LATAnjali : lau lagaatii, giit gaatii
Srinivas Ganti
The Lata-Sudhir Phadke-Narendra Sharma team once again mesmerises
the listener.This song is as good as "jyoti kalash chalke" though the
later is more popular.
%
\startsong
\stitle{lau lagaatii, giit gaatii}%
\film{Bhabhi ki Chuudiyaan}%
\year{1961}%
\starring{Meena Kumari,Balraj Sahani}%
\singer{Lata}%
\music{Sudhir Phadke}%
\lyrics{Pt.Narendra Sharma}%
%
% Contributor: Srinivas Ganti
% Transliterator:Srinivas Ganti
% Date:25 August, 2002
% Comments:LATAnjali
%
(lau lagaatii, giit gaatii)\-2
diip huu.N mai.n, priit baatii
lau lagaatii, giit gaatii
(nayaNo.n kii kaamanaa, praaNo.n kii bhaavanaa)\-2
pujaa kii jyoti banakar charaNo.n me.n muskuraatii
(lau lagaatii giit gaatii)\-2
aashaa kii paakhurii, shvaaso.n kii baa.Nsurii
aalii(khaali?) hR^iday lekar nit aaratii sajaatii
(lau lagaatii giit gaatii)\-2
(kum kum prasaad hai, prabhu dhanyavaad hai)\-2
har ghar me.n har suhaagan ? manaatii
(lau lagaatii giit gaatii)\-2
%
#endindian
\endsong
%
Arunabha S Roy
Thanks, Srinivas, for the lyrics. A few corrections :
> %
> \startsong
> \stitle{lau lagaatii, giit gaatii}%
> \film{Bhabhi ki Chuudiyaan}%
> \year{1961}%
> \starring{Meena Kumari,Balraj Sahani}%
> \singer{Lata}%
> \music{Sudhir Phadke}%
> \lyrics{Pt.Narendra Sharma}%
> %
> % Contributor: Srinivas Ganti
> % Transliterator:Srinivas Ganti
> % Date:25 August, 2002
> % Comments:LATAnjali
> %
> (lau lagaatii, giit gaatii)\-2
> diip huu.N mai.n, priit baatii
> lau lagaatii, giit gaatii
>
> (nayaNo.n kii kaamanaa, praaNo.n kii bhaavanaa)\-2
> pujaa kii jyoti banakar charaNo.n me.n muskuraatii
> (lau lagaatii giit gaatii)\-2
>
> aashaa kii paakhurii, shvaaso.n kii baa.Nsurii
> aalii(khaali?) hR^iday lekar nit aaratii sajaatii
^^^^^^^^^^^^^^^
thaalii hR^iday kii lekar nit aaratii sajaatii
> (lau lagaatii giit gaatii)\-2
>
> (kum kum prasaad hai, prabhu dhanyavaad hai)\-2
> har ghar me.n har suhaagan ? manaatii
I hear this as :
har ghar me.n har suhaagan ma.ngal rahe manaatii
Irfan Anwar
No doubt both these songs are evergreen. Maestro Sudhir composed
both these songs in Kalyan thath. Jyoti kalush chahlke in Rag Bhopali
and lau lagati geet gaati in Aiman. The only difference which I
could find in these two songs is the expansion (phailao,in urdu)of
the compositions.
Although the composition of jyoti kalush is comparatively difficult
still it is more popular.Sudhir has shown more variations of Bhopali
in this song than of Aiman in Lau lagati(look at the three antras of
Jyoti kalush).However,I like the balancing line of Lau lagati(second
line of asthaee and antras).
Irfan
Afzal A. Khan
A memorable song no doubt, both lyrics-wise and
composition-wise.
I thought there would be some comments about the
Marathi-style pronunciation of the word "geet".
Lata distinctly sings "geet~a". The film itself
was a remake of a Marathi original. I suppose
at least part of the musical score was common to
both versions. I never got to see the Marathi
film though. It is possible that the pronunciation
of "geet" is a sort of hand-down from the Marathi
original. More info would be welcome.
The chubby boy in the film (Meena Kumari's step-son)
was seen in another movie an year later : "Ek Musafir
Ek Haseena". I don't recall seeing him again in any
film. Either he grew up soon or (which is more
likely) grew more obese, rendering him unsuitable for
such roles.
IIRC, that was the year for which Meena Kumari received
all three nominations for the Filmfare Award.
Afzal
Irfan Anwar
In my humble opinion pronouncing "geet" as "geet~a" is
not Marathi style. Infact it is not unusual to sing a word
like this in order to keep it within lay and taal.Just two
examples:
dil jalta ha'ay(instead of hay) to Jalnay dey
ansoo na baha faryad~a(faryad) na kar (Anil Biswas)
shabnum kiyoon neer~a(instead of neer)baha'ay
duniya soaay aur yay roay ja'ay (Khurshid Anwar-Ishara)
Irfan
naniwadekar
Irfan Anwar <Anw...@msn.com> wrote -
>
> No doubt both these songs are evergreen. Maestro Sudhir composed
> both these songs in Kalyan thath. Jyoti kalush chahlke in Rag Bhopali
> and lau lagati geet gaati in Aiman. The only difference which I
> could find in these two songs is the expansion (phailao,in urdu)of
> the compositions.
>
I used to think of 'jyoti kalash' as Bhoopali-like but not quite
Bhoopali, and probably Deskar. A few expert friends confirmed
this impression. But later I met others who associate Bhoop with
the song. When asked about Deskar, these people tend to argue
that Bhoop and Deskar are very close to each-other and that 'jyoti
kalash' draws upon Deskar as well. But Deskar lobby is more
insistent that Deskar alone suffices as the raag for the song.
I asked Sudhir Phadke himself last year and he said it is in Bhoop.
When asked about the Deskar claim, he merely said it was possible
to view it that way also. I wish someone who could argue about the
technical detail was present. But it was difficult to talk to him as he
was quite hard of hearing and since I might anyway have forgotten
detailed analysis, I did not press the point. He was quite tired, too.
He said his memory had been ravaged by old age. Lalitabai was
in a chirpy mood and her memory is rather good for her age. She
is very proud of her son Shridhar's work as an MD. Shridhar
is a very talented MD, indeed. And a modest person, too.
If it is accepted that 'jyoti kalash' is in Deskar or even that it is
more Deskar than Bhoop, then the bilawal thaat might come into
the picture, as I have recently learnt. (Check www.sawf.org/rajan)
Even for Vasant Desai's Marathi song 'ghanashyam sundara', experts
are divided into those who call it bhoop + deskar and those who say
it is just in deskar albeit with some liberties not unusual for a raag based
song. Yet again, my instinct is to side with the latter lobby.
Many experts question the way Kishori Amonkar employs dhaiwat
in her Bhoop recitals. (This is not to suggest that she sings it like
Deskar.)
A Pune based harmonium player and his friends had asked Kishori
about it. She said she likes to present Bhoop that way. She told
her interlocutors that they were free to call it by some other name
if they so desired.
By the way, though 'lau lagaati' is a nice song, 'jyoti kalash' is
something else. In my book, it is blasphemous to suggest that
the two are equally good.
- dn
kamalakar pasupuleti
Did Khursheed Anwar Saheb composed any other song for Gohar Sultana
other then the one mentioned above.So far I have heard only one song in
her voice.She had a great style and good voice indeed.
I shall be happy if you could mention few more songs of her.
kp
Surajit A. Bose
"naniwadekar" <nan...@hotmail.com> wrote:
> Irfan Anwar <Anw...@msn.com> wrote -
> >
> > No doubt both these songs are evergreen. Maestro Sudhir composed
> > both these songs in Kalyan thath. Jyoti kalush chahlke in Rag Bhopali
> > and lau lagati geet gaati in Aiman. The only difference which I
> > could find in these two songs is the expansion (phailao,in urdu)of
> > the compositions.
> >
>
> I used to think of 'jyoti kalash' as Bhoopali-like but not quite
> Bhoopali, and probably Deskar.
<snip>
> Even for Vasant Desai's Marathi song 'ghanashyam sundara', experts
> are divided into those who call it bhoop + deskar and those who say
> it is just in deskar albeit with some liberties not unusual for a raag based
> song. Yet again, my instinct is to side with the latter lobby.
Your instincts are wrong. Both songs are in Bhoop. "jyoti kalash" has
some Deskar-esque touches but ultimately is closer to Bhoop.
Those who say that either is in Deskar are probably judging by the fact
that the lyrics indicate morning rather than evening. (I too used to
maintain that "jyoti kalash" was Deskar, but I was eventually forced to
admit that the Bhoop-like chalan is more important than the
Deskar-appropriate lyrics 8-)
-s
Irfan Anwar
Gohar Sultan sang three songs(?)in Ishara.
Surjit ji or Har Mandir ji,can tell the exact no. as the
Trust has got only three songs.
Kindly see the thread Khurshid Anwar - the creator of Immortal
Melodies.
Irfan
Suresh
> something else. In my book, it is blasphemous to suggest that
> the two are equally good.
Thankfully, I havent read your book ;-). IMO, nothing wrong in
mentioning the songs in the same breath. I agree that "Jyoti kalash"
is slightly better, but not SO better as to make the comparison with
"Lau lagat" blasphemous.
Just in passing, some info. This movie was the remake of the Tamil
film "Mangayar thilakam" which had the legendary Sivaji
Ganesan-Padmini combination, this time he latter played Sivaji's
bhabhi. The song "Neela vanna kanna vaada" rendered to near perfection
by that Voice of voices, Balasaraswathy maps to "Jythi kalash chalke".
I am utterly at a loss to decide between the two. Both are magnificent
compositions, but I have a slight partiality for the ethereal quality
of Balasaraswathy's voice. And to boot, Padmini looks absolutely
gorgeous in
this film as a whole and this song in particular.
Cheers,
Suresh
Pradeep
This film was based upon a Marathi short story "Vahininchyaa Bangdyaa"
by Y.G. Joshi. It was produced by Sadashiv Rao Kavi in Hindi. I am not
sure of Suresh's claim of the film being made first in Tamil.
...Pradeep
Sreenivas Paruchuri
gaari gaajulu" (vadina = Bhabhi, gaajulu = Chuudiyaan) was released in
1955, directed by Rajanikanth Sabnavis (It was his first assignement as
Director. Before, he worked under L.V. Prasad. Incidentally the Tamil
version (made in 1956) was directed by L.V.Prasad himself.) and had some
wonderful songs composed by Ghantasaala.
But, Mr. Pradeep is right about the Marathi base (/story): "Vahininchyaa
Bangdyaa" penned by Y.G. Joshi. Also, the first film version is in
Marathi, made in 1953. IIRC, the Hindi version came much much later. In
1961?!
Regards,
Sreenivas
Pradeep wrote:
> apl_...@yahoo.com (Suresh) wrote in message > news:<9fb42d70.02082...@posting.google.com>...
> > Just in passing, some info. This movie was the remake of the Tamil
> > film "Mangayar thilakam" which had the legendary Sivaji
> > Ganesan-Padmini combination, this time he latter played Sivaji's
Suresh
> by Y.G. Joshi. It was produced by Sadashiv Rao Kavi in Hindi. I am not
> sure of Suresh's claim of the film being made first in Tamil.
Ok - let me rephrase my statement saying that a Tamil movie based on
your mentioned book was released before "Bhabhi ki.." - by my
knowledge, "Mangayar thilakam" was released in 1955, and "Bhabhi ki.."
in 1960. (also confirmed with the Sivaji web-site
http://www.sivaji-prabhu.com/19521962.htm).
I am perhaps incorrect in saying that the latter was a remake of the
formed - perhaps it was just a coincidence that there were two movies
from the same story. And also greater conincidence that there were
songs in the movies in the same situations. Mukesh's "Tumse hi ghar"
for example is mapped to a CSJayaraman classic - cant recall the words
at this point.
Suresh
Afzal A. Khan
Irfan Anwar wrote:
>
> "Afzal A. Khan" <il_...@yahoo.com> wrote in message news:<3D6AFB1F...@yahoo.com>...
> > > \stitle{lau lagaatii, giit gaatii}%
> > > \film{Bhabhi ki Chuudiyaan}%
> > > \year{1961}%
> > > \starring{Meena Kumari,Balraj Sahani}%
> > > \singer{Lata}%
> > > \music{Sudhir Phadke}%
> > > \lyrics{Pt.Narendra Sharma}%
> >
> > A memorable song no doubt, both lyrics-wise and
> > composition-wise.
> >
> > I thought there would be some comments about the
> > Marathi-style pronunciation of the word "geet".
> > Lata distinctly sings "geet~a". The film itself
> > was a remake of a Marathi original. I suppose
> > at least part of the musical score was common to
> > both versions. I never got to see the Marathi
> > film though. It is possible that the pronunciation
> > of "geet" is a sort of hand-down from the Marathi
> > original. More info would be welcome.
Afzal
>
> In my humble opinion pronouncing "geet" as "geet~a" is
> not Marathi style. Infact it is not unusual to sing a word
> like this in order to keep it within lay and taal.Just two
> examples:
> dil jalta ha'ay(instead of hay) to Jalnay dey
> ansoo na baha faryad~a(faryad) na kar (Anil Biswas)
>
> shabnum kiyoon neer~a(instead of neer)baha'ay
> duniya soaay aur yay roay ja'ay (Khurshid Anwar-Ishara)
>
> Irfan
That is another point of view no doubt. Sometimes,
the normal pronunciation is changed slightly to
accommodate the requirements of metre etc.
But the examples quoted by you do not seem to be
relevant here. With respect to the Mukesh song,
his pronunciation of "hay" is reminiscent of Saigal's
singing style and also, in a way, represents the
Punjabi influence. Early in her career, even Lata
Mangeshkar pronounced this word "Hay" in a peculiar
Punjabi style.
In the second song, the pronunciation seems to be an
oddity (like the "Bhabhi Ki ChooRiyaaN" song), and
not something dictated by metre.
In the "lau lagaati" song, try to hum the song with
the normal pronunciation of "geet" and you will find
that the requirements of "lay" or "taal" are not
affected. Of course, if the word occurs at the end of
the line, the normal pronunciation is only to be
expected. Example :
"Tere sur aur mere geet" (GooNj UThi Shehnai")
I suppose it would be possible to sing this line
as "Tere sur~a aur mere geet". But Lata does not do so.
Afzal
Afzal A. Khan
IIRC, "Bhabhi Ki ChooRiyaaN" was a 1961 release.
For those of us who do not know Tamil/Telugu and
those who haven't seen the film versions in these
languages, it is not easy to follow what you mean
when you say that one song is "mapped to" another.
Do you mean that both tunes are similar or based on
the same Raag ? Or do you merely mean that both
songs occur during the same situation ? To explain
my difficulty, let me cite the example of the film
"LaRki", where Geeta Roy sang a wonderful number in
Bhairavi ("BaaT chalat nayi chunri...", about which
a friend wrote recently). I had also seen the Telugu
original where the late NTR played Bharat Bhushan's
part and where Anjali Devi sings a song in exactly
the same situation. But the two songs are completely
different.
Afzal
Ket...@att.net
> I thought there would be some comments about the
> Marathi-style pronunciation of the word "geet".
> Lata distinctly sings "geet~a". The film itself
> was a remake of a Marathi original. I suppose
> at least part of the musical score was common to
> both versions. I never got to see the Marathi
> film though. It is possible that the pronunciation
> of "geet" is a sort of hand-down from the Marathi
> original. More info would be welcome.
On that note has anyone else noticed the way Lata sings the first word in the
song "Madhbhari yeh hawaein" from Anokha Daan(SalilC)?
Not only does she distinctly chop it up into 3 distinct syllables: Mad-a-bhari,
but she also omits the 'h' sound from the word "madHbhari"
Ketan
Suresh
> the same Raag ? Or do you merely mean that both
> songs occur during the same situation ?
Purely the situation. Not the composition.
- Suresh
Devendra Sharma
In my view Lata does a perfact pronounciation in "mad-bhari ye hawaaen"
since the word is exactly "mad-bhari" (i.e. using d as in dawaat)
rather than "madh-bhari" (i.e using dh as in dhanush). The word
"mad" here is derived from madira/madya/maadak and not from
madhu (shahad or something). I think no other singer would have
pronounced it differently, since the composition itself requires
the first four words ma-da-bha-rii to be sung with first four
consecutive beats of the aavartan.
devendra
Ket...@att.net
says...
>In my view Lata does a perfact pronounciation in "mad-bhari ye hawaaen"
>since the word is exactly "mad-bhari" (i.e. using d as in dawaat)
>rather than "madh-bhari" (i.e using dh as in dhanush). The word
>"mad" here is derived from madira/madya/maadak and not from
>madhu (shahad or something). I think no other singer would have
Your explanation is possible. However since the lyricist is Gulzar,--as with
"jhoothe/joothe",-- only he can tell us what he meant here, after which we can
decide if Lata has indeed sung it correctly.
Ketan
Afzal A. Khan
A very perceptive explanation. But I have a question.
Is it "Madhushaala" or "Madushaala" ? If your explanation
is to be accepted, then it should perhaps be "Madushaala".
Obviously, the senior (or is it senior squared !) Bachchan
is not talking about a "shahad ka aDDa".
Afzal
Vinay
Only if there was some word as "madh" (मध)in Hindi/Urdu, which fitted
in the context. I totally agree with Devendra's explanation. Just one
little thing that the derivation of words are in opposite direction.
It is from the word *mad* (मद) that words like maadak (मादक), madira
(मदिरा), mad-mast(मद-मस्त) have been derived and not the other way
round. madhu(मधु), as he says, is a different word altogether, meaning
honey (शहद).
In fact I am a little amazed that we are discussing mad v/s madh. The
phrase mad-bharii(मद-भरी: नशीली) has become almost trite in the HFM,
quite long ago in fact.
Vinay
>
>
> Ketan
Surjit Singh
A Modern Standard Hindi dictionary (by haradiip baaharaa) does not have madh or madhabharaa
or (ii) in it. It has mad with 6 meanings, nashaa, garv, unmattataa, matibhram, mastii and
sharaab. For madabharii, it says matavaalii or nashe me.n dhut. It has madhu and one of the
meanings is sharaab.
A Modern Standard Urdu dictionay (by Ferozsons Ltd.) has both mad and madh. For mad it says,
Kumaar, nashaa, sharaab, Kushii, Garuur, manii, and, vo paanii jo mastii kii haalat me.n
haathii kii kanapaTii se Tapakataa hai. For madabharii, it says mast, nashe me.n chuur. For
madh, it says, shahad and sharaab and suggests to see meanings of mad. There is no
madhabharaa or madhabharii.
Surjit Singh, a diehard movie fan(atic), period.
http://hindi-movies-songs.com
vibhendu
> > since the word is exactly "mad-bhari" (i.e. using d as in dawaat)
> > rather than "madh-bhari" (i.e using dh as in dhanush). The word
> > "mad" here is derived from madira/madya/maadak and not from
> > madhu (shahad or something).
>
> A very perceptive explanation. But I have a question.
> Is it "Madhushaala" or "Madushaala" ?
If your explanation
> is to be accepted, then it should perhaps be "Madushaala".
> Obviously, the senior (or is it senior squared !) Bachchan
> is not talking about a "shahad ka aDDa".
Madhu stands in poetic context at least for 'nectar' and its more
intoxicating cousin as well.
>
> Afzal
Devendra Sharma
> A very perceptive explanation. But I have a question.
> Is it "Madhushaala" or "Madushaala" ? If your explanation
> is to be accepted, then it should perhaps be "Madushaala".
> Obviously, the senior (or is it senior squared !) Bachchan
> is not talking about a "shahad ka aDDa".
>
>
> Afzal
Madhushala is the correct hindi word, though it sounds to
be related with madhu (honey) and therefore it is commonly
though to be correct in the literary sence, but this word
is somewhat spoiled form of sanskrit word madya-shala.
Madhu is also a sanskrit word that means sweet but quite
different from madya.
There are many of such words in hindi which contain an irony
like this, like rangamahal is not the place where colours are
sold, the word madhushala seem to be of the same catagory.
in another sence madhushala is the place where one can derive
RASA (some kind of joy) may be by drinking or watching
somebody dance etc. Bachchan used it in its correct sence
since madya-shala is known as madhushala which is maykhaana
in urdu.
regards
devendra