Archive for the ‘Lyrics’ Category

NasbandiEmergency was imposed on India on this day 42 years ago, on June 25, 1975, and it lasted for about 21 months. During the emergency, Kishore Kumar was banned by Ministry of I&B on All India Radio & Doordarshan for his non-participation in one of the major public events organised by the people in power then.

When Emergency was finally revoked in 1977, India opted to form a new Government, the country saw a big turn around and supported Janta Party coalition.  With Janta Party in power, Kishore Kumar sang a protest song for the film Nasbandi (1978) and scored an interesting musical revenge.  The film was produced & directed by IS Johar.

The film version of the song was censored and curtailed for a stanza featuring names of some politicians.  The antagonistic lyrics were penned by Indeevar and the song was composed by Kalyanji-Anandji.   An unusual musical documentation of an important event in modern history.

 

 

 

kishore_gandhiteredeshme

Kishore da recording the song with Kalyanji-Anandji. IS Johar can be seen too
– Pic credits: Kaustubh Pingle

 

Full Lyrics :

जनता की आवाज़ है ये
सुन ले ओ बापू गांधी
ये कैसा हाहाकार देश मे
ये कैसी आग की आंधी

कहां गयी वो तेरी अहिंसा, कहां गया वो प्यार
गांधी तेरे देश में ये कैसा अत्याचार
बापू तेरे देश में ये कैसा अत्याचार

इक भारत में बन गये जलियांवाले बाग़ हज़ार
बापू तेरे देश मे ये कैसा अत्याचार

तूने जब आवाज़ लगाई, सारा हिंदुस्तान उठा
अंग्रेज़ों के दिल भी दहले, ऐसा इक तूफ़ान उठा
खुशी-खुशी तेरे कहने पर भारतवासी जेल गये
सीने पे गोली झेल गये, अपने प्राणों पर खेल गये
नाम पे तेरे लाखों जवां, दुनिया के सब सुख भूल गये
दुल्हन का घूंघट बिन खोले ही फांसी पर झूल गये
तू स्वराज ले आया, हम तो फिर भी रहे लाचार
गांधी तेरे देश में ये कैसा अत्याचार

आज़ादी की जंग लड़ा था क्या इसीलिये ये हिन्दुस्तां
अरे न्याय मांगने न्यायालय मे जा ना सके कोई इंसान
कितने ही निर्दोष यहां ’मीसा’ के अन्दर बन्द हुए
अंधे कुएं में कितने ही आज़ाद समंदर बंद हुए
इस्मत लूटा करते हैं जो बन कर लाज के पहरेदार
अपनी सत्ता रखने को जो छीने जनता के अधिकार
सौंप गया है ऐसे के हाथ मे देश की क्यों पतवार
गांधी तेरे देश मे ये कैसा अत्याचार

देखी कहीं कलमबन्दी, देखी कहीं ज़ुबांबन्दी
डर की हुकुमत हर दिल पर थी, सारा हिन्दुस्तां बन्दी
नसबन्दी के नाम पे जुल्म हुए वो दुखियो दीनों पर
लगता था लटका हो जैसे प्रजातन्त्र संगीनों पर
तुर्कमान वो आस्मां टूटा जहां ज़मीनों पर
चढ़ा दिये जब बुलडोज़र जब बेबस लोगों के सीनों पर
अपनो के हाथों ही अपनों पर गोली की बौछार
गांधी तेरे देश मे ये कैसा अत्याचार

सारे देश पर ज़ुल्मो-सितम के घोर अन्धेरे जब छाए
तब प्रकाश की किरणें लेकर जय प्रकाश आगे आए
विजय लक्ष्मी पंडित ने जनता का मनोबल बढ़ा दिया
राज नारायण ने नामुमकिन, मुमकिन करके दिखा दिया
मज़हब से कम नहीं मुल्क, बोले जामा मस्जिद के इमाम
प्रजातन्त्र को नव-जीवन देने आये जगजीवन राम
जॉर्ज फ़र्नांडिस तोड के आये इल्ज़ामों की जन्ज़ीरें
श्रीमोरारजी के आने से चमक उठी फिर तकदीरें
चरन सिंह और चन्द्रशेखर ने लोगों के दिलों को जीता
वापस ले आई जनता अपनी आज़ादी की सीता
अटलबिहारी, आडवानी, नाना ने किया उद्धार
गांधी तेरे नाम की अब होगी जय-जयकार

अरे जो भी हुकुमत ज़ुल्म करेगी उसकी होगी हार
जो भी हुकुमत ज़ुल्म करेगी उसकी होगी हार


फ़िल्म : नसबन्दी -1978
गायक : किशोर कुमार & कोरस
गीतकार : इंदीवर
संगीतकार : कल्याणजी-आनंद्जी

 

Masaan Music

Neeraj Ghaywan‘s FIPRESCI winner at Cannes 2015, MASAAN releases in India on 24th July. Here, film’s screenplay writer and lyricist Varun Grover talks about the music of the film.

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Masaan  is the most difficult music album I have worked on till now. It has just 3 songs, out of which one (‘Bhor‘) is written by Sanjeev Sharma, and still the amount of distress and self-doubt I went through figuring out the lyrics for the other two was more than me and Sneha Khanwalkar felt on the mammoth ‘Gangs of Wasseypur’ album.

Prime reason was the burden of being the writer of the film as well and hence this feeling that lyrics in this film should be ‘extra-special’. As I said elsewhere, “Jab halwaayi ke ghar mein hi shaadi ho toh mithaayi se expectations unreal ho jaati hain aur halwaayi ki zindagi haraam ho jaati hai.’

This self-doubt also made the choice of a music director for the film difficult and after meeting some really worthy composers, we decided to request Indian Ocean to come on board.

1. Tu Kisi Rail Si

As I was low on confidence and the film has an element of poetry (Shweta Tripathi’s character is a shaayari-fan), we thought of using some existing Hindi poetry for the love song. One poem by Uday Prakash saab (Kuchh bann jaate hainI loved in particular and we shared it with Indian Ocean who gave us strange looks as it’s in Mukd Chhand and nearly impossible to compose.

Then suddenly, these lines by Dushyant Kumar saab came back to me and I knew we have a starting point. I had heard these lines first many years ago at an informal kavi sammelan at a friend’s wedding in Lucknow. (Haan ji, Lucknow mein shaadiyon mein bhi kavi-sammelan hota hai.)

I wrote the rest of the lyrics, taking the first two lines from Dushyant Kumar’s ghazal ‘Main jise oadhta bichhaata hoon‘. After many tunes by Indian Ocean, we finally arrived at a consensus on one based on the footage, tempo, tone, and rhythm of the song. Since the footage was already shot and it had to be a celebratory number, these criteria were necessary to be fullilled.

We also got to meet Dushyant saab’s wife (Rajeshwari ji) and his son Aalok Tyagi ji who by a huge stroke of luck happened to live right across our editing studio in Versova! They gave us permissions and blessings for the song.

Dushyant Kumar ji

Swanand Kirkire recorded it in his grainy voice and we had our song ready.

Lyrics: 

Mukhda
Tu kisi rail si guzarti hai
Main kisi pull sa thartharaata hoon
Tu bhaley ratti bhar na sunti hai,
Main tera naam budbudaata hoon.
Kisi lambe safar ki raaton mein,

tujhe alaav sa jalaata hoon.

Antara

Kaath ke taaley hain,
aankh pe daale hain,
unmein ishaaron ki chaabiyaan laga.
Raat jo baaqi hai,
shaam se taaki hai,
neeyat mein thodi kharaabiyaan laga.
Main hoon paani ke bulbuley jaisa,

tujhko sochoon toh, phoot jaata hoon.

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2. Mann Kasturi Re

If the first song killed us, the second one did it twice over. This song is supposed to be the soul of the film, the theme that connects all the stories and characters which meant ‘Anthem jaisa kuchh chaahiye‘. Another problem was that the reference track on the footage was ‘Aik Alif‘ from Coke Studio Pakistan and it was too overwhelming a track to compete with.
For this one too, my first instinct was to run away and leave the job to some great. So we chose Nazir Akbarabaadi’s ‘Banjaranama‘ and Indian Ocean did a fantastic job of composing it into a stunning anthem. The only problem – the tempo of the footage was on another level. Marta kya na karta, I had to step in and attempt writing new words.

Like it happens most of the times, difficult to tell how/when this phrase ‘Mann Kasturi‘ popped in my head but the rest of the song became easy after that. Kabir and Banaras were constant in my head while writing it.

Lyrics

Mukhda

Mann kasturi re,
jag dasturi re,
baat huyi naa poori re!
Khoje apni gandh naa paave,
chaadar ka paiband naa paave,
bikhre bikhre chhand sa tahale,
dohon mein ye bandh na paave.
Naache ho ke phirki lattu,
khoje apni dhoori re,

Mann kasturi re!

Antara

Umar ki ginti haath naa aayi,
purkhon ne ye baat bataayi,
Ulta kar ke dekh sake toh,
Ambar bhi hai gehri khaayi.
Rekhaaon ke paar nazar ko,
Jisne phenka andhe mann se,
Satrangi bazaar ka khola,
Darwaaza phir bina jatan ke!
Phir toh jhooma baawal ho ke,
Sar pe daal fitoori re

Mann kasturi re!

For lyrics in Devnagari, click here.

Full album here:

Like us, if you have been playing the song Moh Moh Ke Dhaage from Dum Laga Ke Haisha in non-stop loop, and love to sing along, here’s something you will like – the full lyrics of the song which includes 2 unused antaras. The music is by Anu Malik and lyrics are by apna Varun Grover.

Moh Moh Ke Dhaage  
VOCALS : PAPON (Male version) and MONALI THAKUR (Female version)
SONG ARRANGED AND PRODUCED : HITESH MODAK
GUITAR : ADITYA BENIA
FLUTE : NAVEEN KUMAR
SHEHNAI : OMKAR DHUMAL

And here’s Varun Grover’s note about the song – why and how –

शरत कटारिया की लिखी स्क्रिप्ट ही इतनी दमदार थी कि शुरू में ही समझ आ गया था गाने लिखने में बहुत मज़ा आएगा। सबसे ज़्यादा मज़ा वैसे सामूहिक विवाह वाली सिचुएशन पे ‘सुन्दर सुशील’ लिखने में आया जिसमें बचपन से पढ़े हुए ढेर सारे मेट्रिमोनियल इश्तेहारों का ज्ञान काम आया, लेकिन म्युज़िकली देखें तो सबसे भारी सिचुएशन यही वाली थी। प्रेम रूठा हुआ सा है, बिना खाना खाए अपने ससुराल से निकला है नयी दुल्हन को लेकर, और दोनों के बीच तनातनी सी है। ऐसे में, रात को स्कूटर पर जाते-जाते दोनों को पहली बार साथ एक सफर पे जाने का मौका मिल रहा है।  शरत चाहता था यहाँ एक क्लासिकल गीत आये। अनु मालिक साब ने बहुत सी धुनें सुनायीं और हम सबको करीबन सब अच्छी लग रहीं थीं लेकिन एकदम (अनु जी के लफ़्ज़ों में) ‘ठाँ कर के लग जाए’ जैसी नहीं मिल रही थी। फिर एक दिन अनु जी ने ये वाली सुनाई जिसे सुनते ही सब कूद पड़े। गज़ब कम्पोज़ीशन, जो अन्तरे में जा के और निखर जाता है।

गाने में सफर, रात, प्यार और गुस्सा, सब है इसलिए लिखते वक्त ध्यान दिया कि ऐसी उपमाएं हों जो थोड़ी डिस्फ़ंक्शनल हों। उलझे, गिरह, तेरी झूठी बातें वगैरह। और क्यूंकि सफर का फील देना था इसलिए शब्दों को रिपीट किया – मोह-मोह, रोम-रोम, टोह-टोह। रिपीटीशन से एक स्विंग सा आता है गीत में, जैसे स्कूटर के पीछे बैठने से आता है।

मुखड़ा

ये मोह मोह के धागे,
तेरी उँगलियों से जा उलझे,
कोई टोहटोह ना लागे
किस तरह गिरहा ये सुलझे।

है रोम रोम इक तारा,
है रोम रोम इक तारा,
जो बादलों में से गुज़रे।

अन्तरा १

तू होगा ज़रा पागल
तूने मुझको है चुना
कैसे तूने अनकहा,
तूने अनकहा, सब सुना।

तू दिन सा है, मैं रात,
आ ना दोनों,
मिल जाएँ शामों की तरह।

अन्तरा २

के ऐसा बेपरवाह मन पहले तो ना था
चिट्ठियों को जैसे मिल गया,
जैसे इक नया सा पता
के ऐसा बेपरवाह मन पहले तो ना था।

खाली राहें, हम आँख मूंदे जाएँ,
पहुंचें कहीं तो बेवजह।

(मोनाली ठाकुर वाले वर्ज़न में अलग अन्तरा)

अन्तरा ३

के तेरी झूठी बातें मैं सारी मान लूँ,
आँखों से तेरे सच सभी,
सब कुछ अभी जान लूँ।
के तेरी झूठी बातें मैं सारी मान लूँ।

तेज़ है धारा,
बहते से हम आवारा,
आ थम के सांसें लें यहां।

And two unused antaras for Moh Moh Ke Dhaage:

आ ऐसे भर जाएँ रहे खाली ना जगह

घोल दें इक सांस में आ सारा फासला
कि ऐसे भर जाएँ रहे खाली ना जगह
झील किनारे
आजा ना खेल बिछा लें,
और जोड़ें साड़ी कौड़ियाँ।

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कि जैसे पानी का इक मीठा सा कुआँ
हाथ जो तू थाम ले, तो छंट चलेगा धुआँ
कि मिला पानी का इक मीठा सा कुआँ।
झूठ कहानी
तेरी है सारी मानी
तू भी इशारा सुन ज़रा।

If you can’t read Hindi, click here to go to Varun’s site to read it in Roman. Also, it has the lyrics of rest of the songs.

Ranbir Kapoor films have become a must-wait-for event and Pritam’s music the reverse – must-avoid-if-possible. Yet, surprise! What’s this mellifluous music we hear trailing off our TV sets and music players? Is it really Barfi music composed by Pritam? It is and a delicious blend of warmth-quirk-melody at that! Here’s the music review by the almost-resident MFC music reviewer @rohwit. This post was originally written for and published here. But Rohit being a friend, we thought he wouldn’t really mind if we stole it. 😉 Enjoy the spoils!

Ala Barfi! – Right from the first moment when you hear the whistle, you know this song is all about fun! A narrative of the alleged ‘sad’ life of Barfi, the song takes a lighter take on the situation rather than brooding over it (Sanjay Leela Bhansali, take note). There are 2 versions of this song. One is sung by Mohit chauhan and one by Swanand Kirkire. The version by Mohit Chauhan is peppier and stays true to the mood that the song aims to create. Swanand kirkire on the other hand, gives a naughtier touch to the song (so much so that ‘Munna mute hee aansu bahaye’ part doesn’t leave any impact in his version as much as it does in Mohit’s). Both versions are good in their own right. I liked the Mohit Chauhan version better because it’s easy on ears. At times, with the Swanand Kirkire version, the voice is too heavy for a song that is to be sung lightly. In Mohit’s version, in each ‘antra’, you can hear some brief ‘tom and jerry prank style music pieces’ even as Mohit sings. Kudos to Swanand Kirkire for penning  superb lyrics though.

Main kya karu – The song starts very quickly and in a very kya karu from ‘Wake Up Sid’ mood. The song doesn’t have an elaborate music setting before the singer starts. Nikhil Paul George starts the song with less than 6 seconds of music into the track. The ‘guitar resignation of a note’ at every ‘uff’ in the song is cleverly placed. The ‘antras’ have a ‘hopeless in love’ mood to them which is immensely relatable and melodiously performed. The song again is very easy on ears and has a lazy feel to it due to the absence of ‘orchestra overload’ sort of music setting. Liked. Super liked.

Kyon – Papon, (I mean THE Papon!) starts the song with a very 1970’s beat accompanying him. You almost miss a romantic accordion from the setting. The sweet violin arrangement makes it up very well though. Excellently penned by Neelesh Misra, the song makes just enough space for Sunidhi Chauhan to take over one antra and leave us mesmerized. Excellent display of two master artists at work. The only grouse I have is that I left wanting to hear Sunidhi Chauhan for one more Antra. Thoroughly enjoyable and hummable. Papon, sing more for us, will you? Please! The 25 second-odd simple twinkling music arrangement towards the end of the song puts us back to sleep and the song ends.

Phir le aaya dil (Reprise) – Sung by Arijit Singh in a contemporary music setting (yes, with faint tabla throughout the song) and ghazal-like lyrics. This sums up the song best . The use of piano in between and the general mood of this song is just too good. There is another version of this song as well and we will go there in a minute but this song has more layers because it’s not an out-n-out ghazal. The vocals of Arijit are apt for the song (And reminded me of Shail Hada. Where’s he by the way?) Pritam, is that you? Really? Pleasantly surprised! For me, the best song of the album.

Phir le aaya dil – Sung by Rekha Bhardwaj, this composition is an out and out ghazal – very linear in it’s approach. Not many layers. Not sure if this will feature in the film. We have heard Rekha Bhardwaj sing many a ghazals such as this one so it doesn’t come as a surprise that she hugs the lyrics, hi-5’s the music setting and sings with her usual aplomb.

Aashiyan – Excellent accordion play starts this song and Shreya Ghosal greets us smiling. Nikhil Paul George makes another appearance and compliments Shreya Ghosal superbly. This is a happy song. There is  flute  and voilin play in between and it does to us just what good music should!  Yes, music to the ears. The adorable ‘almost’ yodelling is placed perfectly in the song and you can’t help but smile everytime it comes up. Excellent arrangement, this.

Sawali si raat – Beautiful piano starts the song and guitars drift away in the background. Arijit Singh whisper-starts the song. The song talks about ‘sleep’ but the singer sounds clearly out of place in this song. Not comfortable with the subdued singing, Arijit perhaps wasn’t the right choice of the song. The tune nevertheless is quite hummable (Youtube ‘versions’ of this ahoy!). The only blip on the otherwise excellent album and for this, I can’t penalize Mr. Pritam.

Phir le aaya dil (by Shafqat Amanat Ali) – A very ‘raabta‘ like start (initial notes remind you of the Siyah Raatein version of Raabta), piano and a gentle music arrangement, thankfully aided by sarangi this time starts this song and Shafqat Amanat Ali Khan gets on with it. The moment you hear this song you feel it is the ‘cleanest’ arranged and presented song of all the versions. Best part – you cannot (and should not) compare the 3 versions of this song. Arijit Singh’s version is blessed with more ‘feel’. Rekha Bharadwaj and Shafqat’s version is more directed towards singing it right. I cannot get over the excellent use of our very own ‘Sarangi’ in this version though. Not nitpicking but please do pay chotu attention to the way Shafqat Amanat Ali Khan pronounces ‘Baaki’. This is the version that will make you cry a bit, yep.

Special mention – Shafqat Amanat Ali Khan has to be appreciated for not choosing similar songs and falling into the ‘Rahat Fateh Ali Khan’ sahab wala ‘typecast’ groove.
Aashiyan – Nikhil Paul George goes on and about in this solo version. While the duet version sounds fresh with Shreya Ghosal (and if you have heard that version already), you will miss her voice in this one because the energy is a little low. The tempo, music arrangement (save for voilins) is pretty much the same. The only difference that I could make out was the spacing between the opening lines of the mukhda. The lines are spaced using violins so that the listener doesn’t feel that the male voice is singing the female part as well. Not a song that would make you buy this album on a stand alone basis but compliments the album very well.
It’s already been said, blogged and screamed that Pritam has outdone himself with this album and I will just reiterate it shamelessly! You can visualize the film when you hear the songs. If the teaser of Barfi looks like picture perfect painting, the music adds beautiful colors to it. Thrilled beyond words, Pritam has given us one of the best music albums of this year!

Take a bow, Pritam…I owe you a 5 star chocolate, for this tasty Barfi!

The much awaited music (by Sneha Khanwalkar) of part 2 of Anurag Kashyap’s gangster-political-crime-drama Gangs of Wasseypur is finally out. Just 3 weeks before the film’s release on 8th August. A tad bit late, some may feel but der-durust and all that.

Given the film’s bhojpuri-mixed-Hindi dialect, we thought of doing another post (like last time) with lyrics. And embedded the songs too from soundcloud, so that you can read and sing-along if in the mood. Over to album’s co-lyricist Varun Grover.

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२ साल, और उन दो सालों के हर दिन के चौबीसों घंटे लगे यहाँ तक पहुँचने में. इतना intense क्रियटिव प्रोसेस मैंने इससे पहले कभी नहीं देखा था. और थोड़े दिन पहले तक भी मुझे लग रहा था कि वो दिन कभी आएगा ही नहीं जब वासेपुर के गानों का काम खतम हो जाएगा. लेकिन आ गया है. सारे गाने एक-एक कर के यहाँ नीचे हैं…शब्दों के साथ.

और सबके बारे में २-२ लाइनें भी.

छीछालेदर: Singer: Durga, Lyrics: Varun Grover

‘छीछालेदर’ शब्द अनुराग कश्यप ने दिया. उनको एक बिना लॉजिक का गाना चाहिए था. कैरेक्टर स्केच की तरह. बस टुकड़ों-टुकड़ों में किसी बंदे की व्याख्या करते हुए. गाया है १२-१३ साल की दुर्गा ने जो मूलतः आंध्र प्रदेश की है.

Mera joota fake leather,

Dil chichha-ledar

Wo humse poochey whether,

I like the weather

Chamcham waali goggle, bhool ke sarahu bhaage,

Makhmal waala maflar, chhorh ke sarahu bhaagey

Tere naam ke raadhe bhaiyya

Najar kateeli laser.

Mera joota fake leather,

Dil chichha-ledar

Wo humse poochey whether,

I like the weather

Hedar-dedar hedar-dedar

Dil chhichha-ledar

Maar tamaam haraamkhori,

lambi lambi chhorhe

Kare tikalla, jaat aghori,

Bani banaayi godhey…

Maar tamaam haraamkhori,

lambi lambi chhorhe

Daant se kholey beer botal,

Nain se loha modey-modey…

Nakshebaaji haath mein lekar,

Sab rangbaaji saath mein lekar,

Dar se farr se bedar…(2)

Hedar-dedar hedar-dedar (4)

Dil chhichha-ledar…

काला रे: Singer: Sneha Khanwalkar, Lyrics: Varun Grover

फिल्म का इकलौता ‘रोमांटिक’ गाना. लेकिन क्योंकि हीरो (फैज़ल खान) गैंगस्टर भी है और काला भी, इसलिए गाना भी थोड़ा dark और haunting बनाना था.

Kaala re, saiyyaan, kaala re…

Mann kaala re, tann kaala re,

Kaali zubaan ki kaali gaari….

Kaale din ki kaali shaamein,

Saiyyaan karte ji kolbazaari…

Bairi kol kol kol, chheney tol tol tol,

Chhat aangan chaar deewari…

Saiyyaan karte ji…saiyyaan karte ji…

Saiyyan karte ji kolbazaari…

Kaali mitti, kutta kaala,

Kaala bilkul surmey waala,

Kaala kauvva, hauvva kaala….

Kaala baadal ghirne waala,

Kaala moti, girne waala,

Kaala jhanda, danda kaala….

Kaala batua, paisa kaala..

Kaali aankhon jaisa kaala,

Kaali agni…

Kaali garmi, sooraj kaala,

Kaala beegha, aur gaj kaala,

Kaali baaati…haathi kaala…

Kaala-kaala-kaala…

Bairi coal coal…

Bairi kol kol kol,

chheeney whole-sole-tol….

Rang paani aur pichkaari…

Saiyyaan karte ji…saiyyaan karte ji…

Saiyyan karte ji kolbazaari…

बहुत खूब: Singer: A group of school kids (एक बच्चे का नाम, जिसकी आवाज़ में कविता सबसे ज़्यादा है: पड़फूल था.)

यह किसी ने नहीं लिखा. बिहार में फिल्म पर रिसर्च के दौरान स्नेहा मुज़फ्फरपुर के बेरिया गाँव में पहुंची. स्कूल से लौटे बच्चों ने टेक्नोलोजी से लदे ‘शहरी’ ग्रुप को घेर लिया. स्नेहा ने  बच्चों से कहा कोई कविता सुनाओ, मैं रिकार्ड करूंगी. वही आवाजें रिकार्ड की और फिर उन्हीं को जोड़ कर यह गीत बना.

Bahut khoob Bahut khoob Bahut khoob

Chakachak kumari..

Chattanon se krida karti

Kal kal karti, chal chal karti

Chattanon se krida karti

Kabhi idhar mud, kabhi udhar mud

Ban parbat mein lipti chhupti.

Dharti ke har kisi chor se,

Ban parbat ke kisi mod se

Boond boond se bana hai, kaun

Chaar dhaamon se juda hai, kaun.

Bahut khoob Bahut khoob Bahut khoob

मूरा: Singer: Sneha Khanwalkar/Deepak Kumar Lyrics: Varun Grover

इस गीत के दो versions हैं. एक स्नेहा की आवाज़ में और दूसरा दीपक कुमार (जिसने Gow-1 में ‘हमनी के छोरी के’ गाया था) की आवाज़ में. कोशिश थी एक tongue-in-cheek pep-talk song लिखने की. IT-BHU में रहते हुए hostel में ‘फ्रस्टियाओ’ और ‘नर्भसाओ’ बहुत सुना था. वो काम आया. इसमें भी स्नेहा की संगत में एक कैलिप्सो बैंड है, उसके कैरिबियन रिसर्च के दौरान ढूँढा हुआ.

Moora Morning (sung by Deepak Kumar)

Frustiyaao nahin moora,

Narbhasaao nahin moora,

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Jo bhi wrongwa hai usey,

Set right-wa karo ji,

Naahin loojiye ji hope,

Thoda fightwa karo ji…

Jo bhi wrongwa hai usey,

Set right-wa karo ji,

Naahin loojiye ji hope,

Thoda fightwa karo ji…moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Kaahe muthhi mein pakad,

Raha paniya re moora…

Kaahe muthhi mein pakar,

Raha paniya re moora…

Rahe paani ki na yaad

Naa nisaniya re moora

Startey startey startey..

Startey brainwa re moora,

Charh trainwa re moora,

Startey brainwa re moora,

Charh trainwa re moora,

Naahin pagla re bann,

Act sane-wa re moora..

Anytime anytime,

Hai yeh retiya kaa ghar,

Anytime anytime,

Bharbharaao nahin moora..

Anytime anytime,

Diye chance-wa jo life,

Refuse-aao nahin moora…

Sakpakaao nahin moora,

Latpataao nahin moora…

Sakpakaao nahin moora,

Latpataao nahin moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

आबरू: Singer: Bhupesh Singh, Piyush Mishra, Lyrics: Piyush Mishra

कव्वाली-मुकाबला जैसी शैली में रामाधीर सिंह और फैज़ल खान के चुनाव प्रचार के लिए एक गीत बनाना था. पीयूष मिश्रा ने अपने धुरंधर अंदाज़ में लिखा और गाया.

Hum zahar se bhare, bicchhuon mein paley

arey tu humein kaatne ki saza payega

Arey aabroo ki kasam, cheer denge tujhe

Dum kate saanp sa.. bil bila jayega

Aabroo ke jane, draupadi ki kasam

Kauravon ki sabha mein jo aa jayega

Arey Dushaasan hain hum, kheench lenge tujhey

Aabroo jo bachi hai luta jayega

Aabroo ki kahi aaj sun le abhi

Choli lehanga pehan ke kahan jaayega

Jo har ik chhed mein goliyan jo padi

toh har ik chhed bansi baaja jayega

chhedo.. chhedo chhedo.. chhedo

oh chhedon key khuda meri sun to zara

beech baazaar mein tu toh aa jayega

le aa gaya beech bazaar mein, ab bol.

Toh ruk…

Sand ban ke nache-ga, sarey aam tuu..

Bhaand ban ke muhaley mein chaa jayega.

Hum to duryodhan ke poot, saath mein raavan ke chele

Hum to  bhari-putna surpanakha ki godon mein khele

hum to aise hain chandal cheer ke kutta khate hain

hum to aise teer-andaj aadmi ain chabate hain

hum to shakuni hain, hum kansraj hain kulta shulta neech

hum toh narbhakshi hain, gaay bhains ka chara khaan ley kheench

arey hum maar tamancha, bail pe nikley, bail bech aaye

hum to kirkit ka balla chodo hum khel bech aaye.

Haaji maula Haaji maula Haaji maula, Haaji maula Haaji maula..

तार बिजली: Singer: (Padmashree) Sharda Sinha, Lyrics: Varun Grover (Mukhda from traditional/folk)

फॉर्मेट से शादी का गीत है. लेकिन शब्द पोलिटिकल हैं. ‘८० और ‘९० के दशक के बिहार की बिगड़ती दशा पर एक दुहाई है देश के ‘पालनहारों’ से कि ये क्या कर दिया ‘हमारे पिया’ के साथ. Surreal मान सकते हैं…कि ऐसा गीत अब इस फिल्म की दुनिया में लोकगीत बन गया है और शादी में गाया जा रहा है. और गाया है legendary शारदा सिन्हा जी ने. बहुत सालों बाद फिल्म संगीत में वापसी है उनके लिए यह.

Taar bijli se patley, humaare piya…(x2)

O ri saasu bata tuney yeh kya biya…(x2)

Sookh ke ho gaye hain chhuaare piya…(x2)

Bechaarey piya…

Sab haarey piya…

Kuchh khaatey nahin hain…

Kuchh khaatey nahin hain…humaarey piya

O ri saasu bata tuney yeh kya biya…

Taar bijli se patley humaare piya….

Kha dhatoora ji sutley humaare piya,

Maara dhakka na uthley dulaare piya, (x2)

O re bapu bata tuney yeh kya biya,

Yeh kya biya tuney yeh kya biya…

(chorus) Gulaabi Chachha…

Gulaabi Chachha ki kyaari mein kaanta bhara…

Na idhar na udhar hi sihaare piya…

Taar bijli se…

Ghupp andhera mein chaltey, dulaarey piya,

Ghupp andhera mein chaltey, dulaarey piya,

Jindagi kolbari, phoot paani bhara,

Aarra Chhapra ke Babuji yeh kya kiya?

Loknayak jalaaye yeh kaisa diya? (x2)

Bhaav koyla ke bik-lay dihaari piya…

Nihaari piya….Bihaari piya….

Maarey dukh ke ji phootey fuhaarey piya…

Haan fuhaare-fuhaarey-fuhaarey piya…

Taar bijli se patley, humaare piya…

Taar bijli se patley, humaare piya…

O ri saasu bata tuney yeh kya biya…

O ri saasu bata tuney yeh kya biya…

O ri bhauji bata tuney yeh kya biya…

O re Bapu bata tuney yeh kya biya…

O re Chacha bata tuney yeh kya biya…

Loknayak bata tuney yeh kya biya…

Jan-nayak bata tuney yeh kya biya…

Baba Saaheb bata tuney yeh kya biya…

Taar bijli se patle humaare piya…

इलेक्ट्रिक पिया: Singer: Rasika Rani, Lyrics: Varun Grover

यह गाना स्नेहा ने कैरिबियन में रिकार्ड किया. वहाँ वो चटनी म्युज़िक ढूँढने गयी थी और रसिका से मिली. इसका पूरा अरेंजमेंट चटनी है इसलिए शब्द भी fusion हैं. ‘तार बिजली’ को लोकगीत का surreal जामा पहनाने में भी यह गीत मदद करता है. फिल्म में यह गीत एक पार्टी में बज रहा है. मतलब एक ऐसी दुनिया है जहाँ यह (और ‘तार बिजली’) पहले से प्रचलित हैं. इसमें भी मर्म वही है…दुहाई है…लेकिन इसमें मूड एकदम अलग है. यह सत्ता के iron curtain के दूसरी तरफ खड़े लोगों का गीत है. ‘तार बिजली’ से ठीक उल्टा. (फिल्म देखेंगे तो पूरा subtext समझ आएगा.)

Electric piya…electric piya!

Taar bijli se patle humaare piya..

Arre taar taar taar…

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Ghar aate hain deri se, tutli hai road…

Road road road…arre tutli hai road…

Roj roj roj roj…

Baba-saaheb kathin kitna rasta diya,

Jan-Nayak re haalat kya khasta kiya,

Riding donkeys, my horse-rider piya…

Getting tangled in web of spider piya…

Electric piya…electric piya….

Electric piya…electric piya….

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

My loveless, and luck less, and messed-up piya…

Arre messed-up piya… Arre messed-up piya…

Aandhi-maata bata tuney yeh kya biya,

100-baras jeeney waale re yeh kya kiya,

Slipping out of my hands, humaarepiya,

Falling into quick-sands, humaare piya…

Electric piya…electric piya!

Taar bijli se patle humaare piya..

Arre taar taar taar…

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

This barter of bloody blows will make you cry, you’ll know my name when I fuck you dry.

There have been a lot of requests for the translations for Gangs of Wasseypur lyrics ( Written by apna Varun Grover and Piyush Mishra). So here are the ‘adaptions’ of the lyrics in English (as the team would like to call it).

English adaptations by:  Renuka Kunzru, Neeraj Ghaywan, and Varun Grover.

Renuka Kunzru (with Neeraj Ghaywan) has done the subtitling of both the parts of Gangs of Wasseypur and you have seen her in a cameo in ‘Jaane Tu Ya Jaane Na’. She’s the girl (Mala) at the airport the friends’ gang narrates the love story of Jai and Aditi to.

1.     EK BAGAL MEIN CHAND HOGA:

(Lyrics: Piyush Mishra)
Ek bagal mein chand hoga, ek bagal mein rotiyan  I dream of a bejeweled moon, some warm bread,
Ek bagal mein neend hogi, ek bagal mein loriyan  I dream of gentle sleep, and a lullaby in my head.
Hum chaand pe, roti ki chaadar, daal kar so jayenge Dear moon, I’ll cover you with my bread warm
Aur neend se keh denge lori kal sunane aynege And soon, dear sleep, I will sing thee my song.
Ek bagal mein khankhanati seepiyan ho jayngi | My dream sees shells bobbing,
Ek bagal mein kuch rulati sisikiyan ho jayengi  | My dream hears muffled sobbing…
Hum seepiyon mein bhar ke saare tare chu ke aayenge | So I’ll ride my shells to my dream,
Aur siskiyon ko gudgudi kar kar key un bahlayenge |and tickle my tears till they beam.
Amma teri siskiyon pe koi rone aayega | Fear not, mother, your plight will not go unwept
Gham na kar jo ayega  woh phir kabhi naa jayega |The friendly shoulder will stay, and your tears will be kept.
Yaad rakh par koi anhoni nahin tu layegi | But dearest mother, just wish for no doom,
Layegi t phir kahani aur kuch ho jayegi  | Or my simple dream, will be my tomb.
Honi aur anhoni ki parwah kisie hai  meri jaan | Not that I fear ill luck or a doomed end
Hadh se jyaada ye hi hoga hum yahin mar jayenge  | If the worst is death, he is an old friend.
Hum maut ko sapna bata kar , uth khade honge yahin| I guess I’ll charm death with my dream-like riddle
Aur honi ko thenga dikha kar  khil khilate jayenge | And con fate,  with a wink and a giggle

2. Womaniya

(Lyrics: Varun Grover)

Taare jo babuna, tarti babuni | He ogles, stares and waits
Babuna ke hathe na chadti babuni | While she teases, taunts and baits.
Maange jo babuna prem nisaniya | He asks, ‘A loving bite on my chin, dear?’
Bole jo thodi, kattti ho kaniya | So she leans over and nibbles his ear.
Badle rupaya ke dena chawaniya | She gives him a quarter if he asks for a rupee
Saiyaan ji jhapte to ho na hiraniyan | And when he lunges, she flees like a flea
Rah rah ke maange choli bataniyan | Don’t let him play with your buttons, it’s a trick;
Jee mey lukaaye lot lotaniyan | The innocent game will end on his prick

Chaahe muh-jhaunsa jab haath sikaniya | When the bastard tries to warm his hands,
Kandha mein dena ji daant bhukaniya | Play along and bite his shoulder
 Bolega babuna, chal jai-ho Patna, | The fiancé will offer you a ride to Patna,
Patna bahaane wo chaahega satna, | And will see this as a chance to get close…
Dai-ho na pahuna ko ticket kataniya… | Don’t go all the way (to Patna) with him..
Patna naa jaana chaahe jaana Sivaniya… | Go only up to (Distt.) Sivan, dear.

3.     KEH KE LOONGA

(Lyrics: Piyush Mishra)

Ras bheege saude ka ye, khooni anjam teri keh ke loonga | This barter of bloody blows will make you cry,
Teri keh ke loonga  | you’ll know my name when I fuck you dry
Khanjar se doodh gire yaan, ho katle aam teri keh ke loonga | Sweet milk or blood my dagger shall reap
Teri keh ke loonga (2) | You’ll know my name when I fuck you deep
Saason ko saanp sunghan ke, jangli til chatta la ke, keh ke loonga | I’m a  scorpion’s kiss, a toxic lullaby at night
Bichu se hoth katta ke, lori jahreeli gaa ke keh ke looonga | It is I, sir, that has fucked you right.
Panghat ko bechunga main, mar mar ghat ke daam teri keh ke loonga |  Your fancy estate, I’ll sell at a graveyard’s price. Ain’t I nice, I just fucked you twice.
Khuli ho sadke, tambu thane chahe mil vil ho ya baaz mekhkama, mekhamaa aaaa | Hit the road, find a remote hut, prison or fort,
Jisme bachna ho bach le, yee, jisme bachna ho bach le, bach meri jaan teri keh ke loonga | Hide, take cover, run, my man, run, I’ll still fuck you, just for fun!

4.     JIYA HO BIHAR KE LAALA

(Lyrics: Varun Grover)

Jiya ho bihar ke laal, | Long live, Son of Bihar…
jiya tu hajaar saal, |  May you live a thousand years
Tani naachi ke, tani gaayi ke, | So sing and dance
Tani naachi gaayi, sabke mann behlaava re bhaiyya…| May you always sing and dance and make us smile, son.
Tu maati ka laal re laala, Bhaiyya-3| You’re the son of the soil, dear son…
Tohra magahi saan niraala,Bhaiyya-3 | May every breath you take be as majestic as this royal state, dear son…
Tere purkhey jiye andhera,aur tuney jana ujaala…| Your ancestors lived in darkness, but with you, may light be born, my son
Tere god pakhaarey ganga, tere tej se aag jhulasta |May the Holy Ganges keep washing your feet,  I pray that your aura be fiercer than even fire
Tere kandhey chadh ke sooraj, aakas mein roj pahunchta…|May your shoulders be so mighty, my son, that the sun rises by standing over them
Jiyaa tu honhaaaaaaar….| Aren’t you my good son, dear son?
Tani ghoom-ghaam ke, tani dhoomdhaam se…May everyone dance, rejoice and celebrate…
Tani taan kheench ke, taansen, kehlaawa re bhaiyya…. and open their hearts and sing to the skies.
Tani naachi gaayi sabke mann behlawa re bhaiyya,May you always sing and dance  and make us smile, son.
Tani neeke-neeke bol pe geet sunaava re bhaiyya…Tani teekhe-teekhe bol pe dhol bajaawa re bhaiyya…May your sweet words turn into songs…
Tani jhaal utha ke, taal se taal milaava re bhaiyya…may your sharp words turn  into drum beats.
Tani dholak, maandar, matka, chammach, laava re bhaiyya…Pick up any instrument and  join the others …And let the melody flow.
Tani oka-boka-teen-tadoka…
Tani chandan-maati-chauka-kaathi…
Tani oka-boka-teen-tadoka gaava re bhaiyya..We wait for your crazy music…
Tani chandan-maati-chauka-kaathi laava re bhaiyya…we know you will bring us light.
Tani saans fula ke phoonk se dhool udaava re bhaiyya, Only your mighty breath can blow the dust off our lives.
Tani jaan jala ke geet ke tel pilaava re bhaiyya...Only you can re-light our dying lamp.

5.     Bhoos ke dher mein 

(Lyrics: Varun Grover)

Bhoos ke dher mein raai ka daana, | Like looking for a pin in a haystack,
Rang biranga bail sayaana, | Like spotting a smart, colorful buffalo,
Bhoos ke dher mein raai ka daana,
Rang biranga bail sayaana,
Dooje pahar mein toot-ta taara, | Like seeing a falling star mid-afternoon,
Paani pe tirta pakka paara… | Like having mercury float on water…
Naa….
Naa milihey…| You won’t find it…
Naa milihey…naa…| Won’t find…
Na soch, Na khoj, | Don’t even think, Or try…
Ud jayi-ho, jag hai toap…| The world will vanish like a cannon…
Hai kohra rakh sab haath taan, | It’s vague ahead, so stick your hands out…
Imaan na dayi-ho hili-hey…| Just don’t let your faith wither…
Naa milihey…
Naa milihey…naa…
Naa milihey…
Naa milihey…naa…
Batiyaati haathon ki lakeera, | Like fate talking without ambiguity,
Mahal duwaarey, khada fakeera…| Like an ascetic waiting at a palace gate…
Ghaath laga le, Raat jaga le, | By hook or by crook,
Suruj ka sab ghoda bhaga le, baba..| Or by capturing the horses of Sun,
Dhar le chaahe bhoot ki dhoti, | Or by latching on to the ghost’s fabric,
Paa le ashwathhama ka moti, | Or by acquiring the mythical pearl of eternity,
Paani mein…

Paani mein, maati mein, | Or in water or mud,
Loha mein, kaathi mein, | Or in iron or wood,
Jiya ke jod mein, aankhan ki paati mein… | Or in the joint of hearts or crack of eyes,
Aakaas khuley mein, mann ki gaanthi mein…| Or in the vast skies or closed minds…
 Naa… Not a chance!
Batiyaati haathon ki lakeera, | Like fate talking without ambiguity,
Mahal duwaarey, khada fakeera…| Like an ascetic waiting at a palace gate…
Bhari dupahari naachey mayura, | Like a peacock dancing in blazing sun,
Yam se chatur, gaanv ka moora….| Like a village idiot more wicked than the Devil…
Na milihey… You won’t find it.
Hai kohra rakh sab haath taan,
Imaan na dayi-ho hili-hey…
Naa milihey…
Naa milihey…naa…
Naa milihey…
Naa milihey…naa…


6.     Humni Ke…

(Lyrics: Folk/Traditional)

Humni ke chhori ke nagariya ae baba… You have abandoned us, father,
Ki arre baba chhori dihala ghar-parivaar kahun banwa maayi gayili ho…| You have forsaken your town and family,
Ki aaho baba soooni kayi ke gharwa-duvaar, kawan banwa maayi gayili ho, | And now the empty walls of our home echo with loneliness, just like dear mother’s heart
Gaunwaan ke logawa, kehu…kehu se na bolein..|The little one refuses to speak to anyone,
Chhotaka laikawaa, bhora-hi se aankh nahin kholey..|He even refuses to see the morning sun…
Sunsaan bhaiyili dagariya ae baba…|Every road, every possible way is deserted, father,
Ki arre baba nimiya ho gayil patjhaar, kawan banwa maayi gayili ho..| Even the family tree has slipped into a long winter, much like dear mother’s heart.
Kaisa-hoo ae baba, humaraa maayi se milaa da | Father, bring our mother back…
Saparo tajaa ke humro araj sunaa da…| Only you can convey our message to her far away ears.
Chhutka ke chhote-ba umiriya re baba..| I implore you for the sake of the little boy and his tiny life,
Ki arre baba, pari lin hum pauwwaan tohaar kawan banwa maayi gayi li ho..| I do beg you, father, please bring his mother back.
Ki aaho baba soooni kayi ke anganwa-duvaar, kawan banwa maayi gayili ho, | For you have deserted us father, And made our home an empty shell, much like dear mother’s heart.