Deep Ke Sang Jalun Main

July 27th 2018

Dear Rare and Better-Taste music appreciating friends,

Under the title of my Blog "Anmol Geet Bharati", I plan to send you one song and its lyrics, every Friday night. You will have immediate Saturday and Sunday to listen at leisure, (repeatedly,  I suggest) and whole week to put down in 'Reply to All',  your detailed comments about the Song and its Lyrics. 

Please write a paragraph or two, NOT just a line or so. We are all the time surrounded by 'Chaalu Music' and one good taste song per week, in this RABTMAG  series should be like an Oasis in the desert. (That is what I think)

Fill free to comment about the Blog and its idea, too.

Now talking about today's song:

Born in a poor family in Rajasthan, Mubarak Begum had no schooling education, but had an in-born musical talent. In Amadawad, during Navraatri, she was famous there for singing Garba in her melodious voice.  

In Bombay, (It was called so during that period), she tried couple of times, in vain to sing for films, till MD Nashaad gave her chance in 1949 film Aaiye.  She sang one solo and one duet with none other than Sangeet Saamragni Lata-ji. She struggled for years, and after singing for few films became known to the music world when she was picked up by genius Jamaal Sen, and sang 'Devta tum ho mera sahara' with Rafi in 1953. She sang in films till the year 1980, and had sung till the few very popular songs like “Kabhi Tanhaaiyon Mein Yoon Hamaari Yaad Aayegi”, “Mujhko Apne Galey Lagaa Lo”, “Wo Na Aayenge Palat Kar. . .”, and “Bemurawwat Bewafaa Begaana e Dil Aap Hain”.

Daaeraa, was produced and directed by Kamaal Amrohi. The music is by Jamaal Sen. (descendent from famous Mogul period Tansen)  Lyrics were written by Majrooh Sultanpuri. Both the words and the composition are simply wonderful and devine. Her voice in those initial years sounded very much like Suraiyya. and many of her songs are still believed to be of Suraiyya, by the general public.

Mumbai state had provided her with an accommodation in Jogeswari, where she passed her later life in poor health and poverty. She had an ailing daughter and a son, who used to drive Taxi. Our Music Club 'Sargam' had once called her and had donated some money collected from the members. She sang few lines from her popular songs but did not remember many songs that we asked her to sing. I had taken down her address and visited her there with a CD of all her songs that I had in my khajana.  Knowing very well that she will not have even a player to play the CD, I also presented her a portable CD player, a small speaker and a head-phone. She was overjoyed to listen to some of her not so famous songs from that collection.. 

Deep Ke Sang Julun Main (1953 Film Daaira) Lyrics: Majrooh Sultanpuri, Music: Jamaal Sen

Lyrics:

deep ke sang jalun main aag mein jaise jale baati vaise jale jiya mor,

haaye ram vaise jale jiya mor

My self is aflame
Burning along with the lamp in the night
Like the cotton thread that burns in the fire
So my heart smolders
O Lord, so smoulders my heart

ho ooo, chori chori, chori chori neer bahaaun jaag jaag rain bitaaun

chanda bin jaise chakor haaye ram vaise jale jiya mor, haaye ram vaise jale jiya mor

Shedding tears
Away from the eyes of this world
I spend sleepless nights
Like the partridge bird pining for the moon at night
O Lord, so smoulders my heart

jhoom jhoom,  jhoom jhoom raat deewani, chhede mose prem kahani

chale jaise pavan jhakor haaye ram vaise jale jiya mor, haaye ram vaise jale jiya mor

Whistling winds steal through this barmy night
And the stories of love come to play (with my mind)
Pushing, cajoling – on an uneven rhythm
And O Lord, so smoulders my heart

ho ooo, dheere dheere, dheere dheere phir so gayi main

jal ke raakh kyun na bhayi main, diya na bujhega bin bhor

haaye ram diya na bujhega bin bhor, haaye ram diya na bujhega bin bhor

haaye ram diya na bujhega bin bhor, haaye ram diya na bujhega bin bhor

My being drowned bit by bit
(I wished but)
Could not burn to ashes
O this burning has to wait for the dawn
O Lord, this burning has to wait for the dawn

(NOTE: ‘diyaa na bujhegaa bin bhor’ alludes to the fact that the lamps are doused only when dawn arrives, and so says the poet, this burning will not end before dawn).

(English Tranlation, curtesy of Shri Sudhir Kapur, a member of the Blog ASAD. Thanks Sudhirji.)

Many dear ones have pointed out that the songs selected by me are always full of pathose. BUT I strongly believe that 'Hai sab se madhur woh geet  jise ham dard ke sur mein gaate hain.'  Do YOU agree?

I repeat that Songs that are SWEET will remain SWEET. Try and not only taste them, eat them please.

Awaiting good response,

Bharat Upadhyay

Kisi Ko De Ke Dil Koi / Jo Dil Qaaboo Mein Ho To

( I had written this presentation for the Blog ASAD, and reproducing it here on my Blog, with the kind curtsey of ASAD.)

Dear Rare and Better-Taste music appreciating friends,

On the platform of my new created Blog Anmol Geet Bharati, I plan to send you one song and its lyrics, every Friday night. You will have immediate Saturday and Sunday to listen to it (repeatedly, I suggest) at leisure, and whole week to put down your detailed comments about the Song as well as Lyrics.. 

Please write a paragraph or two, NOT just a line or so. We are all the time, surrounded by 'Chaalu Music' and one good taste song per week, in this Blog should be like an Oasis in the desert. (That is what I think)

(Imp Note: - And While listening to the sweet song, please READ the lyrics alongside, to enjoy both Song and its Lyrics.)

Fill free to comment about the Blog and its idea, too.

Now the PRESENTATION

The third presentation on my Blog, 'Anmol Geet Bharati', for the members who like real GOOD Music, is this RARE jugalbandi of Talat Mehmood and Mukesh.  It is an NFS (Non-Film Song) Gazals and is one of a rare set which are classified as ‘ham-radeef ghazalein‘​; which means a pair of ghazals in which a phrase of couple or more words at the end of each she’er is the same, even if when the ghazals are written by different sha’ayars at different time period.

I strongly believe – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain“. And so I have included these two ham-radeef ghazals, on the BLOG.  Some listeners may classify such songs as ‘melancholy‘. (By the way I hate to describe a song by that word. I prefer to call them ‘full of pathos’, instead).  As my personal choice, I enjoy and prefer them to ‘chaalu’ songs.  Someone had rightly written somewhere that “When you are happy, you enjoy the music. But, when you are sad, you understand the lyrics.” Since this is lyrics emphasising presentation, I am justified to present it on this BLOG.

Coming back to the ‘ham-radeef‘ ghazals presented today. It is from a really rare album bearing same name from Saregama (or was it ‘HMV’ and then ‘RPG’ as it was called in different periods of time). Less heard music director Murli Manohar Swaroop not only searched out the ‘similar ending words’ ghazals, but also gave melodious and appropriate  tunes to them. The extended play record (called EP, for the knowledge of younger generations) contains four pairs of such ‘ham-radeef’ ghazals.

On this EP, three such pairs are by Talat and Mukesh and one is by Talat and CH Atma. This is the first one out of those four and ‘Prabhu krupa’ permitting, I shall present them in future.

As you can see, the lyrics have all the she’ers ending with the words “kyun ho“. That is the beauty of ‘Ham-Radeef’ ghazals. Two poets, Ghalib and Daagh Dehlavi, in different time period have written them. Two sweetest voices of OUR music world,  Talat Mehmood and Mukesh have rendered them in different tunes. I call it nothing less than the marvel of the composer Murli Manohar Swaroop.

Song: Kisi Ko Deke Dil Koi / Jo Dil Kaaboo Mein Ho (NFS) Singers: Talat Mehmood / Mukesh, Lyrics: Ghalib / Daagh Dehlavi, Music: Murli Manohar Swaroop

Lyrics:

Meanings and Translation

(Provided by my friend from ASAD, Shri Sudhir Kapur. Thanks Sudhir-ji)

kisi ko de ke dil koi nawah-sanj-e-fughaan kyun ho
na ho jab dil hi seene mein to phir munh mein zubaan kyun ho

nawah = lamentations, poems on tragedy of karbala
sanj- = serious, sad, gloomy, depressed; as in sanjeedah / संजीदा
fughaan = lamentations, cry of distress

Once the heart is given to someone else
Why then lament with regret and distress
For, when the heart is given over, and is not in your bosom
How then there be a tongue in your mouth
[The poet is emphasizing that when the heart is given to someone else, then we have lost the right to complain or be regretful. We gave over our heart by our own sweet will. Then where arises the question to be distressed, or to raise a voice of complain.]

jo dil qaaboo mein ho to koi ruswaa e jahaan kyun ho
khalish kyun ho, tapish kyun ho, qalaq kyun ho, fughaan kyun ho

qaaboo = in control; in possession
ruswaa = infamous, disgraced, having a bad reputation
ruswaa e jahaan = having a bad reputation in the society, amongst ones social circle
khalish = irritation, enmity, antagonism
tapish = heat, burning, agitation
qalaq = rgret, pain
fughaan = lamentations, cry of distress

If heart is safe within our own possession
There is no fear of being disgraced, disreputed within one’s social circle
There will be no irritation, no agitation, no regrets, no cries of distress

wafaa kaisi kahaan ka ishq jab sar phodna thehra
to phir ae sangdil tera hi sang e aastan kyun ho

wafaa = faithfulness, keeping a promise
sangdil = person with a heart of stone
sang = stone
aastan = abode, threshold (in context of an entrance), दर, दरवाज़ा
sang e aastan = stone step at entrance; an abode made of stone

What be that love, and what good being faithful to such love
If love means breaking one’s head against stone
And if love does mean breaking one’s head against stone
Then why, O stone hearted one
Be that stone of your abode, of the entrance where you be
[The poet’s indication is towards the heart of the person, which is itself being compared to stone; for the heart is where one’s living force is; where one lives.]

bahut niklenge roz e hashr tere jaur ke kwaahaan
sitam ka hausalah duniya mein shart e imtihaan kyun ho

roz = day
hashr = final outcome, the final judgement
roz e hashr = the Day of Judgment; qayaamat; End of the World
jaur = tyranny, oppression, evil deeds
khwaahaan = wishes, desires
sitam = tyranny, injustice
hausalah = courage, capacity
shart = condition
imtihaan = trial, test

On the Day of Judgment
All the mis-deeds and offences of injustice
That you desired, will be exposed
Why then your courage for being cruel and merciless
Be a condition for your trials (today)
[The poet lays his faith on the final Day of Judgment, that an evil doers deeds will be exposed and dealt with accordingly, so why the courage and the capacity of an evil doer to torment and persecute others be a matter of examination today.]

qafas mein mujhse roodaad e chaman kehte na darr humdum
giri hai jis pe kal bijli wo mera aashiaan kyun ho

qafas = cage, place of confinement
roodaad = narrative, story
chaman = garden
roodaad e chaman = a story about (my) garden
aashiaan = abode, nest, home

O my beloved
(I am in (your) imprisonment (confinement))
Fear not narrating to me the description of my garden
Even if that be my nest
The nest that was struck by lightning yesterday

unhen go ranjish e beja hai lekin hai to hum se hai
mohabbat gar na ho baaham shikaayat darmiyaan kyun ho

go = although
ranjish = complaint, unpleasantness
beja = unjustified, unfair
baaham= together, alongwith
shikaayat = complaint, grievance
darmiyaan = middle, in between

My beloved has unfair unjustified complaints of me
But then these complaints are to me and no one else
For complaints only come along with love
[The poet is expressing that because love is, therefore complaints are. One does not complain to them with whom there is no relation of love.]

nikaala chaahta hai kaam kya taanon se tu ghalib
tere be-mehr kehne se wo tujh par mehrbaan kyun ho

taanah (taanon) = taunt, sarcasm
be-mehr = heartless, one without compassion

If you think that by being sarcastic, oh Ghalib,
You will be able to obtain any advantage for yourself
Why fore will you be showered with favours and love
Just be calling someone heartless and without compassion

jigar se kam naheen ae chaarahgar daagh-e-jigar mujh ko
jo paidaa kee ho mar mar ke wo daulat raa’egaan kyon ho

chaarahgar = healer, curer
daagh = wounds, blisters
raa’egaan = useless, waste

O my healer, my curer
The blisters on my heart
Are as dear to me, as is my heart itself
It is a treasure I have accumulated
With great pain and sacrifices
Why then this treasure may allowed to be wasted in vain

-----------------***----------------***--------------***--------------

I repeat that Songs that are SWEET will remain SWEET. Try and not only taste them, eat them please.

Awaiting good response,

Jaa Re Chandra Aur Kahin Jaa Re

Dear Rare and Better-Taste music appreciating friends,

On the platform of my new created Blog Anmol Geet Bharati, I plan to send you one song and its lyrics, every Friday night. You will have immediate Saturday and Sunday to listen to it (repeatedly, I suggest) at leisure, and whole week to put down your detailed comments about the Song as well as Lyrics.. 

Please write a paragraph or two, NOT just a line or so. We are all the time, surrounded by 'Chaalu Music' and one good taste song per week, in this Blog should be like an Oasis in the desert. (That is what I think)

(Imp Note: - And While listening to the sweet song, please READ the lyrics alongside, to enjoy both Song and its Lyrics.)

Fill free to comment about the Blog and its idea, too.

Presentation # 02  Friday, 13th July, 2018

Jaa Re Chandra Aur Kahin Jaa Re

Music Director, Sudhir Phadke has lilting type of music, (like a Marathi Bhaavgeet) and if the voice is that of Swar-Saamragni Lata-ji, the sweetness of the song, based on Raga Yaman, has mind-blogging effect on good music listeners. 

The situation of the song, (as understood by ME) is this:

King Kansa has summoned Krishna to Mathura and Akrur has come to fetch him. When the news is spread in Gokul, pathetic calmness is spread everywhere.  Radha, who is normally fond of Moon, cannot bare its site and requests the Moon to go away. She requests Vidhata (Creator) to see that there is no next morning (Because Krishna will be taken away in the morning)   Due to water-filled eyes, she is unable to see even the stars.  She tells her friend that she had not realised earlier, that the fondness of Krisna will bring her to this state. She is restless thinking about the next day and cries out to the Moon to go away.  The name of Banwaari, or even the tune on flute is now un-bearable.  How will she exist, when the presence of the loved one is non-existant?   (I know, I do not have the writing skill to express properly the meaning of this beautiful poem, but have tried.)

Lyricist, Pt Narendra Sharma, has given his words to a few Hindi Film Songs,

apart from being a renowned Poet in the Literary field.  Just appreciate the beauty of these BOLD words in the lyrics. It is not just alliteration but he has used same word repeated with different meaning.

Please, give your long comments to encourage me to continue this RABTMAG series.

Here is the first pearl in the series:

Song: Jaa Re Chandra Aur Kahin Jaa Re (1956 Sajani) Lyrics: Narendra Sharma, Music: Sudhir Phadke

Lyrics:

Jaa re chandra Jaa re chandra aur kahin jaa re

Gokul se Krishna Chandra jaayenge sakaare ---- Jaa re chandra Jaa re

Vrundavan suna hai, suna man mera

Vidhana kuchh aisee kar, kal na ho savera

Jharte nayan , bharate nayan, doob rahe taare

Gokul se Krishna Chandra jaayenge sakaare ---- Jaa re chandra Jaa re

Nayan neer, man mein peer, itni si kahaani

Hai ye preet reet sakhi, pahele kyun na jaani

Kal ki soon kal naa pade,  veekal man pukaare

Gokul se Krishna Chandra jaayenge sakaare ---- Jaa re chandra Jaa re

Praan hare, kaan pare, murali dhoon aalee

Mohan man naam sakhi, Mohan banmaalee

Kaise rahe praan, rahe,  jab na praan-pyaare

Gokul se Krishna Chandra jaayenge sakaare ---- Jaa re chandra Jaa re

Jaa re chandra Jaa re chandra aur kahin jaa re

Waiting for your DETAILED comments,

P.S. : A video of Mehfil in which this song was played amongst Sudhir Phadke, Anil Biswas, Meena Kaporr, Prem Dhawan and other rasiks of Hindi film songs of the golden period is attached below: