remember the tune of a song which I had heard quite often in my younger days on the radio but I am not able to recall the wordings or other details. I become restless until I find the song. It is by chance that I get to listen to the song on YT or on the Blog after months. And the pleasure I get in solving this kind of ‘puzzle’ is akin to attaining nirvana.

A few days back, I was again in this tricky situation. I suddenly recalled a melodious tune of a song which I had listened on the radio sometime in the later 60s when I had become a proud owner of a transistor radio. I had no clue to the mukhda wordings of the song. Nor could I recall the name of the film and the singers. The only clues I could faintly remember were that the song was from a mythological film and it was a duet. So the canvas was restricted for a successful searching of the particular song.

The first thing I did was to search for the duet songs covered in the Blog from mythological films. To begin with, I searched films starting with ‘Sant’ and ‘Sati’. There were 10 films covered in the Blog with such prefixes. I drew a blank as there were only a couple of duet songs covered in the Blog under these prefixes. Thereafter I randomly checked songs of other mythological films covered in the Blog without any success. I gave up my efforts to search the song.

Two days back, I was looking for a song ‘chamke chaand poonam ka’ from the film ‘Mahasati Behula (1964)’ on the YT which is not covered in the Blog. It so happened that on the same page of YT, there was a video clip of a song from the film ‘Mahasati Anusuya’ (1965). I listened to this song. And eureka, I got the song I was looking for. It was a coincidence that both these songs were from the mythological films with prefix ‘Mahasati’ which I overlooked in my searches.

I have great pleasure in presenting the ‘lost’ song from my memory which I have recalled now. The song is ‘bahut dino se bichhda man ka meet mila’ from the film MAHASATI AUNUSUYA (1965). The song is rendered by Suman Kalyanpur and Mukesh. The song is written by Bharat Vyas which is set to music by S N Tripathi, the doyen of historical and mythological film music. The song is picturised on Jayshree Gadkar and Asim Kumar. There were as many as 17 songs in the film, all written by Bharat Vyas.

The film was produced under the banner of Ranglok Pictures and was directed by Dhirubhai Desai. The star cast included Jayshree Gadkar, Asim Kumar, Anita Guha, Sahu Modak, Sundar, Jeevan, Babloo etc.

After listening to this song, old timers would surely recall that this was one of the popular songs played on the Vividh Bharati in the 60s. For me, this song is ‘bahut dino se bichhda man kaa geet mila’.


Song-Bahut dinon se bichhda man ka meet mila (Mahasati Anusuya)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-Bharat Vyas, MD-S N Tripathi
Both

Lyrics

bahut dinon se bichhda man kaa meet milaa
bahut dinon se bichhda man kaa meet milaa
mere geet ko rootha hua sangeet milaa aa

bahut dinon se bichhda man kaa meet milaa

neele gagan mein aasha kaa chanda chamkaa
o o o o o
o o o
neele gagan mein aasha kaa chanda chamkaa
jhoomi kiran jab ghoonghat uthha poonam kaa

mere nayan mein mukhda tumhaara damkaa
prano ki paayal mein goonja hai swar chham chham kaa
bahut dinon se bichhda man kaa meet milaa
mere geet ko rootha hua sangeet milaa aa
bahut dinon se bichhda man kaa meet milaa

din ye milan ke sundar suhaane anoothhe
din ye milan ke sundar suhaane anoothhe
aise madhur pal hamse kabhi na roothhe
ab to piya tere haathon se haath na chhoote
apna salona sapna kabhi na toote
bahut dinon se bichhda man kaa meet milaa
mere geet ko rootha hua sangeet milaa aa
bahut dinon se bichhda man kaa meet milaa



Nadiya na piye kabhi apna jal

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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.

“Kan Kan Mein Bhagwaan”(1963) was produced by Mahipartai Shah and directed by Babubhai Mistry for Roop Kala Pictures. The movie had Mahipal, Anita Guha, Ram Singh,Ratnamala, Raja Nene, Krishna Kumari, Kumud Tripathi aka Kummo Tripathi, T.N.Sinha, Prakash, Yunus Parwaiz, Mridula Rani, Punam Kapur, Baijnath, Ajit, Rehana, Uma Dutt, R.S.Dube, Munshi, Shekhar, Chand, Deochand aka Devchand, Lal Bahadur, Kishore, Dilawar Khan, Nazima Aka Baby Chand, Burhan, Jugal Kishore, Dinanath, Vijay Kumar, Master Aziz, Moolchand etc in it.

Today (15 may 2015) is the tenth death anniversary of Mahipal (11 november 1919- 15 may 2005). Here is a song from “Kan Kan Mein Bhagwaan”(1963) on this occasion as a tribute to Mahipal.

The song is sung by Mahendra Kapoor. Bharat Vyas is the lyricist. Music is composed by Pt Shivram.

The picturisation shows Mahipal lip syncing this philosophical song in the presence of several female devotees. Anita Guha is one of those devotees.

Lyrics of this song were sent to me by Prakashchandra.

Video

Audio

Song-Nadiya na piye kabhi apna jal (Kan Kan Mein Bhagwaan)(1963) Singer-Mahendra Kapoor, Lyrics-Bharat Vyas, MD-Pt Shivram

Lyrics(Lyrics Provided by Prakashchandra)

nadiyaa na piye kabhie apnaa jal
vriksh na khaaye kabhi apne phal
nadiyaa na piye kabhie apnaa jal
vriksh na khaaye kabhi apne phal
apne tan kaa
mann kaa dhan kaa
doojon ko de jo daan hai
woh sachchaa insaan
arrey iss dharti ka bhagwaan hai
nadiyaa na piye kabhie apnaa jal
vriksh na khaaye kabhi apne phal

agar sa jis kaa ang jaley
aur duniyaa ko meethi suwaas de
agar sa jis kaa ang jaley
aur duniyaa ko meethi suwaas de
deepak saa uss kaa jeevan hai jo
doojon ko apnaa prakaash de ae
doojon ko apnaa prakaash de
dharam hai jis kaa Bhagwat Geetaa
aa…aaa…aa…aaaaa
aaa…aaa….aaa….aaaa
dharam hai jiss kaa Bhagwat Geetaa
sewaa hi ved puraan hai
woh sachchaa insaan
arrey iss dharti ka bhagwaan hai
nadiyaa na piye kabhie apnaa jal
vriksh na khaaye kabhi apne phal

chaahe koyee gun-gaan kare
chaahe kare nindaa koyee
chaahe koyee gun-gaan kare
chaahe kare nindaa koyee
phoolon se koyee satkaar kare yaa
kaante chubho jaaye koyee
kaante chubho jaaye koyee
maan aur apmaan hi donon
aa aaa aaa aaa aaaa aaa
maan aur apmaan hi donon
jis ke liye samaan hai
woh sachcha insaan
arrey iss dharti kaa bhagwaan hai
nadiyaa na piye kabhie apnaa jal
vriksh na khaaye kabhi apne phal
apne tan kaa
mann kaa dhan kaa
doojon ko de jo daan hai
woh sachchaa insaan
arrey iss dharti ka bhagwaan hai
nadiyaa na piye kabhie apnaa jal
vriksh na khaaye kabhi apne phal


Ram Bechne Aaya Hoon Hanuman Bechne Aaya Hoon

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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.

Entertaining Sales Pitch Songs – 8
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दुनिया के बाज़ार में सब कुछ बिकता है, भगवान भी ।
(In this marketplace of the world, everything sells, even God.)

Here we have a small child who is selling God.  Well, not exactly.  He is selling small clay figurines of various Hindu Gods.  This scenario is not unique to our country or this religion.  In every society across the globe, wherever there is a worship of a personal God with a form, one can witness such vendors who sell the prevalent and the accepted images of the Almighty.  Even in religions and faiths where the worship is of a formless God, and it is not possible to create images of Him, we have an abstract representation in form of words and scripts that replace the image.  The concept and this need of the human mind to relate to a God like entity is and has been a powerful driving force for people across the ages and across the continents. Whatever may be the belief system, one will always find symbols or tokens or images or words, available to be purchased, for a price, at centers of worship and pilgrimage.

In our Bhakti tradition, it is said that the Almighty is so benevolent, that He will do anything for His devotees.  He is even ready to be sold at the hands of His devotees in the marketplace, if that means happiness and benefit for the devotee.  That is, as they say, is the power of love.  Of course, it means livelihood for many people.  It also means big business for some.

And yes, of course, with the film songs promising to sell anything and everything, how could this song not have been written.  And this is not a solitary example.  There are at least two more similar songs that I have heard.  One is “Dus Paise Mein Ram Le Lo” from the 1968 film ‘Ek Phool Ek Bhool’; the second one I am unable to readily recall.

This song is from the film ‘Naag Mohini’ from 1963.  On screen, the song is performed by Master Babloo.  In the scene, we see him accompanying a lady, (Vijaya Chaudhry on screen) probably his mother in the film.  The film is directed by Shantilal Soni for the production banner Dimple Films, Bombay.  The lyrics of this song are written by Bharat Vyas and the music is by Sardar Malik.  Besides the two performers named above, the cast of actors includes Mahipal, Rajan Haksar, Indra Bansal, Rajrani, Khurshid, Sundar, Umadutt, and Sood.  The singing voice in this song is that of Suman Kalyanpur.

Now coming close to the end of this series the way I had planned it, two more very interesting sales pitch song are to be posted.  This series is just a sampler, of some of the more obscure sales pitch songs.  The next episode is going to be a very unique and one of its kind sales pitch, one that you may not expect to see played out as a song.  But before that, let us see today’s song about the images of God being sold.
Listen and enjoy.

Song – Ram Bechne Aaya Hoon Hanuman Bechne Aaya Hoon (Naag Mohini) (1963) Singer – Suman Kalyanpur, Lyrics – Bharat Vyas, MD – Sardar Malik

 jise dhoondhte thak gayi duniya
usey pakad kar laaya hoon
hum sab ko jo ghade
aaj main usey hi ghad kar laaya hoon

ram bechne aaya hoon
hanuman bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon
ram bechne aaya hoon
hanuman bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon
koi ram bhakt bolo
hanuman bhakt bolo
bhagwan bhakt bolo
main ram bechne aaya hoon
hanuman bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon

ye hain apne kishan muraari
bansi jinko pyaari hai
ye hain apne kishan muraari
bansi jinko pyaari hai
ye hai gori gori radha
mohan ki matwaari hai
soond hilaate gajaanand ye
soond hilaate gajaanand ye
jinki shobha nyaari hai
gapaa gapp khaate laddu
choohe ki karen sawaari hai
do paise main arjun sa
balwaan bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon

ye hai apni lachhmi maata
chhan chhan jo bhandaar bhare
ye hai apni lachhmi maata
chhan chhan jo bhandaar bhare
ye hai gusse waali chandi
jo dushman par waar karey
ye hai apna naarad baaba
naaraayan naaraayan
ye hai apna naarad baaba
baaten do ki chaar karey
ye hai bhola bhaala shambhu
sabka bedaa paar karey
sabhi devtaaon ka main
vardaan bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon
koi ram bhakt bolo
hanuman bhakt bolo
bhagwan bhakt bolo
main ram bechne aaya hoon
hanuman bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon
pet ki khaatir main apna
bhagwan bechne aaya hoon

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

जिसे  ढूंढते थक गई दुनिया
उसे पकड़ कर लाया हूँ
हम सबको जो घड़े
आज मैं उसे ही घड़ कर लाया हूँ

राम बेचने आया हूँ
हनुमान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ
राम बेचने आया हूँ
हनुमान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ
कोई राम भक्त बोलो
हनुमान भक्त बोलो
भगवान भक्त बोलो
मैं राम बेचने आया हूँ
हनुमान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ

ये हैं अपने किशन मुरारी
बंसी जिनको प्यारी है
ये हैं अपने किशन मुरारी
बंसी जिनको प्यारी है
ये है गोरी गोरी राधा
मोहन की मतवारी है
सूंड हिलाते गजानन्द ये
सूंड हिलाते गजानन्द ये
जिनकी शोभा न्यारी है
गपा गप्प खाते लड्डू
चूहे की करें सवारी है
दो पैसे में अर्जुन सा
बलवान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ

ये है अपनी लछमी माता
छन छन जो भंडार भरे
ये है अपनी लछमी माता
छन छन जो भंडार भरे
ये है गुस्से वाली चंडी
जो दुश्मन पर वार करे
ये है अपना नारद बाबा
नारायण नारायण
ये है अपना नारद बाबा
बातें दो की चार करे
ये है भोला भाला शंभू
सबका बेड़ा पार करे
सभी देवताओं का मैं
वरदान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ
कोई राम भक्त बोलो
हनुमान भक्त बोलो
भगवान भक्त बोलो
मैं राम बेचने आया हूँ
हनुमान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ
पेट की खातिर मैं अपना
भगवान बेचने आया हूँ


Chham chham chham chham chaley wo maa

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“Sahaara”(1958) was produced by Kuldeep Sehgal and directed by Lekhraj Bhakri for Tasweeristaan. The movie had Meena Kumari, M.Rajan, Kuldip Kaur, Kanhaiya Lal, Badri Prasad, Leela Misra, Niranjan Sharma, Sundar, Daisy Irani, Sagar, Rirkoo, Shakeel Numani, Khanna, Black & White, Kardar, Amir Bano, Gulab, Chanda Bai, Kanchan Mala, Sadhna, Maya Das, Kishan, Shukla, Brahm Bhardwaj etc in it. Manoj aka Manoj Kumar and Geeta Sinha made their debut with this movie whereas Kammo made a guest appearance in this movie.

Today (16 june 2015) is the 95th birth anniversary of Hemant Kumar (16 june 1920- 26 september 1989 ). Here is a song from “Sahaara”(1958) on this occasion.

This song, the sixth song from the movie, is sung by Aarti Mukherji and Lata. The song is picturised as a Maa-Beta song on Meena Kumari and Daisy Irani, with Sundar and Amir Bano also visible in the picturisation.

This sweet and cute song is penned by Bharat Vyas. Music is composed by Hemant Kumar.

Lyrics of this song were sent to me by Prakashchandra.


Song-Chham chham chham chham chale wo maa (Sahaara)(1958) Singers-Aarti Mukherji, Lata, Lyrics-Bharat Vyas, MD-Hemant Kumar
Both

Lyrics(provided by Prakashchandra)

chham chham chham chham chale woh maa
duniyaa se na dare woh maa
chham chham chham chham chale woh maa
duniyaa se na darey woh maa
jiskaa beta raaj kumaar
uske ghar mein sadaa bahaar
chham chham
chham chham chham chham chale woh maa
duniyaa se na darey woh maa
jisskaa beta raaj kumaar
uske ghar mein sadaa bahaar
chham chham
chham chham chham chham chale woh maa
duniyaa se na darey woh maa

rang birange baadlon ke
paalki sajaaoongaa
paalki mein pyaari maiyyaa
tujhko bithaaoongaa
chhote chhote
kandhon pe woh paalki uttaaoongaa
zor pakad ke
akad akad ke
door tujhe le jaaoongaa
chham chham
chham chham chham chham chale woh maa
duniyaa se na darey woh maa
jiskaa beta raaj kumaar
uske ghar mein sadaa bahaar
chham chham
chham chham chham chham chale woh maa
duniyaa se na darey woh maa

gorey gorey chaand ki main paalki sajaaoongi
paalki mein munne teri dulhaniyaa bithhaaoongi
bahu ghar laaoongi
main saas bann jaaoongi
hukum chalaa ke
aankh dikhaa ke
bahu pe raub jamaaoongi
chham chham

chham chham chham chham chale woh maa
duniyaa se na darey woh maa
jisskaa beta raaj kumaar
usske ghar mein sadaa bahaar
chham chham
chham chham chham chham chale woh maa
duniyaa se na darey woh maa

main toh maiyya kabhi nahin byaah rachaaoongaa
saas bahu ke jhagde mein
nahin aaoongaa
iss ko manaaoongaa yaa ussko manaaoongaa
kaan pakadtaa
naak ragadtaa
kunwaaraa hi mar jaaoongaa
chham chham
chham chham chham chham chale woh maa
duniyaa se na dare woh maa
jiskaa beta raaj kumar
uske ghar mein sadaa bahaar
chham chham
chham chham chham chham chale woh maa
duniyaa se na darey woh maa


Ae chaand na itraana

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“Chaand” songs are always a delight to listen to. In my view, the first “Chaand” song was perhaps the title song of “Chaand”(1944) which I discovered some four years ago. I had discussed this song in the blog at that time.

That song had elicited some heartwarming comments from readers who were then new to the blog. nahm commented

How u must be feeling? when u dive in the sea and come with a few more precious gems n jewels daily. It is a sea full of fogotten/not known (by us) gems.

I feel as if we r so rich with a sea full of jewels at our disposal, bring one or two up, enjoy for a while the feel of the song and put it back in the sea.

And this is what Sudhir ji, another newcomer to the blog had exclaimed:

Atul ji,
A very dear salute to you from the bottom of my heart. :)
Aap kahaan kahaan se ye nagme aur ye geet dhoond ke laa rahe hain. Aisa lagta hai ki ek koyle ki khadaan mein se chun chun ke heere baant rahe hain. Kya kamaal ki khoj hai.
Not for only this song, but so many others that are flowing like a melodious waterfall on this blog. And of course, what a gem of song this one is. I am hearing it for the first time, but (as Raja ji would say) it is love at first hear.
Aap ki mehnaton pe hum dil o jaan se qurbaan :).
Rgds
Sudhir

Indeed, there are rare songs that one can come across when one dives deep in the musical ocean of HFM. Then there are some gems that are lying buried so deep that they cannot be located just by diving and stumbling upon them. They can be located only when their co ordinates are known (in the form of their movie/ song title etc) and even then one needs to search hard. After you locate them, they are in such poor shape that you may tend to throw them away as junk unless you know better. You need to clean it up and try to bring it to its true shape before it becomes presentable. And once the song becomes presentable, then listening to the song is a divine experience and all the hard work involved in searching for it becomes worthwhile.

Here is another “Chaand” song from 1944. This song is far more obscure than the above mentioned title song of “Chaand”(1944). This song is from “Man Ki Jeet”(1944). The song is sung by Sitara Kanpuri. Bharat Vyas is the lyricist and he has come up with superb lyrics. This must be one of the most original lyrics for a “chaand” song that I have come across.

Music is composed by S K Pal.

Only the audio of this song is available. This movie was directed by W Z Ahmad for Shalimar Pictures, Bombay. The movie had Neena, Shyam, Prakash, Tiwari, Rajkumari Shukla, Miss Gulab, Geeta, Mumtaz, Asha, Shanta Thakkar, Nazeer Bedi, Saroj Borkar, Ramavtar, Kathana, Bismillah, Kailash, Khalil, Gulab, Sudha Apte, Anil etc in it.

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

Noting down the lyrics of this song was a challenging, but fruitful exercise. I have not been able to get the lyrics to my satisfaction in a few places. I request our readers with keener ears to suggest corrections in the lyrics wherever applicable.


Song-Ae chaand na itraana (Man Ki Jeet)(1944) Singer-Sitara Kanpuri, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

ae chaand
ae chaand
na itraana
ae chaand
na itraana
aate hain mere sajan
aate hain mere sajan
sajan
aate hain mere sajan
kadam mein bichh jaana
ae chaand na itraana

o o o o
o o o o
o o o o
o o
tera gora badan
mere gore sajan
saajan se na baazi lagaana
?? sundar hai kaun
mera preetam ya tu
hai hamko yehi aajmaana
ae chaand
na itraana

sun apni kahaani meri jabaani
apni kahaani meri jabaani
isko na tum bhool jaana aa
jab ishwar ne donon ka karne wazan
jab ishwar ne dono ka karne wazan
do paldon mein donon ko daala
ek palde mein tu
dooje mein sajan
ek palde mein tu
dooje mein sajan
taraazu ko jyoon hi uthhaaya
taraazu ko jyoon hi uthhaaya
jo halka thha wo uthh gaya ooper
jo halka thha wo uthh gaya ooper
jo bhaari thha wo neeche aaya
haan
jo bhaari thha wo neeche aaya
wo mera hai chaand
sundar hai chaand
wo mera hai chaand
?? sundar hai chaand
tu man hi mein na phool jaana
ae chaand
na itraana
aate hain mere sajan
aate hain mere sajan
sajan
aate hain mere sajan
kadam mein bichh jaana
ae chaand na itraana


Karm kaho kismat kaho

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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.

R D Burman composed over 1700 songs in Hindi movies. Only 19 of these songs had the voice of Mukesh in them.

When I came across this figure yesterday (it is mentioned in the book -R D Burman- the man the music), I looked in the blog and also searched the list of R D Burman songs in HFGK.

Following is the list of Mukesh songs composed by R D Burman:

Movie Year of release Song Singer Lyricist Remark
Teesra Kaun 1965 Pyaar Ka fasaana Mukesh, Lata Anand Bakshi
Kati Patang 1970 Jis gali mein tera ghar na ho baalma Mukesh Anand Bakshi
Puraskaar 1970 Ae meri jaan chaand sa gora mukhda Mukesh, Asha Bhonsle S H Bihari
Puraskaar 1970 Nateeja hamaari muhabbat ka Mukesh, Asha Bhonsle S H Bihari
Hangaama 1971 Sooraj se jo kiran ka naata Mukesh, Lata Anjaan
Chhaliya 1973 Zindagi mein aap aaye Mukesh, Vani Jairam Rajinder Krishan
Raja Rani 1973 Haan to main kya keh raha thha Lata, Mukesh, Rajesh Khanna Anand Bakshi
Phir Kab Milogi 1974 Kahin karti hogi wo mera intezaar Mukesh, Lata Majrooh Sultanpuri
Dharam Karam 1975 Ik din bik jaayega part (i) Mukesh, chorus,
part (ii)Mukesh, Sushma Shreshtha,
part (iii)Mukesh, Kishore Kumar, Sushma Shreshtha, chorus
Majrooh Sultanpuri Three parts, counted as three songs
Dharam Karam 1975 Tere hamsafar geet hain tere Mukesh, Kishore Kumar, Asha Bhonsle, chorus Majrooh Sultanpuri
Chaandi Sona 1977 Tujhe bhool ke maati ki putli par Mukesh Majrooh Sultanpuri Three parts, counted as three songs, not yet discussed in the blog
Karm 1977 Karm kaho kismat kaho Mukesh Bharat Vyas Another two line song- Karm kare qismat bane, is counted as a separate song
Mukti 1977 Lalla lalla lorie Mukesh Anand Bakshi
Mukti 1977 suhaani chaandni raaten hamen sone nahin detin Mukesh Anand Bakshi
Naukri 1978 Ooper jaake yaad aayi neeche ki baaten Mukesh, Chorus Anand Bakshi

Most Mukesh-R D Burman songs have already been discussed in the blog. only the songs of “Karm” (1977) and “Chaandi Sona”(1977) remain to be discussed.

Here is the Mukesh song (s) from “Karm”(1977). This song is penned by Bharat Vyas. The last two lines beginning from “karm kare qismat bane..” is the second part of the song and is counted as another song. Thus Mukesh gets credited for singing two songs in this movie.

After this song, “Chaandi Sona”(1977) song will be the only Mukesh R D Burman song that has not yet been covered in the blog.

PS-Muvys, as well as Mr Harish Raghuwanshi have pointed out that Naukri(1978) too had a Mukesh song. My thanks to them both for pointing it out. Now I have updated the table. So the songs of “Chaandi Sona”(1977) and “Naukri”(1978) are the only Mukesh-R D Burman songs missing from the blog as of now.


Song-Karm kaho kismat kaho (Karm)(1977) Singer-Mukesh, Lyrics-Bharat Vyas, MD-R D Burman

Lyrics
—————————-
Part I
—————————-
karm kaho
qismat kaho o o
chaahe kaho taqdeer eer
pehle banaa praarabdh aur
paachhe banaa shareer eer

karm ki gathdi laad ke
jag mein phire insaan
jaisaa kare vaisaa bhare
vidhi kaa yahi vidhaan
aa aa aaa
hmm hmm hmm hmm

—————————
Part II
—————————
karm kare qismat bane ae ae
jeevan kaa ye maram
praani tere haath mein aen
teraa apnaa karam am


Daiyya Re Daiyya Ek Kanhaiyya Aa Ke Chameli Ki Chhaon Mein

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Songs to Tickle Your Memory – 23
– – – – – – – – – – – – – – – – – –

‘Aankhen’ was released in 1950.  Most people remember it for being the debut film of music director Madan Mohan.  Amongst all the wonderful songs that caught the attention of the listeners, there is this lovely melody in the voice of Meena Kapoor, that really steals away your heart – “Mori Atariya Pe Kaaga Bole, Mora Jiya Doley, Koi Aa Rahaa Hai”.  For me, it is this one song that makes this film and its music memorable.  This is one of the two songs that Bharat Vyas wrote for this film.

Remembering Bharat Vyas on the anniversary of his passing away (5th July).

By the time this song reached the listeners in 1950, Bharat ji had already clocked seven years in the industry, having made his debut in 1943 with the film ‘Duhaai’.  Born in 1918, he was twenty five years old on this debut. The years may sound young, but the young Bharat already had a world of literary experience behind him.  Originally from Churu in Rajasthan, there is a significant influence of the Rajasthani dialects in his writings, as well as the traditions of valor and sacrifice find a prominent place.  As a school going child, he had interest in stage dramas and acting, and used to participate in the local Ramlila celebrations.  He started writing poetry at a very young age. While still a teenager, he composed the famous poem “Kesariya Pagdi Bani Rahe”, which went on to find a place of honor as a song in the film ‘Jai Chittor’ of 1961.

After completing his Matric from Churu, the young Bharat came to Calcutta to pursue his studies for B.Com.  Of course his creativity kept pace with him. He started participating in the local ‘Kavi Sammelans’, and started to write songs for music companies.  His song “Aao Veero Hilmil Gaayen Vande Maatram” captured the then current emotions in the country, and became very popular.  The time was late 1930s.  The stage theatre scene in Calcutta was very active.  Inspired by the environment, he wrote a Rajasthani stage play ‘Ramu Chananaa’, complete with dialogues and songs, in a single night sitting.  More plays followed, and the young creator became a popular writer figure on the Calcutta literary scene.  In case you wonder how do Rajasthani/ Marwaari language dramas fit into the Calcutta milieu, one must remember that Calcutta has probably the largest population of Marwaaris and other migrant families from Rajasthan.

The second world war happened.  The threat of Japanese invasion from the east made a number of artists and other people move out of Calcutta.  The young Bharat came to Bombay in the early 1940s, and immediately plunged into the literary activities in the city.  Once again, he became a regular and a popular participant at the local Kavi Sammelans.  His songs and poetry started finding place in the programs of All India Radio.  With so much literary involvement, it was but natural for him to get connected with the film industry.  And so he made his film debut in 1943.  Film producers like V Shantaram, Bimal Roy and Vijay Bhatt were influenced by his poetry, and he became a regular songwriter for their films.  It is going to be redundant to start listing his creations from 1940s and 1950s.  But I will surely mention that classic song from the 1957 film ‘Do Aankhen Baraah Haath’ that has gone beyond the epithets of ‘iconic’ and ‘timeless’ – “Ae Maalik Tere Bande Hum” has found its way into the cultural DNA of this land.  I am pleasantly surprised and moved to find this song listed on a website that celebrates Urdu poetry, calling it out as one of the best spiritual creations in the Urdu language.  For a writer whose roots are in the Rajasthani dialect, and whose writings are known for their chaste Hindi content, this recognition exemplifies the breadth and depth of his writings.

A brief sampling of the films which are embellished with his songs – ‘Parineeta’ (1953), ‘Toofaan Aur Diya” (1956), ‘Do Aankhen Baraah Haath’ (1957), ‘Fashion’ (1957), ‘Janam Janam Ke Pher’ (1957), ‘Suvarna Sundari’ (1958), ‘Samrat Chandragupt’ (1958), ‘Rani Roopmati’ (1959), ‘Goonj Uthi Shehnaai’ (1959), ‘Navrang’ (1959), ‘Bedard Zamaana Kya Jaane’ (1960), ‘Kavi Kalidas’ (1960), ‘Veer Durgadas’ (1960), ‘Angulimaal’ (1960), ‘Chandramukhi’ (1960), ‘Saaranga’ (1960), ‘Jai Chittor’ (1961), ‘Piya Milan Ki Aas’ (1961), ‘Stree’ (1961), ‘Pyar Ki Pyas’ (1961), ‘Kan Kan Mein Bhagwan’ (1963), ‘Sati Savitri’ (1964), ‘Sant Gyaneshwar’ (1964), ‘Boond Jo Ban Gayi Moti’ (1967).  As I said, a brief sampling only. The mention of each film name immediately brings to mind the songs these films are famous for.  That is the writing prowess of this exemplary poet.

He passed away in 1982, after a brief illness.

This song is such a wonderful memory from the radio listening days.  The tickler for this post was sent in by dear Prakash ji, who has also provided the lyrics.  The film is ‘Saaranga’.  The music is by Sardar Malik and the singing voice is that of Lata Mangeshkar accompanied with chorus.  On screen, this song is presented as a folk dance, which is led by Jaishree Gadkar.  We can also see Sudesh Kumar in the video clip.  The words are exquisite.  Few poets have been able to write film songs that are adorned with the ‘alankaars’ in chaste Hindi.

chhote se ghooghat ke patt mein
ek roop kaa deep jalaaye

In fact the entire song is such an attractive composition in words, like a piece of alluring jewelry crafted by a master jeweler. What more to say; other than just to listen to this charming and earthy song in the folk genre, so beautifully crafted. Enjoy.

Song – Daiyya Re Daiyya Ek Kanhaiyya Aa Ke Chameli Ki Chhaon Mein (Saaranga) (1961) Singer – Lata Mangehskar, Lyrics – Bharat Vyas, MD – Sardar Malik
Female Chorus
Male Chorus
Female + Male Chorus

Lyrics (Provided by Prakashchandra ji)

hoyye ae ae

ho o oooooo
ho o oooooo
ho o oooooo
ho o oooooo
ho o oooooo
ho o oooooo
ho o oooooo
ho o oooooo

aahaaa haha haha ha
aahaaa haha haha ha
aahaaa haha haha ha
aahaaa haha haha haaa. . .

hey ho

hey ho..ooo haaa

haaye haaye
haaye haaye
daiyya ri daiyyaa
ek kanhaiyya
daiyya ri daiyyaa
ek kanhaiyya
aake chameli ki chhaaon mein
chhupke chhupaaike
nainaa milaaike
kaantaa chubhaai gayo paaon mein
daiyya rey daiyyaa
ek kanhaiyya
aake chameli ki chhaaon mein
chhupke chhupaaike
nainaa milaaike
kaantaa chubhaai gayo paaon mein
haaye daiyyaa ri daiyya…aaaaa

hey ho
hey ho

main albeli naar naveli
baithi akeli haayye
baithi akeli haayye
ho raamaa
baithi akeli haayye
main albeli naar naveli
baithi akeli haayye
chhote se ghooghat ke patt mein
ek roop kaa deep jalaaye
o daiyyaa
koi rijhaaike
baatein banaaike
preet ki aag lagaaye
raste mein chhod gayo hamein chhailaa
le gayo dil ko bhagaaye
haaye haaye
daiyya ri daiyyaa
ek kanhaiyya
aake chameli ki chhaaon mein
chhupke chhupaaike
nainaa milaaike
kaantaa chubhaai gayo paaon mein
daiyya ri daiyyaa
ek kanhaiyya
aake chameli ki chhaaon mein
chhupke chhupaaike
nainaa milaaike
kaantaa chubhaai gayo paaon mein
haaye daiyyaa ri daiyya…aaaaa

aahaaa haha haha ha
aahaaa haha haha ha
aahaaa haha haha ha
aahaaa haha haha haaa. . .

jhaanjhar ki jhankaar pukaare
o nirmohi aa jaa
aa jaa o nirmohi aa jaa
aa jaa o nirmohi aa jaa
jhaanjhar ki jhankaar pukaare
o nirmohi aa jaa
pyaar ke taar diye uljhaa
ab bedardi suljhaa jaa
o daiyyaa
lambi lambi raat katey na
bairi chaand ghatey na
laakh jatan kar haari julmi
tera dhyaan hatey naa
haay haay
daiyya ri daiyyaa
ek kanhaiyya
aake chameli ki chhaaon mein
chhupke chhupaaike
nainaa milaaike
kaantaa chubhaai gayo paaon mein
daiyya rey daiyyaa
ek kanhaiyya
aake chameli ki chhaaon mein
chhupke chhupaaike
nainaa milaaike
kaantaa chubhaai gayo paaon mein (aaaaaaa)
daiyya rey daiyyaa (aaaaaaaaa)
ek kanhaiyya (aaaaaaaaaaaaaaa)
aake chameli ki chhaaon mein (aaaaa)
chhupke chhupaaike (aaaaaa)
nainaa milaaike (aaaaaaa)
kaantaa chubhaai gayo paaon mein (aaaaaaa)
daiyyaa rey daiyya (aaaaaaa)

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

होय्ये॰ ॰ ॰ए॰ ॰ए

हो ओ ओssss
हो ओ ओssss
हो ओ ओssss
हो ओ ओssss
हो ओ ओssss
हो ओ ओssss
हो ओ ओssss
हो ओ ओssss

आहा हाहा हाहा हा
आहा हाहा हाहा हा
आहा हाहा हाहा हा
आहा हाहा हाहा हाsss

हे हो

हे हो॰ ॰ओ॰ ॰ओsss
हाsss

हाय हाय
हाय हाय
दैय्या री दैय्या
एक कन्हैय्या
दैय्या री दैय्या
एक कन्हैय्या
आके चमेली की छाँव में
छुपके छुपाईके
नैना मिलाई के
कांटा चुभाई गयो पाँव में
दैय्या री दैय्या
एक कन्हैय्या
आके चमेली की छाँव में
छुपके छुपाईके
नैना मिलाई के
कांटा चुभाई गयो पाँव में
हाय दैय्या री दैय्या॰ ॰आsss

हे हो
हे हो

मैं अलबेली नार नवेली
बैठी अकेली हाय
बैठी अकेली हाय
हो रामा
बैठी अकेली हाय
मैं अलबेली नार नवेली
बैठी अकेली हाय
छोटे से घूँघट के पट में
इक छोटा सा दीप जलाए
ओ दैय्या
कोई रिझाइके
बातें बनाइके
प्रीत की आग लगाए
रस्ते में छोड़ गयो हमें छैला
ले गयो दिल को भगाये
हाय हाय
दैय्या री दैय्या
एक कन्हैय्या
आके चमेली की छाँव में
छुपके छुपाईके
नैना मिलाई के
कांटा चुभाई गयो पाँव में
दैय्या री दैय्या
एक कन्हैय्या
आके चमेली की छाँव में
छुपके छुपाईके
नैना मिलाई के
कांटा चुभाई गयो पाँव में
हाय दैय्या री दैय्या॰ ॰आsss

आहा हाहा हाहा हा
आहा हाहा हाहा हा
आहा हाहा हाहा हा
आहा हाहा हाहा हाsss

झाँझर की झंकार पुकारे
ओ निर्मोही आजा
आजा ओ निर्मोही आजा
आजा ओ निर्मोही आजा
झाँझर की झंकार पुकारे
ओ निर्मोही आजा
प्यार के तार दिये उलझा
अब बेदर्दी सुलझा जा
ओ दैय्या
लम्बी लम्बी रात कटे ना
बैरी चंद घटे ना
लाख जतन कर हारी जुल्मी
तेरा ध्यान हटे ना
हाय हाय
दैय्या री दैय्या
एक कन्हैय्या
आके चमेली की छाँव में
छुपके छुपाईके
नैना मिलाई के
कांटा चुभाई गयो पाँव में
दैय्या री दैय्या
एक कन्हैय्या
आके चमेली की छाँव में
छुपके छुपाईके
नैना मिलाई के
कांटा चुभाई गयो पाँव में (आssssss)
दैय्या री दैय्या (आssssss)
एक कन्हैय्या (आssssss)
आके चमेली की छाँव में (आssssss)
छुपके छुपाईके (आssssss)
नैना मिलाई के (आssssss)
कांटा चुभाई गयो पाँव में (आssssss)
दैय्या री दैय्या (आssssss)


Shirdi ke Sai baaba teri duhaai baaba

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This article is written by Mahesh Mamadapur, 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.

Mukesh and his Composers – 4
——————————–
This beautiful Thursday morning let us listen to a bhajan by Mukesh in praise of Shirdi Sai Baba.

The philanthropic and humanitarian deeds of Mukesh are well known and documented. No article on Mukesh is complete without a mention of these activities during his life time. Distribution of blankets to the poor in winter, insistence to share the same boarding as that of his music arrangers during out-station concerts, performing shows for children and neighbours without charging any fees etc are few of the many examples. Also, being the senior-most among many of his contemporaries, he was often a peace maker amongst various disputes that arose in the film fraternity amongst artists. He was often called a noble soul for all these reasons.

His visit to the temple town of Shirdi in Nashik district is well known where he helped his fan who was a poor auto driver. This incident was about an auto driver who recognised Mukesh and refused to take any money for the travel that Mukesh performed in his vehicle. The driver also insisted on escorting Mukesh in and around Shirdi to take him to other places of interest. During conversations Mukesh learnt that the auto driver did not own the vehicle and had to surrender his earnings for the day to the actual owner on whose payroll he was. This left very little for the driver to support his family and to send his children to school. Mukesh on learning this went to Mumbai and came back to Shirdi with enough money to help buy a brand new auto for his new found fan. He also made it a point to support the cause of the auto-driver’s children education for many years.

The personal life of Mukesh is full of many such incidents and humanitarian works.

To continue with the series on “Mukesh and his composers” we shall today deal with his association with C. Ramchandra. Actually, there is not much to discuss as there are only three film songs that C Ramchandra composed for Mukesh. One is an outstanding duet on Motilal which Sudhir ji discussed recently. The other two are solo songs from Sharda and Wahan ke Log pictured on Raj Kapoor and Pradeep Kumar respectively. C Ramchandra who was an accomplished singer himself, never felt the need for Mukesh. And, even when Mukesh was sought for the odd occasion, it must have been on the demand of the hero himself.

All the three film songs sung by Mukesh for C Ramchandra are already posted on the blog. So what am I doing with this post on the combo ?
Well, it so happens that Mukesh also sang a solitary NFS, a non film bhajan to be precise, for C Ramchandra. And, incidently this beautiful bhajan happens to be on Sai Baba and hence the incident at Shirdi was referred above in the post.

Before we listen to the bhajan itself, here is the table of the short collaboration of the combo.

*

S No Name of song Name of the movie (Year of Release) Co Singer if any Lyricist
1 Tum ham pe hanso na Mera Munna
(1948)
Lalita Deolkar Qamar Jalalabadi
2 Jap jap jap re Sharda
(1957)
Rajinder Krishna
3 Hum tujse mohabat karke sanam Wahan ke Log
(1967)
Shakeel Badayuni
4 Shirde ke sai baba NF Bhajan Bharat Vyas

In the next post we shall discuss the songs of Mukesh for Khaiyyam.


Song-Shirdi ke sai baba teri duhaai baaba (Mukesh NFS)(1960) Singer-Mukesh, Lyrics-Bharat Vyas, MD-C Ramchandra

Lyrics

o o o
o o o
Shirdi ke Sai baba,
teri duhaai baaba
Teri sharan hum aa gaye
O sai hum to
janm janm ka phal pa gaye
Shirdi ke Sai baaba
teri duhaai baaba
Teri sharan hum aa gaye
O Sai hum to
janm janm ka phal pa gaye

Na koi ooncha
na koi neecha
tere iss darbaar mein
na koi ooncha na koi neecha
tere iss darbaar mein
jo bhi aaye
sab kuchh paaye
tere nirmal pyaar mein
Ho manmohak moorat waale
Ho manmohak moorat waale
Tum sabse ho niraale ae
Deendayaalu humen bhaa gaye
O Sai hum to
janm janm ka phal pa gaye
O Sai hum to
janm janm ka phal pa gaye

Na maangen hum heere moti
na chaandi na sona
Na maangen hum heere moti
na chaandi na sona
Humen tumhaari kripa chaahiye
aur hriday ka kona
Hum ko haath daya ka dena
Hum ko haath daya ka dena
Apni chhaaya mein lena aa
Leela tumhaari hum ga gaye
O Sai hum to
janm janm ka phal pa gaye.
O Sai hum to
janm janm ka phal pa gaye

O Sai hum to
janm janm ka phal pa gaye
O Sai hum to
janm janm ka phal pa gaye
O Sai hum to
janm janm ka phal pa gaye



Peepal ki oat chandrama chamke

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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.

Today (17 july 2015) is the 96th birth anniversary of Snehal Bhatkar (17 july 1919-29 may 2007). His actual name was Vasudev Gangaram Bhatkar but he composed music under various names viz. Vasudev, B.Vasudev, Snehal and V.G.Bhatkar and finally settled for the name of Snehal Bhatkar, where the name Snehal was derived from Snehlata, the name of his daughter ! He used these pseudo names because he was an employee of HMV and his contract with HMV prohibited him from working outside HMV.

His debut movie was “Rukmini Swayamwar”(1946) where he had collaborated with Sudhir Phadke under the name of Vasudev-Sudhir. It was Kidar Sharma who gave Snehal Bhatkar his first break as an independent music director with ‘Neelkamal”(1947) where he composed music under the name of B Vasudev. Then he worked under the name of Snehal in “Suhaagraat”(1948) and “Thhes”(1949) and as V G Bhatkar in “Sant Tukaram” (1948), “Sati Ahilya” (1949) and “Pagle” (1950).

In 1949, he resigned from HMV and became free to work under his actual name but he preferred to use the name Shehal Bhatkar instead and he is known among music lovers by this name.

Though he is known mainly as a music director, he has sung a few songs as well.

On the occasion of Snehal Bhatkar’s birth anniversary, here is a song from “Rangeela Rajasthan”(1949). Snehal Bhatkar apperas in this song not as a music director but as a singer ! He sings this song alongwith Rajkumari. Bharat Vyas, who was the produce and director of this movie (under his Shalimar Pictures, Poona banner), wrote the lyrics and even composed a few songs in this movie !

This song is penned and composed by Bharat Vyas.

The movie had Bharat Bhushan, Geeta Bose, Saroj Borkar, Vimal Karnataki, Pitu, Shyama, Uma Dutt, prem, Chandrashekhar, Noorjahan, Bismillah, Sarojini, Bazid Khan, Barjer, Ganpat Panchal, shakuntala, Neelam, Pt Ramadhar, B S Kalla etc in it.

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

The lyrics contains Rajasthani words and there are gaps/errors in noting down the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections wherever applicable.

Lyrics of this song were sent to me by Avinash Scrapwala.

PS-Some of the details in this writeup are courtesy an article in beete huye din site.


Song-Peepal ki oat chandarmaa chamke taaron chhaayi raat (Rangeela Rajasthan)(1949) Singers-Rajkumari, Snehal Bhatkar, Lyrics-Bharat Vyas, MD-Bharat Vyas
Both

Lyrics(Provided by Avinash Scrapwala)

Peepal ki oat chandarmaa chamke taaron
chhaayi raat
Raama
taaron chhaayi raat

Bhoori bhoori chaandni
Chama cham chamki
Sun morey man ki baat
Chanana
Sun morey man ki baat

Do naina morey
Bhar bhar aawe
Bairi kab howe parbhaat
Raama
Kab howe parbhaat

In nainan ko tu samjhaa de
Baalaapan ki preet bhulaa de
O o o o
ho o o o

o o o o
O o o o
ho o o o
Bichhadan to ab hoke rahega
Milna hari ke haath
Chanana
Milna hari ke haath

Saari nagri sukh se sowe
Mora jiyara ruk ruk rowe
Main jaagoon re aadhi raat
Raama
Jaagoon re aadhi raat

O o o
o o o
O o o o o o
O o o o o o

Ambua daal kaali koyaliya boley
Mora jiya doley doley
Mora jiya doley doley ae ae
Mera jiya doley doley ae ae

Duniya aa aa bedardi ee
Duniya aa aa bedardi
More jeewan ki jyot se
Chhoot rahaa mora saath
Chanana
Chhoot rahaa mora saath


Sapne Huye Saanche

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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.

Atul ji, Arun ji and Aparna among ATULites and several other music lovers have been very generous in appreciating my recent article published online here.

The article chronicles a sampling of my overall experiences, and I  thought of sharing them here as well.  I will also post other songs left out in the article in due course of time.

During my university days, I befriended a gentleman named Dr. Khawar Sohail Siddiqui. It was the pre-YouTube era and rare songs were hard to get by and he was extremely gracious. Almost every morning I used to get up, login and find a mail from him with a collector’s item as an attachment.

Khawar Sahab had several favorite composers but he was crazy for the man whom connoisseurs revere as the father of Hindi film music; Rai Chand Boral. RC Boral’s body of work with Lata is limited to just 2 movies and a huge chunk of that is from Shri Chaintanya Mahaprabhu. Khawar Saheb was desperately looking for songs of this movie. He had heard those songs on Radio Ceylon and exclaimed “Lata ke saare gaane ek taraf aur Shri Chaitanya Mahaprabhu ke gaane ek taraf”. I never heard about the movie at that time but Khawar Saheb’s taste was like a gold standard for me. I used to call Khawar Saheb every other week and he used to inevitably say “Shri Chaintanya mahaprabhu ke gaane talash karo yaar”.

So the search began, went on for a few years, and finally Shri SN Chari based in Chennai kindly sent us the tape. Given this huge buildup, I had very high expectations about the music. RC Boral, Lata and Bharat Vyas did not dissapoint.

The opening aalaap ‘baaje muraliya baaje’ followed by a wonderful interlude and the use of khol in the background shows the influence of the Bangla Baul Keertan form of music.

It was literally ‘sapne hue saanche’ for me, as I finally landed upon a goldmine at the end of a long journey.


Song – Sapne Huye Saanche (Shri Chaitanya Mahaprabhu) (1953) Singers – Lata Mangeshkar, Lyrics – Bharat Vyas, MD – RC Boral

Lyrics

ba.aa.aje. .ey. .ey
muraliyaa. .aa ba. . .aje

sapne hue saanche
sapne hue saa..nche
aaj mere sapne hue saanche
bole koyaliyaa. . .
aaa aaa aaa
bole koyaliyaa kuhuu kuhuu
mann meraa naache
naache
sapne hue saanche

neele neele..ey..ey
gagan taley
aaa aa
aaa aa aa
aaa aaaa aaaa aaaaaaa
neele neele gagan taley
madhur madhur preet phaley
gagan taley preet phaley
meri paayaliyaa. . .aaaa
aa aa aa
meri paayaliyaa
aaj magan
jhanan jhanan baaje baaje
sapne hue saanche

nainan ke phool khile
nainan ke phool khile..ey
raadha ko shyaam miley
baaje muraliyaa. . .aa
aa aa aa
baaje muraliyaa
meethi meethi
bhaag mere jaage jaage
sapne hue saanche

sheetal pavan ke hindoley
doley hriday mera doley
hriday mera doley
aaj haule haule
aaj haule haule
mann mein koi piya piya boley
koi piya piya boley
mere saanwariya. . .aa
aa aa aa
mere saanwariya
aaj mere nainan mein raache raache
sapne hue saanche

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

बा॰॰आ॰॰जे॰॰ए॰॰ए
मुरलीया॰॰आ बा॰॰जे

सपने हुए साँचे
सपने हुए साँ॰॰चे
आज मेरे सपने हुए साँचे
बोले कोयलिया॰॰
आs आs आs
बोले कोयलिया कुहू कुहू
मन मेरा नाचे
नाचे
सपने हुए साँचे

नीले नीले॰॰ए॰॰ए
गगन तले
आs आ
आs आ आ
आs आss आss आsssss
नीले नीले गगन तले
मधुर मधुर प्रीत फले
गगन तले प्रीत फले
मेरी पायलिया॰॰आss
आ आ आ
मेरी पायलिया
आज मगन
झनन झनन बाजे बाजे
सपने हुए साँचे

नैनन के फूल खिले
नैनन के फूल खिले॰॰ए
राधा को श्याम मिले
बाजे मुरलीया॰॰आ
आ आ आ
बाजे मुरलीया
मीठी मीठी
भाग मेरे जागे जागे
सपने हुए साँचे

शीतल पवन के हिंडोले
डोले हृदय मेरा डोले
हृदय मेरा डोले
आज हौले हौले
आज हौले हौले
मन में कोई पिया पिया बोले
कोई पिया पिया बोले
मेरे साँवरिया॰॰आ
आ आ आ
मेरे साँवरिया
आज मेरे नैनन में राचे राचे
सपने हुए साँचे


Sapnon ke gaaon mein taaron ki chhaaon mein

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This article is written by K Satish Shenoy, 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.

Let me narrate how I took this step of attempting a blog for ASAD. I had the good fortune of joining the Gang out at Bangalore recently, (7 November 2015). Having read the wonderful write ups of various contributors, I had formed pictures of the contributors mind, based on their efforts and their researches on the materials of the song/topic/artiste. So when I accepted the invitation from Raja , I was a little in awe of the people I was ikely to meet face to face or through (proposed) skype/or equivalent chat.

At some point in my life, I considered myself reasonably informed about HFM at least for the period between 1949-1971 (1971 is the year Jaikishan left us and part of me died with him) or the golden period and its waning years. But ever since I was introduced to ASAD, my ‘vanity’ evaporated. I realised I had only scratched the surface of HFM, and there was so much more to know from, soak in the creators’ songs, their life’s efforts, dedication, misfortunes. The accompaniment of lyrics in the blog opened an entirely new world of which I had paid little attention to unless it was a land mark song. When you are young only the tunes are taken note of, as one ages the lyrics (when profoundly written) catch your attention (I am not generalising, but simply stating about the phases in my HFM journey).

Coming back to the Gang out, I was advised before the meeting that we(I) should talk/touch about our most loved songs and if it happens to be a song not yet covered in the blog then I should write the blog. It was like being invited to a dinner, with a fine print that there should be an after dinner speech. Anyway, it was a very enjoyable meet where the host and other participants made me feel at home.

When it was my turn, (during the gang out) I introduced the song of today’s write up. This song has stayed with me from my school days. It is from an obscure film called ‘Raj Pratigya’. I used to hear this song a lot on Radio Ceylon. It used to be played invariably in the same session with another song ‘Kahan le chale ho,…’ from Durgesh Nandini. Because of thematic nearness of the lyrics of this song to ‘Kahan le chale ho..’ I carried a belief that this song is also from’ Durgesh Nadini’.

As years passed the song was lost. Once I joined my job in mid sixties my attention to HFM took a back seat. After I retired from my job, i resumed my attention to my love (HFM). Technology helped in locating songs not heard in years. However I was unable to locate this song on YT. May be it was still not uploaded. Then my pen friend from SJ-Yahoo group, Mr Sukesh Hoogan (I hope he also follows ASAD, and happens to read this) unearthed it and sent me the link. What a WOW moment!

Now, in the meet, I realised that this ’sweet as sweet can be‘ song is not yet covered in ASAD. It was a ‘Eureka’ moment. Hence under friendly persuasion this write up has taken shape.

Details below about the song have been compiled from internet resources.

Song is by Lata Mangeshkar, Lyrics by Bharat Vyas & music by Sanmukh Babu Upadayay( incidentally not only the song, the film also has not opened its account in the blog). The movie ‘Raj Pratigya’(1958), was directed by Jaswant Jhaveri. It starred Nirupa Roy, Jairaj, B M Vyas, Sunder. According to MUVYZ.com, there are 15 songs in the film.


Song-Sapnon ke gaaon mein taaron ki chhaaon mein (Raj Pratigya)(1958) Singer-Lata, Lyrics-Bharat Vyas, MD-Sanmukh Babu Upadhyay
Chorus

Lyrics

aaa
aa aa aa
sapnon ke gaaon mein
taaron ki chhaaon mein
jhoome hamaare nayan
chhoote na pyaar
toote na taar
laagi hai tujhse lagan
aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

tujhko rijhaane piyaa aa
goonje yahaan raagini
tere kadam choomne ae
bikhri yahaan chaandni
meethhi ye raat
tum mere saath
dharti ke sang jyun gagan an an
sapnon ke gaaon mein
taaron ki chhaaon mein
jhoome hamaare nayan
chhoote na pyaar
toote na taar
laagi hai tujhse lagan
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

naazuk se dil pe mere ae
donon ne jaadoo kiya
ik chaand ye aasmaan ka aa
aur doosra tu piya
haaye re laaj
boloon na aaj
tan man hai mera magan an an
sapnon ke gaaon mein
taaron ki chhaaon mein
jhoome hamaare nayan
chhoote na pyaar
toote na taar
laagi hai tujhse lagan
aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

aankhon mein ye neend si ee
ghulne lagi kya abhi
aisi suhaani ghadi ee
aayegi phir na kabhi
masti ke pal
aaye na kal
karti ishaare pawan an an
sapnon ke gaaon mein
taaron ki chhaaon mein
jhoome hamaare nayan
chhoote na pyaar
toote na taar
laagi hai tujhse lagan


Ye bad-bhaagan son chiraiyya

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This article is written by Bharat Upadhyay, 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.

Sureeli Suman – 2
————————
Prabhat Films, Bombay (now Mumbai) wound-up its glorious innings with this film ‘Gaj Gauri’ in 1958. The surprising fact is that this ‘Pauraanik’ (Religious) film is presumed to be permanently lost. Raja Thakur directed it with the star-cast of Sulochana Latkar, Ratna Mala, Shahu Modak, Anant Kumar, Nana Plasikar, Tara Dixit, Vijay Limaye, Vijay Duggal, Neelam, Vishwas Kunthey, Kelkar, Gramopaadhye, Hemraj, Kishore Paranjape, Narendra Bhandari, Vijay Dixit and a Hathi named ‘Ram Prasad’.

The film had eight songs, penned by Bharat Vyas and with music by ‘Sureele’ Sudhir Phadke. With this ‘Sureeli’ Suman’s song, the obscure film opens the account on our musical Blog. It seems that the word ‘Gaj-Gauri’ is associated with some ‘vrat’ in Maharashtra and a ‘Marathi’ film with the same name was also produced.

While ‘googling’ about the film, I found it mentioned in one of the sites that this film was about ‘A giant mud monster terrorizing India.’ I have not at all understood what it means and I request our able ‘Atulite-Researchers’ to throw some light on that statement.

Bharat Vyas has described the longing of a mother for the return of somehow separated children and her ardent wish to feed them as a mother-bird feeds her chicks. Suman effortlessly expresses with her honey-dipped voice, the longing and the pathos the lyrics inspires. Music lovers will agree with me after listening to this rare song.


Song–Yeh Bad-Bhaagan Son Chiraiyya (Gaj Gauri)(1958) Singer-Suman Kalyanpur, Lyrics–Bharat Vyas, MD–Sudhir Phadke

Lyrics

yeh bad-bhaagan son chiraiyya
yeh bad-bhaagan son chiraiyya
ud ud daali pe aaye
apne chunnu ko chugga chugaaye
apne munnu ko daana khilaaye ae ae ae
mere dulaare
kab ghar aayen
main baithhi hoon aas lagaaye
yeh bad-bhaagan son chiraiyya

hoti kahin jo main bhi chiraiyya
to chonch se chonch milaati ee ee
aankhiyon se paani pilaati main un ko
hothhon se khaana khilaati ee ee
main bhi bithhaati pankh pankheru pe
jaise yeh chidiyaa bithaaye ae ae
mere dulaare kab ghar aaye
main baithhi hoon aas lagaaye
yeh bad-bhaagan son chiraiyya

putr yudhhisthir se dharmee sut
arjun se dhanu-chaalak hain
bheem se veer bali sut mere
nakul sahdev se baalak hain
nayanon ke need mein paanchon pankheru
yeh nayanon ke need mein paanchon pankheru
yeh nis-din rehte samaaye ae ae
mere dulaare kab ghar aayen
main baithhi hoon aas lagaaye
yeh bad-bhaagan son chiraiyya


Chhaayi ghata ghanghor gagan mein

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This article is written by Sadanand Kamath, 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.

GHULAAMI (1945) was produced under the banner of Shalimar Pictures owned by W Z Ahmad and directed by Mohan Wadhwani. The star cast included Renuka Devi, Masud Parvez in the lead role with the supporting cast of Tiwari, Rajkumari Shukla, David, Bharat Vyas, Mumtaz, Anwar, Ramavatar etc. The film had 9 songs written by 4 lyricists – Bharat Vyas (5), Akhtar-ul-Iman (2), Majaaz Lucknawi (1) and Josh Malihabadi (1) which were set to music by S K Pal. The DVD/VCD of the film is not available. All I know about the film from a photograph was that it was a patriotic film.

What attracted to me to this film was one of 9 songs ‘ae gham-e-dil kyaa karoon’, a famous nazm written by Majaaz Lucknawi. I was interested to know as to how this nazm was rendered by Renuka Devi and Masud Parvez as a duet as compared with the same nazm sung by Talat Mehmood and Asha Bhosle separately in “Thokar’ (1953). Despite searches, I could not get my hand on the song anywhere in the website.

As it usually happens, the search of the above referred song led me to yet another beautiful prayer song ‘chhaayi ghata ghanghor gagan mein’ sung by Renuka Devi and Chorus. The song was penned by Bharat Vyas and set to music by S K Pal. I have listened to some other songs rendered by Renuka Devi in films like ‘Bhabhi’ (1938) but I find her rendition of the song under discussion in a much improved voice than that of her earlier songs.

After reading some parts of Renuka Devi’s autobiography ‘A Woman of Substance – The Memoirs of Begum Khurshid Mirza’ (2004), I feel some information about her needs to be shared. The reason is that after reading her Memoirs, I felt that Renuka Devi was really a woman of Substance.

Renuka Devi (real name Khurshid Jahan and after marriage Begum Khurshid Mirza) was born in Aligarh in 1918 to Sheikh Abdullah and Wahid Jahan Begum. Her father was a practising lawyer who was keen to bring education and enlightenment to Muslim women. He was the founder of Women’s College in Aligarh along with his wife. Renuka Devi spent her early years in Aligarh. After completion of high school studies, she got married to Akbar Mirza, a police officer, in 1934.

She left Aligarh and came to Bombay (Mumbai) to pursue a career in film industry. She was mostly associated with the films produced by Bombay Talkies such as ‘Jeevan Prabhat’ (1937), ‘Bhabhi’ (1938), ‘Badi Didi’ (1939), ‘Naya Sansar’ (1941) etc. Later on, she worked in films of other banners also. It is interesting to note that the hectic shooting schedules for ‘Ghulaami’ (1945) in which she was away from her husband and children for 7 months made her to take a hard decision to quit the film industry in February 1944 at the age of 26 when she was still in demand.

In October 1947, Renuka Devi with her husband and children migrated to Pakistan and stayed in Karachi and Quetta. She got involved with All Pakistan Women’s Association for the women’s emancipation. She completed her B.A. in 1960 and M. A. in English in 1963 at the age of 45!

With the advent of television in Pakistan in a big way, she acted in a number of TV serials. She also wrote short stories for magazines on a regular basis.

In August 1982, Renuka Devi started writing her autobiography in a monthly magazine ‘Herald’ as a nine-part serial under the title ‘The Uprooted Saplings’. Later, the articles were expanded and published as an book with a new title ‘A Woman of Substance – The Memoirs of Begum Kurshid Mirza’ (2004).

Renuka Devi died in 1989 in Karachi.

Since the song under discussion was not available on YT, I have created a video of the song based on MP3 clip downloaded from Dr. Surjit Singh’s website.

This prayer song reminds me of a Sanskrit chant ‘Tamso ma jyotir gamay (lead us from darkness to light) and the hymn ‘Lead kindly light amid the encircling gloom’ written by John Newman in 1833.

With this song, the film ‘Ghulaami’ (1945) makes its debut in the Blog.

This song is dedicated to the people of Tamilnadu, who have been facing the extreme miseries on account of unprecedented rains during the last one week. I pray that their miseries get over sooner than later.


Song-Chhaayi ghata ghanghor gagan mein (Ghulaami)(1945) Singer-Renuka Devi, Lyrics-Bharat Vyas, MD-S K Pal
Renuka Devi + Chorus

Lyrics

chhaayi ghata ghanghor gagan mein
chhaayi ghata ghanghor gagan mein
chaaron taraf andhiyaaraa
dagmag doley naav bhanwar mein
dagmag doley naav bhanwar mein
soojhat naahin kinaaraa
chaaron taraf andhiyaaraa
chhaayi ghata ghanghor gagan mein
chaaron taraf andhiyaaraa

aur nahin ab koi sahaaraa
aur nahin ab koi sahaaraa
tu hi hai rakhwaara
jaayen kahaan
tu hi bata ab
jag mein kaun hamaa aa raa
chaaron taraf andhiyaaraa
chhaayi ghata ghanghor gagan mein
chaaron taraf andhiyaara

dukhiyaaron ko raah dikha de
dukhiyaaron ko raah dikha de
tera ek sahaara
asha ka prabhu deep jalaa de
asha ka prabhu deep jalaa de
jagamg ho jag saaraa aa
jagmag ho jag saaraa
chaaron taraf andhiyaaraa
chhaayi ghata ghanghor gagan mein
chaaron taraf andhiyaara

kaale baadal chhant jaayen aur
kaale baadal chhant jaayen aur
mit jaayen dukh saara
nikle sukh ka gyaan prabhu jaadoo ab
ho jaaye ujiyaara aa
nikle sukh ka gyaan prabhu ab
ho jaaye ujiyaara aa

ho jaaye ujiyaaraa aa
ho jaaye ujiyaaraa aa
chaaron taraf andhiyaaraa
chhaayi ghata ghanghor gagan mein
chhaayi ghata ghanghor gagan mein
chaaron taraf andhiyaaraa


Teri ummeed hamne laakhon moti poye banni

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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.

“Dhun”(1953) was directed by M Kumar for Silver Productions, Bombay. The movie had Raj Kapoor and Nargis in lead roles with Motilal, Pramila, Kamal Mehra, M Kumar, Cuckoo etc also there in the movie.

Six songs from this movie have been discussed in the past.

Here is the seventh song from “Dhun”(1953). This song is sung by Rajkumari, Zohrabai Ambalewaali and chorus. Bharat Vyas is the lyricist. Music is composed by Madan Moahn.

Only the audio of this song is available. From the audio, it is clear that the song is picturised as a wedding ceremony song with Nargis playing the bride and elderly women lip syncing the song in the voices of Rajkumari and Zohrabai Ambalewaali. I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get the lyrics fully right to my satisfaction. I request our readers with keener ears to help suggest corrections wherever applicable in the lyrics.


Song-Teri ummeed hamne laakhon moti poye banni (Dhun)(1953) Singers-Rajkumari, Zohrabai Ambalewaali, Lyrics-Bharat Vyas, MD-Madan Mohan
Chorus

Lyrics

teri ummeed hamne laakhon moti poye banni
teri ummeed hamne laakhon moti poye banni
apni banni ko dulhan bana den
apni banni ko dulhan bana den
sehre mein laagi amar bel
chameli ki kaliyaan
ho maharani
ho maharani
banni teri ummeed hamne laakhon moti poye banni
teri ummeed hamne

kaale kaale baalon mein motiyan pore
kaale kaale baalon mein motiyan pore
baadal pe aanchal se jhaank rahe taare
baadal pe aanchal se jhaank rahe taare
taaron se jhilmil chunari ranga ke ae ae ae
taaron se jhilmil chunari ranga ke ae ae
kangana mein laagi amar bel
chameli ki kaliyaan
ho maharani
ho maharani
banni teri ummeed hamne laakhon moti poye banni
teri ummeed hamne

gore gore maathe pe jhoomar jhamke ae
gore gore maathe pe jhoomar jhamke ae
jaise poonam ka chanda chamke ae
jaise poonam ka chanda chamke ae
chanda se mukhde pe bindiya laga de ae ae ae
chanda se mukhde pe bindiya laga de

gaalon pe laagi amar bel
chameli ki kaliyaan
o maharani
o maharani
banni teri ummeed hamne laakhon moti poye banni
teri ummeed hamne


Satyamev Jayate. . . Bapu Ne Kahaa Tha Sach Bolo

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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.

Missing Films of 1960s – 11
– – – – – – – – – – – – – –

I am supposed to be moving ahead from ‘Mall Road’ (1962), the previous post in this series. But no. Today, I return to another earlier movie that was missing, but now is no longer missing.  I bring a song from a rare film ‘Bapu Ne Kaha Tha’.

This film is produced by the Children’s Film Society of India (CFSI). This is one of those films that are not easily available.  I had tried earlier, and then marked it down as ‘unavailable’, for now. I had even checked the CFSI website, but did not find anything more than a brief synopsis. I had sent them an email request for availability information about this and a couple of other CFSI films. I received no response.

However, just the day before, I received a disk from another collector friend, which contains this film. I was overjoyed and very pleasantly surprised. I quickly played it and viewed it. As the name suggests, this film is about a group of children in a village, and the message of Gandhi ji regarding being truthful in life. The very special thing about this film is that the renowned Shri Morarji Desai (1896 – 1995) makes an appearance in this film. He plays himself in person, and presents a short narration about Gandhi ji’s life and message, to the children, at a function organized at the school.

The story of this film is about a dishonest money lender (role played by Nana Paksikar) who gets blank papers signed by un-lettered farmers, when he lends them money.  At a later time, he fills in the blank paper with incorrect content, and exploits the farmers to grab their land.  His school going son (role played by child artist Satish) is a good hearted child, but also, being a child, he is active with the other naughty children in his class, as in running away while the classes are in progress, and stealing fruits from the orchards of other farmers in the village.

His elder sister (role played by Neena), who is married, is visiting when the episodes in this film take place. While playing with fireworks, the children become inadvertently responsible to burn down the hutment home of a farmer. They hide the true reason and put the blame elsewhere. The farmer comes to the moneylender to borrow money to rebuild his home. The transaction takes place in front of the money lender’s son.

Shri Morarji Desai visits the school and the son is influenced by hearing about Gandhi ji and his message. At a little later point in time, circumstances so transpire that the moneylender grabs the land of the farmer, based on incorrect statements entered on the blank paper the latter had put his thumbprint to. The matter goes to the panchayat at the protest of the farmer, but based on the document, and other arguments given by the moneylender, the panchayat passes the matter in his favor. The son, who was silent so far, is aghast and is torn between telling the truth and going against his own father. Circumstantially, he ends up revealing the truth to his elder sister, who now encourages him to stand by the truth, and the teachings of Gandhi ji.

The money lender defies all efforts to now make him change his mind.  At this point, the brother sister do a sit in protest (‘satyagrah’ – an insistence on the truth), on the very land of the aggrieved farmer. All the children of the village join their school mate, as do some of the elders. Their protest continues for a full day and night. By dawn next day, the moneylender, so disturbed by the revelations of the truth by his own son, and the fact that his children are not coming home in protest, has a change of heart, and announces the return of land to the farmer. This is the story of film in a nutshell.

This song is the solitary song in this film. However, it appears at three time points in the film. The first is when the son returns from the function at school after hearing Shri Morarji Desai, and tells his sister about it. The second part appears when the children are sitting on protest. And the third time, it appears at the end of the film – it is the day of Diwali, all matters are settled and all are friendly once again.

I have edited the film to extract the three parts, and combined them in a single upload.  The lyrics given below are for all the three parts. The song is written by Bharat Vyas, and the music is composed by Avinash Vyas. The singing voices are not listed in the initial credits. I can identify Manna Dey’s and Lata Mangeshkar’s voice. I hope I am correct. I request other friends and readers to please correct in case I am wrong. Also, there is definitely one more voice (possibly two) in this song, that I have not been able to identify. Again, request to other friends and readers to please add more information on this aspect.

The cast of actors includes Nana Palsikar, Neena, Majnu, Kesri, Jankidas, Narmada Shankar, Satish, Munshi Munakka, Jugal Kishore, Sandeep, Rajendra Dubey, Baby Shobha, Levi, Jatendra, Amir Hazma, Nazeera Bai besides others.

These films from CFSI from that era depict a very innocent and a very simple India, especially rural India. The people are simple, with simple motivations and simple desires. Such films were regular products of CFSI.  The organization still continues to produced films for children, but I have not seen any of their later and current films.  I am sure, with the changing times, we can expect some changes in such films also.  But the films from CFSI, from the 50s, 60s and 70s, that I have seen, really impressed me a lot, when I initially saw them, and even now when I am revisiting them. It was a time when the luminaries of the industry worked with CFSI to produce some real good films. In the recent months, I have re-seen films like ‘Jawab Aayega’ (1968), ‘Jaldeep’ (1956), ‘Jaadu Ka Shankh’ (1975), ‘Boond Boond Se Sagar’ (1963), and now ‘Bapu Ne Kaha Tha’ (1962). Wonderful memories of a child, all of them. (Still searching for some other titles like ‘Hariya’ (1958) and ‘Hamen Khelne Do’ (1962).

The on screen performance of this song.  Part 1 of the song is enacted by the sister (Neena) and brother (Satish), in their home.  Part 2 is enacted in the farmer’s field. There is a group of children, classmates of the boy. Among them, the tallest child with a plump face is Rajendra Dubey. Regulars may recall his face from the song “Chhota Sa Pappu Hoon” from the film ‘Jaldeep’, that I have posted earlier. The child girl in this group is Baby Shobha. In this part, the Manna Dey lines are enacted by the aggrieved farmer. My guess here is that this actor is Jugal Kishore. Nana Palsikar is also present in this clip. Also, I am sure, regulars will spot the smiling plump face of Leela Misra, in a framed photograph on the wall, in one of the scenes.  In Part 3, the Manna Dey lines are enacted by Narmada Shankar, who is the schoolmaster of the village school in the film. Others faces in Part 3 are Nana Palsikar, Jankidas, Jugal Kishore, Majnu, and many more that I am not able to identify.

Listen and view these sounds and images of a relatively uncomplicated and simpler times in our history. Enjoy.

Song – Satyamev Jayate. . .  Bapu Ne Kahaa Tha Sach Bolo (Bapu Ne Kaha Tha) (1962) Singer – Lata Mangeshkar, Manna Dey, Male Voice, Lyrics – Bharat Vyas, MD – Avinash Vyas
Chorus, Lata + Chorus

Lyrics

Part – 1
satyamev jayate
satyamev jayate
bapu ne kaha tha. .aa. .aa
bapu ne kaha tha sach bolo
sach bolo
sach bolo
sach bolo
sach bolo

sach mein kewal do akshar
par iski shakti mahaan
sach mein kewal do akshar
par iski shakti mahaan
sach ke aage
darr kar bhaage
bade bade toofaan
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

sach bolo aur sach mein dekho
tum apna bhagwan
sach bolo aur sach mein dekho
tum apna bhagwan
sach ke baraabar nahin milega
koi dharm mahaan
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

Part – 2
satyamev jayate
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

aaaa aaaa aaaa aaaaa aaaaa
aaaaa aaaaa aaaaaaa
chaahe laakh museebat aaye
andhera chhaaye
pran ghabraaye
na himmat todna
chaahe laakh museebat aaye
andhera chhaaye
pran ghabraaye
na himmat todna
chaahe kaal bhi sanmukh aaye
mrityu dehlaaye
lobh behlaaye
tu sach ko na chhodna
chaahe kaal bhi sanmukh aaye
mrityu dehlaaye
lobh behlaaye
tu sach ko na chhodna
tu sach ko na chhodna. .aaaaa
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

haath mein soti
tan pe langoti
chalaa ek din mahatma
chalaa ek din mahatma
ek taraf hathiyaar hazaaron
ek taraf sach ki aatma
sach ki aatma
ye sach ki taaqat thi jis se
dol gaye singhaasan
koti koti jan mukt huye
mit gaya aneeti ka shaasan
satyamev jayate
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo. .oo

sach bolo. .oo

sach bolo. .oo

sach bolo. .oo. .oo

Part 3
mita jhooth ka andhiyaara
lo sach ke deep jale
sach ke is paavan prakash mein
saara vishwa paley

satyamev jayate
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate

sach mein kewal do akshar
par iski shakti mahaan
sach mein kewal do akshar
par iski shakti mahaan
sach ke aage
darr kar bhage bade bade toofaan
satyamev jayate
bapu ne kaha tha sach bolo
bapu ne kaha tha sach bolo
sach bolo
sach bolo
satyamev jayate
satyamev jayate
satyamev jayate. .ay. .ay

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

भाग १
सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था॰ ॰आs॰ ॰आs
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सच बोलो
सच बोलो

सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच के आगे
डर के भागे
बड़े बड़े तूफान
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

सच बोलो और सच में देखो
तुम अपना भगवान
सच बोलो और सच में देखो
तुम अपना भगवान
सच के बराबर नहीं मिलेगा
कोई धर्म महान
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

भाग २
सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

आss आss आs आsss आsss
आsss आssss आssssss
चाहे लाख मुसीबत आए
अंधेरा छाए
प्राण घबराए
ना हिम्मत तोड़ना
चाहे लाख मुसीबत आए
अंधेरा छाए
प्राण घबराए
ना हिम्मत तोड़ना
चाहे काल भी सन्मुख आए
मृत्यु दहलाए
लोभ बहलाए
तू सच को ना छोड़ना
चाहे काल भी सन्मुख आए
मृत्यु दहलाए
लोभ बहलाए
तू सच को ना छोड़ना
तू सच को ना छोड़ना॰ ॰आss
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

हाथ में सोटी
तन पे लंगोटी
चला एक दिन महात्मा
चला एक दिन महात्मा
एक तरफ हथियार हजारों
एक तरफ सच की आत्मा
सच की आत्मा
ये सच की ताक़त थी जिस से
डोल गए सिंघासन
कोटी कोटी जन मुक्त हुये
मिट गया अनीति का शासन
सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो॰ ॰ओss

सच बोलो॰ ॰ओss

सच बोलो॰ ॰ओss

सच बोलो॰ ॰ओ॰ ॰ओ

भाग ३
मिटा झूठ का अँधियारा
लो सच के दीप जले
सच के इस पावन प्रकाश में
सारा विश्व पले

सत्यमेव जयते
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते

सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच में केवल दो अक्षर
पर इसकी शक्ति महान
सच के आगे
डर के भागे
बड़े बड़े तूफान
सत्यमेव जयते
बापू ने कहा था सच बोलो
बापू ने कहा था सच बोलो
सच बोलो
सच बोलो
सत्यमेव जयते
सत्यमेव जयते
सत्यमेव जयते॰ ॰ए॰ ॰ए



Jaa re Gokul ke natkhat chor

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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.

“Laal Quila”(1960) was produced by H L Khanna and directed by Nanabhai Bhatt for H L K Productions. The movie had Nirupa Roy, Jairaj, Helen, Tiwari, Kumar, Kamal Kapoor, Rajan Haksar, Ram Singh, Altaf, Rajan Kapoor, Sundar, Shammi, Mridula, Ratnamala, Sheila Vaz, D Babulal, B M Vyas etc in it.

Three songs from the movie have been discussed in the past. Here is the fourth song from “Laal Quila”(1960). This song is sung by Lata and Rafi. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

Picturisation shows Helen imagining herself as Radha. I am unable to identify the actor who plays Krishna in this picturisation. I request our knowledgeable raeders to help identify him.


Song-Jaa re gokul ke natkhat chor (Laal Quila)(1960) Singers-Lata, Rafi, Lyrics-Bharat Vyas, MD-S N Tripathi

Lyrics

aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa

ja re gokul ke natkhat chor
ja re gokul ke natkhat chor
na bahiyaan marod
girey re mori
girey re mori gaagariya
o ja re gokul ke natkhat chor
raadhe kaahe machaawat shor
raadhe kaahe machaawat shor
dekho ri is oar
main to hoon tera
main to hoon tera saanwariya
ho raadhe kaahe machaawat shor

ho ja re gokul ke natkhat chor

yoon na tak tak dekh mujhko
naina more laaje re laaje
naina more laaje
tujhko dekhe bin o gori
bansi mori na baaje na baaje
bansi mori na baaje
bandhi tujhse mere man ki dor

ho bandhi tujhse mere man ki dor
bandhi tujhse mere man ki dor
na tu is ko tod
main to hoon tera
main to hoon tera sawariya
ho raadhe kahe machaawat shor

ho ja re gokul ke natkhat chor

saanjh sakhaare jaadu daare
chhaliya teri muraliya muraliya
chhaliya teri muraliya
iske sur ko chhedti hai gori teri paayaliya
toone hirday diya jhakjhor

toone hirday diya jhakjhor
toone hirday diya jhakjhor
liya kyun mukh mod
main to hoon tera
main to hoon tera saanwariya
o raadhe kaahe machaawat shor

ho ja re gokul ke natkhat chor
ja re gokul ke natkhat chor
dekho ri is oar
na bahiyaan marod
main to hoon tera
gire re mori
main to hoon tera saanwariya
ho raadhe kaahe machaawat shor

ho ja re gokul ke natkhat chor


Shankar Bholey Bhaale Shail Bihaari Tripuraari

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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 is Monday,7th March 2016,the holy day of MAHA SHIVRATRI.

I wish all our readers happiness and may Lord Shiv ji shower His Blessings on all of you, today and always !

India is unique. It has nurtured many religions, different races and a variety of cultures. I think, India is perhaps the only country in entire world, with such a diversity of Languages, Cultures and Religions – all living together happily and as ONE NATION. It has, over a period, belied the strong opinions and beliefs of the world that after Independence, India can not survive as a Nation for long with such variety in its population. We have not only proved them wrong, but also prospered in a way which few had imagined in their dreams !!!

All this because if India’s unique culture of inclusiveness. Perhaps it is the only country where festivals of all religions are celebrated on National level, with a Constitution guaranteeing equality for all. May be this is the reason that festivals like Diwali, Eid and Christmas are celebrated with fervour everywhere. Major religious festivals like Dashehara, Diwali, Ganeshotsav, Sankranti and Durga Puja have become cultural events rather than remaining only Hindu celebrations.

MAHA SHIVARATRI is one such celebration which is followed from north to south and east to west of India. This is the day when Lord Shiva and Devi Parvati got married, as per Shiv Puran (a sacred and important religious text of Sanatan Dharm). Their Divine Union is celebrated at midnight of this holy day.

Many religious films are made on Shiv and Parvati stories, so far. Film Shiv Shakti-1980 is also one such film. This film is a mix of 3 stories, 1) story of Sati Madalasa, 2) story of “Sola Somvar Vrat”and 3) story of Paatalketu. The story of asur Paatalketu is that he becomes a tyrant after Devi Parvati’s boon to him that he can not be killed by anyone, with a condition that should he molest a ‘pativrata’ (a devoted wife of a person), he will be destroyed. Once he gets the boon, he starts harassing the people and forces them to worship only him instead of any other God. When his tyranny becomes unbearable, all the Gods (rendered helpless due to the boon) surrender to Lord Shiva. The story then unfolds how Shiva creates a situation, by which Sati Madalasa kills Paatalketu.

The film was made by Hari Manek Movies,was directed by Satish Kumar and music was composed by Chitragupta. The cast of the film was Dara Singh ( in the role of Lord Shiva), Jayashree Gadkar ( as Devi Parvati), BM Vyas ( as Paatalketu), Ramesh Deo, Jairaj, Jeevan etc. There is a long list of the star cast. However, there is one name – Gopi Krishna, in the cast, who had multiple tasks in the film. He acted in this film, presented the dances and also was the choreographer.

Dancer Gopi Krishna was born on 20-8-1935 at Calcutta. You will hardly find any information about his parents anywhere. Only his relation with Kathak Dancer Sitara Devi is emphasized everywhere. He was born to Tara Devi and Maruti Rao Pehelwan. Both his parents were film stars. Maruti Rao was a tall, handsome person who had worked in films since the Silent Era till the late 1940s. True to his name, he had a muscular physique. In the 1930’s many wrestlers and bodybuilders came to the industry for working in stunts and action films. Some names are Master Vithal, Master Bhagwan, Baburao Pehelwan, Vasantrao Pehelwan, Nandram Pehelwan, AR Pehelwan etc etc. However since Marutirao could speak fluent Hindi and sing well also, he was in demand for social films also. Precisely for these skills, he was chosen for the role of the Saint Narsi Mehta, when Sagar Movietone decided to make the first ever Gujarati talkie film, ‘Narsinh Mehto’ in 1932. He worked in all four parts of the film ‘Hatimtai’ in 1933, ‘Lanka Dahan’, ‘Baala Joban’, ‘Bulbul e Paristan’ etc.

Gopi Krishna’s mother Tara Devi was the elder sister of actress Sitara Devi. She had worked in ‘Pooran Bhagat’ (1933) and ‘Yahoodi Ki Ladki’ (1933) with KL Saigal. She had also worked in films like ‘Aurat Ka Dil’, ‘Seeta Swayamwar’, ‘Surya Kumari ( all from 1933), ‘Haiwan’ (1940) etc etc. When both she and Marutirao Pehelwan worked together in films ‘Matsyagandha’ (1934) and ‘Shahi Lakadhara’ (1934), they fell in love and got married. After retirement by late 40s they left Bombay and settled in Dhulia, Maharashtra. Marutirao, true to his name, started a Milk Dairy and ran it for a long time.

Gopi Krishna came back to Bombay from Calcutta, after being fully trained by several Gurus, including his maternal grandfather. In Calcutta, at the age of just 15 years, he had won the title of ‘Natraj’. He won wide acclaim for his dancing in Calcutta. In Bombay, he joined films and became the youngest ever choreographer, at the age of 17 years – when he became the choreographer for the film ‘Saaqi’ (1952) to direct the beautiful Madhubala. He was simply awed by her beauty. In turn, Madhubala also took fancy towards him and one day she invited him to join for lunch. Madhubala never ate the hotel food. She used to get a tiffin from her house, daily having homely food. He was stunned and could not decline. While she served her food to him, he sat glued to his seat, looking at her and eating whatever was served to him in his plate.

Basically Gopi Krishna was a vegetarian. Madhubala was naturally a non vegetarian, being a Muslim, and had only meat dish in her tiffin box. Not knowing what he was eating, Gopi Krishna relished the food served by Madhubala. Later he learned what he had eaten, but then it was too late and since he had already partaken non vegetarian food himself !

Gopi Krishna acted in 22 films. As a dancer and choreographer, he did 64 films. Even today,he is remembered for his role in the iconic film ‘Jhanak Jhanak Paayal Baaje’ (1955). Gopi Krishna married kathak dancer Savitri in 1954. After 26 years, he got a daughter – Shampa, in 1980. Gopi Krishna died on 18-2-1994 due to a heart attack. He could not see his daughter Shampa blossom into a successful dancer and choreographer in films.

Today’s film Shiv Shakti-1980 had only 6 songs. One of the songs, “Sachchai Ka Suraj” by Mohammed Rafi, is already posted here on 24-2-2014. Today’s song is the second song. In the video clip,you can see the eye catching dance of Gopi Krishna, in presence of Lord Shiva – enacted by Dara Singh. Let us listen to this Shiv – Stuti song on this occasion of Holy MAHA SHIVRATRI today.
JAI SHIV SHANKAR !.


Song – Shankar Bholey Bhaale Shail Bihaari Tripuraari (Shiv Shakti) (1980) Singer – Mahendra Kapoor, Chandrani Mukherjee, Lyrics – Bharat Vyas, MD – Chitragupt
Mahendra Kapoor + Chandrani Mukherji
Chorus

Lyrics

lalaat pe hai chandrma
lalaat pe hai chandrma
chandrama
chandrama
jataa mein hai gang dhaar hai
jataa mein hai gang dhaar hai
gang dhaar hai
lalaat pe hai chandrma
jataa mein hai gang dhaar hai
rami hai bhasm ang pe
galey mein sarp haar hai
galey mein sarp haar hai
nawaa rahen hain seesh dev gan tumhari bhakti mein
hai koti surya ka prakash
shiv tumhaari shakti mein
shiv tumhaari shakti mein
shiv tumhaari shakti mein

shankar bhole bhaale shail bihaari
tripuraari
teri leela prabhu sab se hai nyaari
ho shankar bhole bhaale shail bihaari
tripuraari
teri leela prabhu sab se hai nyaari
ho oo
shankar bhole bhaale shail bihaari
tripuraari
teri leela prabhu sab se hai nyaari

sab devon mein mahadev tu
tujh sa koi na dooja
ho oo oo oooooooooo
ooo ooooo
ho oo oo oo ooooo
sab devon mein mahadev tu
aaaaa aaaaa aaaaa aaaaaa
sab devon mein mahadev tu
tujh sa koi na dooja
bhakti bhaav se sab karte hain
bhagwan teri pooja
bhagwan teri pooja
shiv ji tera to hai
shiv ji tera to hai roop niraala
bhola bhaala
teri chhavi pe sabhi hain balihaari
ho oo
shankar bhole bhaale shail bihaari
tripuraari
teri leela prabhu sab se hai nyaari

saagar math ke sabhi devta amrit par lalchaaye
saagar math ke sabhi devta amrit par lalchaaye
tum abhyankar vish ko pee kar neelkanth kehlaaye
tum abhyankar vish ko pee kar neelkanth kehlaaye
neelkanth kehlaaye
jo bhi aaya shambhu
jo bhi aaya shambhu
sharan tihaari
dukh haari
uski naiyyaa tu ne paar utaari
ho shankar bhole bhaale shail bihaari
tripuraari
teri leela prabhu sab se hai nyaari

hey shiv shankar jahaan bhi tera dum dum damroo baaje
hey. . . . . shiv shankar
hey pralayankar
hey shiv shankar
hey pralayankar
aaa aaa aaa aaaaaa
hey shiv shankar jahaan bhi tera dum dum damroo baaje
dhar ke naana roop tere gan
sang sang tere naachen
sang sang tere naachen
tera kisi ne bhi
tera kisi ne bhi
behd na paaya
kaisi maaya
bhaaye tujhko to nandi ki sawaari
ho shankar bhole bhaale shail bihaari
tripuraari
teri leela prabhu sab se hai nyaari
ho shankar bhole bhaale shail bihaari
tripuraari
teri leela prabhu sab se hai nyaari

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

ललाट पे है चंद्रमा
ललाट पे है चंद्रमा
चंद्रमा
चंद्रमा
जटा में गंग धार है
जटा में गंग धार है
गंग धार है
ललाट पे है चंद्रमा
जटा में गंग धार है
रमी है भस्म अंग पे
गले में सर्प हार है
नवा रहें हैं शीश देवगण तुम्हारी भक्ति में
है कोटी सूर्य का प्रकाश
शिव तुम्हारी शक्ति में
शिव तुम्हारी शक्ति में
शिव तुम्हारी शक्ति में

शंकर भोले भाले शैल बिहारी
त्रिपुरारी
तेरी लीला प्रभु सबसे है न्यारि
हो शंकर भोले भाले शैल बिहारी
त्रिपुरारी
तेरी लीला प्रभु सबसे है न्यारि
हो ओ शंकर भोले भाले शैल बिहारी
त्रिपुरारी
तेरी लीला प्रभु सबसे है न्यारि

सब देवों में महादेव तू
तुझ सा कोई ना दूजा
हो ओ ओ ओsssssss
ओss ओssss
हो ओ ओ ओ ओssss
सब देवों में महादेव तू
आsss आsss आsss आsss
सब देवों में महादेव तू
तुझ सा कोई ना दूजा
भक्ति भाव से सब करते हैं
भगवन् तेरी पूजा
भगवन् तेरी पूजा
शिव जी तेरा तो है
शिव जी तेरा तो है रूप निराला
भोला भाला
तेरी छवि पे सभी हैं बलिहारी
हो ओ शंकर भोले भाले शैल बिहारी
त्रिपुरारी
तेरी लीला प्रभु सबसे है न्यारि

सागर मथ के सभी देवता अमृत पर ललचाये
सागर मथ के सभी देवता अमृत पर ललचाये
तुम अभयंकर विष को पी कर नीलकंठ कहलाए
तुम अभयंकर विष को पी कर नीलकंठ कहलाए
नीलकंठ कहलाए
जो भी आया शंभू
जो भी आया शंभू
शरण तिहारी
दुख हारी
उसकी नैय्या तूने पार उतारी
हो शंकर भोले भाले शैल बिहारी
त्रिपुरारी
तेरी लीला प्रभु सबसे है न्यारि

हे शिव शंकर जहां भी तेरा डम डम डमरू बाजे
हे॰॰॰॰॰ शिव शंकर
हे प्रलयंकर
हे शिव शंकर
हे प्रलयंकर
आ आ आ आssss
हे शिव शंकर जहां भी तेरा डम डम डमरू बाजे
धर के नाना रूप तेरे गण
संग संग तेरे नाचें
संग संग तेरे नाचें
तेरा किसी ने भी
तेरा किसी ने भी
भेद ना पाया
कैसी माया
भाए तुझको तो नंदी की सवारी
हो शंकर भोले भाले शैल बिहारी
त्रिपुरारी
तेरी लीला प्रभु सबसे है न्यारि
हो शंकर भोले भाले शैल बिहारी
त्रिपुरारी
तेरी लीला प्रभु सबसे है न्यारि

 


Raas rachaao sakhi hil mil gaao sakhi

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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.

“Murliwaala”(1951) was directed by Vasant Painter for Madhuvani Chitra, Bombay. This movie had Vijaylaxmi, Shashi Kapoor (sr), Durga Khote, Gulaab, Mahipal, Parshuram, Krishna Kumari, Niranjan Sharma, Vasant rao Pahalwan, Ramesh Sinha etc in it.

There were eight songs in this movie that are as obscure as the movie itself.

Here is the first song from “Murliwaala”(1951) to appear in the blog. This song is sung by Lata. Bharat Vyas is the lyricist of this song written using testbook Hindi words.

Sudhir Phadke is the music director.

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

With this song, “Murliwaala”(1951) makes its debut in the blog.


Song-Raas rachaao sakhi hil-mil gaao sakhi (Murliwaala)(1951) Singer-Lata, Lyrics-Bharat Vyas, MD-Sudhir Phadke

Lyrics

raas rachaao sakhi
hilmil gaao sakhi
mauj manaao sakhi
madhuban mein man mohan ko
sakhi baandh rakho
gal-bahiyon ke dridh bandhan mein
man mohan ko sakhi baandh rakho
gal-bahiyon ke dridh bandhan mein

ise baandh ke raakho jamuna
jal ki madhur hilor se
sheetal mand pawan se baandho
chandr kiran ki dor se
praanon ke taaron se baandho
praanon ke taaron se baandho
baandho suman sugandh se
saanson ke dhaagon se baandho
baandho hriday ke chhand se
baandho hriday ke chhand se
nain milaao mand mand muskaao
madhu ras barsaao nav jeewan mein
man mohan ko sakhi baandh rakho
gal-bahiyon ke dridh bandhan mein

tum jaaoge shaam to
vyaakul ankhiyaan bhar bhar aayengi
ye ghadiyaan moti ki ladiyaan si
ur par lahraayengin
maadhav tum bin madhuwan ki
ye kaliyaan kumhla jaayegi
kaliyaan kumhla jaayegi
jamuna ki ye vikal lahariyaan
geet virah ke gaayegi
geet virah ke gaayegi
preet nibha ab kaahe sharmaao
mat bhed chupaao in nainan mein
man mohan ko sakhi baandh rakho
gal-bahiyon ke dridh bandhan mein


Ye Shehar Hai Bambai, Bam Bam Bai

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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.

Yeh Hai Bombay Meri Jaan – 9
– – – – – – – – – – – – – – – –

सच्ची, बहुत दिन हो गए बंबई गए। चलिए, फिर एक बार चलते हैं, मायानगरी में, एक बहुत ही अनूठे और अनसुने गीत के साथ।

Really, many days now since the last visit to Bombay. So I take you there once again today, along with a very rare, almost unheard and a very out of the ordinary song.

OK, so, prior to the news report on the Bombay gangout (which is the post “O Bambai Waali Chhokri Tu Ruk Jaa Vallah”), in one of the previous episodes (which is the post “Main Flora, Rang Mera Gora”), I was recounting my experiences as an outsider, with the housing situation in this city of Maaya. The place in sequence where we had last talked about it, I had finally settled with my colleague, Puneet, in the Avinash Apartments in Versova area, right across the road from Jyoti Apartments, where dear Arun ji resides. Interesting part is that he used to reside there, even then too).

I had promised in the earlier post that the story of how we were able to “break free” of the Bombay based project, is still to be told. Today, I am bringing this tale to you, an episode that quite changed my life.

Staying at Avinash Apartments, our routine was to be up early, because we had to catch the company bus from the east side of Andheri station, between 8:10 and 8:25 am. Generally, we used to take the bus from the main bus stop at Versova, get off at the Andheri station, take the footbridge across to the east side, and take the company bus. Getting across the bridge through the station meant that I had to have a valid railway ticket or railway pass. And so that added to one more small part of the Bombay experience – ‘पास निकलवाने का’. Yes, that is the phrase used in Bombay – not ‘बनवाना’ but ‘निकलवाना’.:)

Anyway, coming to the work at office, and how I was able to extricate myself out of Bombay, and straight to the US. That is a very interesting episode in itself.

The Tata Burroughs (later Tata Unisys) was famous (notorious?) for the image that one joins them and within three months or less, one is on a plane to the US. That is the dream that every new recruit had when he or she walked through the doors for the first time, at this organization. When I entered, I found that this was not so much of a myth. In reality, a major percentage of employees did get to travel almost immediately, as ‘body shopping’ was the main line of business. By ‘body shopping’, I mean, making available trained software engineers to the parent company in the US and its clients, without really having any stake or responsibility in the project itself. So all new comers were quite excited about it. It was something like a very low scale IPL auction, wherein resumes were floated to different departments of the parent company, and they would select individuals suitable for their project requirements.

When I entered these esteemed hallways, I was put into training with rest of the group joining in that cycle. However, within two days, I was taken out of the training and asked to have a conversation with the HR manager. I was informed that since I came in with some experience (I had worked with HCL in Delhi already prior to that), I was not required to attend the training, as the management has something else in mind for me. For a short while, my hopes were flying really high. Wow, being experienced, they are going to put me immediately on a project overseas, probably in a senior position. I wallowed in this self admiration (sic) for some days, as I waited for the specific ‘something else’ that the HR manager would inform me. After about 10 days of ‘वेलागिरी’ (whiling away my time), I was invited to join a meeting. There were about 20 people in the room, and a senior looking lady was at the head of the table. The bombshell was about to explode and crash land my flights of fancy.

The lady informed us that we are all experienced, with excellent track records. So we have been chosen for a very special assignment. The management requires our skills and experience for a very vital project. Name of the project – ‘Easydeal’.

Springtime evaporated. Horror descended on our faces. All hot air balloons got deflated. There was silence around the room as I turned my gaze – all of us were shell shocked and speechless. We were the ‘chosen few’ who were now to be led to the gallows. The word ‘chosen few’ now started to sound like ‘sacrificial lambs’.

Let me explain. The project ‘Easydeal’ was a Bombay based project. It was also called the ‘Black Hole’, because it would suck you in and then never let go. Joining Tata Unisys and then getting assigned to a Bombay based project was the worst kind of punishment imaginable by the young minds who were already planning their shopping in Chicago and Los Angeles. Given the corporate ambience, shocked silence was the best response we could give. Everyone wanted to screech and tear out the eyes of the management, and destroy furniture and what not !!! Ok, ok, not so violent, but. . . you get the picture I am sure.

With shattered dreams, we trooped out of the conference room.  In reality, this group of twenty young ones had met that day for the first time. A calamity of this magnitude had a fantastic effect on this group. It is not just that politics makes strange bedfellows; a shared calamity generates a camaraderie that is unmatched, unparalleled. With the management as the common and vital enemy, this group of twenty, we became real fast friends in the shortest possible time, since cursing and name calling the management, and also regretting our common fate and complaining to God, was the immediate pastime we got into.

This phase lasted for a couple of days. The management, with its unaffected and detached aloofness, simply informed us about the special short training program we were supposed to take, ticked off another item of their list. And bemoaning our collective destinies, we complied. We knew we were in for at least 18 months if not more. At that time, the dreaded ‘promise’ of 18 months seemed like the end of life.

The moaning and mourning continued for days. It was a bitter pill to swallow. Seeing others getting US assignments, flying out, then returning, resting, and then getting another assignment, and flying out again – the heartburn was so real that one could boil potatoes. Everyone, including the support staff and admin etc. knew of this plight. Some even gloated the plight of the ‘Easydealers’, as we members of this project team were called. One incident is really very vivid in my memory. Shetty was the name of the manager at the small tea room on campus. We Easydealers were easily his most regular and longest lasting customers, as the rest of the engineering staff rotated very frequently. Even he could not resist picking on us unfortunates. One day, I and another colleague from the same project went to the tea room, and my companion asked for buttered toast with tea. Apparently the toaster was broken, and Shetty had the guile to respond with an almost a cruel quip – “Buttered toast nahin hai. Toaster project par gaya hai.” (“Sorry, no buttered toast. Toaster has gone abroad on a project”). Now when we sometimes recall this incident, we (the group of Easydeal friends) are all over the floor laughing. But at that instant, we got burnt worse than toast, and wished we had a machine gun in hand. :D) :D)

Let me tell a little bit about the project. The project was concerned with a very critical process in banking – deal making in the foreign exchange markets. In the international markets, the rates of currency exchange fluctuate by the minute. Sometimes these fluctuations are tiny. But with the magnitude of funds involved, these fluctuations matter a ton to the fund managers in leading banks who deal in foreign exchange. All large banks have huge funds that they maintain in multiple currencies, in holdings that are spread across the world. As they see changes happening in the rates of currency exchange, they have to make quick decisions to convert their holdings from one currency to another, so as to make a profit. These transactions and these decisions are very time sensitive, and sometimes a delay of even a couple of minutes could be a significant loss of opportunity.

With the advent of computers and networking, the banks and their funds managers look towards this new tool, to help them quickly assess the current fluctuations. There is a plethora of factors that need to be taken into consideration, and good funds managers are people with a high stress job of keeping abreast both with the financial markets and other social/political/natural phenomena. Keeping in mind all the impacting scenarios, they are driven to decision making which really needs to be split second. And in that, a good software program will come very handy to them. Banks are ready to pay premium prices for software that will help assess, analyze and recommend, towards making quick decisions in the fluctuating currency markets, and to make a profit.

So, our company had done two projects in this area, one for a bank in New Zealand and another for a bank in Switzerland. These projects were highly successful and got tons of praises from the two clients. Sensing an opportunity here, the company made a decision to use these two projects as a basis, and develop a more generic tool that can be marketed to multiple banks. In other words, the plan was to convert the successful projects developed for individual clients into a product that could be sold to many clients. That was the ‘Easydeal’ project.

There are many arguments and wheels within logic wheels about the pros and cons of this decision by the management, but I will not dwell on that at this point in time. I will pick up the narrative from the point when the specific role assignment for me was defined. I got designated as the Quality Assurance manager for the project, with the responsibility of ensuring that the work being done on developing this software product was being done correctly, and that the software that is built by this team works well and as per the defined requirement specifications. I must admit that for the first two to three months I was all at sea myself. There was a huge disconnect between me and the other sub teams within the group. Mainly because I myself was not sure how to implement a quality assurance function for this kind of a project. It was a new learning for me too.

So I started by focusing on the process to test the software. Within some weeks I realized that I was jumping the gun, since the software testing phase of the project was still many months into the future. My manager then directed me towards the review process, by which my responsibility was defined as to ensure that the design specifications being developed by the technical design team, are as per the stated functional and technical requirements of the project. In simpler terms, I was tasked to ensure that the technical team was designing the software program which will address all the stated requirements for this product.

I studied up some more about the review process for software projects. I consulted with some seniors in the company. And then I planned for a very detailed review of the technical design. Without getting into technical details, I will present some highlights. After the review was done, I got commendations from many quarters that this was a very well thought out and a very well executed formal review exercise, the like of which had never been attempted before in the company. The entire proceedings of the review process were recorded on tape. It was a difficult task to engage and coordinate, but finally I was successful in getting all the key technical people together for a dedicated review meeting that lasted full three day. The difficult part was to get the involvement of some senior technical people who did not belong to the project, and were outsiders. The benefit would be that they will have a very critical but a very objective and unbiased view.

Let me explain one very important aspect of Quality Assurance (QA). Contrary to the intuitive understanding, QA is not to establish that the product is successful in doing what it is supposed to do. Rather the effort of the QA team is to determine whether the product is doing what it is not supposed to do. In other words, the objective is to make the product fail. By attempting to do so, the QA team uncovers problems and lacunae in the product, and by removing these problems and lacunae, the quality of the product is improved. That is the value add proposition of the QA team.

Cutting through the chase (as we would say in filmy parlance) I will share the results. It took me as long as the meeting itself to listen through the entire recordings, summarize and prepare my report. As expected, multiple problems were discovered in the design. But there was one problem that stood out as the most significant.

The most important requirement for this product was the time to execute the decision. The timing was very sensitive an issue. The time that the computer would take to respond back to the person initiating a decision, was required to be 2 seconds or less. This is because the currency rates are fluctuating so rapidly, that any delay more than 2 seconds would mean a missed opportunity or a loss. During the review process, I planned and attempted something that had been unheard of. With the help of some senior technical people, I conducted a virtual simulation (in a time when even I myself was not aware of this terminology) on how much time the proposed design would take to execute the decision making request of the person sitting on the computer console. And the result of our simulation – in the face of a requirement that said that such a transaction should be completed and the response back to the user should happen within 2 seconds, the time that the design was actually predicting was SEVENTEEN seconds.

The design – it was a disaster. And the rest – it was history.

The review results were stunning. The review report made it to the very top of the organization. I was called in to present and defend the review results at a meeting in which many decision making big-wigs were sitting. After the meeting, I am sure the management went into a huddle. All we know that after about a couple of days, there was a quiet announcement of significantly reducing the staff on this project. The writing was on the wall. The management never said they will close the project, but eventually they did, more quietly and many months later. A large part of the team was taken off the project. A tiny core group was retained to continue with the redesign for this software (which of course really did not go anywhere).

And then, the fun started. I mean, literally. The one hundred plus staff who “won their freedom” from the ‘Black Hole’ – they went into celebration. And inadvertently, and literally overnight, I became a hero, the “savior of the downtrodden masses”. Practically each and every member of the team personally came to my desk and thanked me for ‘granting them freedom’. Some even went as far as to humorously and in a mock gesture, touch my feet. They promised me all good things, ‘blessed me’ and profusely thanked me. In hindsight, I think about it and laugh. But at that point in time, I was timidly unsure as to what I had achieved. I was secretly suspicious that they were making fun of me. In later conversations with some of them, I now realize that they were really, seriously thankful. Most seniors assured me that I had achieved a good thing. The head of the division also thanked me that I had helped to stem a significant loss making investment. In comparison to the disaster that would have happened many months hence, once they tried to go to market with this flawed product, this was a very small price to pay. But at that time, I myself was overawed with this outcome, that I was responsible to shut down a major project of the company. Single handedly. And that – being just the first assignment in the company.😉

And I still cannot get over the scenario as the hundred plus team members trooped to my desk to thank me.

And me. Of course, I too got released from the project. And guess what, an immediate assignment to Minneapolis (USA). As what? Guess? Yes. As the QA manager of the Unisys team on a major client project. Goodness, I could not believe it myself. That Easydeal assignment propelled me into the direction of software Quality Assurance, eventually leading me towards corporate quality and process management, making for a satisfying career for me. Breaking the ‘Easydeal’ made a good career for me.:)

Thus ended my semi-permanent stay in Bombay. Both Puneet (who was also one of the ‘chosen’ on the same project) and I packed our bags, headed to Delhi, and then on to US. I continued to be with the company for another decade or so. But almost all the time was spent on assignments in the US. For the subsequent visits later, in between projects, the acco was arranged by the company. And I did not have to again look for accommodation in Bombay.

I still continue to visit Bombay occasionally. But now, the Hindi filmi connection comes handy, as there is a good number of very close and dear friends, at whose place I am welcome to stay.:)

Today’s song – I would call it a surprise song. It is from an unreleased film from the 1950s – ‘Do Dost’. The fun lyrics are from the pen of Bharat Vyas and the catchy music is from the mind of S Mohinder. Rendition – ah well, it has to be Rafi Sb, doing more than ample justice to the singing. I discovered this song in the recordings that my dear friend Zafar Bhai, gave me, from a set of unreleased films. I have shared it with some close friends, and they also expressed surprise at hearing this obscure and almost lost gem of a song. Another celebration of the enigmatic city – Bam Bam Bai.

Song – Ye Shehar Hai Bambai, Bam Bam Bai (Do Dost) (UR) (1950s) Singer – Mohammed Rafi, Lyrics – Bharat Vyas, MD – S Mohinder

Lyrics

arre ye shehar hai bambai
bam bam bai

ye shehar hai bambai
raunaqen nai nai
usne mazey
ho mazey
ho mazey loot liye
jiski yahaan jam gayi
ye shehar hai bambai
bam bam bai

roop ka hai jaal kahin
katey katey baal kahin
dank maarey
o pyaare dank maarey
lambi lambi chotiyaan
tirchhi nazar daal
leven jaan bhi nikaal
in ki aankhen hain ya
haaye. . . aankhen hain ya
jaadu ki hain gotiyaan
gori jahaan jam gayi
duniya wahin thham gayi
usne mazey
ho mazey
ho mazey loot liye
jiski yahaan jam gayi
ye shehar hai bambai
bam bam bai

tu mazey se ghoom yahaan
hotlon ki dhoom yahaan
log aate
o bandhu log aate
ghar ka khaana chhod ke
jaat ho ya laat
chaate chaupaati ki chaat
aji dhandhe karen
o gorakh dhandhe karen
laakh ke karod ke
arre lakshmi kahin kam gayi
kahin chhamaa chhamm gayi
usne mazey
ho mazey
ho mazey loot liye
jiski yahaan jamm gayi
ye shehar hai bambai
bam bam bai

jhooth ka vyopaar yahaan
matlabi hain yaar yahaan
kaam banaa
o beta kaam banaa
jhat se nazar pher len
dhandhe chalen zor se
to bande chaaron or se
phir chaacha mamma haan
phir chaacha mamma taau keh ke gher len
ye toli jahaan jam gayi
to doob wo faram gayi
usne mazey
ho mazey
ho mazey loot liye
jiski yahaan jamm gayi

ye shehar hai bambai
raunaqen nai nai
usne mazey
ho mazey
ho mazey loot liye
jiski yahaan jam gayi
ye shehar hai bambai
bam bam bai

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

अरे ये शहर है बंबई
बम बम बई

ये शहर है बंबई
रौनकें नई नई
उसने मज़े
हो मज़े
हो मज़े लूट लिए
जिसकी यहाँ जम गई
ये शहर है बंबई
बम बम बई

रूप का है जाल कहीं
कटे कटे कहीं
डंक मारे
ओ प्यारे डंक मारे
लंबी लंबी चोटियाँ
तिरछी नज़र डाल
लेवें जान भी निकाल
इनकी आँखें हैं या
हाय॰ ॰ ॰ आँखें हैं या
जादू की हैं गोटियाँ
गोरी जहां जम गई
दुनिया वहीं थम गई
उसने मज़े
हो मज़े
हो मज़े लूट लिए
जिसकी यहाँ जम गई
ये शहर है बंबई
बम बम बई

तू मज़े से घूम यहाँ
होटलों की धूम यहाँ
लोग आते
ओ बंधु लोग आते घर का खाना छोड़ के
लाट हो या जाट
चाटें चौपाटी की चाट
अजी धंधे करें
ओ गोरखधंधे करें लाख के करोड़ के
अरे लक्ष्मी कहीं कम गई
कहीं छमा छम गई
उसने मज़े
हो मज़े
हो मज़े लूट लिए
जिसकी यहाँ जम गई
ये शहर है बंबई
बम बम बई

झूठ का व्योपार यहाँ
मतलबी हैं यार यहाँ
काम बना
ओ बेटा काम बना झट से नज़र फेर लें
धंधे चलें ज़ोर से
तो बंदे चारों ओर से
फिर चाचा मामा हाँ
फिर चाचा मामा ताऊ कह के घेर लें
ये टोली जहां जम गई
तो डूब वो फरम गई
उसने मज़े
हो मज़े
हो मज़े लूट लिए
जिसकी यहाँ जम गई

ये शहर है बंबई
रौनकें नई नई
उसने मज़े
हो मज़े
हो मज़े लूट लिए
जिसकी यहाँ जम गई
ये शहर है बंबई
बम बम बई


Mujhe loot ke na jaana ruk jaana

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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.

“Sati Savitri”(1964), as the name suggests, was a mythological tale of Savitri and Satyawaan, where Savitri brings her husband back from the clutches of Yam, the god of death. Such mythological movies were scoffed at by “educated” city slickers, whereas “less educated” movie watchers, especially of rural and semi rural backgrounds constituted the bulk of audience for such movies.

“Sati Savitri”(1964) was directed by Shantilal Soni for B R Productions, Bombay. The movie had Anjali Devi, Mahipal, Tiwari, B M Vyas, Mohan Choti, Jeewan, Aruna Irani, Niranjan Sharma etc in it.

Five songs from this movie have been discussed in the past. It is curious to note that only the audio of the songs of this movie are available. The prints of this movie are apparently not available so those of us who were “city slickers” at the time of the release of this movie have not seen the picturisation of these songs.:)

The movie had fantastic songs in it and I have enjoyed listening to them without being aware of the fact that they were from this movie. For instance, I first heard the song Itni jaldi kyaa hai gori saajan ke ghar jaane ki for the first time in 1975-76 in a vishesh Jaimala programme presented by Sunil Gavaskar. Sunil Ganvaskar did not tell us the details of the song and so I never became aware of the name of the movie for the next three decades or so.:)

Other songs of the movie were also quite popular songs. These songs, viz. Jeewan dor tum sang baandhi, Kabhi to miloge jeewan saathi , Sakhi ri pea kaa naam naam naa poochho and Tum gagan ke chandrmaa ho are still popular.

This makers of this B grade movie had signed up a prodigiously talented up and coming music director duo for this movie who were creating waves with their fantastic compositions in small budgets movies like “Parasmani”(1963), “Harishchandra Taramati”(1964), “Dosti”(1964), “Aaya Toofaan”(1964) etc.

Here is the sixth song from “Sati Savitri”(1964) to appear in the blog. This song is sung by Lata. Bharat Vyas is the lyricist. Music is composed by Laxmikant Pyarelal, the abovementioned prodigiously talented up and coming music director duo of those days.

Like the other songs of this movie, only the audio of this song is available. assuming that Anjali devi played the role of Savitri, it is clear that the song may have been picturised on her. I request our knowledgeable readers to throw light on the picturisation of this song.

HFGK mentions taht there were seven songs in this movie. The seventh song is “tum zulm karo anyaay karo yah paap kabhi nahin phal sakta”. The details of this song are not available in HFGK and the song itself seems to be untraceable as of now. I request our knowledeable readers to help us trace this song so that this movie too may join the list of YIPPEED movies in the blog.


Song-Mujhe loot ke na jaana (Sati Savitri)(1964) Singer-Lata, Lyrics-Bharat Vyas, MD-Laxmikant Pyarelal

Lyrics

mujhe loot ke na jaana aa
ruk jaana
mujhe loot ke na jaana aa aa
ruk jaana
binti hai ik sati ki ee
jyoti mere pati ki ee lautaana
mujhe loot ke na jaana aa
ruk jaana
mujhe loot ke na jaana aa
ruk jaana

jwaala mere sat ki ee
jag ko jala na daale
aansoo kahin dhadke
sristi hila na daale
mirtyu ke devta sun
moti ye mera mat chun
swaami ka dhyaan mera aa
badle vidhaan tera aa
sun jaana
mujhe loot ke na jaana aa
ruk jaana

doley jal thhal re
kaanpe dason dishaayen
halchal mere man ki
kahin dekh pralay na laaye ae
singaar lut sake na
sindoor mit sake na
toote ghamand tera aa
hai suhaag akhand mera aa
chhup jaana
mujhe loot ke na jaana
ruk jaana
ruk jaana
ruk jaana
ruk jaana


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