Wishing a very Happy Holi to all the readers
When the first monsoon rains quench the thirst of the parched earth, and dry rivulets, water bodies and ponds get filled with water, and green shoots emerge from dry plants and trees, and the farmers rush to the slushy fields for transplantation, it’s a time for joyous dance with abandon (Haryala saawan jhoom machata aya; Aha ha ha umad ghumad kar chaayee re ghata). When the freezing winter gives way to the spring, and the flowers bloom, and the land is awash with colours of Holi with songs all around, the hearts of even the haughtiest ladies are aflutter with desire. But when the lover is away, the same rains and spring only aggravate the torment of the lovelorn nayak or nayika pining for the lover. The pitter-patter of raindrops is like a heavy hammer pounding on the pulsating heart; the red colour of palash is like the flames of fire searing the already burning heart.
Remember KL Saigal sang the immortal:
बालम आये बसो मोरे मन में
सावन आया तुम ना आये
तुम बिन रसिया कुछ ना भाये
मन में मोरे हूक उठत जब
कोयल कूकत बन में
Many years later Zohrabai Ambalewali sang:
रुम झुम बरसे बादरवा, मस्त हवायें आईं पिया घर आ जा
काले काले बादल घिर घिर आ गये, ऐसे में तुम जाके जुलमवा ढा गये
सावन कैसे बीते रे, मैं कहाँ तुम कहाँ, ओ मोरे राजा आ जा
….
मुझ बिरहन के हाल पे बादल रोते हैं, बालम हमरी आँख मूंद कर सोते हैं
हमको नींद न आये रे याद सतावे तेरी मुख दिखला जा आ जा
In the same film (Ratan), the separated lovers made a heart-rending plea to the clouds not to torment them and go somewhere else to pour their rain:
छेड़ो न हमें आ के बरसो कहीं और जा के
वो दिन न रहे अपने रातें न रहीं वो
सावन के बादलो, उनसे ये जा कहो
तक़दीर में यही था साजन मेरे न रो
सावन के बादलो
These are songs in the pure Barahmasa tradition. Literally meaning ‘twelve months’, in music it refers to the folk or light classical form of north and east India, sung primarily in the rainy season. Naushad must have been very familiar with this tradition. Later, he gave Ayi saawan ritu ayi, sajan mora dole hai man, laagi teri lagan ghar aa ja. And remember, his mentor Khemchand Prakash, who was from Rajasthan, had earlier composed an immortal Ghata ghanghor ghor, more machave shor, more sajan aa ja aa.
I remember a baithak in which the singer singing a thumri in Raag Desh, Sainya gaye pardes, gave an interesting explanation why thumri singers take liberty with Raags. The nayika is in virah morning, noon and night, and all the time she is in perpetual lament Sainya gaye pardes. Therefore, her plaintive cry involuntarily comes out in different Raags appropriate to the time and the season.
In art, Barahmasa encompasses miniature paintings of the seasons. In vernacular literature, the Barahmasa poetry flourished in Ritikal (17-19th century, between Bhakti and Modern periods). Its high point was Keshavdas’s Rasikpriya which became the pole star of the genre, followed by the later Ritikal poets, such as Bihari, Padmakar, Deo, Bhushan, Ghananand and Senapati. A typical lovelorn nayika of Ritikal could somehow pull through Shishir and Hemant (winter), but she didn’t know how she would survive Vasant without her Kant (husband/lover).
बीत गयो कैसेहू शिशिर हेमंत आली
कंत बिन कैसे ये बसंत रितु बीतेगी
This takes me to Rituvarnan which has a very ancient tradition in Indian literature. The twelve months according to the traditional Indian calendar (of North) are divided into six seasons of two months each: Vasant (Chaitra, Vaishakh), Greeshm (Jyeshtha, Ashadh), Varsha (Shravan, Bhadrapad), Sharad (Ashwin, Kartik), Hemant (Margashirsh/Agrahayan, Paush), Shishir (Magh, Falgun). The reference to seasons in the Vedas is in liturgical context, but in the epic Ramayan it takes the form of accentuating the longing of Lord Ram who has been separated from Sita. As he sees the beauty of the spring around him, he contrasts his state from his friend Sugriva’s and his brother Bharat’s who are with their spouses. The Shad-rituvarnan reached its zenith in the classical poetry of Kalidas who formalised it in his Ritusamhar (ऋतुसंहार).
To be sure, the beauty of seasons has inspired poets all over the world. But relating the cyclic changes in seasons to the pangs of separation of a lover from his beloved is unique to Indian tradition. The Sufi poets have seen in Barahmasa tradition the longing of the individual soul for the Supreme. Bhansali sought to placate the vigilante groups by changing the name of his film to Padmavat (from Padmavati), and deluding that the film was based on Malik Mohammad Jayasi’s eponymous epic, with the Censor Board acquiescing in the charade. Jayasi’s Padmavat (c. 1540) is a deeply mystical tale in the Sufi tradition of Barahmasa. We had some extracts from the epic in our school text book, but we knew it was beyond our comprehension.
A further discussion on Barahmasa is beyond the scope of this blog. Normally, I wouldn’t have written on it, but my interest was piqued when a Sangeet Sarita programme on Vividh Bharati presented a Barahmasa song while illustrating Raag Jaunpuri, and, soon after, I got to hear an RD Burman composition exactly on the same tune. Here is a typical Barahmasa song of UP (which divides the year in three seasons of four months each – summer, rains and winter):
Nai jhulni ke chhaiyan balam by Indira Srivastava
And here is the RD Burman composition based on this tune:
Hum to hain chhui mui ib ka karein by Lata Mangeshkar from Agar Tum Na Hote (1983), lyrics Gulshan Bawra, music RD Burman
I never expected RD Burman to be inspired by Barahmasa. That set me on an exploration of film songs which could be described as belonging to the Barahmasa tradition. The song has to be one of yearning of the separated lover related to the season. Thus, Garjat barasat saawan ayo ri/ Aye na humre bichhude balamwa would qualify, but Barsaat mein tumse mile hum sajan, humse mile tum would not.
As we celebrate Holi today, please spare a thought to the nayika in virah, whose pain is enhanced manifold by all the festivities around her. This is the best time to explore film songs fitting the Barahmasa tradition. Our veterans can add hundreds of barsaat/saawan/baadal and vasant/basant songs. Let us jointly take up the challenge to discover songs of other seasons, such as summer and winter. Because of the rarity of songs on these seasons, we can be flexible to include songs of any mood.
1. Jhulna jhulao ri by KL Saigal (non-film song, 1932-33)
Jhoola, raindrops, the nayika’s lament that her lover has not yet come – Nanhi nanhi bundaniya/ Padat phuhar, abahun na aye baalamwa – this is a perfect Barahmasa song. And when Saigal sings it, his metallic voice becomes one with the musical instruments, and his aakar taan in the end becomes the lady’s आर्त्त पुकार for her lover. At another level, you can think of the yearning of the individual’s soul to merge with the Supreme Being. I mentioned in the beginning Saigal’s Baalam aye baso more man mein from Devdas (1935), which made him a national icon. But he had already achieved lasting fame by his first record which was of the non-film song Jhulna jhulao ri.
2. Nis din barsat nain hamaare by KL Saigal from Bhakta Surdas (1942), lyrics Surdas, music Gyan Dutt
Ever since Shyam left (Brij), Gopis have known only one season – Paawas (Rains) – as tears have been flowing incessantly down their eyes. A beautiful combination of bhakti and viyog shringar. And no one could have given voice to the pain of the gopis better than Saigal.
3. Barkha ki raat aye manwa by Pankaj Mullick from Adhikar (1938), music Timir Baran
The monsoon night, the aching heart – Garjat sankat ka badarwa, dukh ki padat phuhar/ Aao barkha ritu mein bolein byakul man ke bain. This time sung by Saigal’s mentor, admirer and promoter Pankaj Mullick, himself a great icon.
!
4. O varsha ke pahle baadal mera sandesa le jana by Jagmohan Sursagar from Meghdoot (1945), lyrics Faiyyaz Hashmi, music Kamal Dasgupta
Here the man (the Yaksha, banished by his brother’s curse), separated from his beloved, is in virah. He requests the cloud to carry his message to his wife. Jagmohan was gifted with a very sweet and melodious voice. He does an absolutely marvellous job of conveying the emotion of pathos in Kalidas’s Meghdootam. This song led to a long association of Jagmohan with Faiyyaz Hashmi and Kamal Dasgupta, which made him a monarch of non-film songs.
5. Koeliya bole jiya mora dole haule haule by Zohrabai Ambalewali from Humjoli (1946), lyrics Anjum Pilibhiti, music Hafiz Khan
The lady cannot but see the cooing of koel, or the rimjhim of rains, or saawan ki rut in any way other than the effect it has on her – making her heart restless.
6. O sajni saawan ki kali ghatayein dil ko tadpaye to kya karun by Unknown male voice and Shamshad Begum from Panditji (1946), music Md. Aziz Khan
The audio is of poor quality, but the music is absolutely melodious. And with lyrics like Saawan ki kaali ghatayein dil ko tadpaye to kya karun/ More piya tore bin kuchh nahi bhaye, teri yaad aye to kya karun, I couldn’t leave this song. (P.S. DP Rangan informs in comment #1 that the male singer is Khan Mastana and the lyricist is Dukhi Amritsari)
7. Pardesi piya re ho ab mose na guzare rain by Zohrabai Ambalewali from Bela (1947), lyrics DN Madhok, music Bulo C Rani
In introduction to the post, I mentioned two songs of Ratan in which the main voice was of Zohrabai Ambalewali. She is at it here again giving vent to the pangs of separation, now under the baton of Bulo C Rani. The lover is away, the lady spends restless nights. She has somehow survived winter and summer, but the nights of saawan do not seem to end.
परदेसी पिया रे हो अब मोसे ना गुज़रे रैन
जिया बड़ा बेचैन हो अब मोसे न गुज़रे रैन
सर्दी गुज़ार ली गर्मी गुज़ार ली
बीते ना सावन की रात
वो काली काली बदली मोहे छेड़ गयी
का से कहूं जी की बात
मोरे बरसन लागे दोनो नैन
परदेसी पिया रे…
ठण्ढी हवा भी है बरसात का मज़ा भी है
और बिजली चमके है कहीं कहीं
पर मेरे दुख भरे दिल से पूछे कोई
तू नहीं तो कुछ भी नहीं
मेरे बस में हो चुरा लूं तोरा चैन
परदेसी पिया रे…
8. Bhaado ki raat re pade barsaat re akeli dar laage by Zohrabai Ambalewali from Bela (1947), lyrics DN Madhok, music Bulo C Rani
It seems Zohrabai Ambalewali was made for Barahmasa. In Ratan, the clouds of Saawan caused the torment; now the month is Bhaado, the second month of Varsha ritu. When the rain falls in the night, the lonely lady is filled with fear. I have a huge respect for Bulo C Rani who shone even though he was surrounded by the superstars like Naushad and C Ramchandra. The lyricist DN Madhok was a man of multifaceted talents. The combination creates a great song.
9. Rut basant ki ayi jiya nahin laage piya ghar aa ja more by Khursheed & others from Angoorbala (1947), lyrics Mister Shyam, music Ram Gopal
The spring has arrived; therefore, the lady makes a fervent plea to her lover to come home. The koel cooing in the forest echoes the beats of her restless heart.
HFGK does not mention the singers. YT upload mentions Amirbai, but it is clearly Khursheed’s voice. To add to the confusion, Amirbai is in the star cast, but Khursheed is not – they were both actor-singers. However, this song is also listed in the film Musafir (1940) which had Khursheed in the star cast. HFGK mentions Khursheed and Vasanti and ‘others’ as the singers. There is another YT link for this song which mentions two male singers too. All the four are in the star cast. Therefore, this link seems to be more authentic. The entry in Angoorbala (1947) is intriguing on which experts may throw light.
Rut basant ki ayi jiya nahin laage piya ghar aa ja by Khursheed, Vasanti, Kantilal and Ishwarlal & chorus from the film Musafir (1940), lyrics DN Madhok, music Gyan Dutt
10. Saawan mein barkha sataye by Hemant Kumar from Biwi Aur Makan (1966), lyrics Gulzar, music Hemant Kumar
I fast forward from the vintage to the golden era. If we have to name one singer who touched us with his voice, Hemant Kumar’s name comes first. He was always sweet and melodious. Don’t blame me if it is again the same theme of the rains tormenting the lonely heart.
11. Ghar aa ja ghir aye badra sanwariya by Lata Mangeshkar from Chhote Nawab (1961), lyrics Shailendra, music RD Burman
My surprise at RD Burman into Barahmasa was what led me to this theme. Then I remembered his first song composed for Hindi films:
Ghar aa ja ghir aye badra saanwariya
Mora jiya dhak dhak re chamke bijuriya
Soona soona ghar mora dansne ko aye re
Khidki pe baithe baithe saari rain jaaye re
Tap Tip sunat main to bhai re baawariya
Ghar aa ja…
Kasmas jiyara kasak mori dooni re
Pyaasi pyaasi ankhiyon ki galiyan hai sooni re
Jaane mohe laagi kis bairan ki nazariya
Ghar aa ja..
And listen carefully: when Lata Mangeshkar sings ‘Tap tip‘ (टप टीप सुनत मैं तो भई रे बावरिया), you can hear the pitter patter of rain drops falling on the window sill where the lonely lady is waiting for her lover. Beautiful composition in Raag Malgunji.
12. Na gilaf na lihaf, thandi hawa bhi khilaf, itni sardi hai ….Bidi jalaile jigar se piya by Sukhvinder Singh, Sunidhi Chauhan & others from Omkara (2006), lyrics Gulzar, music Vishal Bharadwaj
This post was getting monotonous with just one season. We have to thank Gulzar and Vishal Bharadwaj for giving us winter chill with Itni sardi hai kisi ka lihaf laile, Ja padosi ke chulhe se aag laile. Imagine it is so cold that they are desperate to grab anyone’s quilt and steal fire from the neighbour’s oven. It is supposed to be an adaptation from Othello. I have seen the play about two decades back at the Royal Shakespeare Theatre in Stratford-upon-Avon. The experts may please throw light where would this song fit in the Bard’s play.
13. Hariyal jawani mori sookhi sookhi jaye re..Kuan ma doob jaungi by Sapna Awasthi Singh from Page 3 (2005), lyrics Ajay Jhingran, music Shamir Tandon
From shivering in the peak winter, now this song would make you wilt as if in peak summer. The Jeth garmi is unbearable, the lover is so dumb he does not give water to the lady, she is like a writhing fish out of pond, and in desperation she has to jump in the well to give comfort to her burning body. The ‘Page 3’-crowd sneers at the ‘cheap’ song, but this was a perfect song to show their hypocrisy, double-standards and dark side.
14. Ek do teen chaar paanch….Tera karun din gin gin ke intezaar, aa ja piya ayi bahaar by Alka Yagnik from Tezaab (1988), lyrics Javed Akhtar, music Laxmikant-Pyarelal
As I was getting frustrated at not getting songs of all the seasons, I sat up when Javed Akhtar, in one of the episodes of ‘The Golden Years with Javed Akhtar’, said that he had written a miniature ‘Barahmasa’ song for a film. Being from Awadh, he was thoroughly familiar with this tradition. After explaining what Barahmasa was, he presented this song from Tezaab. Well, the song describes the pangs of yearning of Mohini (Madhuri Dixit) every day of a month. We can ignore the little detail that she seems to be unusually peppy and exuberant for someone who has been crushed under the grinding-wheels of biraha (Pachcis chhabbis ne mara mujhe/ Biraha ki chakki mein main pis gayi). Her skimpy dress though is appropriate to the spring season (Aa ja piya ayi bahaar). After describing in detail what happened to her till the end of the month, she takes a quick sweep of the entire year.
Din bane hafte, hafte maheene, maheene ban gaye saal
Aa ke zara sa dekh to le, kya hai hua mera haal
Diwani dar dar bhatakati hun, na jiti hun na marti hun
Tanhayi ki raat sahti hun, aa ja… aa ja ki din ginti rahti hun
15. Tum to thahre pardesi saath kya nibhaoge by Altaf Raja (NFS), lyrics Idris Nizami and Zaheer Alam, music Mohammad Shafi Nizami and Idris Nizami
My own yearning for a full Barahmasa song was soon fulfilled when I listened to this famous qawwali by Altaf Raja carefully. He meticulously reminisces each of the twelve months – January to December – when the lovers were together, but he reconciles himself that he may not see her again until she comes to shed a few tears on his grave. There never was a more complete Barahmasa song.
16. Kinu sang khelun holi, piya taj gaye hain akeli by Lata Mangeshkar (Meera song)
I started with the serious. Therefore, let me return from the ridiculous to the sublime. Since I chose to discuss virah on Holi, I end this post with this beautiful Meera song in which the lover (Krishna) has gone away and the lady is at a loss who to play Holi with. I was looking for its rendering by Kishori Amonkar (I believe there is one), but here is a nice one by Lata Mangeshkar in Yaman.
Acknowledgements:
Here are some very useful articles on Barahmasa.
1. http://creative.sulekha.com/ritu-varnana-and-barahmasa_454874_blog The thumbnail painting of the lonely nayika is gratefully taken from this article.
2. http://www.exoticindiaart.com/article/barahmasa/
3. Introduction to Malik Mohammad Jayasi’s Padmawat
http://shodhganga.inflibnet.ac.in/bitstream/10603/29127/8/08_chapter%201.pdf
4. ‘Barahmasa: Songs of twelve months’ by Prof PC Joshi and Dr Dalijeet
Note: Barahmasa, or Songs of Seasons, is so dominated by rains/clouds that there is also a tradition to describe the songs specific to this season as ‘Varsha Chaumasa’.
Disclaimer: The song links have been embedded from YouTube only for the listening pleasure of music lovers. This blog acknowledges that the copyright over the songs rests with the original owners such as Saregama India Limited and other respective owners.
{ 238 comments… read them below or add one }
AKji
Was anticipating a post on the eve of holi and as usual you have done a splendid job. Much of what you wrote about baramasa tradition was news to me. As an eternal student I did go through them to acquaint myself. One can but expect only quaint songs on such a theme as creating songs in tune with the ‘mausam’ is a tough job and out of the syllabus of modern day film producers.
Song No. 6. The male voice is Khan Mastana. Lyrics were rendered by Dukhi Amritsari. Film had 8 songs.
Mr Rangan,
Thanks a lot for your appreciation. Varsha, Baadal, Saawan would be very common. It is the other seasons that pose difficulty.
Thanks for filling in the details of song #6.
What a scholarly and lovely post, AK! I went through the text without going through the songs, which I will do on my Amtrak ride to Newark Thursday afternoon my time :).
Here is a popular Gaud Malhar bandish sung by the late Meera Banerjee which fits the baramasa mould:
https://www.youtube.com/watch?v=4oiWZ99fIPQ
Which brings to mind Anilda’s brilliant baramasa (chaumasa? four Seasons?) from ‘Hamdard’ (thanks to the fact that the 2nd song of the 4-song medley is in Gaud Malhar) and I must say that I am surprised that you missed featuring it:
‘Ritu aaye, ritu jaaye sakhi re’ by Lata Mangeshkar & Manna Dey from ‘Hamdard’ (MD – Anil Biswas, Lyricist – Prem Dhawan)
https://www.youtube.com/watch?v=RIjGhDPMqSM
It is too bad that the uploader did not see it fit to include the fourth song in the medley – it is in Raga Bahar.
And the first song in the medley (in Raga Gaud Sarang) is a rare song about a naayika pining for her lover during a scorching summer.
And here’s one in Sur Malhar from the film ‘Sampurna Ramayan’:
‘Dar laage garje badariya’ by Lata Mangeshkar (MD – Vasant Desai, Lyricist – Bharat Vyas)
https://www.youtube.com/watch?v=aAa2eud_K0U
How about “Tu maike mat jaiyo” sung by Amitabh Bachchan – follows Georgian calendar though!
Ashwin,
Thanks a lot for your appreciation. Coming from you it means a lot to me. Congratulations on graduating from a Pune Punkar to a Boston Brahmin (To the readers: Ashwin is now located in Boston). Gaud Malhar bandish is beautiful – Saawan ke jhuk aye badra/ Piya nahin paas main kaise karun kajra. Lovely.
Ritu aye ritu jaye sakhi ri should have occurred to me at the top, it discusses at least four seasons. Patjhad figures very rarely. But Prem Dhavan/Anil Biswas cover that, too: Pee bin soona ri/ Patjhad jaisa Jeevan mera. Here is a complete link.
Ritu aye ritu jaye sakhi ri by Manna Dey and Lata Mangeshkar from Hamdard (1953), lyrics Prem Dhavan, music Anil Biswas
https://www.youtube.com/watch?v=L8ht_BXmOp4
Dar laage garje badariya is my great favourite. Thanks a lot for posting it.
Subodh,
Tu maike mat jaiyo is a terrific song. However, it takes two months at a time whereas Altaf Raja’s song discusses each month separately. But Amitabh Bachchan’s screen performance, with Zeenat Aman just doing enough to sway and swing her body makes it a visual delight. I can’t help recalling Khaike paan Banaraswala where Zeenat Aman allowed herself to be completely dominated by Amitabh Bachchan. You must have noticed the song also has an embedded parody of Sun mere bandhu re in one of the interludes.
Tu maike mat jaiyo by Amitabh Bachchan and RD Burman from Pukar (1983), lyrics Gulshan Bawra, music RD Burman
Good Afternoon AKJi
Very beautiful article with valuable information and knowledge.
Wishing you and your family, a very Happy Holi.
Regards
Uma
Uma Maheshwar Nakka,
Thanks a lot for your appreciation, and wishing a very happy Holi to you and your family too.
BHOOMIKA,1977.
Saawan ke din aaye sajanwa aan Milo….
Preeti Saagar, Bhupinder; Majrooh Sultanpuri; Vanraj Bhatia.
SINDOOR,1987.
Patjhad Saawan Basant Bahaar
Ek Baras ka Mausam chaar…
Panchva Mausam pyar ka, intezar ka…
Lata Mangeshkar, Suresh Wadkar, Mohammad Aziz; AB; LP.
D Shetty,
Nice additions. Thanks for discovering patjhad too. I remember one of the dance verses in Navrang (1959) mentioned many seasons. It is difficult to locate its link, probably because it is not counted as a song.
RIHAEE,1990.
Teri meri bairan raat ladi
Sooni hai saawan ki ratiya…
……
Rasiya Tori yaadein hain…
Mera mandir soona mere sainya Bina…
Asha Bhonsle;Babu Ranpure?/ Suraj Sanim; Sharang Dev.
PAKEEZAH,1972
Mausam hai aashiquana
Aey dil kahin se unko aise mein doond laana….
Kehna ke rut jawan hai
Aur hum taras rahe hain,
Kaali ghata ke saaye
Birhan ko dans rahe hain,
Dar hai na maar daale
Saawan ka kya thikhana….
Lata, Kamal Amrohi, Ghulam Mohammad.
Very interesting post AKji.
I would add a song from Kavi Kalidas, that can be said to be a translation of ऋतुसंहार
Naye Naye Rangon se by Manna Dey
https://youtu.be/DR-3zzft6IM
also I would add a Marathi song from Suvasini
The lady is waiting for her beloved and the seasons come and pass by.
She’s waiting for him, missing badly.
Very nice descriptions of seasons by lyricist ग दि माडगुळकर
Music by Sudhir Phadke
Sung by Asha Bhosle
Seema dev and Vivek on screen
https://youtu.be/00eMksT4tPQ
One that definitely fits:
JAAN HAAZIR HAI,1975.
Saawan aaya baadal aaye
Mere Piya na hi aaye
Chal doon wahan
Woh hai jahan
Ab toh raha na hi jaaye…
Dilraj Kaur,Shailey Shailendra,Jaikumar Paarte ( who?)..
I used to like the songs of this movie when they were regularly aired over Radio Ceylon. ‘ Hat ke’, I felt.
Would these fit?
Bechara dil kya kare
Saawan jale Bhadon jale…
Saawan ke jhoole pade
Tum chale aao….
Ab toh Sajan saawan mein
Aag lagega man mein…
Some hint of pining for the beloved is there in all of the above.
AK ji;
Once again a perfect drive out of Golden Nib of vintage Parker Pen . I had no cheese to spread on my Toast ….so used vintage supportive songs of your article . Really a ….Bon Appetit !! Straight out of the woods ….these Vinyl records carry more fragrance than the modern day downloads.
The topic is once again a very interesting one and I have some ten or more songs in store but I will open my cards slowly . To open my account here are few….
Saawan Ke Din (HD) – Bhumika – Bhupinder…Preeti Sagar….V. Bhatia
https://www.youtube.com/watch?v=JdcVs0nceOY
vikal mora manva un bin haye-Mamta-Lata-….Roshan
https://www.youtube.com/watch?v=2GCS2mWiPVo
Jhir Jhir Barse ,,,,-Lata…- Aashirwad …..Vasant Desai
https://www.youtube.com/watch?v=QbwjZVo0dq0
Kaise Bhaye Sakhi Rut – Lata Mangeshkar, Pehli Jhalak …CR
https://www.youtube.com/watch?v=OLRdPi3MQb4
JHIM JHIM JHIM BADARWA BARSE- LATA- FILM -TANGAWALI(1955) MD- SALIL CHOWDHURI
https://www.youtube.com/watch?v=5LHHT4x8IZE
Jhir Jhir Badarava – Parivaar …..Lata , Hemant…..Salil Chowdhuri
https://www.youtube.com/watch?v=BIyAolZkqlo
….to be contd.
Anup ji’s addition is a beautiful depiction of changing seasons. Also from the same movie, the following song, the address to the Megha Dhoot:
O Ashadh ke pehle baadal
O Nabh ke kaajal
Virahi janon ke karuna ashrujal
Ruk jaa re ek pal..
The GAUTAM GOVINDA,1979 song depicts patjhad.
Ek rut aaye ek rut jaaye
Mausam badle na badle naseeb….
Kishore Kumar,AB,LP.
TEEN DEVIYAN,1965.
Uff kitni thandi hai ye Rut
Suljhi hain tanhai meri
San san san jalta hai badan
Kaampe hain angdai meri…
Lata, Kishore; Majrooh; SDB.
Here are the Four Seasons from ‘Jhanak Jhanak Paayal Baaje’. The 3rd only alludes to the longing of the naayika in ‘patjhad’ (it is in Raga Shuddha Sarang) but the fourth is very explicit in beseeching the beloved to return home during ‘saawan’
‘Ritu basant aayi’ by Lata Mangeshkar & Manna Dey (MD – Vasant Desai, Lyricist – Hasrat Jaipuri)
https://www.youtube.com/watch?v=5i9SKWcAms4
The song starts at 1:25.
Dr Shetty @14, 15, 17, 19, 20, 21,
The engine rolls on. You have added very apt songs.I wish you could have given YT links too. Most songs are new to me, but I would make efforts to look for them. Thanks a lot.
AK @ 13,
I think this is the song from JJPB that you were looking for…
Anup @16,
Thanks a lot for the song from Kavi Kalidas. Nice ऋतु वर्णन, covering three seasons, ग्रीष्म, वर्षा and शरद. The Marathi song too, I could make out, was an ideal song of ऋतु वर्णन. Thanks a lot for adding these songs, fitting so perfectly with the theme.
KS Bhatiaji @18,
I envy that you still have facilities to play vinyl records. I have some LPs, but the turntable has conked out, and I don’t have the zeal to look for another one. I took for granted that they are dead now. The songs are perfect fit. Thanks a lot.
Ashwin @22, 24,
Absolutely. I should have looked up JJPB too, this is the song I was looking for.
Can we think of
Aati Hai Yaad Humko Januray Farvari by Asha & Kishore.
https://www.youtube.com/watch?v=j2uPgBC-3eo
Muqaddar (1950) Music by Bhola Shreshtha, some sites mention Khemchand Prakash. But I think the film had two MDs or three! I can’t remember.
RUDAALI,1993.
Jhooti mooti mitwa aawan bole
Bhadon bole Kabhi saawan bole….
Lata, Gulzar, Bharat Ratna Bhupen Hazarika.
AK@7,
Thanks! Actually I used to be a Boston Brahmin before I became a Punekar and a Punkar; so in a sense, I have come full circle… it’s like the cycle of seasons.
Am glad that you liked the Gaud Malhar bandish.
AKji,
Come March, We expectantly wait for a Holi Special Post. Since 2012 you have come out with some unique posts, year after year. Last year we had a feast of Parody songs.
You have provided an excellent overview of the Barahmasa tradition, its etymology, and its significance in music, art and literature. I have not yet gone through all the songs. The post provides enough scope for further posting of songs and discussion. Accolades to you for yet another exceptional and distinctive post.
Here is song from a Bengali film Anthony Firingi (1967), which I think should fit the bill
Ghiri Ghiri Aai by Sandhya Mukherjee, music Anil Bagchi
https://www.youtube.com/watch?v=TOUOntXyogg
Wishing you and all the members of SoY a very happy Holi.
Anup @28,
Perfect ‘Barahmasa’ song. Nice discovery. As per HFGK the film had three music directors: Khemchand Prakash, Bhola Shreshtha and James SIngh. It also identifies MDs for each song (except one). This song has been attributed to 1+2, i.e. Khemchand Prakash and Bhola Shreshtha.
Dr Shetty @29,
Another nice song.
Venkataramanji @31,
Thanks a lot for your appreciation.
घिर घिर आई कारी बदरिया
पिया नहीं आए मैं क्या करूँ गुइयां
It is indeed a perfect Barahmasa song.
AK ji;
Joy is portable along with the change of seasons . Some time Pathos takes other side of season too.
Riyaz | Baiju Bawra | Mohd Rafi…Naushad
https://www.youtube.com/watch?v=SDJZnBgWjtw
Piya Tose Naina Lage …..Lata….. Guide…..SDB
https://www.youtube.com/watch?v=_i493uN6YHk
……to be contd.
Venkatraman ji;
Ghir ghir aaye badariya….is a nice song and awake memories of songs with equivalent mukhdas. But first Pleasure and Pathos from a single movie ….Mela [1948].
Aayee Sawan Rut Aayee – Shamshad, Mukesh…. Mela …Naushad
https://www.youtube.com/watch?v=Dpu5qbwhk7I
Mohan Ki Muraliya Baaje ….Shamshad…Mela…Naushad
https://www.youtube.com/watch?v=4dqhyk1r_-o
AK,
Out of the ball park!
It is beyond my comprehension even now…will go through it and the songs again and again and again.
Taking up your challenge I have a Summer song that is as intolerable as June ka Mahina in Mumbai
Aaja meri jaan yeh hai June ka mahina Jawab
https://youtu.be/C6rSRvgL-Ig
Ak,
The video version @ 37 the lyrics are not what I was looking for.
This audio version has it.
https://youtu.be/kSdISAwL0VQ
KS Bhatiaji @35,
You hit the bull’s eye with Rafi’s Riyaz in Baiju Bawra. The different raags are shown associated with different seasons. Piya tose naina laage re is a great dance-song, on the dot for Holi and other seasons.
Mumbaikar8 @37, 38,
Barahmasa is music. It is to enjoy, not to understand. You have given a nice summer song. Thanks for filling in the gap.
A different kind of a song, beautiful, nevertheless.
BLACK,2005.
Mausam ka adla badli mein
Pavan Gulabi ho jaati hai…
…..
Haan Maine choo kar dekha hai…
..
Garam gunguni dhoop se baat ki hai maine..
…
Thanda Thanda rang hai boondon ka
Mulayam rang hai phoolon ka…
Gayatri Iyer Ganjawala, Prasoon Joshi,Monty Sharma.
One raunchy and one filmi song from the combination of
Poornima, Kumar Sanu; Sameer; Anand Milind…. featuring Govinda and Karishma Kapoor.
RAJA BABU,1994.
Sarkayilyo khatiya jhada lage
Jhade mein balma pyara lage….
COOLIE NUMBER 1,1995.
Jeth ki dopahari mein paaon jale hain…
Dr Shetty,
Kya baat hai! The Jaada and Jeth songs are as whacky as the ones from Omkara and Page 3
AKji:
Wonderfully timed article that celebrates the beginning of the (Hindu) new year with a nod to the importance of time dimension in our lives as mediated by the sun. All cultures have some such tradition that reflects the variability of light, temperature, precipitation, etc. and the accompanying changes in the surroundings, and their physical and psychological impact on us. The recurring nature of the solar cycle depicts the continuity that marks our world as life goes on.
There may be one more reason for the prevalence of something like ‘Barahmasa’ across societies. Given the limits to our attention span, the reasonably small number (12) associated with it is about just right to inspire our creative faculties. You may have heard a (now stale) joke that gets recirculated around this (convocation) time of the year. A chief guest at Yale’s commencement spent half an hour each telling the graduating batch the significance of each of the letters in their alma mater’s name. One of the students sighed, “Thank God, I did not go to Massachusetts Institute of Technology!” The thirty days in a month have failed to inspire artists for this reason. Fifteen days in the fortnight appear close to twelve, but the day-to-day variation within a fortnight is too little to sing paeans to.
Decades ago, when family planning was being actively promoted by the government, I recall a folk song in Ranchi (nothing available on YouTube) that used the Barahmasa format in which the newly wed girl sang why a child was not welcome in the lovely month of ‘Sawan’, nor in Bhadon’, nor in …, thus ruling out each of the twelve months!
The 3-min limit in the case of film songs perhaps militated against the full Barahmasa of the type that you get to hear in the following song by Bhikhari Thakur (mentioned prominently by you in the post on “Romancing the Pardesi”) sung by Chandan Tiwari:
https://www.youtube.com/watch?v=XzGUoGnh1Fo
It is true this way also:
https://www.youtube.com/watch?v=WPwTPhFMm3k
(aaoge jab tum sajna/Jab We Met/Ustaad Rashid Khan/Lyricist:Faiz Anwar/MD:Sandesh Shandilya/2007)
AK ji;
Picking the threads….here are some pearls to contribute…
Tere Bin Sawan Kaise Beeta | Lata Mangeshkar | Jab Yaad Kisi Ki Aati Hai….MM
https://www.youtube.com/watch?v=QZF79ZxaHwU
Mere Tumhare Beech Mein….Lata…Jhuk Gaya Aasman…SJ
https://www.youtube.com/watch?v=Wqxzlu3Yoj4
SAWAN BAN GAYE NAIN- ASHA- FILM- KROREPATI(1961) MD- SHANKAR JAIKISHAN
https://www.youtube.com/watch?v=ZpEFFfX_GlY
NAINA BAN GAYE SAWAN BHADON- …..UMA DEVI ….NON FILM SONG
https://www.youtube.com/watch?v=dvn0-YNO7_s
…..to be contd.
Canasya @44,
Thanks a lot for your appreciation. You have given a nice mathematical reasoning for dearth of full Barahmasa songs in films. But how about Ek, do teen chaar, which covers all days of the month, and takes a quick sweep of the year? Yale joke was nice, but it requires us to ignore that one normally says MIT, rather than its full name. A nice Yale/Harvard joke I remember is one when Clinton (a Yale alum) was given an honorary degree by Harvard. In his acceptance speech he said, “I am doubly blessed today. I have education from Yale and a degree from Harvard“.
There are many jokes on rival institutions of repute. For example, a job advertisement for a very complex assignment asked for an Oxford graduate, or in the alternative two Cambridge graduates, and so on.
Bhikhari Thakur’s work embodied Barahmasa tradition. Nice song. Thanks a lot.
Arvind @45,
Nice one. Reverse Barahmasa?
KS Bhatiaji @46,
Nice additions. Uma Dev’s NFS was an excellent discovery.
MAUSAM,1976.
Dil dhoondta hai phir wohi fursat ke raat din…
…..
Ya garmiyon ke raat jo purwayiya chale
…..
Barfili sardiyon mein kisi bhi pahad par…
Bhupinder,Lata/ Bhupinder; Gulzar; Madan Mohan.
PHAGUN,1973.
Piya sang khelo Hori
Phagun aayo re…
Lata, Majrooh, SDB.
LOAFER,1973.
Aaj mausam bada beimaan hai…
Aane wala koi thoofan hai….
…..
Kaali Kaali ghata tarr rahi hai
Thandi aahe hawa bhar Rahi hai…
BANDINI,1963.
Asha, Shailendra,SDB.
1.O Panchi pyare saajh sakha re
Bole tu kaun si boli….
…..
Phagun mahina phooli bhagiya
Aam jhare amraai…
Main khidki se chhup chhup dekhoon
Ritu Basant ki aayi….
2.Ab ke baras bhej bhaiya ko Babul
Saawan ne leejo bulaai re…
…
Ambuva tale phir se jhoole padege
Rimjhim padegi puhaar
Saavan ki thandi bahaar…
BARSAAT KI RAAT,1960.
Garjat barsat saawan aayo re
Laaye na sang mein
Hamre bichde balamva…
Suman Kalyanpur, Kamal Barot; Sahir; Roshan.
SHABAB,1954.
Man ki been matwari baaje…
….
Pawan ke sang sang dole jiyara..
Jhoolat aaya saawan pyara….
…..
Roop Nagar mein khelne Holi
Naachat aayi pariyon ki toli
Vasant Ritu hai man rang daalo…
Rafi,Lata; Shakeel Badayuni; Naushad.
I remember having read that the song is based on Raag Bahaar and Raag Basant. Am I right?
Dr.Shetty , ksbhatiaji,
Surprised how you have missed this virha song
Aj hun na aye balam Sanjh aur Savera
https://youtu.be/WnEQIxNYPV4
CHANDIDAS ,1934.
Agha Hashar Kashmiri,R C Boral.
1. Uma Sashi.
Basant Ritu aayee aalee
Phool khili daali daali
Kunj Kunj koyaliya bole….
2. Pahari Sanyal
Chaayi Vasant aayee
Karke Solah Singaar
Roop naveena
Vastr naveena
Naveena Alankar…
Dr Shetty,
Impressive recall. Nice songs you have added.
Mumbaikar ji,
Equally surprising is how we all missed
the iconic
Ketaki Gulaab Juhi Champak ban phoole
Ritu Basant….
RAJA AUR RANK,1968.
Sang Basanti Rang Basanti Ang Basanti
Chaa Gaya
Mastana Mausam aa gaya….
Rafi, Lata; AB; LP.
DO BEHNE,1959.
Jhuk jhuk jhola haai re…
…
Saawan ki Ritu aai re
Maaro dheeraj chooto jai…
Lata, Mahinder Kapoor; Kavi Pradeep; Vasanth Desai.
GUDDI,1971.
Bole re papeehara papeehara
Nit ghan barse
Nit man pyaasa…
Vani Jayaram;Gulzar; Vasanth Desai
Ms. Mumbaikar8,
The Sanjh Aur Savera song was in my list…..it had to follow other songs . Yes first rare then popular. Here are some songs that are favorite of mine …..beautiful composition beautiful lyrics….totally bliss and blessed.
JA RI JA RI O KAARI BADARIYA – LATA JI….AZAAD…..CR
https://www.youtube.com/watch?v=POg5UcQVFrc
O Sajanaa Barakhaa….Lata ji….Parakh…. Salil Chowdhary
https://www.youtube.com/watch?v=5a7l2UzZ654
THANDI THANDI SAAWAN KI PHUHAAAR -ASHA BHONSLE….Jagte Raho….Sallil Da
https://www.youtube.com/watch?v=5tCiGRyh7vA
TUM BIN SAJAN BARSE NAYAN- LATA -RAFI …Gaban….SJ
https://www.youtube.com/watch?v=nwBvPQln1ik&t=124s
…..to be contd.
Dr. Shetty;
I am enjoying the songs you have brought out from your golden drawer of your chester. Your contribution shows your in depth passion in music and songs . Do you listen to instrumentals also and do you reach for Hollywood musicals also ? just one pal querry to another ….for sharing such music too. Jhuk Jhuk jaye Jhula…from Do Behen ….is my favorite too for the reason that Mohinder Kapoor sings not a word but sort of aalap …really a good one .
Remember these are a few of my favorite things ….from Sound of Music… well the following are mines….
Jiya Beqarar Hai Chhayee Bahar – Lata Mangeshkar….Barsaat…SJ
https://www.youtube.com/watch?v=31zcw8i8yUk
AAYE RE DIN SAAWAN KE – LATA….Gaban….SJ
https://www.youtube.com/watch?v=-rUlYVoEQgg
KAJRE BADARWA RE….Lata …Pati Patni…..RDB
https://www.youtube.com/watch?v=Wb4EVnY9aqw
…..to be contd.
I think I would endorse what Mumbaikar8 said about the article. AK, your love for hindi poetry is well known and this topic and the related details brought many memories back. The seasons have changed with times as would be clear to the old timers. I remember when we were in our teens we used to go to Ramleela wearing a khes, which is cotton chaddar quite thickly woven out of khaddar. But now it is hardly any winter near Ramleela days. I also remember my mother told me that during the month of kartik females from village went to ganga sanan with 3 or 4 males for protection and they took quilts with them. But now well into November we use ceiling fans. In Haryana mostly rains stop by the end of August, but in 1995 torrential rains caused the greatest flood in my memory. This year has witnessed a very cold winter across the globe forcing Trump to tweet ‘we need a bit of global warming’.
I think AK must have have done a lot of hardwork to find so many old songs for the post. But, you could have done without defending the eternal controversy king Bhansali. His Devdas was so far from the original that Shobha De said she would have given him a slap for insulting Sharat Babu. It was because of the protests the kissing scene was removed. Devdas was a fictional character, but Padmini is revered across India. People like Bhansali receive money from the Arab world to insult Indian characters. I am not a religious person, but have respect for our culture, just like you. The news channels at that time went further and called Padmini a fictional character, as if Allaudin Khilji had Aadhar card and Padmini did not have one.
About the songs. Friends have already flushed down so many. I will also add some. First I would post June songs as a follow up of Mumbaikar8.
Hai ye june ka mahina – Asha – Mud Mud ke na Dekh
https://www.youtube.com/watch?v=VM1kpP7F8Eg
Dekh idhar ae haseena – Rafi, Geeta – 12 O Clock
https://www.youtube.com/watch?v=cO1jqpZbQns
Now look at this Sampoorna Ramayana song ‘badlo barso nayan ki kor se’ where the virhan is offering her body parts to create the rain and thunder effect. What a sweet composition by Vasant Desai and equally great lyrics by Bharat Vyas and superb rendering by Lata. But there is a poser for friends. Detect the mistake in the song.
https://www.youtube.com/watch?v=S8-P5hqFAqA
Now vasant
Vasamt hai aaya rangeela – Asha Kapoor – Stree
https://www.youtube.com/watch?v=Tp_BPGKGwRc
Aayi jhoom ke basant – Upkar
https://www.youtube.com/watch?v=BRdieOHS8V8
Hans,
Your reminiscences of your childhood and relating it to global warming, or unpredictable climate changes, was very interesting. Trump was immediately slammed for his ignorance.
‘Defending Bhansali’? Perhaps you misread it. My sarcasm was on their changing the name to ‘Padmavat’ to ward off the heat. You might recall my views on Bhansali’s ‘Devdas’.
https://www.songsofyore.com/one-hundred-years-of-sarat-chandras-devdas/
Among the songs you have added Baadalo barso nayan ki kor se is my great favourites. But the mistake you queried about I couldn’t figure out. There must be something obvious which I am missing.
@ hans ji,
I also couldn’t figure out the mistake in the song.
Is it that there are no actual black clouds in the picturisation and full daylight is visible?
Let’s see what others say?
From the debut film of Leela Naidu–Anuradha (Lata/Shailendra/Ravi Shankar/1960)
https://www.youtube.com/watch?v=TAb9IktpLGY
(kaise din beete kaise beeti ratiya)
And those were the days:
https://www.youtube.com/watch?v=b55RygjuITY
(Jaane kaise sapnon mein kho gayi akhiyan)
The last stanza was rarely heard on the Radio
AK sir,
What a magnificent article on Barahmasa. The beautiful additions of relevant songs add the quality of the write up. I have two suggestions. The mukhdas of these two songs do relate to the theme.
1. Pasina pasina, Md Rafi, Rajender Krishna, Ravi. 1967. Nayee Roshni
2. Haye re wo din kyun naa aaye, Lata, Shailendra, Ravi Shankar. 1960. Anuradha. Other songs of Anuradha have been quoted but not this one.
Beholding the might and finnese of your pen, I request you to consider these two topics for your future themes –
Aansoo. Muskan. I mean two separate themes.
Arvind,
Thanks for adding the two beautiful songs from Anuradha.
Shachindra Prasad,
Thanks a lot for your generous words. The two songs do fit the theme. The two themes are very interesting. We are lucky to have some readers who very generously offer to write guest articles.
Akji,
I could not find time to listen to the songs earlier. Today afternoon I skipped my weekend afternoon forty winks to listen to the songs of 52 weeks or Barahmasa. After a welcome downpour of 9 vintage songs and drizzle from the 60s, the sudden shift to the next millennium was like the scorching heat of peak summer. The concluding Meera Bhajan was very pleasing and could be compared to a welcome spring. Thanks for the time and effort devoted to search out the relevant songs and present them.
“Ghar aa ja ghir aye badra sanwariya” reminded me of a similar song from a Bengali movie Aalor Pipasa (1965). Earlier I had posted another song rendered by Sandhya Mukherjee from a 1967 Bengali Film Anthony Firingee. Here is the song penned by Kaifi Azmi.
Ghir Ayee Badaria Piya Nahi by Lata Mangeshkar, Bengali film Aalor Pipasa (1965), lyrics Kaifi Azmi, music Hemanta Mukhopadhyay
https://www.youtube.com/watch?v=Evj_Sedtq5Y
AK
Extremely superfine article and very nice to throw light on the Bollywood film’s attachment for the “Sawan” so much that Kishore Sahu gave a name to his 1949 film “Sawan Aayaare”.
Here is a song from the film “Shabanam of 1949” that may fit the title of this post.
I give the lyric that mentions many months and around the year. The song is lyric and was well acted by an actress called “Paroo” in the voice of Samshaad Begum and music by S.D.Burman with Lyric by Qamar Jalalbadi
( इक बार तू बन जा मेरा ओ परदेसी
फिर देख मज़ा ) -२
मिल जाये मुझे दिल तेरा ओ परदेसी
फिर देख मज़ा -२
( झिनकत झिनकत झिंगिलला
झिंगिलला ) -२
होय ओय होय ओय
जेठ का महीना हो भीगी-भीगी रात हो
बाजरे के खेत में पहली मुलाक़ात हो
हाय पहली मुलाक़ात हो
होय ओय होय ओय
आये जब बेसाख पिया मेले के नज़ारे हों
हाथ में हाँ हाथ तेरा आँखों में इशारे हों
जी आँखों में इशारे हों
फिर देख मज़ा -२
( झिनकत झिनकत झिंगिलला
झिंगिलला ) -२
होय ओय होय ओय
जेठ और अशाड़ में नदी का किनारा हो
पिया तेरी आँखों में प्यार का इशारा हो
हाय प्यार का इशारा हो
होय ओय होय ओय
हो सावन में झूलाऊँ झूला आँगन हो गुलज़ार का
घर-घर में फिर चर्चा हो जी तेरे-मेरे प्यार का
हाय तेरे-मेरे प्यार का
फिर देख मज़ा -२
( झिनकत झिनकत झिंगिलला
झिंगिलला ) -२
होय ओय होय ओय
भादो की बरसात में, दिल न रहे हाथ में
आयें जब पूस पिया हवा सर्द-सर्द हो
तेरे-मेरे दिलों में फिर मीठा-मीठा दर्द हो
हाय मीठा-मीठा दर्द हो
फिर देख मज़ा
इक बार तू बन जा मेरा ओ परदेसी
फिर देख मज़ा
( झिनकत झिनकत झिंगिलला
झिंगिलला ) -२
होय ओय होय ओय
कातक का महीना हो, पास न तेरे आऊँ मैं
रामा मोहे डर लागे सिमटी-सिमटी जाऊँ मैं
आघन की अंधेरी रातें करती हों जब साँ-साँ
रह-रह कर तुम मुझे बुलावो, कहती जाऊँ ना ना
मैं कहती जाऊँ ना ना
फिर देख मज़ा -२
( झिनकत झिनकत झिंगिलला
झिंगिलला ) -२
होय ओय होय ओय
ओय
पोस का महीना हो, मिल लूँ तेरे बाप से
तेरा-मेरा प्यार है कह दूँ तेरे बाप से
मैं कह दूँ तेरे बाप से
होय ओय होय ओय
माघ में तैयारी पिया, फागुन में
फागुन में
फागुन में
मैं कैसे कहूँ
फागुन में सिगाई हो
तेरा दिल करता हो यूँ-यूँ, आँख मेरी शरमाई हो
जी आँख मेरी शरमाई हो
फिर देख मज़ा
इक बार तू बन जा मेरा ओ परदेसी
फिर देख मज़ा
There are many “Hori ” songs almost all classical singers have sung.
Here is one Mr Bhandarkar may like
Girija Devi – Aisi Hori Na Khelo – Raag Pilu “Hori” on YouTube”
Shalan Lal
Shalan Lalji @71
That was a marvelous posting . You must be having a fantastic memory. Here is the link to song.
https://www.youtube.com/watch?v=7nZYaQkNQKY
Shalan Lal,
That’s hitting the bull’s eye. Hat’s off.
ksbhatia ji,
I do listen to instrumental music. .. but not as much as to the vocals. My ignorance of the classical raagas may be the reason.
My exposure to the Hollywood movies was minimal in the growing years. But, more than made up for the same during my Medical college years, catching up with the classics in their re-runs and seeing new releases. MY FAIR LADY, THE SOUND OF MUSIC, GONE WITH THE WIND,TEN COMMANDMENTS,BENHUR, HELEN OF TROY, MECANNACLEOPATRA,PSYCHO,VERTIGO,BOND( not really my favourite),ONE FLEW OVER THE CUCKOO’S NEST,EXCORCIST, THE DAY OF THE JACKAL.. enjoyed every genre. I keep up with the present day Hollywood movies,too…. the well appreciated ones.
N Venkataraman ji,
The scorching heat is here, again.
Baarah maheene mein
Baarah thareeke se
Tujhko pyar jathaoonga…
Even if you didn’t want to, you would have heard this song either at a party,or from the public address systems or during channel surfing!!!
I have collected plenty of soothing vintage and golden era songs on the theme. Shall post soon.
Till then….
Dhinka chika Dhinka chika
Dhinka chika Dhinka chika
Ye Ye Ye Ye….!!!!
AK & Anoop
I think I should give a hint. The mistake is in the lyrics and I simplify it further, it is in the mukhda itself.
Hans,
Is it in lyric writing or pronouncing ?
Mumbaikar8
How could that be in writing when the poet is Bharat Vyas.
Hansji @78
I am making a wild assumption.
Baadalo baraso nayan ki kor se
I think Kor means kinara the edge but in the visuals the tears are not flowing from the corner of the eyes.
Hans ji,
The clouds aren’t the rain carrying ones, perhaps? And, looks quite sunny,too!
I know this isn’t the answer!!
Venkataramanji & Dr Shetty
Wild guesses indeed. 😉
But the mistake is not in picturisation.
Hans @ 78
One could say that about the singer too.
Hansji,
In the mukhda, she sings, बिजलीयाँ कडको, it should have been बिजलीयों कडको.
It should a संबोधन and not प्रथमा बहुवचन
Hans,
Wild guess from me too,
नयन कि ओट से. I thought it was pronunciation but the name of the singer made me think twice.
In the matter of lyrics you cant compare a well known Hindi master with a Marathi speaking singer. Even a Hindi speaking singer is not supposed to have the language level of a poet.
Hans,
This Marathi speaking singer is a perfectionist, had almost mastered Urdu pronunciations too.
Anoop
You have hit the nail on its head. The material for detecting the mistake is available in the song itself. The second line of mukhda is sung just twice in the song. The first time she sings ‘bijliyan’ but the second time she sings ‘bijliyon’ correctly. As I said in my reply to Mumbaikar8, Lata was not supposed to correct it. It was the duty of MD.
Hans,
I agree with you that it is the duty of the MD to correct it, but I would not agree that it is only MD’s duty. I think it is the duty of all those involved to make the correction.
In Choo Mantar song Geeta Dutt not knowing her language well sang
दर्द दिया है तुम्ही दबा देना instead of दवा देना I would hold both OPN and Rafi responsible for the blunder.
https://youtu.be/Deb9agW7tgo
Venkataramanji @70,
Thanks again for your appreciation. I am happy you were able to find time to listen to all the songs. The Alor Pipasa song has the same theme as Ghar aa ja ghir ayi, but I like the latter more.
Hans @76, 85, 87, Anup @83,
Nice one. But a matter of detail regarding grammar is important: In sambodhan, the anuswar has to be dispensed with. For example she correctly pronounces बादलो, and not बादलों. Therefore, the correct pronunciation in सम्बोधन has to be बिजलियो and not बिजलियों (though this word is rarely used in सम्बोधन). In public speeches, speakers generally err in pronouncing भाइयों और बहनों, instead of the correct form भाइयो और बहनो. But this is a fine point. Nice one all the same.
Shalan Lal @71,
Thanks a lot for your appreciation. The song from Shabnam is terrific. I could count at least nine months according to traditional Indian calendar.
Mumbaikar 8 @88,
‘तुम्हीं ने दर्द दिया है तुम्हीं दबा (!!!) देना’ – Someone should have taken care of this. Geeta Dutt had language problem. Were they all deaf?
Anup @ 83
Well done , you got it.
अपना क्या हैं no discrimination shoot equally in dark in all the languages 🙂
AK,
Exactly, deaf or indifferent?
AK
You are right about the sambodhan. I was about to write to Mumbaikar8 that this error was pardonable when both the singer and MD were non-hindi speaking. But mainly this error occurred because Lata had dispensed with rehearsals in early 60s except for 2 or 3 MDs. The lyricist was called for at least one rehearsal in normal cases and Bharat Vyas could have taken care of that if Lata had participated in it.
You are right about the netas corrupting the language. The famed Gujarati call of ‘mitron’ is commonly talked about.
Mumbaikar8
Language connected errors always creep in those who do not practice it from the start. Rafi had a panjabi tinge in his early hindi singing which was corrected by Naushad. To those who did not have close interaction with panjabi speaking people, Rafi’s panjabi tinge is not even discernible. I did not call it a blunder because both the singer and composer were not hindi speakers.
Regarding ‘tumhin dava dena’, have you believed in some story or listened it yourself and detected it. I would request you to listen it carefully. You would find that Geeta had in fact said ‘dava’. Her hindi pronunciation was always under cloud. But, even if she had said ‘daba’ Rafi was hardly concerned because the Geeta part was recorded separately and interpolated as a dream scene. Even in a duet in which both sing along the other singer is focussed on his own part.
Check out the texts of the antaras of the following bandishes:
1. ‘Badarwa barasan laagi’ in Sur Malhar, sung by Bhimsen Joshi. The antara starts at 17:57
https://www.youtube.com/watch?v=R8e4ALyi3cM
2. ‘Paapi dadarwa bulaaye’ in Gaud Malhar by Ulhas Kashalkar. The anatara starts at 3:22.
https://www.youtube.com/watch?v=JdrhciZXshU
I was about to ask whether Bharat Vyas wasn’t around. The lyricists those days were normally present during the recording. You answered it.
To my ears,too, Geeta sounds like singing ‘ daba’!
Lata, having been tutored to pronounce the ‘q’ s in Urdu properly, always seems to be self conscious and stressing the ‘ q’ in Haque,shaque,quawb etc.
Thanks AKji for the correction. I’m obviously not good at Hindi. And didn’t know it.
I left it way back, in 7th standard and went with full 100 mark Sanskrit from 8th. And retained it till 12th. So Hindi writing, I’m not comfortable with!
and I’m apprehensive while writing the देवनागरी लिपी for the lyrics.
Still, I go on writing it, thank God, you haven’t found errors in my posts.
In Bharat Vyas posts, I had posted lyrics of many songs in Hindi.
Always fearing about the possible mistakes there.
OK.
Thanks for the information. And you have a point there.
and when I listened to the link, it sounded like दगा.
All of you plz listen to it again.
But I always find mistakes in pronounciations by Geeta Dutt and Hemant Kumar.
So faulty
Dr. Sheety;
Continuing with some more songs…..
Megha Chhaye Aadhi Raat…..Lata…Sharmeeli….SDB
https://www.youtube.com/watch?v=2aQDjbwc-v8
Mere Naina Sawan Bhadon | Lata Mangeshkar | Mehbooba 1976 ..RDB
https://www.youtube.com/watch?v=0InAY07FRi4
AK ji, N Venkatraman ji ;
I was looking for some rare old / vintage songs….got these …hope they fit the bill.
Aaj ki kaali ghata…..Geeta Dutt…Uski Kahani [1966]…Kanu Roy
https://www.youtube.com/watch?v=fKWEUwR0Lqw
“Ghata Ghanghor Ghor Mor Machawe Shor…” by Khursheed.
Film: Taansen-1943. Music: Khemchand Prakash.
https://www.youtube.com/watch?v=ooca0obQI-s
O Ashaad Ke Pehle Baadal -Manna dey , Lata … Kavi Kalidas…SNT
https://www.youtube.com/watch?v=3fGh6McOX9s
…..to be contd.
Anup @99,
Without meaning to labour the point, no अनुस्वार in सम्बोधन has come from Sanskrit grammar. As a matter of fact, since तत्सम words were one of the mian sources of Hindi, many concepts of grammar, such as संधि समास and अलंकार (such as उपमा, यमक, अनुप्रास etc.) have come from Sanskrit.
Mumbaikar 8 @88, Hans @96, Dr Shetty @98, Anup @101,
Now this is getting intriguing. Hans heard it as दवा; if correct, the case collapses. Dr Shetty (and I too) heard it as दबा, and Anup as दगा. This makes it a doubtful case, and the confusion is either because of the quality of recording, or Geeta Dutt not taking care to pronounce each word and syllable clearly, or for all we know, she did say दबा, because of her strong Bengali conditioning. Devdas is ‘Debdas’ there, and Ravindrasangeet is ‘Rabindrasangeet’.
Ashwin @97,
First of all, thanks for posting these two links. Bhimsen Joshi’s Sur Malhar is one of my greatest favourites. DD Archives have its video recording, and watching Pt Joshi submerged in the cloudburst of the raga was a divine experience. In pre-Internet days one did not know when DD would show it again, and every time one chanced upon it was a stroke of great luck. In the context of the discussion, yes in बादरवा बरसन ‘लागी’, baadarwa being obviously masculine gender, use of ‘laagi is wrong, ‘laage would have been correct. But frankly I had not noticed it until today when this is highlighted. This cheez (to borrow your expression) was beyond such grammatical nitpicking. If there is such discrepancy in Pt Ulhas Kashalkar’s bandish, it is unnoticeable.
Ashwinji ,
@3, 5, 29 & 97
Thanks for the wonderful songs and Bandishes. All the three Bandishes , two in Gaud Malhar and one in Sur Malhar were connoisseur’s choice. Especially loved listening to Bhimsen Joshi’s Gaud Malhar.
Further, you have posted songs of four seasons from Hamdard (@3) & Jhanak Jhanak Payal Baaje (@29). Manna Dey & Lata Mangeshkar have rendered one more song on the same theme, representing three seasons. Grishma Ritu, Varsha Ritu & Vasant Ritu.
Ek Rutu Aae Ek Rutu Jaae by Manna Dey & Lata Mangeshkar, film Sau Saal Baad (1966), lyrics Anand Bakshi music Laxmikant Pyarelal
https://www.youtube.com/watch?v=UFXMazdxgUE
I thought this song together with the two posted by you would be a nice “ritu” trilogy. But there is one more. Thus as of now it becomes a quartet. It is a solo by Lata Mangeshkar, covering Vasant Ritu, Varsha Ritu and I assume the last part represents Hemant Ritu since Deewali is celebrated in this Ritu. And end of the each Pankti, the lyricist Bharat Vyas returns back to the Viraha Ras.
Rut aaye rut jaye rut aaye rut jaye by Lata Mangeshkar, film Sahara (1958), lyrics Bharat Vyas, music Hemant Kumar
https://www.youtube.com/watch?v=oQbIIIMwTOY
Akji @ 104, 105
Oh! not that I’m a Sanskrit Expert either! 😉
All the knowledge of the grammar has washed away by now. I can just form very simple sentences in Sanskrit. Though I was good at it in school days. But this Anuswar being lost in Sambodhan has skipped my memory bank. My brain showed “no results found” when I tried to remember that!
O M G! How embarrassing is that!
And About Geeta Dutt, I think what you say, sounds fitting enough. Devdas turns ‘Debdas’ and so on…………..
Also bad audio recording could also be a factor for sure. The actress who lip syncs tp it, also says something different or so it seems. It doesn’t match.
I’ll try for an audio clip.
It has somewhat clear audio
https://www.youtube.com/watch?v=Yra71g9feHg
at 03:45, the words appear
listen to it.
And ,
I found one more Marathi songs to add to it. It describes the beauty of Shravan Maas, (Sawan Ka Mahina) and the lush green color it imparts to the nature.
Sung by Asha Bhosle, Music by Shridhar Phadke
It’s one of the most famous non film Marathi songs by Asha Bhosle.
It’s from the album Rutu Hirwa (The Green Season)
https://www.youtube.com/watch?v=6fw1mcq7ntc
The video is not impressive at all, It’s rather not worth watching at all.
Dr Shetty
I dont think Lata was conscious about ‘q’s or anything after the initial period. For the first few she really worked hard. In Hindi language the ‘nukta’ was not important and most of the top MDs were from hindi speaking areas. So if Naushad stressed on nukta there were many others who said otherwise.
AK has pointed out a very important thing about ‘va’ being spoken as ‘ba’ in Bengal. I think in quite a big part of Bihar, Jharkhand and Odisha also people say ‘ba’. But Geeta was songing hindi songs for quite some time and knew the difference and that was an era of multiple rehearsals so she knew that it is dava. Only reason she sounds like that to some friends is that Geeta sang some words with a peculiar jhatka and this ‘dava’ was squeezed between ‘tumhin’ and ‘dena’. So her jhatka makes it sound like that to some. The link below is a lot clearer.
https://youtu.be/Deb9agW7tgo
An unusual Ritu reference where an infant is compared to the seasons.
BHABHI KI CHOODIYAN,1961.
Mera nanha Kanhaiya ghar aaya re
Mera jeeya sahaj harshaye re…
….
Last antra:
Tu Vasant,Tu Sharad suhaawan
Tu Phagun hai,Tu hi Saawan
Hari ki Vardaan ki tujh par
Rahe susheetal chaaya re….
Lata, Pandit Narendra Sharma, Sudhir Phadke.
Jyothi kalash chalke…. for me is the Best dawn song of Hindi movies.
Regarding bandishes posted by Ashwin I have something to say. I agree with AK that for these bandishes by the masters grammar is not important. For the hindi we know, the grammar adopted is that of khari boli which is spoken in and around Delhi. But various bolis of hindi like braj, bhojpuri, awadhi etc have different sets of grammar. These bandishes may be based on any of these. In Rajasthan in area nearer mewar sentences end with ‘i’ at the end whether it is male or female.
About the second one. We lived in Charkhi Dadri for a long time. My father who knew urdu and persian well, once told that the word daadar means jheel and the name Dadri has come from it because the area was low lying and there was a big jheel in that area. So the word daadarwa may be some adaptation of baadarwa. I would have tried to look in the hindi and urdu dictionaries, but I am out of station.
Anup ji,
A vintage era Marathi song:
AMRIT MANTHAN,1934.
Rutu Vasant aalaa….
Music: Keshav Rao Bhole.
https:// youtu.be/ P4MQjTNOZms
Fast forward 3 decades.
SUBHADRA HARAN,1963.
Vasant Rutu aalaa..
Asha Bhonsle; ?; Prabhakar Jog.
https:// Youtu.be/ PwZ_GMF_Dd4.
Of course,both were simultaneously made( ? dubbed) in Hindi.
Hans ji @ on various inputs ;
Hats off to your in depth knowledge …..moreover linking it to past makes it most interesting . To me it becomes a recall of travel show of the area like khari boli where we use to shop for garam masalas and many other items in the late 50s ….shopping till our car’s dickey was full . More interesting was continuous playing of songs on Radio along the entire street. The gramaphone speakers used to play …..sir jo tera chakraye….to attract people to buy oil .
Yes those were the days when lorrie , Tonga , cycle rickshaw , scooter ruled the street . Ample space was available for pedestrian and cyclists .
To continue with the songs , here are a few ….
MORE NAINA SAWAN BHADON ……..LATA….VIDYAPATI 1964…..V Balsara .
https://www.youtube.com/watch?v=Ai0vUJ2GZ9s&t=75s
Naina Barse Rim Jhim……Lata Mangeshkar….Woh Kaun Thi…MM
https://www.youtube.com/watch?v=RURaAWQ1hF0
…..to be contd….
Thanks Dr shetty
The songs are nice ones.
Though the links were not working.
Here are the links
Subhadra haran
https://youtu.be/PwZ-GMF-Dd4
And
The one from amrit manthan
https://youtu.be/p4MQjTN0Zms
Dr Shetty, AK rightly calls you recall master. First Shalanji’s song from Shabnam and this one are great examples of recall power. I had earlier listened to this song 2-3 times but failed to remember that.
But why dont you try posting links. It is easy via phone also. Go to the song, press on the 3 horizontal dots then select share. It will bring forth some options from there select copy link. Then go to the comment box and keep pressing the finger where you want the link. Then select paste.
Bhatiaji
Thanks for the encouraging words. I have this knack of remembering stories when the context comes. Now at the mention of khari baoli, I remembered the story told by a colleague who was with me when I was posted in RGI. He and his parents were among millions who came across from Pakistan at the time of partition and were in dire straights. He told me that his father had no money and would take a bag of sugar – which was in great demand – from the wholesaler and sit in front of the shop and sell the sugar at the rate the shopkeeper told him and deposit the whole money with the shopkeeper. My colleagues father got the empty bags and one kg of sugar. His father sold more than 20 bags of 100kg each by the evening. These empty bags fetched him 8 annas per bag. His father earned about 400 rupees per month, which was a huge amount in 1947. He soon set up a small kiryana shop of his own which he later expanded. My colleague told that his father later set up a small factory. The shop and factory were looked after by his two brothers and he being the youngest went to school and got the govt. job.
Hans ji,
Every time I try,it is okay till ‘ copy link’. Says ‘ copied’. I then go to the comments box as suggested. Absolutely bewildered what to do then! Always wonder where the ‘ copied’ is!
This week,will learn from someone tech savvy….. certainly will I.
Two different moods from the same movie…. shouldn’t be difficult to search.
RESHMI RUMAL,1961.
Raja Mehdi Ali Khan, Babul.
1. Manna Dey ,Asha Bhonsle.
Zulfon ki ghata lekar. Sawan ki pari aayee
Barsegi tere dil par
Hans hans ke jo leharayee….
2. Talat Mahmood
Jab chaaye kabhi Sawan ki ghata
Ro ro ke na karna yaad mujhe
Ae Jaan e tamanna gam tera
Karde na kabhi barbaad mujhe..
Dr Shetty
When it says copied, then it is copied in phone memory. If you now go to the comment and keep the finger pressed then options will appear. You select paste option and it will be pasted in the comment box. First try it in the empty comment box. If it appears then you have got it.
It is long time since I posted any song. I post some of the male songs. In some songs bahar and khizan (urdu for patjhad) were used as contrasts.
1. Baharon ne mera chaman loot kar khizan ko ye ilzam kyun de diya
https://youtu.be/EO8M-Tz69WA
2. Zuban pe dard bhari daastan chali aayi bahaar aane se pehle khizan chali aayi
https://youtu.be/aqwXLAZSLHc
3. Khizan ke phool pe aati kabhi bahaar nahin
https://youtu.be/_Uj2ZMl2_yo
Now look at these twin songs. In one barkha is called ‘rani’ and in the other it is called names like ‘bairan’ and ‘paapan’.
In the first one two pairs are dancing in rain, one of them future husband and wife.
https://youtu.be/dF1mOl5cD0k
https://youtu.be/N-sSiBsqDn0
A great post that has brought out so many beautiful songs .
I add one more song that I feel should fit in here , – from Ratan (1944) , singer ZohraBai Ambalewali & chorus, MD Naushad
RUM JHUM BARSE BAADARWA
https://youtu.be/VWhBhh1vV6I
Can’t believe it! I had bundled the first three songs with the AAP KI KASAM beauty
Zindagi ke Safar mein guzar jaati hai jo maqaam…
…..
Phool khilte hain
Log milte hain magar
Patjhad mein jo phool
Murja jaate hain
Woh baharon ke aane se khilte nahin..
…..
And, the classic NAI UMR KI NAI FASAL,1965.
Rafi,Neeraj, Roshan.
Though khijha/ patjhad isn’t mentioned, the lines convey the same image.
Swapan jhare phool se
Meet chube shool se…
…..
…. Bahaar dekhte rahe
Caravan guzar gaya…
….
Umr ke chadaav ka uthaar dekhte rahe..
….Lut gaye kali kali ke….
….Odh kar khafan pade mazaar dekhte rahe….
Barkha Rani zara than ke barso….is among the several songs I’ve jotted down, but had absolutely no idea about the second song.
Long time ago, in Ask Me ( Shatrughan Sinha’s column in Filmfare) , I used to win the Best Question prize regularly. But, the first time I won was for a question about the same song.
I asked: While watching the song,I was reminded of The Beauty and The Beast.
He replied: Doctor Saab,I thought you were a gentleman. But, calling a lady a beast…..!!!???
AK, Venkatraman @72, Mumbaikar @73 and other,
I am very happy that so many veteran SoY commentators have joined in praising the Shabanam song I mentioned.
In certain way the quoted song might have been inspired by the Shantarma film “Aadmi 1939” as the another Shabanm song “Yeh Duniya Hai Roop Ki Chor” in many languages certainly inspired by the multi languages song from the film “Aadmi 1939” “Ab Kis Liye Kal Ki Baat?” from .
So I now propose for this post another song in the voice of child actor Vasanti i.e.“Bharat Sab Se Aalaa, Har Mahine Mein Rang Nirala” from the film “ Duniya Naa Maane” 1937. This film was a Hindi version of the Marathi film called “Kunku”. Both versions became very famous. The lyric tells what happens in every month in India.
The original song is in Marathi and Munshi Azij composed it in Hindi as close as the Marathi version.
For a while Vasanti acted as child actor in many films of Ranjit and other companies films.
I am trying to find the lyric but could not find so far. The Marathi version is available but so far could not access it.
I am glad that the SoY members are getting in Marathi songs as well.
Shalan Lal
And also…
Mili khaak mein Mohabbat
Jala dil ka aashiana…….
….
Ye bahaar kaisi aai
Jo fiza bhi saath laayi
Main kahan rahoon Chaman mein
Mera lut gaya thikhana…
CHAUDHAVIN KA CHAND
Please read as khijha in place of fiza.
Hans, @ 96
I had come to conclusion after listening to it very very carefully but as AK says the division is 3:2 that makes it very doubtful, but I would still go with दबा but as you think it is दवा, no point of debating if Rafi was at fault or not.
“Rafi was hardly concerned because the Geeta part was recorded separately and interpolated as a dream scene“
I do not think it was recorded separately .
In this album played at Radio Ceylon it sounds like perfect duet
https://youtu.be/daHV5ZH6o6g?t=1639
AK @ 106 & Hansji @113,
I was sure there was going to be a comment on the usage of ‘laagi’ with ‘baadarwa’ and I was not disappointed :). I do agree with both of you that this minor transgression can be overlooked, coming as it does in a masterpiece of a rendition by a master like Bhimsenji. That said, I am sure both of you would have noticed the non-trivial degree of distortion, though not consciously done, of the lyrical content of ‘bandishes’ in performances of the ‘khayal’, the dominant genre of vocal Hindustani Classical Music. This phenomenon stems from the fact that over the last 75 years or so, regions from the non-Hindi-speaking belt, primarily Maharashtra, Goa and Karnataka, have become the bastions of HCM/khayal with the consequence that an inordinate majority of performing musicians, and therefore the maestri, are artistes whose mother tongue is not Hindi or any of its dialects, and thus they end up mispronouncing/distorting the text which is largely in Brajbhasha, While I do believe that in our raga sangeet, the musical content is more important than the lyrical content, distorting the text is not acceptable and in my view, musicians should take pains to ascertain the correct text of a ‘bandish’ before performing it.
Venkataramanji @ 107,
I am pleased that you liked the musical pieces that I posted. In fact, I was going to post ‘Ek ritu aaye’ on Sunday night but I couldn’t and you beat me to it. The 2nd song in the medley – in Abhogi – is a great favourite of mine and Lata’s handling of it is ‘apratim’, as they would say in the city that I left behind to come to Boston. I hadn’t heard the ‘Sahara’ song before but quite honestly, I think it pales in comparison to the other songs in the group. It pains me to make this statement because I regard Hemant Kumar very highly as an MD but hey, even the great ones have their not-so-great creations, don’t they?
Bhimsenji makes amends by using ‘laage’ with ‘badariya’ in this bandish in ‘Chhaya Malhar’; that said, it looks like ‘badariya’ was not supposed to be there in the bandish in the first place, going by what Rajan Parrikar has written on his blog.
https://www.youtube.com/watch?v=fsiowd3BFVE
https://www.parrikar.org/hindustani/tale-two-malhars/
S Joseph,
Thanks a lot for your appreciation. I have mentioned Rumjhum barse baadarwa in the write up of the post.
Ashwin @130,
Oh no, Panditji makes over-correction which is equally bad. If बादरवा is masculine and the verb should be ‘laage’, बदरिया is feminine gender and ‘laagi’ would be correct. I agree with you @128, that the artistes should take care that they don’t commit glaring mistakes in grammar and phonetics.
Dr Shetty
It seems telepathy is at work. When I compared to Bhatiaji one of the reasons was our common likings. Rafi songs from Nai Umar.. and CKC are my favourites, but I like to post in groups and Rafi songs always come in a group for me. You have caused a cut in that list, but Rafi always has plenty in any category.
Your mention of Shatru-Filmfare shows your varied prowess. Kèep telling such things they are enjoyed by almost all.
I am yet to hear a song harsher than the baddua song from AAYE DIN BAHAAR KE.
Meri Dushman tu meri Dosti ko tarse
Mujhe gam denewale tu khushi ko tarse..
….
Tu phool bane PATJHAD ka
Tujhpe BAHAAR na aaye kabhi…
…Tere Gulshan jiyada VEERAAN koi VEERAANA na ho…
Is duniya mein koi tera apna toh kya
Begaana na ho….!!!
This, when the heroine had sung paeans to the Bahaar in the lovely title song.
One more song from the same movie makes jhikr of bahaar.
Phoolon se mukhdewali
Nikle hai ek matwali…
Khudaya Khair….
…..Kya haal nazaron ka hoga
Kya rang baharon ka hoga….
Just curious! Any of you know a more curse full song?
The Shalimar Lata song…
Aaina wohi rehta hai…
looks so sweet in comparison.
….
Dekhna ek din Royega mere bin
….tu bhi tadpega Yoon..
…..Yaad rakh Bewafaa Ye meri baddua
Tune jiske liye mujhko dhokha diya
Woh teri dilruba legi badla mera….!!!
Shalanji
When I first found out Shabnam songs this song you mentioned I listened a number of times at a stretch, but I could not recall it. Duniya Na Mane was one of the films when Doordarshan telecast a series of famous Directos/Producers.
The song you mention is partly available and I give here the link.
https://youtu.be/CSVQdOPpPvE
Shalan Lal ji,
Having earlier posted the recitation of The Psalms Of Life by Shanta Apte from DUNIYA NA MAANE, your mention of the Vasanti song started the thought process in my mind telling me I’ve come across this song.
Well… I, indeed,had!
Please type Bharat Shobha mein hai sabse aalaa_ DUNIYA NA MAANE_ 1937_ Vasanti K Bhole on YouTube and you have it!
Vasanti K Bhole must be the daughter of the composer Keshav Rao Bhole, going by the initials.
Bharat Shobha mein hai sabse aalaa
Har mahine mein rang nirala….
DNM also has another song mentioning Bharat Maata, Saawan, Bhadon… leading to Aayee Diwali….
Saawan jhoola jhool ke nikla
Bhadon ki aai bahaar
Nanhi Nanhi boondon ki bauchaar
Kali kali ko karti hai pyaar….
Shanta Apte,Vasanti K Bhole; Munshi Aziz; Keshav Rao Bhole.
Hans ji @133;
Your Good is Better and Better is Best . Kind people are Best kind of People. They Think alike ….and kindness never ever wasted .
Now a Sad song with different sawan ….listening after many years gap.
DO BOONDEIN SAAWAN KI – ASHA (PHIR SUBAH HOGI 1958)-SAHIR…KHAYYAM
https://www.youtube.com/watch?v=8CtTJ8KvS_Y
….to be contd.
Hans ji ;
Posting one of your favorite song…..
Teri Duniya Se Door – Mohammed Rafi, Lata Mangeshkar, Zabak, Chitragupt
https://www.youtube.com/watch?v=hGuHno7cHFk
The link to the song mentioned by Dr Shetty is here. This is only audio versian.
https://youtu.be/lnKQFN43cSc
Hans ji’s link is to the duet. The song Shalan Lal ji is looking for: https:// youtu.be/ InKQFN43cSc
Oh! I am late by one minute!
But Dr Shetty you tried the link. Post the link in a new line or after full stop and soace. Best thing is the new line.
Bhatiaji
The first song which came to my mind with virah and barkha was ‘raton ko chori chori’ and I have not yet posted it. I do not find this sad + virah tinge in any song.
https://youtu.be/zBiMLZhPT2Q
Mumbaikar8
Though I said the Geeta antara was separately recorded, yet I had mentioned that Rafi would not be to blame if the song was recorded as a duet, because the other singer is focussed on his own part while recording. I know the senior singers always gave suggestions at the time of rehearsals but it was always entirely MD’s final decision. Why should Rafi be to the blame when he is not given any credit for thousands of correctly recorded duets for which only MD is given credit. Only that person who gets credit should get blame. This was the analogy forwarded by Rafi at the time of royalty controversy.
The song you posted from Radio Ceylon is incomplete and broadcasts by
stations cant be solely relied upon. Otherwise also duets are principally of two types. Most of the duets present singers singing mukhda alternately or in sync or partly both. They sing antaras also alternately or separately or in sync. But there are duets where both singers sing separately and never in sync or conjunction. Meri Surat Teri Ankhen was a film when Lata was roothi-roothi behan of her Rafi bhaiyya. But there was a duet ‘tere bin soone nayan hamare’. This was separately recorded but on radio it comes only as a duet. There are many other examples you must know.
Hans ji;
I am following the discussions raised on pronunciation of words rendered differently as per identity of singers belonging to different states . I think as long as we are enjoying the song or the composition such minor points becomes irrelevant .
Enjoy these three non filmi songs which are excellent in composition and rendition . I know they have certain issues in them too….but keeping aside such matters ….. and see how less known composers hit the chords.
Asha Bhosle (non film)- Ambuwa Ki Daari Bole Kaari Koyaliya
https://www.youtube.com/watch?v=_hEbDiTqjqM
Geeta Dutt : Haule haule hawa dole : Non-film song
https://www.youtube.com/watch?v=ndoxnS7lLDc
Geeta Dutt : Yeh hawa yeh fiza yeh baharein…. : Non film song
https://www.youtube.com/watch?v=8CPI_DqTQPY
This third song I am hearing for the first time ….and I bowled over by its dream like melody ….once again by V Balsara .
Ashwin & AK
Regarding this last song ‘badaria barsan lage’ I do not know anything about raags. But various masters hardly are unanimous in anything. But I dont understand Parrikar’s view that a bandish can not be modified.
Regarding AK’s stand on whether it should be laagi or laage with badaria, I generally agree with him. But in spoken and sung language there are variations and some liberties are taken. When there is badaria, if it starts raining then it is said ‘barsan lagi’. But there us a stage where the rain has not started but is about to start then the word ‘lage’ can also be used. Here it is the short form of ‘lagegi’. This is my view. AK is hindi scholar. Let us see what he says.
Dr Shetty
On your query regarding the harshest baddua or damning song I would agree with you about ‘mere dushman’. I had on Talat NFS post mentioned this one as well as some other songs and posted ‘tera bhi kisi pe dil aaye’ from ‘ek sapera ek lutera’. That is quite damning. In Khilona also in ‘khush rahe tu sada’ though he pretends giving dua but he actually damns his beloved so much that she commits suicide. There is similar song in ‘ye raste hain pyar ke’. This is the second part of ‘koi mujhse poochche’ which you can easily find.
Let us have some garmi songs. I posted a couple of june ka mahina songs. Now look at this the male wants chhaon ‘daal bhi de palkon ki chhaon’ and in the second one the female wants pagdi ki chhaon.
https://youtu.be/fYNbRAPmmQQ
https://youtu.be/CjRerk70JsQ
Now this one ‘kali ke roop men’ from nau do gyarah where Dev throws his hat for chhaon but she first takes then throws it back
https://youtu.be/JAzkxxxmT38
Now this song from Amanat ‘teri jawani tapta mahina’ which heard for the first time in a June 1971 marriage in a village. It matched with the mausam and still offered delight. The film came late in 1975 and I saw it in 1977 and disappointed despite its great music.
https://youtu.be/RncN_Z9SUbQ
This pair from Main Sunder Hoon cant decide whether it is sardi or garmi.
Mujhko thand lag rahi hai
https://youtu.be/J81b4tbJj1E
Bhatiaji
Your comments on the discussions on the pronunciation is in sync with your general positive outlook.
The NFS are all great and absolute fit to the theme. Like you, the 3rd I am listening for the first time.
Hans @146,
Your superfine distinction on the basis of the stage of raining goes over my head. To me, the two forms बादरवा and बदरिया are dichotomous on the basis of gender, the former being masculine, and the latter feminine. The verbs have to follow the noun, therefore, with the first it should be बरसन लागे, and with the second it should be बरसन लागी. This should not be affected by whether the rain has yet to start, or it has already started raining.
@148,
Nice to hear summer and winter songs. Most of songs other than rain or cloud songs, seem to be funky.
Ms. Shalan lal, N Venkatraman ji;
There are many Raaga based Shabads in Gurubani and they all are treat for the blessed ones . In all 31 raags are there in which shabads are recited . It takes many years for raagis to master these shabads . What you hear on live punjabi PTC chhanel are the cream of raagis that are perfect in rendition .
Two Shabads here for blessed ones…..
Baras Ghana Mera Pir Ghar Aya – Raga Malhar
https://www.youtube.com/watch?v=31DKkNd4FJ0
Mohay Machalee Tum Neer
https://www.youtube.com/watch?v=zA4RU61hdDs
Dr Pradipkumar Shetty @136
Many thanks for your contribution to the song “Bharat Sab Se Alaa…” from the film Duniya Naa Maane 1937.
Is it possible for you to get the lyric of this song in Devnagari that will show the connection to Barahmas?
I cannot write Devnagari as I was taught in a convent school. But I was encouraged to talk in both Hindi and Marathi by my grand father telling me that if I did not do so I will be beaten by some angry nationalist.
One thing about your statement that Vasanti was a daughter of Keshavrao Bhole. It is incorrect according to my information.
Bhole was Music Director of couple of Shantarma’s film. He was married to a Bhavgeet Singer called “Jyotsna.” Whether he had any issue is not known.
Vasanti was the daughter of Sardar Ghorpade in whose house the silent Film company called “Prabhat” started in Kolhapur. Ever since she acted as Child Star in Prabhat films.
If she is still alive one does not know.
Shalan Lal
AK
I did not expect this reply from you. I consider you a better hindi scholar than me. In usage there are so many variations in spoken language. If we further discuss the matter here it would appear like a tutorial. So we may suspend the discussion till we meet.
Now I would focus on songs of your liking viz. bahaar and barsaat.
Bhatiaji @ 151
Thanks for your information about Ragas in the Granthasaheb. I totally agree with you. Most of the Gurus who contributed to the Granthasaheb were expert in ragas and also lyric writers of the hymns.
Most of the Sundays here in London a radio program in the early morning plays some Ragas based hymns of the Granthasaheb I take care that I do not miss them.
I believe by their nature the Ragas are time based musical activities and also their origin is in the various seasons which needed Vedic people to invoke natural phenomenon which they believed as Divine.
Thanks for your contribution.
Shalan Lal
Rafi solos with bahaar
1. Aane se uske aaye bahar
https://youtu.be/Vw6eUkKxUyE
2. Pukarta chala hoon main
https://youtu.be/fPn0FFtnhn8
3. Ae phoolon ki rani
https://youtu.be/svpl_Q6p9QI
4. Poochhe jo koi mujhse
https://youtu.be/oWIdJju2roc
5. Jab jab bahar aayi
https://youtu.be/zrKOev8F0SM
Barsaat or saawan with Rafi
1. Zindagi bhar nahin bhulegi
https://youtu.be/uqHoALKGmLs
2. Haye tabassum tera
https://youtu.be/NbhB_3eX1tM
3. Sawan ke mahine me
https://youtu.be/LAq13Iy5GDU
4. Aaj ki raat badi shokh
https://youtu.be/uiInuiuZ0_A
5. Dekho bina sawan baras rahi
https://youtu.be/zQu72fdaLRU
Barsaat/Sawan duets
1. Rim jhim ke geet sawan gaye
https://youtu.be/ZNgWVgG9n9g
2. Sawan ka mahina pawan kare
https://youtu.be/S0H7AFi_4Gw
3. Badra chhaye ke jhoome parbat
https://youtu.be/GWqYAaKKyf4
4. Jhilmil sitaron ka aangan hoga
https://youtu.be/uex2GnRrqFU
5. Chha gaye badal neel gagan par
https://youtu.be/pfmTDM9jfLI
AK ji , Hans ji , Venkatraman ji …..;
Knock knock on Antique door for Vintage songs….I love antique doors specially the one which carries english/ euro hardware ….decorated with beautiful wrought iron or brass handles , ties and very beautifully designed knockers. The one that produce cricket like sound while closing…. adds to suspense on what surprise lies on the inner side . The one that have shrunk over the long time….and lived their life…leaving a slit in closing position to get glimpse of what the room holds .
I simply love Farmer’s decoration which is quite popular in america now a days . Visiting The Antique Shops and Stores is a pleasure….. it serves as a museum too . In my last vacation I did shopping at…Hobby Lobby Store ….for my antique and vintage selection of art for my room . Opportunity does not knock twice …..if opportunity does not knock , build a door. So buy first hand ….well my policy !
Behind the Doors are some hidden songs ….and they are…..
JAWAANI (1942) – Aayi basant ritu madmaati – Surendra & Husn Bano
https://www.youtube.com/watch?v=DgH0kHmeEBI&t=71s
Service Limited / Seva Samaj 1939: Main saawan ki badli rim jhim rim jhim (Maya Banerjee, Surendra]…..
https://www.youtube.com/watch?v=oNhg08tpX5Y
KAHE AKELA DOLAT BADAL- SURENDRA- FILM- GRAMOPHONE SINGER(1938) MD-ANIL BISWAS LY-JIYA SARHADI
https://www.youtube.com/watch?v=I3r4nSeOSIo
Sadhana 1939: Saawan aaye ya na aaye piya ghar aaye saawan hai (Harish)
https://www.youtube.com/watch?v=C88-S6JoQ1Y
….Now , Everyone knows about a song with same lyrics , well almost ….and even tune very close.
Film Dil Diya Dard Liya song Sawan Aaye Ya Na Naushad/Rafi Sahab , Asha …..
https://www.youtube.com/watch?v=HjaWdymhIYc
…..will try for more vintage songs .
Shalan Lal @ 152,
Your comment ‘He was married to a Bhavgeet Singer called “Jyotsna”‘ does not do justice to the stature of Jyotsna Bhole. The fact was that besides singing bhavgeet, she was an enormously successful and popular singer-actor on the Marathi stage for over three decades, as well as a reputed perfomer of Hindustani Classical Music.
Please read ‘besides being a bhavgeet singer’ in place of ‘besides singing bhavgeet’
Ashwin B @ 159
Thanks for your additional information about Jyotsna Bhole.
I totally agree with you about her rich contribution in Marathi Bhavgeet and also on the Marathi modern theatre that was different from the Marathi musicals of the masters like Dinanath Mangeshkar, Bal Gandahrv etc. But I did not know that she contributed to the Hindustani music.
Thanks again.
P.S.:
I hope you are enjoying the spring in Massachusetts as it is very famous for it is Spring and Summer as we are now talking about seasons in the Hindi film songs.
Shalan Lal
Venkatraman ji , Hans ji;
Shankar jaikishan ….Thank you for choosing me as passionate listener of your god gifted music . On Barkha / Bahar and some more sub derivatives …they created composition that still rules the heart …and listening to them over some gaps is a great feeling. Calm mind brings inner strength….that is important for good health.
ZINDAGI BAHAR HAI-LATA-FILM- NEW DELHI(1956)
https://www.youtube.com/watch?v=LgiYFspSwpY
Hum Se Na Poocho – Kali Ghata 1951 – Lata
https://www.youtube.com/watch?v=JxXgkrbj-cY
O MORE SAANWARE SALONE PIYA- LATA- FILM- KANHAIYA(1959)
https://www.youtube.com/watch?v=DmkjemRdy-o
mera dil ab tera o sajan..Lata — Dil Apna Aur Preet Parai1960
https://www.youtube.com/watch?v=BDnYcFV853M
Bagad bam bam bam baje damaroo….- kathputli- lata -….
https://www.youtube.com/watch?v=6R2YbSuuMYo
…..to be contd.
In continuation…..
Ni Baliye Rut Hai Bahar Ki (HD) | Kanhaiya…Mukesh…Lata
https://www.youtube.com/watch?v=4H_u4EQboVc
kali ghata ghir aai re..Kali Ghata1951_Lata _Rafi
https://www.youtube.com/watch?v=gdaWrxV4gdg
MANZIL WOHI HAI PYAAR KI-SUBIR SEN….KATHPUTLI 1957
https://www.youtube.com/watch?v=LhIFZ12N85Y
aaye bahar ban kar..Rafi…Rajhath
https://www.youtube.com/watch?v=9WTFX75Z4fM
……longing for more….
Shalan Lal @ 161,
It’s still cold and wintry in Massachusetts though the sprinkle that we received last Friday night might have been the last of the snow for this year.
Here is a link to a rendition of Raga Shyam Kalyan by Jyotsna Bhole:
https://www.youtube.com/watch?v=1WJCbeuygJY
The raison détre !?:
https://www.youtube.com/watch?v=S4MQ5QbDkuA
(Bahaaron mera jeevan bhi sanwaaron/Aakhri Khat/LM/Kaifi Azmi/Khayyam/1966)
Sakhi ri chitchor nahin aaye:
https://www.youtube.com/watch?v=xpTR6bAysJM
(Jogan/Geeta Dutt/Pt. Indra/Bulo C Rani/1950)
AKji,
Back after a five days. It looks as if I have been away for a long time. And pleasantly surprised to find that the post has crossed 150 comments and still going strong. Pradeepji alone must have contributed the most by way of comments and songs. Listened to the songs posted by Bhatiaji, Hansji and others. And the discussions have veered from grammar & diction to anecdotes etc etc.
Ashwinji @129,
True, even the greats suffer a bad day at office. I do agree that the song from Sahara cannot be matched with the other songs of the genre. Since the song went with theme, I posted it. Thanks for introducing Jyotsna Bhole and posting her rendition in Shyam Kalyan.
Shalanji,
Saawan jhoola jhool ke nikla Bhadon ki aai bahaar is a great addition. Thanks to Hansji and Pradeepji too.
Bhatiaji,
Loved listening to the NFS. Thew two Shabads were good and fits the theme.
A Madanmohan-Rajinder Krishan composition
Ja re badra, bairi ja re piya kaa sandesava la re, la re, la re by Lata Mageshkar, film Bahana (1960), lyrics Rajinder Krishan, music Madan Mohan
https://www.youtube.com/watch?time_continue=205&v=wXvs32Mp1k0
Bhatiaji
I had prepared quite a long list of Rafi songs on barkha, bahaar and sawan, but ‘aaye bahar ban ke’ slipped from my mind. Thanks for reminding.
Venkataramanji
The song from Bahana brought to mind ‘jare kare badra balam ke ganv’ from Dharti Kahe Pukar Ke, music LP
https://youtu.be/vowBg_1uxTk
Hansji @170
Jare kare badra balam ke ganv a nice addition and that leads to another LP song on Vasant Ritu
Suno Sajna Papihe Ne by Lata Mangeshkar, film Aaye Din Bahaar Ke (1966), lyrics Anand Bakshi, music Laxmikant-Pyarelal
https://www.youtube.com/watch?time_continue=22&v=iCsa5eG9oo0
Pradeepji @ 11 & Bhatiaji @ 19,
Both of you have posted a Vanraj Bhatia’s beautiful duet from Bhumika. Vanraj Bhatia had composed a Varsha song “Ghir aayi kari ghata matwali sawan ki aayi bahaar re” for the film Junoon. He composed another Varsha Song for the film Sardari Begum.
Ghir Ghir Aai Badariya Kaari by Arati Ankalikar, film Sardari Begum (1997), lyrics Javed Akhtar, music Vanraj Bhatia
https://www.youtube.com/watch?v=OxxOEuR64vw
Soon we will be travelling 72 years down the memory lane. We will be discussing the best songs of 1946. Before that within the available time I would like to post a few more songs on this theme. There are a couple of songs from Sardari Begum which would fit the theme. To my years it appears that the mukhda starts is in Nand / Anandi Kalyan
ghar naahi hamre shyam
wo jake pardes viraje….
thandi thandi purwayi hai
bagiyan me masti chhayi hai……….
sawan aaye jiyra tarse
tan sulge jo megha barse
Ghar Nahin Hamare by Arati Ankalikar, film Sardari Begum (1997), lyrics Javed Akhtar, music Vanraj Bhatia
https://www.youtube.com/watch?v=v8IX9LqAKbs&feature=player_embedded
Hans @153,
You are not convinced with Badariya baras gayi us paar? If you have something more complex than this, I agree we can carry on this discussion offline.
KS Bhatiaji,
Thanks for posting the vintage songs. Otherwise, we wouldn’t have known the source of Saawan aye ya na aye.
Venkataramanji,
Thanks for posting the songs from Sardari Begum. The pathos ofthe film evokes the spirit of Barahmasa.
Sorry my comment went to the other area.
I repeat it here which could be relevant here.
I was interested in the title word “Barahmasa”.
Following words came to me:
Barahbaat. Barahsingi, and the famous “Barah” Aise Sawalat Pe Rona Aaya” the lyric and song from the film “Hum Dono” of Dev Aanand.
I wonder “all the “Barah” have similar meanings as in “Barahmasa”?
There may be many more “Barah” in use of “Hindi/Urdu” lingo.
Shalan Lal
AKji,
R D Burman-Gulzar combo created a Mujra song for the 1982 film Namkeen. Asha Bhosle rendered this song set to Manj-Khambaj in a typical Chaiti style.
To my understanding one of the identifying characteristics of a Chaiti is the presence of the word “Rama” in the song-text, which is not necessarily used as part of the narrative but as a exclamation or a simple utterance.
If you listen to the Chaiti, “Chait Mase Chunari Rangaibe Ho Rama” by Girija Devi, she starts with Deepchandi taal with 14 matras and then departs from the original taal to the eight matra Kaherva taal during the laggi. On the conclusion of the laggi she returns to the original 14 matra taal. Pancham follows a similar pattern in this song.
To me it appears that Gulzar combines the Kajari and Chaiti style in the lyrics. I believe, Kajari is sung to describe the longing of a maiden for her lover as the black monsoon cloud gathers during the rainy season. May be Megha was used as a metaphor. In that case the song does not exactly fit the theme. Experts correct me if my assumption is wrong.
Badi der se megha barsa ho rama by Asha Bhosle, film Namkeen (1982), lyrics Gulzar, music R D Burman
https://www.youtube.com/watch?time_continue=13&v=q0x79bZRvSU
Chait Mase Chunari Rangaibe Ho Rama by Vidushi Girija Devi
https://www.youtube.com/watch?time_continue=9&v=YIdotbeFx8s
Akji, Bhatiaji,
A few vintage numbers,
In Chaiti shaili,
Basant Ritu Aayi Rama Joban Ubhar Ke by Sushil Sahu & Naseem Akhtar, film Sindoor (1947), lyrics Neelkanth Tiwari, music Khemchand Prakash
https://www.youtube.com/watch?time_continue=166&v=xY69w9m1atc
Bhatiaji,
You posted a song by Khursheed from Taansen @ 103. Here is another song by Khrsheed from the same film.
After the initial aalap the song starts at 01: 26, the laya changes at 03:11 and again at 04:04
Baraso Re Baraso Re by Khursheed, film Tansen(1943), lyrics PT.Indra Chandra, music Khemchand Prakash
https://www.youtube.com/watch?v=CWm_IYrOsxA
Basant Chhaya Charon Or by Amirbai Karnataki & Rajkumari, film Amar Prem (1948), lyrics Mohan Mishra, music Dutta Thakur
https://www.youtube.com/watch?time_continue=49&v=T0eXqQahyGE
Venkataramnji,
Badi der se megha barse ho Rama is distinctly Chaiti style. The name derives from the month of Chaitra which is the start of the year in Hindu calendar. I don’t know whether ‘Ho Rama’ has anything to do with Chaitra Ramnavmi. But this connection is not outlandish. In any case, Chaiti is recognised by the typical tune and the refrain Ho Rama. What if in a Chaiti there is reference to clouds and rains, does it become a Kajri? You are posing an interesting question; I would still call it if it sounds as Chaiti.
Incidentally, in the rural Bhojpuri belt, it is sung by menfolk in a boisterous chorus accompanied by metallic instruments like jhal, and some percussion instruments. The local constabulary is carrying on this tradition. I believe when Calcutta constabulary was predominantly Bhojpuri, it was a thriving tradition there. it would be interesting to explore it. The YouTube has corrupted, vulgar dance videos using ‘item girls’. Mauritius, Fiji etc are carrying on this tradition. But remember this Chaita is very different from Girija Devi’s or Pt. Chhannulal Mishra’s Chaiti
Venkataramanji,
Thanks for Girija Devi Chaiti. its a treat.
Bhatiaji better late than never, let me thank you for shabds and Sawan aaye ya na aaye.
Shalan lal,
All the “Barahs” you have mentioned are for specific number twelve but Baarha in Hum dono songs means ” baar baar ”
Do I need to add disclaimer, “In my opinion” ? 🙂
Lakshmi Shankar has sung some beautiful songs about the seasons and there is a series: Songs Of The Seasons ( 3 volumes?)
Came across this beautiful ? Bandish:
Lakshmi Shankar with ( child artistes? her disciples?): Suman, Shakuntala,Seeta.
https:// youtu.be/ mtstzeUvGLU
Saawan aaya,baadar aaye
Birahin ke aangan ghan chaaye..
Saawan Bhadon barse mere naina
? Nahin barse ,tum ? laaye..
Beet jaat Barkha rutu ,Sajan nahin aaye
Bijuri chamak jiya daraaye
Piya gaye bidesa
Varsha Ritu kaise kate?
Bijuri ke baan lage
Kaali rain andhiyari
Tarse sakhi mera jiya
Daadur bole mor mor
Papeeha kare peehu pukaar
Sheetal pawan jahar lage
Boondan se badan jale
Umange jiya Piya ke bina
Birahini pukaare…
Quintessential Saawan song.
I like the cute lyrics of the song
Sona kare jhilmil jhilmil
Roopa hanse kaise khil khil
Vrishti pade taapur toopur
Tip tip taapur toopur
Vrishti pade taapur toopur
Taapur toopur….
PAHELI,1977.
Hemlata, Suresh Wadkar; Ravindra Jain.
I had heard of at least two pairs of twins named Taapur and Toopur. How musical!
N Venkataraman ji, are they common names or special ones?
Akji @ 180
Thanks for the clarification and further information.
Now I can post this song without any hesitation.
Chhai Kaari Badariya Bairaniya Ho Raam by Lata Mangeshkar & Asha Bhosle, film Jeevan Jyoti (1953), lyrics Sahir Ludhyanvi, music S D Burman
https://www.youtube.com/watch?time_continue=107&v=0GoA71EQP2w
Venkatraman ji @185; AKji:
Here is ‘Hiya jarat rahat din rain ho rama’ (Mukesh in Godan: MD: Ravishankar)
https://www.youtube.com/watch?v=dQfUE4ArNkU
And SDB’s Bengali songs- ‘Bone fagun, mone aagun’ and ‘Kandibo na fagun gele’:
https://www.youtube.com/watch?v=2wpjL6weLmg
https://www.youtube.com/watch?v=3_20LH9K7RY
Canasya @ 186
All great additions. Thanks a lot
Sachin Karta’s songs did not occur to me earlier.
The first song ‘Bone fagun, mone aagun’ was recorded in 1973 (HMV), lyrics by Meera Dev Burman.
The other one was first recorded in 1939 by Hindustan Records. The song was penned by Ajay Bhattacharya.
I was about to post two songs from Godaan. You beat me to it. Kudos. BTW the lyricist was Anjaan
Mumbaikar @ 181
Glad that you liked the song.
I was about to post the song “Hiyaa jarat rahat din rain”. Canasya beat me by a whisker.
Here is another song from Godaan.
Pipra ke patvaa sarikhe dole manva
ki jiyara ma uthat hilor
arey purvaa ke jhokvaa se aayo re sandeshva
ki chal aaj desvaa ki or…….
Jhuki jhuki bole kare kare ye badarva
kabse pukare tohe naino ka kajarva
umad ghumad jab garje badariya re
thumak thumak nache mor
by Md. Rafi
https://www.youtube.com/watch?v=6T0QiUiMNuw
Pradipji @ 183
You have widened your repertoire. Great. I am sure you would soon start posting links to the songs.
Saawan aaya,baadar aaye, Birahin ke aangan ghan chaaye is indeed a beautiful bandish well rendered by Vidushi Lakshmi Shankar. Thanks for posting it. Here is the link
https://www.youtube.com/watch?v=mtstzeUvGLU
@ 184
“I had heard of at least two pairs of twins named Taapur and Toopur. How musical!
N Venkataraman ji, are they common names or special ones?”
‘Brishti pore, tapur tupur…’ is a borrowed from a traditional verse which means ‘Rain is falling, pitter patter…’. The above line is frequently recited, often uttered unconsciously, when the first drops of the annual rains begin to fall. Rabindranth has used these traditional lines in his poem, most probably by the same name ‘Brishti pore, tapur tupur’. It was part of his work Kodi o Komal Kabya Grantha.
Most probably this notion that they were a name of twin sisters came into circulation after the 2013 Bengali serial ‘Tapur Tupur’ most likely televised in 2013 in Star Jalsa Channel. Here is rain song in Bengali
Tapur Tupur sar dupurby Aarati Mukhopadhyay, NFS (1962) lyrics and music Sudhin Dasgupta
https://www.youtube.com/watch?v=Ah5VhDbWMuM
Venkatraman ji ;
I am currently in a state of Balance . On left are the SJ songs awaiting their postings …..and on the right side are vintage songs asking for preference . So I am doing balancing act and following my heart and mind. Mind goes Vintage and Heart weighing Gold .
Aaya Basant Sakhi – Basant (1942)
https://www.youtube.com/watch?v=w3TcgGAEYE8
Basant – Ek Choti Si Duniya Re
https://www.youtube.com/watch?v=J82A59LofFI
Same song sung by Baby Madhubala on screen…..
https://www.youtube.com/watch?v=rbF6lbI8pGg
PARDESI BALAMA BADAL AAYA–JOHRABAI–NAUSHAD–RATTAN-1944
https://www.youtube.com/watch?v=-_jCZ2vwtVM
Masti Bhari Bahaar – Shamshad Begum – PUGREE….Gulam Mohd
https://www.youtube.com/watch?v=b7WVff9vUUA
Woh Aaye Bahare Laye Baji Shehnai │ Lata Mangeshkar │ Afsana..HB
https://www.youtube.com/watch?v=2-V_aOFwfKU
Aa Gayi Bahar – Shamshad Begum – HAATIMTAI….SNT
https://www.youtube.com/watch?v=FBSYATvEYW0
Jhoomti Hai Nazar – Shamshad Begum,Rafi… Hatimtai….SNT
https://www.youtube.com/watch?v=R06cYj0MpKY
Sawan Hasaye Fadho Rulaye – Basant (1942) –
https://www.youtube.com/watch?v=Wb_RLFHAFDY
…..will come back for more songs.
Canasya @186, Venkataramanji @@187,
Bone phagun mone aagun has since been buzzing in my years. Every time I hear SD Burman’s helpless cry, Ki kori, aami ki kori, it brings tears in my eyes. I remembered The ultimate SD Burman: His pure Bengali songs I wrote over five years ago. And sure enough this song was at the top of the list. I had transcribed its lyrics and given its translation with the help of some friends, but a reader Utpalendu Gupta said there were some inaccuracies. I am giving below his translation:
What to do, what do I do –
spring in the forest, fire in my heart.
Like ember burns my heart, slowly but surely
If my heart becomes ashes what is left in this life?
Ki kori, aami ki kori….
O my friend, O the dark night, bring the moon to me
My body, like charcoal, keeps burning and pining.
Ki kori, aami ki kori…
All alone I dread this separation which is my worst enemy
Without my beloved, I live like fish out of water.
Ki kori, aami ki kori
Bone phagun, mone aagun
KS Bhatiaji @190,
If Canasya and Venkataramanji reconnected me to SD Burman’s Bengali songs, your list took me to another of my great favourite Mumtaz Ali; in Aya basant sakhi his entry lights up the screen. And sure enough this song was there in my post First male dancer of Hindi films: Mumtaz Ali.
Shamshad Begum’s Masi bhari bahar and Aa gayi bahar were new for me. I liked the former – because of being the real vintage? – tremendously.
AK Jee,
I feel a bit confused. Please bear with me and enlighten me. The main post on Barahmasa as well as comments refer to quite a number of songs born well after the yore period. Of course, the newer songs are lovely and strongly relavent to the theme. It seems like a welcome widening of the period horizons of SOY. May I infer, as a novice to this great blog, that such melodious and beautiful transgression is okay if it is in harmony with the chosen topic/theme. If this has also happened for any other previous theme, I am not aware. So, I repeat, please bear with me.
Shachindra Prasad,
There is no contradiction. The blog celebrates songs of yore, whose period I have ascribed as 1931-1970. Therefore, you wouldn’t see posts like the best songs of Nadeem-Shravan, Preetam, Anu Malik, Bappi Lahiri etc. Nothing against them, just that I don’t relate much to the post-70 songs. But when it comes to ‘Themes’, some very nice songs of the post-70 fit it; at times, I use these songs in a tongue-in-cheek style. Therefore, the readers are most welcome to posts songs of any period fitting the theme. To have a perspective, I have not kept a count, but the total number of post-70 songs mentioned on this blog in any context should not be more than 5%.
AK
My comment from yesterday is missing!
I had responded to Venkatramanji and had uploaded this Subha Mudgal’s baramasa song.
If you find that message in spam please delete this one.
https://youtu.be/Yal3oheQjq8?list=RDYal3oheQjq8
Mumbaikar8,
Shubha Mugdal’s Barahmasa song is so good. Thanks for this excellent addition.
Bhatiaji @ 190
Your Vintage songs could be compared to the first flutters of annual avalanche of leaves (Patjhad) in winter, raining down on open areas and lawns. Just like nature’s free mulch from heaven. It is music to the ears listening to the leaves crackling under the feet as one trudges through the open yard. Having tilted the balance towards your mind, I would expect to pour your heart out in your next post like the monsoon downpour.
Mumbaikarji @ 195
Subha Mudgal’s Baramasa song is an apt and a very good addition. I could find mention of 7 months (as they occur in the song-Kartik, Poos, Magh, Phagun, Chait, Baisakhi, & Jaith) and four months are referred to as ‘Char mahina Barkha ke laage’ and probably the mention of Sheetal Suhawan refers to Agrahayan/Margshirsh.
Shachindra Prasad,
Thanks for appreciating. I am glad you liked it.
Venkataramanji,
thanks. You are right about seven + four and the sheetal suhawan begins here
https://youtu.be/Yal3oheQjq8?t=223 with agahan aaye
Mumbaikarji @ 199
Oh, I missed it. Thank you
The parched land, utterly shriveled leaves, tender stalks reduced to straws and tormented folks are looking up towards the sky and for divine intervention for rain.
Allah Megh de by S D Burman
https://www.youtube.com/watch?v=E82Kv1b_ypo
Nature has its own ways; all the hopes, joy, pleading and rejoicing are in vain. There is no respite. Mind it this is a 2001 composition.
https://www.youtube.com/watch?time_continue=3&v=GmCn31pq8i0
Dark clouds floating above in the sky give fresh hope to the rural folks and they spontaneously break into joyous song and nature at time relents.
Hariyala Sawan Dhol Bajata Aaya
https://www.youtube.com/watch?v=GgCbIBvkKog
AKji,
I expected a new post today. Generally we are used to three posts in a month. In March, we had only two posts in SoY. As I write/post this comment we are into April 2019. Going by the trend, every alternate year you are in the habit of pulling a fast one on us like you did in 2015, ‘Some Thoughts On Taxonomic-Mathematical Analysis Of Hindi Films And Songs.’ I am waiting to see whether you follow the trend or will it be a post on Best Songs of 1946.
Let me bid good night with a song which used to be my favourite in my early 20s.
Rim Jhim Gire Sawan by Kishore Kumar, film Manzil (1979), lyrics Yogesh, music R D Burman
https://www.youtube.com/watch?v=JSN5dE_xFSE
Venkataramanji,
You are really forcing me. Generally, I time a post at 9AM. So there are still a couple of hours to go. But after reading it please don’t blame me if I don’t pull any punches.
Mumbaikar @ 182
Thank you very much for your comment explaining the meanings of the word “Barah”. Very illuminating!
I further found that the word “Bara” meaning twelve has more words in Hindi. This may be the same in other Indian languages as well.
There are two words in the Hindi dictionary from Varanasi next to each other as following:
1) Baradari and another 2) Barahdari:
The number 1 has the meaning Prostitute- Veshya
The number two means the big house with openness.
(I wonder which of the above word has the meaning of the film Baradari 1955?)
Then there is “Barahkhadi which mean the Hindi ABC .
There is a word Barahban which means Pure gold.
Then there is Barahbanaa which means shining like the sun.
Another word called “barahbani” means true to his words.
Barahmasaa means the same a poem or song telling about twelve months or seasons around the year as explained by AK in his “Intro”.
Barahfaat means the last twelve days of the prophet Muhammad. (I wonder if the Arabic numbers were influenced by the Indian number system.
Baraho means the child’s special ceremony on the twelfth day.
Baaraa means still child (and not grown up.)
Wonderful word “Barah”!
The word “Barah” certainly gave origin to the “Barah Aise Sawalat Pe Rona Ayaa”
Bu I think the word “Barah” means not just “Twelve” but “Many” as well.
The word in my original query @ 177 “Barahbaat” is made of two words Bara and Baat. The Baat here is not “Baat” as in the expression “Kyaa Baat Hai” but means “Way” Road, Walk etc.” the dictionary meaning of the joint word “Barabbat” means scattered in many directions or went away broken in many ways.
I am exhausted!
I hope all “SoY ” members will like this little sojourn away from their enumerations of the songs.
Shalan Lal
Shalan Lal, Mumbaikar,
Let me butt in your conversation. I looked up Urdu Hindi Ksoh, edited originally by Acharya Ramchandra Shukla. The word mentioned is ‘Barahdari’, which is phonetically pronounced as ‘Baradari’. The meaning is ‘A room or a lounge having by many doors’. This fits in perfectly. I guess this must be the Drawing Room for men as distinct from Jenana in a traditional Muslim home. Wikipedia gives its meaning as ‘A building or pavilion with 12 doors designed to allow free flow of air. The structure has three doorways on every side of the square-shaped structure.’ That must be the meaning of the title of the film Baradari (1955). ‘Baradari’ in the sense of a woman of easy virtue I had not heard before.
Akji, Shalanji & Mumbaikarji,
In Bengal, the publicly organized Durga Puja is known as Barowari Durga Puja. The word ‘Barowari’ is a combination of two words, ‘Baro (Twelve) and Yaari (friendship). In the eighteenth century Durga Puja was an occasion for the rich Babus of Kolkata. It is believed that in 1790, 12 friends, in Guptipara in the Hooghly district decided to institute the community Puja, when they were stopped from taking part in a household Durga Puja. Thus started baro-yari or Barowari Puja in Bengal which gained popularity. In more recent times, the nomenclature ‘Barowari’ is being replaced by ‘Sorbojonin’ (meaning all inclusive).
N Venkatraman ji ;
One of S D Burman’s classic Lounge / Club composition ….Top up with one of the best Pin Up Girls of 50’s….Sheila Ramani . The song demands a write up on Club/ lounge songs of Bollywood ….a request to AK .
Taxi Driver – Dil Se Milaake [ aati baharein jaati baharein ]…Lata….Taxi Driver [1954]
https://www.youtube.com/watch?v=FIxUXeecrBo
AK, Shalan,
Just as explained by Venkataramanji Baro + Yaari
Baradari is Barah (twelve) + dar (door)
I have not heard about it as a woman of easy virtue before but my guess would be it might be a slang, as we know how these women are addressed.
Back to barah if written in devnagri it might clear the doubt, barah twelve बारह or बाराह and baarha बारहा are two difffernt words in Humo dono song means “consistently”
AK, Wenkatraman, Mubaikar 8
Ref: Barah -a Puran
The word Bara as twelve evolved out from the Indian word originally from Sanskrit word “द्वादश (dvaadasha). 13. Thirteen त्रयोदश (trayodasha). 14. Fourteen चतुर्दश …”
All of you who contributed to the discussion so far is very interesting and I am very grateful to you all. This is for me very satisfying.
Let me now turn to the new post.
Shalan Lal
ksbhatia @ 208
I support your idea that there should be a post on club/hotel songs different from the songs sung at the Beshya (Veshya) Ghar like Ab Aage Teri Marzi | Devdas (1955) .
My rough guess is the first club or Hotel song started from the film “Barasaat” with “Patali Kamar Hai”
Your mention of Sheila Ramani reminded me that she used to go out with my eldest brother. But then their relationship broke as she went to Pakistan to appear in some films produced by her uncle.
The film Taxi Driver was one of the best films of Navketan and combination of Anand Brothers- Dev and Goldie.
Thanks for mentioning it.
Shalan Lal
Ms. Shalan Lal @211;
Thanks for supporting my request. The Pin up girls of the 50s had all the respect and they very well knew where to draw the line. When not singing their screen appearance itself enhanced the charm of viewing the film . Kuldip Kaur , Begam Para …etc were all these actresses who laid the foundation ……later moved with titles like…..Glamour Girls ….and finally to ….Item Girls . A systematic transition could be subject of the proposed article.
Yes, I too feel …..Patli kamar hai ….song as first club song …but it will be worth exploring such songs from vintage era movies too.
No doubt Taxi Driver was one of the best entertaining movie from Navketan ‘s camp. Its songs were the milestone for S D Burman ‘s mark of talent . The entertainment continued as long as Goldie was Director. The magic faded with his exit.
Some more songs from music box of Shankar Jaikishan….
Sunte The Naam Ham Jinka….Lata….Aah
https://www.youtube.com/watch?v=5Osioi6qvjg
Yaad Kiya Dil Ne….Hemant , Lata…….Patita
https://www.youtube.com/watch?v=wRyqUGR5_jU
Din Suhane Mausam Bahar Ka – Lata Mangeshkar – POONAM
https://www.youtube.com/watch?v=Z00doJvVrjc
Bahar Banke Woh Muskuraye – Lata Mangeshkar – APNE HUYE PARAYE
https://www.youtube.com/watch?v=goS766qWmH0
Bedardi Balma Tujhko | Lata Mangeshkar | Arzoo
https://www.youtube.com/watch?v=qixsOfJccUo
…..to be contd.
AK ji @192;
Mumtaz Ali was a great actor, dancer of vintage and golden era. I see reflections of him in Mehmood , Minoo Mumtaz….how closely their body language matched with each other . Even the face cut was too close , specially their eyes and eye brows ….and cheek bones too.
The mukhda of the song from Basant 1942 ….meri chhoti si duniya re …..if you remember was sung as one liner by Anoop Kumar in Chalti Ka Naam Gaadi in a scene when he left Madhubala house…..confused nervous and panic [ handing over unfinished task of repairing car to kishore] driving old 1932 cheve car celebrating his escape uttering……Jan bacchi to lakhoan paye , Ghar ke buddhu ghar ko aaye …meri chhoti si duniya re . Now that I know the original song ….that is making me more on laughing side.
AK ji, N Venkatraman ji;
Guide song ….Aalaha megh de paani de ….is a beautiful one capturing the emotions of the villagers …beautiful wordings and well sung by SDB.
Such songs touches nature as and when it appears in the form of words .
Now a few of vintage songs on the current theme …..starting with a song similar to Guide song but in a different scenereo..
MEGHRAJ AAYE MEGHRAJ AAYE BARKHA LAYE…..Roti [1942]…Anil Biswas
https://www.youtube.com/watch?v=NdNf4_jo2FA
Jhuki aayi re badariya saawan ki…..Bhabhi (1938)…Renuka…S.Devi
https://www.youtube.com/watch?v=zlUUWMviDKo
Prem Yatra 1937: Aayi badariya barsan ko tarsat hai man darshan ko (Umrao Zia Begum)
https://www.youtube.com/watch?v=CgevgSCE29s
Aayi basant ghata…..Anjaan….Devika Rani
https://www.youtube.com/watch?v=6iT0kukjICw&t=31s
Chand 1944 …..A very Rare song of Singer Sitara Devi….HB
[ This composition is quite similar to one of the songs of Nisshan and its title music as well]
https://www.youtube.com/watch?v=hKscVKjqiqg
…..more to continue…
AK ji, N Venkatraman ji;
Some more of Vintage songs….what to do when Drone is roaming in active mode.
Station Master 1942 : More Pardesi Sajan Lagi Hai : Rajkumari : Md Naushad
https://www.youtube.com/watch?v=Zs5HqC0Q-eo
sawan ki ghataon dheere dheere aana….Khursheed, Rafi…Aage Badho[1945 ?]
https://www.youtube.com/watch?v=gg2ZJOgZZXk&t=74s
Chupke Chupke 1948: Khizaan aayi ummeedon ke chaman mein kis bahaane se (S. D. Batish)
https://www.youtube.com/watch?v=5D_GnJibI3A
Station Master 1942 : Baras Gayi Ram Badarya : GM Durrani & Rajkumari : Md Naushad
https://www.youtube.com/watch?v=KSD9CWhY71s
Sawan Ke Din Aaye Balma SHamshad , Allaudin…. KAJAL 1948
https://www.youtube.com/watch?v=8xXYqGxOanE
….will try for more.
AKji,
Good to see that comments on Barahmasa continue along with the lovely conversation on your marvellous new post.
I think a non film song of Mukesh should be included here. If this has been added under any post in the past, I am not aware.
‘ Koyalia tere bol sune to ‘, MD-Murli Manohar Swarup, Non film song.
Bhatiaji @213, 215 & 216
Was expecting a downpour of SJ songs. SJ songs turned out to be n’orwester spell. Listened to the SJ songs, all heard before, and demands repeated listening.
The vintage vibes have a definite and unique charm. Did you notice a young Akhtari Bai @ 01:31 for 2 second in the song Meghraj Aaye ? Sawan ki ghataon dheere dheere Aana reminds us of the early days in the career of Devanand and Md.Rafi.
One from the sixties
Panth Niharu….
pade barkha phuhar kare jiyara pukar
dukh jane na hamar bairan rut barsaat ki
by Lata Mangeshkar, film Dooj Ka Chand (1964), lyrics Sahir Ludhianvi, music Roshan
https://www.youtube.com/watch?time_continue=75&v=5o-NlVTBvnc
KS Bhatiaji @213,
I love your downpour of SJ-songs. In the early 1950s, especially with Lata Mangeshkar, they were absolutely outstanding, though ironically they became No.1 in the 1960s when their music became loud, and it lost its sweetness.
@214,
I remember the scene in Chaliti Ka Naam Gaadi. Anoop Kumar throwing in the Basant song was too good. Kishore Kumar was especially adept in embedding parodic lines of vintage songs most unexpectedly. We have seen in this blog, his very subtle interspersing parodies of KL Saigal, Pankaj Mullick, KC Dey, SD Burman songs.
@215, 216,
I love the downpour of vintage songs. Sitara Devi must be the first actor-singer of ‘Item songs’. I am very fond of Station Master‘s songs, especially Baras gayi Ram badariya.
Shachindra Prasad @217,
The large number of Barahmasa songs posted by the readers is obviously because every music lover has an aching heart, and very easily it overflows with emotions. Mukesh’s NFS was new to me. Here is the song.
Koeliya tere bol sune to by Mukesh (NFS)
Here is lovely song from the film Lekin (1991). The song, Suniyo Ji Arj Maario Babulaa Hamaar is based on a Hindustani classical bandish by Pandit Mani Prasad in Vihangini, a Raag close to Bhopali or Deshkar, with nishad added . The overall effect is upbeat. The lyrics refer to the loneliness of a young bride, but here we have a young woman in a castle dungeon, pining for home, her “parched eyes” recalling the memory of rain and a time gone by.
Suniyo Ji Arj Maario Babulaa Hamaar Sawan Ayo by Lata Mangeshkar, film Lekin (1991), lyrics Traditional/Gulzar, music Hridaynath Mangeshkar
https://www.youtube.com/watch?v=egu-2BJiYfw
Presenting two bandishen by Ustad Rashid Khan
Vilmbit Jhaptaal
Garaje Ghataa Ghana
Kare ri karee
Dhrut Teen Taal
Gagan Garajat Chamakath Damini
https://www.youtube.com/watch?v=j7bwHugU0s4
Two more songs from the film Aalap (1977)
the first one,
Nayi Ri Lagan Aur Mithi Batiyaan by Kumari Faiyyaz,Madhurani & Yesudas, film Aaalp (1977), lyrics Dr.Rahi Masoom Reza, music Jaidev
https://www.youtube.com/watch?v=7zlaZcGsO1w
The Audio version has the last Antara
barse badaraiya sawan ki
barse badaraiya sawan ki sawan mein gum kyun mera manwa
sawan mein gum kyun mera manwa
bhanak suni piya aavn ki, bhanak suni piya aavn ki
bhanak suni piya aavn ki umad ghumad chahun dish so aayo
bijuri chamake jhar lavan ki barase badaraiya sawan ki
https://www.youtube.com/watch?v=-mC8lCtDFnE
The second one
Aayi ritu saawan ki, piya mora ja re
aayi ritu saawan ki
bairan bijuri chamakan laagi, badari taana maare re
aise mein koyi jaaye piya, tu rutho kyon jaaye re
aayi ritu saawan ki
tum hi anuk bides jawaiya, sab aaye hain dwaare re
aise mein koyi jaaye piya, tu rutho kyon jaaye re
aaye ritu saawan ki
by Kumari Faiyyaz & Bhupinder Singh, film Aaalp (1977), lyrics Dr.Rahi Masoom Reza, music Jaidev
https://www.youtube.com/watch?v=IGn9BKJrHgo
Venkataramanji,
You have added some matchless Barahmasa songs. Ustad Rashid Khan’s Garaje ghata ghan barse and film Aalap‘s Ayi ritu sawan ki, Bairan bijuri chamakan laagi evoke all the pathos of the season when the lover is away. Too good.
N Venkatraman ji;
Yes, Enjoyed your rare songs from Lekin and Aalap . Truly rare songs brings back many memories too. A small bouquet of Geeta Dutt songs from Radio Days to please you all …..
Dekh Ke Akeli Mohe Barkha Sataye | Baazi (1951) | …SDB
https://www.youtube.com/watch?v=q9Fhhrt5XM4
zara tham jaa tu..Jogan 1950…..Bullo C Rani
https://www.youtube.com/watch?v=fet1jtzEcuk
Barkha ki raat mein : Film – Sardar (1955) ……Jagmohan
https://www.youtube.com/watch?v=GmxkIaOZQzs
N Venkatraman ji;
In continuation one more instalment….
Aayi Basant Ritu Odhe Chunariya–Meharbani(1950)–Geeta Dutt, Shamshad Begum, Surinder Kaur
https://www.youtube.com/watch?v=-nBbo_47zbM
: gunjat bhanwara jhumat kaliya basant ki rut aayi..
Film : Paatal Bhairavi,1952,
Singer: Geeta Dutt, Chorus,
https://www.youtube.com/watch?v=RrZvsryPsPE
PHIR GHATA GHIR RAHI- GEETA DUTT- FILM- RAJ RATTAN(1953)
https://www.youtube.com/watch?v=ydK0DNxpKzs
Geeta Dutt: Kaali kaali badlee chhayee : Film – Saudamini (1950)
https://www.youtube.com/watch?v=jaHcKR4wLXU
…..to be contd….
N Venkatraman ji;
In continuation some more songs of Geeta Dutt. I think these are all less heard songs ….some heard for the first time.
Ban Ke Bahar Aayi Hoon – Geeta Dutt – Jungle King
https://www.youtube.com/watch?v=Q-xw9auQcgI&t=39s
Geeta Dutt : Tip tip tip : Film – Baazi (1950)
https://www.youtube.com/watch?v=z6IrClIj60c
MAN MOR MACHAAWE SHOR -LATA -GEETA DUTT….LADKI
https://www.youtube.com/watch?v=okCj7S2pggA
Thandi hawa kali ghata || Geeta Dutt || Mr & Mrs 55 (1955 )….OPN
https://www.youtube.com/watch?v=X4So3Mqd6Eg
AK ji;
Two songs that I liked most from Golden and Vintage collector’s choice…
KALPANA KE GHAN BARASTE- LATA- MAHENDRA KAPOOR(A TRIBUTE) FILM- AMAR JYOTI(1965)…..VASANT DESAI
https://www.youtube.com/watch?v=CVHKRYUCCmQ
Sawan Ki Rut Bhaaye Sajanwa – Mehtab, Surendra | Vishvas [ 1943]
https://www.youtube.com/watch?v=c98Jcz-O2QI
KS Bhatiaji,
Kalpana ke ghan barasate is a beautiful Ritu Varnan. Another superb song from this combination is Aaj madhu vaatas dole. The vintage song is too good. I was surprised to see Mehtab sing her songs, as in several films about that time Suraiya sang playback for her.
AK ji;
Yes, both ..kalpana ke ghan baraste…and …aaj madhu vaatas dole …are songs of a kind . The wordings are excellent . Well here are few songs which again surprised me on first hearing .
SAWAN BEET GAYO- MEENA KUMARI- FILM-DUNIYA EK SARAI(1947) MD- HANSRAJ BEHL
https://www.youtube.com/watch?v=Y2GQQlhy-Oo
Song : Jab usne gesu bikhraaye badal aaya jhoom ke..
Movie : Shahjehan ,1946,
Singer: Shamshad Begum, …MD Naushad
https://www.youtube.com/watch?v=QVFKFrFOYDM
Aye Kale Badal Bol – Dahej – Shamshad Begum….Vasant Desai
https://www.youtube.com/watch?v=NrvzFO1PH1Y
A few popular and regular from great Naushad…..
Jadoo Bhare Nainon Mein …. – Babul ….Shamshad…
https://www.youtube.com/watch?v=YoZJBeAUIEk
Yeh Mausam Aur Yeh Tanhai (HD) – Dastan 1950…Suraiya
https://www.youtube.com/watch?v=KZ4zlE4-IuQ
Ta ra ri aa ra ri ye sawan rut tum aur hum..Suraiya_Rafi_Shakeel_Naushad_Dastaan1950
https://www.youtube.com/watch?v=kKoiZEmP6dw
Ho Haiya Nadiya Mein | Shamshad Begum, Talat, Rafi @ Babul
https://www.youtube.com/watch?v=7rXEMooVG4U
…..to be contd….
AK ji;
In continuation some more songs from Naushad sahib….
Dhadke Mera Dil Mujhko Jawani | Shamshad Begum @ Babul
https://www.youtube.com/watch?v=Ewf71Toj6sk
Na Bol Pee Pee More Angana – Shamshad – Dulari
https://www.youtube.com/watch?v=IHYzc5f7jqo
….to be contd….
KS Bhatiaji,
I mentioned some Naushad compositions in my article. I love your downpour. Thanks a lot. Dahej song was interesting. What made the music director have Shamshad Begum sing this song, whereas Jayshree sang several songs in the film in her own voice? This causes endless confusion to the Western scholars. Some of her songs can fit as Barahmasa songs.
Bhatiaji,
It was delighted to get drenched in the torrent of songs posted by you. It was real downpour this time mostly from the Golden era. Kalpana ke Ghana baraste was a nice addition, a typical Vasant Desai composition.
Akji, Bhatiaji
It is interesting to note that majority of the songs posted here are from the Varsha Ritu followed by Vasanta Ritu. Songs of other seasons are fewer in comparison. And this is not peculiar to film song alone.
Rabindranath Thakur had written a lot of songs under the Prakriti Parjaay, which refer to different aspects of the nature. He penned two hundred and eighty three songs under Prakriti Parjaay. All these songs are further sub-classified into seven upa-parjaays. They are Sadharan, Grisma, Borsha/Varsha, Sharat, Hemanta, Sheet and Basanta. Out of these 283 songs, 115 songs are under Varsha/ Borsha, followed by 96 songs under Basanta, 30 songs under Sharat, 16 songs under Grisma, 12 songs under Sheet, 5 songs under Hemant and 9 songs under Sadharan / general.
First a song from the Sadharan Parjaay or the general category. The song was written and composed in 1895, based on the Carnatic Raag Shankarabaranam. As per Indira Debi the exact tune of this song was derived from a song ‘Nadavidya parabrahmarasa …’. The song covers three seasons.
https://www.youtube.com/watch?v=jIx7AMN6td4
To those who are interested the Bengali lyrics and a rough translation.
Biswabinarobe biswajon mohichhe.
Sthale jale nabhotale bone upobone
Nodinade giriguha-paarabare
Nityo jaage saroso songitomodhurima,
Nityo nrityoraso bhongima. –
Nabo basonte nabo aanondo, utsabo nabo.
Oti monjulo, oti monjulo, shuni monjulo gunjano kunje –
Shuni re shuni marmaro pallabopunje,
Pikokujano puspobone bijane,
Mridu baayuhilolobilolo bibholo bishalo sarobaro-maajhe
Kalogito sulolito baaje.
Shyamolo kaantaro paare anilo sanchare dhire re,
Noditire sharobone utthe dhwoni sarosaro maromaro.
Kato dike kato baani, nabo nabo kato bhaasa, jharojharo rasodhaara.
Aasharhe nabo aanondo, utsabo nabo.
Oti gombhiro, oti gombhiro nil ambare dambaru baaje,
Jeno re prolayongkori shankori naache.
Kare garjano nirjhorini saghane,
Hero khubdho bhayalo bishalo niralo piyalotamalobitane
Utthe rabo bhoirabotaane.
Pabon mallarogito gaahichhe aandharo raate,
Unmadini soudamini rangobhore nrityo kare ambarotale.
Dike dike kato baani, nabo nabo kato bhaasa, jharojharo rasodhara.
Aashwine nabo aanondo, utsabo nabo.
Oti nirmalo, oti nirmalo, oti nirmalo ujjwalo saaje
Bhubane nabo sharodolokkhi biraje.
Nabo indulekha aloke jhaloke,
Oti nirmalo haasobibhasobikasho aakashonilambujo-maajhe
Shweto bhuje shweto bina baaje –
Utthichhe aalapo mridu modhuro behagotaane,
Chandrokare ullosito phullobone jhillirabe tandra aane re.
Dike dike kato baani, nabo nabo kato bhaasa, jharojharo rasodhara.
The entire populace bewildered by the sound of lute.
Rich and lovely music arise endlessly
From the ocean, the sky, shores and the woods,
The rivers, mountainous caves,
Along with the eternal moves of sombre dance.
Its festive and frolicking time in the spring.
Blissful buzz in the arbour –
Murmur of the leaves, I enjoy,
Ripples in the pool, awestruck, with the breeze
Trickles like a serene melody.
Wind picks up slowly on the green meadow,
Murmur rise within the riverside SAR bushes.
Verses so many, newer lyrics even more
Murmurs seem to produce nectar.
Its festive and frolicking time in the ASHARH.
DAMBARU sounds deep and rumbling across the sky,
Seems like dancing goddess of devastation.
Springs roar infuriated,
Raging sound rises
In the arbour of the large, terrifying PIYAL and TAMAL.
The wind whistling MALLAR in the dark night,
Barmy moonlight waltzing around the sky, teasing.
Verses so many, newer lyrics even more
Murmurs seem to produce nectar.
Its festive and frolicking time in the ASHWIN.
It’s clear, clean and brightly clad
Mother of autumn reveals afresh on the earth.
Her hair glitters with the crescent moon
Amid brightly smiling blue lotus up the horizon
White lute on the fairer hands
Delightful mellifluous BEHAG being shaped up,
In the flowering bushes, elated by the moonlight
Crickets call renders heavy eyed.
Verses so many, newer lyrics even more
Murmurs seem to produce nectar.
Venkataramanji,
Thanks a lot for the detailed information on Tagore’s season songs. The lyrics and the translation you have given are awesome.
amazing article and a great list of blogs. We are very fond of Indian Music and Yes Indian Music is More inspired by the Hindi Film Songs. Albela happens to be one of my favorites and Bhagwan dada is a Legend. This is very helpful to all who are in music field. We teach Music in Gurgaon, India and are specializing in Classical Indian Vocal Music and dances. You can visit us at http://www.bhimsenjoshisangeet.com
Monish Mehta,
Welcome to Songs of Yore and thanks a lot for your appreciation.