पन्छी : An aviary of Songs

January 1, 2016

Bird-watch in the Songs of Yore

Wishing Happy New Year to all the readers with guest article by Shalan Lal

(Once upon a time there were birds around us and they were a part of our lives, songs, mtyths and legends. When the crow cawed we knew it was advance intimation of a guest coming; when the koel cooed in the monsoon rains it pierced the heart of the lonely lady pining for her lover who was away; when the papiha sang far away the lovers knew the night was only half left; when Shakaracharya heard a parrot uttering deeply metaphysical aphorisms like स्वतः प्रमाणं परतः प्रमाणम्‌ he knew he had reached the house of Pandit Mandan Mishra; and when Valmiki heard the heart-rending cry of a crane whose partner was killed by a hunter’s arrow during mating, from his grief-stricken heart came out the first verse of the mankind that made him the आदि कवि.

If you think about it, the once familiar birds are becoming rarer. Songs of Yore heralds the New Year remembering these birds with this guest article by Shalan Lal. Shalan has discovered SoY late, but has since become its avid follower. Besides the very learned comments she posts on the blog, she often sends me long comments as she catches up with the old posts when she feels these may appear outdated on the blog. Our interaction has led to several interesting ideas that can develop into articles. While we were discussing some other topics, I was pleasantly surprised to get this beautifully written piece in mail.

Shalan is based in London where she works with women’s issues. She is widely travelled, she has had academic association with the School of Oriental and African Studies, University of London and some other universities. Her interests range from politics to literature to religion. This article bears out her wide-ranging inetersts and international outlook.

Thank you Shalan for this article and welcome to SoY as a guest author. – AK)

BirdThis is a bird’s eye view of the Songs of Yore over the Hindi films. In the English culture often the word Bird was used for a young girl by the male youths in the sixties and seventies. I was young then. There were other words for the young girls used in those days as well for example “a doll”, a babe and the vulgar term “a crumpet” as well. There could be more.

During the last April I went along with some friends to see the arrival of the New Yorker Hudsonian migratory birds called “Godwit”, who were supposed to be flying back to Canada, just a journey about two hundred miles from New York. But their magnetic field in their heads changed due to too much electrification in New York and they got in a different current of the air (AK also noticed this in his reading of the news and mentioned it in his email to me on another matter) and made a non-stop four thousand miles journey to England. Some say they got unwittingly in another caravan of migratory birds and made off-beam and very wide of the mark journey.

The Godwit bird has spotted brown feathers and black feathered tails. This one is called Hudsonian as it nests during the nesting season along the Hudson River in New York State and the City as well. The migratory birds nowadays are satellite-tagged for the information of ornithology, hence their wide of the mark migration was immediately noticed and the ornithologists and the amateur bird watchers got information and their arrival in Britain was anticipated.

Here are two pictures of them from the internet Wikipedia.


Here they are in flight and later when they arrived at the Somerset Bird Sanctuary in Britain

In India there is a variety of the Godwit birds who live in the Himalayan regions but they migrate to the rest of the warm regions of India during December to March and then they return to the Himalayan area.

The experience was thrilling for me to watch these brave hero birds that flew nonstop four thousand miles over the Atlantic Ocean. This made me to sojourn into the bird songs in the Hindi films. Here you will find some songs and my comments and their ambience trivia.

1. Main băn kī chidiyā băn ke, băn băn, bolōōn rė¬
मैं बन की चिड़िया बन के बन बन बोलूं रे |

Movie: Achhut Kanya; Singer(s): Ashok Kumar, Devika Rani; Music Director: Saraswati Devi; Lyricist: JS Kashyap ‘Natawa’; Year/Decade: 1936, 1930s

This song has more meanings than one. This is a song from the film made by Bombay Talkies. Bombay Talkies was a film company based in Bombay’s undeveloped suburb part called Malad. Today it is no more a suburb but there is an area of studios called Film City. At present, Bombay is not Bombay but Mumbai and it has grown as big as New York or Hong Kong with high rising estate buildings consortiums and a population more than 20 millions.

Bombay Talkies was created by Himanshu Rai with his partner and wife Devika Rani Chaudhari related to Tagore’s mother and father. In the film making of that period three Studio-based companies were popular. The other two were The New Theatres in Calcutta and the Prabhat in Poona. Devika Rani was the first Indian actor to be professionally trained from RADA (Royal Academy of Dramatic Arts) London. Himanshu Rai started making films in England with his first film A Throw of Dice in English. Just before Achhut Kanya was made, Devika Rani gallivanted with her co-star Najm-ul-Hassan in a film called Jeevan Naiya. This rocked the whole company, Himanshu Rai got a heart attack and he remained ill until his agonising death. Shashdhar Mukherji who was a manager decided on an untrained laboratory assistant and his nephew Ashok Kumar as the lead actor for the Devika Rani film Achhut Kanya. The story was of a young Brahmin boy and an untouchable girl falling in love without knowing the social, religious and political constrains and complications. Their affair ends in the death of the daughter of the Untouchables. (Note: Please see Raunak’s comment #33 in this regard. – AK)

Both Ashok and Devika played innocent lovers like the two birds in the woodland and the song depicts it very well with their childlike behaviour. But some lines are more related to the free spirit of Devika Rani who was an irrepressible rebel in the then Indian society. Read these lines and listen to them again with the above understanding.

दे: मैं बन की चिड़िया बन के बन बन बोलूं रे
अ: मैं बन का पन्छी बन के संग संग डोलूं रे – २

दे: मैं डाल डाल उड़ जाऊँ
नहीं पकड़ाई मैं आऊँ  – २
अ: तुम डाल डाल, मैं पात पात;
बिन पकड़े, कभी न छोड़ूँ

In this song the image is of universal human (mis)understanding of the birds that they are free spirits and human beings are not so. The ornithologists would dispute this “understanding”.

Some more added meaning: The song was composed by Sarswati Devi a Parasee lady born as Khorshed Minocher-Homji, the first female composer of the filmy world who came under pressure from her community to give up working for the films as they were sleazy, squalid professions. Himanshi Rai gave her Hindu Name to protect her from the harassment from her community. She was a graduate of Morris Music College in Lucknow. This and its sister college in Lahore and one in Bombay were created in the early twentieth century by Bhatkhande, which brought in renaissance in the Indian classical music. Bhatkhande did deep research in the Indian classical music and created a graduated system to pursue the musical art. Talat Mahmood was also the graduate of this school. The readers of SoY are now aware that two iconic songs Koi humdum na raha (Jhumroo; 1961; Kishore Kumar) and Ek chatur naar kar ke singar (Padosan; 1968; Kishore Kumar & Manna Dey) are both adapted from their original versions sung by Ashok Kumar for Bombay Talkies movies, composed by the great Saraswati Devi. Here is the original version of Koi humdum na raha (Jeevan Naiya; 1936; Ashok Kumar), with introduction by Ashok Kumar describing KK’s fascination for this song since he heard it at the age of five in his brother’s voice and his desire to sing it better than his Dada. Here is the original version of Ek Chatur Naar (Jhoola; 1941; Ashok Kumar), which has been transformed so brilliantly by Kishore Kumar-Mehmood (Manna Dey)-RD Burman. (Note: The latest accepted information suggests that Saraswati Devi was preceded by Jaddan Bai for “Talaash-e-Haq” (1935) and Ishrat Sultana a.k.a Bibbo for “Adal-e-Jahangir” (1934), making her third in the line of female composers. However, she is effectively the first female composer to be counted among the greats and whose songs have become immortal.AK)

The words चिड़िया and पन्छी are synonymous and mean just the bird though चिड़िया stands for the meaning of the sparrow. But in Hindi often the chidiya stands for the birds in general like in the phrase Chidiya chŭn or chŭk gayi khet meaning the bird has devoured the crop or the bird has missed the crop.

बन बन बोलूं रे – this line can mean that they will go on singing in all the woodlands they will travel through and also go on talking and loving each other. The Indian word Bol means talk as well as sing. In the language of music Bol means lyric. The poet J.S. Kashyap has shown his clever craft in writing this lyric and also was clever to write in the hidden affair of Devika. He was a regular lyricist in the team of Bombay Talkies. Further on, please notice the clever pun on the word “बन”. Here the meanings, the bird of woodland and transferring into a bird and flying through many kinds of woodland suggesting that all ups and downs of life are concentrated in the lyric.

2. Panchhi bāwărā: पंछी बावरा

Movie: Bhakt Surdas; Singer(s): Khursheed; Music Director: Gyan Dutt; Lyricist: D N Madhok; Actors/Actresses: Khursheed, K L Saigal, Monica Desai; Year/Decade: 1942, 1940s

This song uses the Indian belief that is associated with the bird Chakor and its relationship with the moon and the moon rays. The Chakor in the Hindu literatures chases the rising moon riding on its rays and eventually dies. So its passion for the moon is an impossibility and ridiculousness of the achievement. This was a recurring theme in  many songs of yore.

The following lines of the lyric emphasise the wastage of love’s labour using the images of both the Chakor bird’s self-maddening and the moon’s waning state and being shining white phony attraction. See the use of the opposing words प्रीत बढ़ायेगा तू, त्यूँ-त्यूँ वो घट जाए. Good use of Alankar Shastra (i.e.Sanskrit Poetics). From the tenth century onwards many books were written on the poetics in Sanskrit that dominated the writers in Sanskrit as well as Prakrit languages and then on other languages that originated from Sanskrit:

कौन बताये तुझे चकोरा
गोरे मन के काले
ज्यूँ-ज्यूँ प्रीत बढ़ायेगा तू
त्यूँ-त्यूँ वो घट जाए
चाँद से प्रीत लगाये
पंछी बावरा …

The film is based on the story or rather the legend of Surdas the saint poet in the middle ages who was an intense devotee of the Lord God Krishna and wrote songs of praises of the childhood stories of Krishna that he sang. His writing and his legend influenced most of the Indian languages though he wrote in Braj Hindi. Braj Hindi was spoken around Mathura and Braj was the part of the childhood of Krishna. His songs are a must for the singers of the classical singer as Surdas was an accomplished artist in the classical music. Hence many classical musical ditties (Cheese) are in Brajbhasha.

This song is a landmark in the SoY of the Hindi films and also known as a definitive voice of Khursheed a singing actor. It looks as if she had poured her heart into this song. She stood firm in the face of the rising popularity of N00rjehan. Hindi music lovers mourned over as she went to Pakistan and into the oblivion after the partition of India. There is plenty of information about her. AK has written an excellent post on her titled The Doyenne of Vintage Era.

Some of the songs in the early films of Khursheed were also very popular. I heard them in a family who came from East Africa. They are as under:

Shaadi (1941) Bhigoi mori saree re, Hari ke gun gaaun main and Ghir ghir aayi badaria, Pardesi (1941) Pahley jo mohabbat se inkaar kiya hota and Mori ataria hai sooni.

Khursheed acted in 42 films and sang songs in most of them.

The lyric of this song is written by Pandit Dina Nath Madhok who was a Kashmiri writer and poet. Kahmiri Pandits were and are most respected in India as they were natural writers and the custodians of the Sanskrit classical and Vedic literatures. And it is because of them that the modern Indians and world at large have an access to the Sanskrit Literature. In the early Hindi talkies Kashmiri Pandits contributed richly. The musicians like Husnlal and Bhagatram and their brothers were Kashmiri Pandits. The actors like Sapru, Chandrmohan, Jeevan and many others were Kashmiri as well. Presently this noble race is in ruins because of the political mistakes made by the last king of Kashmir, Hari Singh and Pandit Jawaharlal Nehru, both Kashmiri themselves.

There are fifteen songs in the film Bhakt Surdas and they all are as sweet as seedless grapes or one can say Mathurai Mithaai – the sweetmeats of Mathura.

3. Pănchhī jā pīchhė răhā hai bachapan mėrā
पंछी जा पीछे रहा है बचपन मेरा

Movie: Sharda; Singer(s): Suraiya; Music Director: Naushad; Lyricist: D N Madhok; Actors/Actresses: Ulhas, Nirmala, Mehtab, Wasti; Year/ Decade: 1942, 1940s

This song could be the first song of Suraiya who was then hardly thirteen years. Naushad was the music director of Circo Productions’ Nai Duniya (1942), which was directed by AR Kardar. When Kardar set up his own Kardar Productions, he asked Naushad to be the Music Director of his first film Sharda. Strangely he asked Suraiya to give her voice to an older actress Mehatab in the film. Whatever Suraiya sang since her debut she sang sweetly. AK has done a few posts on Suraiya’s singing and that completes her story. (It is now generally accepted that Suraiya’s first song was “Boot karun main polish babu” from “Nai Duniya” in the same year, 1942. – AK)

In this song the word bird is used without denoting which bird, but the lyrics seems to suggest a migratory bird. The characters find it difficult to express their feelings and they needed a go-between to express their matters of the heart. As the migratory birds return from their journey, one phase is finished. So here the lyricist has very cleverly used the bird as a mediator. Moreover the lyric is about a girl’s coming of age, and the children who are supposed to be growing up with birds and flowers and other animals. That phase of life is now finishing here and the girl has tasted the adult life that is enjoyable to her at present. She is still inebriate with that influence. This kind of feeling has been expressed by Kalidas in his play Abhgigyan Shakuntalam where Shakuntala undergoes that feeling of changes in her life, who has been brought up by the birds as her name Shakuntala denotes. This lyric had been composed by Pandit Madhok, who had Sanskrit literature at his figure tip. See the construction of the verse:

मैं सोई वो छोड़ गया
क्या जाने प्रीत निभानी
आँख खुली लेती अंगड़ाई
देखी मस्त जवानी
बोली आ

The arrival of the youth is yawning at the parting childhood.  In this song she is telling her birdlike childhood to part sweetly and be prepared for the pangs of love. Suraiya does full justice to all this in sweet notes and she tells all this without any needles and pins of pains of too much indulgences of the classical notes. This she must be undergoing herself.

Note on the “Dōōr Papiha Bola”

Suraiya’s another song Dōōr Papiha Bola has been nicely brought up to the notice of the readers by AK as the tributes to both Anil Biswas and Suraiya.

Here I want to say about that song in the film Gajre that it seems to be in a very complex situation as there is a triangle of two women and one man. But the song clearly depicts the Ashta-Nayika situation where the Nayika goes out in the later part of the evening to meet her lover. Here Suraiya is both Abhisarika – the one who has gone to see her lover. And Vasakasajja i.e. that is all dressed up to please her lover. The song she would sing is usually in Bhupali rāginai or in Todi rāg according to the Raagmalika or Natyashastra. Perhaps Mr Subodh Agarwal may throw some lights if there are those elements in the song Door papiha bola.

Here the Nayika has to conclude the rendezvous under duress making her Virahotkanthita i.e. distraught by the separation, unsatisfied and the Papiha is telling her that it is the time to terminate the meeting.

Here the bird seems to be a time keeper. However the word Papiha is poetic, the night watchman is really an owl bird. It appears so in many of Shakespeare’s plays. But in the Indian culture owl is an inauspicious bird and is hardly used apart from the Nītī Kathā. Its ridiculous use as Ulluu gives a bad name to this great bird. Whenever I was in India and slept on the terrace of the house I kept looking for the owl invariably, and I was often lucky to see the white barn owls and brown owls as well. Sadly the Indian culture is not fair to many birds and animals by associating them to good or bad feelings in the culture. For example in Munimji (1955) a joke is created by giving Pran a donkey-like voice meaning donkey’s voice is bad and out of tune. In fact the donkey is a hardworking and mild animal and should be loved as an animal without any association.

पंछी जा
पीछे रहा है बचपन मेरा

4.  Bulbulo mat ro yahaan, aansu bahaanaa hai manaa
बुलबुलो मत रो यहाँ आँसू बहाना है मना उसको जा के  ला

Movie: Zeenat; Singer(s): Noorjahan; Music Director: Hafiz Khan; Lyricist: Naqshab Actors/Actresses: Noorjahan; Year/Decade: 1945, 1940s

This song uses the image of the bird “Bulbul” which is very popular in the pan-Islamic world. The bird itself is a sparrow variety and has various shapes not much larger than the sparrow with variable colours and feathers styles. It is also found in India from the Himalayan regions to the tip of India in the south. It was probably called “Bolo-Bolo” and in the east from Burma to Korea and in the Indonesia, Malaysia etc. Its cry is of four notes singing so it has been caged and used as the caged pet bird.

All over the world from the ancient times to the present the poor birds are caged for the amusement of human beings. What a cruel idea that human beings take pleasure in the imprisonment of the little birds? I have seen in America old Chinese take their cage-birds to the parks to make them feel that they are in the nature and for fresh air and to have conversations with the fellow cage-birds.

Here is a powerful poem called “Sympathy” of the Afro-American poet Paul Laurence Dunbar (1872-1906). The poet died of T.B. as it was common at that time.

I KNOW what the caged bird feels, alas!
When the sun is bright on the upland slopes;
When the wind stirs soft through the springing grass,
And the river flows like a stream of glass;
When the first bird sings and the first bud opens,
And the faint perfume from its chalice steals —
I know what the caged bird feels!

I know why the caged bird beats his wing
Till its blood is red on the cruel bars;
For he must fly back to his perch and cling
When he fain would be on the bough a-swing;
And a pain still throbs in the old, old scars
And they pulse again with a keener sting —
I know why he beats his wing!

I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,—
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart’s deep core,
But a plea, that upward to Heaven he flings —
I know why the caged bird sings!

The term Afro-American is the politically correct wording for the former slaves of America and when Paul was dying this term was just coming in the American language. We cannot say the same thing about the word Harijan or Achhut, or Scheduled Caste and the way they have been treated in India.

We have got some verses in the lyric of Bharat Vyas from the film Bedard Zmana Kya Jaanè (1959) called “Qaid mein hai bulbul”.

Majbur hun ki teri mehfil mein aa gaye hain
Musqil yahi hai ab to musqil mein aa gaye hain
Qaid me hai bulbul sainyyad muskuraye
Qaid me hai bulbul sainyyad muskuraye
Kaha bhi na jaye chup raha bhi na jaye
Qaid me hai bulbul sainyyad muskuraye
Kaha bhi na jaye chup raha bhi na jaye
Qaid mein hai bulbul

Kaisi hai duniya kaisi reet hai
Aanhko me aansu hothon pe geet hai   etc etc.

There are many other lyrics expressing similar feelings by many lyricists.

In freedom a Bulbul lives on the insects and the blossoms of the trees and plants. It is not frightened by the human atmosphere. One can see it coming into the house and pecking at foods and fruits.

The “Bulbul” is very popular in the old and modern Persian language and literature. Hence it is popular with the Islamic poets of the sub-continent. Its poetic imagery is variable as happy in Iqbal’s political poem “Sarè jahan sè achha Hindostan hamara, hum bulbulè hain isakè woh gulistan hamara.”

In the song of the film Zeenat it is not the image of the bird but the singer-actor is telling her sad state that otherwise she could not express because of her circumstances. She is enforcing on the bird that is free as the bird but in her circumstance the bird must not sing as she has been accused of illicit sexual intimacy with someone other than her husband who had gone away on the night of their married night. So the social custom demands that she must not enjoy normal life but keep on mourning her blemished state. This film and other similar films in the period were called Muslim Socials. There appeared during this period a “Progressive Muslims” movement that boldly criticised the customs and traditions which treated women as inferior to men. There are still some remnants of this movement in the form of the children of Jan Nisar Akhtar.  Otherwise it is now drowned in the post-Ayatollah’s Iranian Islamic revolution. Mehboob also belonged to the Progressive Muslim movement. His film Elan showed that. But he did not dwell deep in this area as the Partition storm swayed all good Muslims. He was happy to use the Hindu ethos to make his pictures without realizing that the Hindu temples are not the temples of Justice but are the sanctuaries for worships, meditations and to be with the divinity, and not as wrongly as Insaf Ka Mandir insisted in the film “Amar.”

बुलबुलो मत रो यहाँ आँसू बहाना है मना
इन क़फ़स के क़ैदियों को ग़ुल मचाना है मना

छोड़ कर तूफ़ाँ में ये मल्लाह कह कर चल दिया
डूब जा मझधार में साहिल पे आना है मना

मैं हूँ वो फ़रियाद जिस का सुनने वाला चल बसा
मैं हूँ वो आँसू जिसे दामन पे आना है मना

In the present England and Europe the above state of women is tried to be cured by giving women free housing, job, medical access and other priorities. Also the stigma is removed and now women are not seen as fallen angles or devils, that was the view of the Victorian times. But all cultures are not with the mainstream of this social acceptance of them, especially the Muslim and Indian still practise the stigma heavily even when they have been living for three or more generations in the U.K.

The song made Noorjehan “Bulbul-e-Hind” and later on with the songs of Anmol Ghadi she became Malika-e-Tarranum.

AK’s last post on Anmol Ghadi is predominantly on Noorjehan. He has also written a long piece on Lata Mangeshkar versus Noorjehan.

5. Papīhā rė, mėrė piyā se kahiyo jāy: पपीहा रे, मेरे पिया से कहियो जाय

Movie: Kismat; Singer(s): Pradeep, Parul Ghosh; Music Director: Anil Biswas; Lyricist: Pradeep; Actors/Actresses: Ashok Kumar, Mumtaz Shanti, Chandraprabha; Year/Decade: 1943, 1940s

In the songs of the Hindi films often the actors and the situations for the songs come to such a stage that they do not express directly to their lovers and ask for a medium – a go-between to tell their feelings. Usually the birds come in handy. They use this literary device from the ancient times. In the Mahabharat there is an episode about the King Năl and Damaynti. Năl falls in the love with the princess Damayanti. But he had no courage to tell her that. So he catches a Royal bird called Rāj-Hăns who goes to the chamber of the princess and tells the power and glory of Năl to her. So using a go-between is as ancient as the Mahabharat.

The Hans – the Indian swan birds and the Saras birds are migratory birds. They come to India from their home near the Mansarovar or lake in Tibet. The Mansarovar is a sacred water lake for the Hindus and the Buddhists.

This song is not shot on the lead actress but on Chandraprabha who plays the sister of Mumtaz Shanti. Chandraprbha was a sister of Music Director Saraswati Devi. Chandraprabha was a name given to her by Himanshu Rai to protect her from the harassment of her parents. She appeared in minor roles in many films of the Bombay Talkies. She is in love with the brother of Ashok Kumar in the film Kismat.

Saraswati Devi was the official composer and music director of the Bombay Talkies. By this time Ashok Kumar became a major partner of the Bombay Talkies along with his maternal uncle Shashadhar Mukharji. A settlement was going to be done for Devika Rani who lost all interest in the film making and Bombay Talkies. So Ashok Kumar invited Anil Biswas to be the composer and music director of this film. Anil Biswas brought in his sister Parul Biswas who later on married Pannalal Ghosh. She was a second singing voice. This song is sung by Parul.

Here the go-between bird पपीहा is Bulbul or more so like the Koel bird- a song bird that arrives from the south to the north during the spring time. In India from the ancient time the quality of some birds’ migration is seen as they could become messenger birds. It is called पपीहा because its singing sounds like the word पपीहा. The word has three syllables प –पी –हा. When the English colonialists were in India they had heard the notes of this bird as “Brain Fever”. There are three syllables in the name “Brain Fever” as Brai-(n) Fe-ve-(r). Perhaps this “Brain Fever” name for the bird they had selected was out of the irritation due to the Indian summer heat. The colonialists getting mad about the heat would go to the Devolali Cantonment near Nasik in the present Maharashtra near the cool Godavari river to cure themselves. Hence in English at that time the word “devolali” meant madness. The phrase is often heard among the upper classes of English people as in “Papa has gone devilali.”

The bird पपीहा is very popular in many songs of yore.

The male voice at the beginning of this song is that of the lyricist Pradeep.

पपीहा रे
मेरे पिया से कहियो जाय
मैं हूँ कितनी पास पिया के
फिर भी कितनी दूर
एक नदी के दो किनारे
मिलने से मजबूर

This song is less known in the film because the other songs got publicity out of proportion. It was a very good decision of Ashok Kumar to take the playback voice of Arun Kumar as the music directors in the forties were going to demand more musical-ability from the singers and the playback singing started developing progressively.

In the same film there is a word “Bulbul” in the duet song of Amirbai and Arun Kumar “धीरे धीरे”. The word “Bulbul” has a slang meaning of male “Lingum”. It is not just in the sub-continental culture or limited to the pan-Islamic world but in the English and European cultures as well.

धीरे धीरे आ रे बादल धीरे आ रे
बादल धीरे धीरे जा
मेरा बुलबुल सो रहा है शोर-गुल न मचा

On the old winding phonograph this song was played on the 78 r.p.m. record, by my wily, secretive old uncle who would smile and his big bushy mustachio would shake to control the laughter when I was a child.

When I grew up he told me that when he saw the film Kismat the first time, it was believed that the sissy actor Ashok Kumar sang the above lines, and the audience in the pit would roar with laughter and would yell at the image of him and say “Shake it and awaken it, Beta”.

6.  Do dilon ko ye duniyaa: दो दिलों को ये दुनिया

Movie: Chand; Singer(s): Manju; Music Directors: Husnlal-Bhagatram; Lyricist: Qamar Jalalabadi Actors/Actresses: Prem Adeeb, Begum Para, Balakram; Year/Decade: 1944, 1940s

Manju was a child actor in the Prabhat film company. She did her best in the Film Aadmi which was a film noir based on the German film Blue Angel (1930). This film became a vehicle for the great German actress Marlene Dietrich who migrated to the U.S.A and ruled the roost for many decades in Hollywood and show business. Shantaram was very much impressed by this film and went on making many versions or using the elements of this film in his many films. His life was influenced by this film as he was entangled in love affairs with two filmy ladies Jayshree and Sandhya.

Manju got good popularity in the film Rattan along with Swarnalata and Karan Dewan. She sang her songs like Angadai teria hai bahana etc. Karan Dewan married her off the screen. Incidentally, AK wrote the New Year post last year on Rattan.

दो दिलों को ये दुनिया मिलने ही नहीं देती
आशाओं की कलियों को खिलने ही नहीं देती

इक बाग़ में क्या देखा बुलबुल वहां रोता था
और पास खड़ा माली कुछ हार पिरोता था
दिल चीर के इक फूल का ख़ुश कितना वो होता था
बुलबुल था तड़प जाता जब सूई चुभोता था
दुख सह न सका बुलबुल कुछ कह न सका बुलबुल
फिर बहने लगे आँसू और कहने लगे आँसू
क्या ?
दो दिलों को ये दुनिया …

तुम मुझ से ये फूछोगे क्या फूल की हालत थी
रूठा हुआ माली था बिगड़ी हुई क़िस्मत थी
आँखों में तो आँसू थे बेचैन तबीयत थी
सुनसान था दिल उसका बरबाद मुहब्बत थी
बुलबुल से जुदा हो कर माली से ख़फ़ा हो कर
कांटों में लगा रहने और फूल लगा कहने क्या?
दो दिलों को ये दुनिया…

The relationship of the bird and the Bāgwān or Māli has been used by a few other lyricists, not in about the reality of Bulbul’s life, but the cruel way human beings behave. Here it is used as an image to express the feelings of the characters involved in the situation. A story is told in the song that reflected the state of the unrequited love of the hero and heroine which was a recurring theme of most of the Hindi films.

7. Kaahe koyal shor machaaye Re: काहे कोयल शोर मचाये रे

Movie: Aag; Singer(s): Shamshad Begum; Music Director: Ram Ganguli; Lyricist: Behzad Lakhanavi; Actors/Actresses: Raj Kapoor, Nargis Prem Nath; Year/Decade: 1948, 1940s

The film Aag flopped at the Box office in its first run but after the success of Barsaat this film became doubly successful. It is retrospectively seen as an Art-film, a genre that became more popular in the later decades. R.K. went on make three more art-films Jaagate Raho, Ab Dilli Door Nahin and Boot Polish. His film Mera Naam Joker was also seen as an art-film.

The film Aag was loosely based on the lifelong passion of making a Theatre of his own by Prithviraj Kapoor. That passion was later on fulfilled by Shashi Kapoor, the child star in the film Aag.

There are many anecdotes told about the film Aag and the most interesting of them was how Raj Kapoor went to the home of Jaddanbai and asked for Nargis who was frying pakodas and had flour all over face and in her hair, to act in his film. Nargis was not very popular at that time and was just fifteen going on sixteen. (To complete the trivia, Raj Kapoor used that image of a girl, with flour smeared on the face and hair, opening the door, on Dimple Kapadia in the film Bobby. – AK)

This song is shot on Nargis who plays a character of a refugee girl from the holocaust of partition of India. RK as the director, in search of good casts for his theatre-play, asks this girl, “Where do you come from?” She answers, “From the hell”. But when this film opened the refugees in Bombay made an angry protest. So this line was taken off from the film. But the song is for the character of the film who had been raped in the partition and it was directed by RK. To understand this song more deeply it is necessary to know the feelings about the aftermath of the partition of India. Prithviraj was very much concerned about the partition. His plays like Deewar, Gaddar, and Pathan were more or less on the political issues of the time. But RK as the producer of the film could not mention them for obvious reasons.

This song goes under the name of Ram Ganguli who was then the musician of the Prithvi Theatre Company, and RK and his brothers and Premnath and his brothers were actors in the company.

काहे कोयल शोर मचाये रे मोहे अपना कोई याद आये रे
कह दो कह दो कोयल से न गाये रे हो मोहे अपना कोई याद आये रे

उसने काहे को नैन फिराये रे ओ कोई जाके उसे समझाये रे
मेरे दिल से जो निकले हाय रे कोई दोष मेरा बतलाये रे

मोरे नैनों में नीर भर आये रे मोहे बीते वो दिन याद आये रे
हाये आग लगी हिरदय में हो कोई हिरदय की आग बुझाये रे

The melody of this film is very Punjabi folkish and probably based on some Pahādi tune. Given plenty of leeway to the skills of Ram Ganguli it still could not be perceived that he would have been able to create a melody or the orchestration for the song and the music of the whole film.

RK often mentioned if he would not have been a maker of the films or actor or director he would have been a composer of melodies and an accomplished music director. He certainly could sing songs. On his first tour to the U.S.S.R he sang his Āwārā and other songs with the musicians. Before entering into the films he was a Hindi song singer on the Bombay Radio.

Considering that Ram Ganguli did not do much in the film world I could safely say that most of the melodies including the above song RK himself had composed and the orchestration, recording etc work was done by SJ who also worked for the Prithvi Theatre and were assistants in Aag. Ram Ganguli’s name was given in lieu of a payment deferred for his work in the Prithvi Theatre.

In this song the sharpened image of the Koyal bird is used. Usually when the Koyal is mentioned it is to announce the arrival of spring. In England the “Times” still publishes a letter of a person who spots a Cuckoo bird in March end or in April.

The fields breathe sweet, the daisies kiss our feet.
Young lovers meet, old wives a-sunning sit
In every street these tunes our ears do greet
Cuckoo, jug-jug, pu-we, to-witta-woo
Spring!  The sweet Spring!
By T. Nashe

This is the last verse from the Nashes’s poem that appeared first in the Palgrave’s Golden Treasury that became popular from the Victorian times to date in the English speaking world. Thomas Nashe was a contemporary of Shakespeare and many scholars believe he wrote parts of many of Shakespeare’s plays. Note the English cuckoos do not “Cůk (Hindi word for) Koohu, Koohu” of the Koyal bird. It does “jug-jug, pu-we, to-witta-woo”

Both the English cuckoo and the Indian Koyal are migratory birds. The English ones come from the South West of Africa and the Indian ones come from the South Islands and South East Africa. They both lay their eggs in the other birds’ nests and enjoy their freedom all through the summer and when their babies grow strong enough to fly they join the parent birds instinctively and fly back to the south.

In the Aag song the image of the Koyal is sharpened for showing the extreme pain and inflammation of the girl who has lost everything but the memory of her lover in the fire of the Partition. For the girl the sound of the Koyal is not sweet but a very dead agony. How the same thing becomes opposite of its original meaning? In the epic poem of Kalidas one of the forefathers of Ram called Dilip mourns when he realizes his wife died of the scented garland that turned into a snake.

There are many songs in the Hindi films that refer to or are based on the Koyal’s sounds. The next song is the archetypal song about the Indian understanding of the Koyal.

8. Kŭhū kŭhū bole koyaliyā: कुहूकुहू बोले कोयलिया

Movie: Suvarna Sundari; Singer(s): Lata Mangeshkar, Mohammad Rafi; Music Director: P. Ādi Narayan Rao; Lyricist: Bharat Vyas; Actors/Actresses: Anjali Devi and Nageshwar Rao; Year/Decade: 1958, 1950s

The film Suvarn Sundari is a fantasy film based on many stories from the Puranas and similar religious literatures. Kathasaritsagar (कथासरितसागर) written in the times of ancient Kashmiri Kings and goes under the name of Kshemendra as the author was a source of many popular creative stories in many Indian languages. This book literally translated as the “Ocean of the rivers of the stories” is a compendium of the stories in the classical Sanskrit. The ancient traders and travellers who wanted to spread Buddhist religion told them wherever they went to the West and East outside India. Hence the story telling art grew up all over the world. This claim is also accepted by the the Victorian European scholars in Sanskrit language and literature. They also found that the ancient Greek and Latin, Persian and Scandinavian languages have close relationship with Sanskrit language.

The Dradividian languages – Tamil, Telugu, Kannad and Malayalam, though written in different scripts than Devnagari, uphold Sanskrit language and literature and are more conservative than the northern Brahmins are about the Sanatan Dharm. Because of the spice trade from the ancient times the South India is richer than the North India.

When the film art arrived in India and especially in Bombay and Poona, the South Indian films were made in early part of the twentieth century in Poona at the Prabhat Studio. Then the great enterprisers like Vasan and Meiyapam, Anjali Devi and many others created film studios in Madras and Andhra Pradesh. The popular actors in Andhra Pradesh and Tamil Nadu dominated politics and public life as seen in the restoration of Jayalalitha for many decades. This is beyond the dreams of Bollywood greats like Dev Anand, Amitabh Bacchan, Raj Babbar, Sunil Dutt etc who dabbled in Indian politics.

Anjali Devi married Aadi Narayan Rao in the forties and together they produced hundreds of the films in Telgu, Tamil and Kannad and some in the Hindi language. Most of the films were based on the religious stories. Anjali Devi  was noticed by the Hindi audience for the first time in the Hindi film Ladaki along with Kishore Kumar and Vyjayanthimala (1953). Then she appeared again in Devata along with Gemini Ganeshan and Vyjayanthimala, which had music by C Ramchandra who gave a beautiful song Kaise jaaun Jamuna ke teer and many other sweet songs. Then she appeared in Suvarna Sundari (1958) which was a Hindi remake of Telugu Film of 1957. Both were hit films. The story, script and music were by her husband Aadi Narayan Rao. The Hindi version has 13 songs, all of which became popular, and one instrumental Tarana.

Anjali Devi, Vyjayanthimala, Jamuna, Pandharibai, Padmini, Ragini, B. Saroja Devi, Hema Malini and Sridevi, all Southern belles, made Hindi Fillumwallahs run after them with open cheque books. Remember the famous wire sent by Raj Kapoor to Vyjaynthimala,”Bol Radha, Bol, Sangam Hoga Ki Nahin?” Later on he asked his lyricists to compose words and melody suggested by him and handed over the wire to Shankar Jaikishan.

But sadly still the South Indians have a feeling that the North does not do justice to them, as the Hindiwallahs have a similar reaction that the Hollywood does not recognise them. But why waste troubles over the unrequited love? Just think that you are not alone. England and the Continent that is Scandinavia, Germany, France, Spain, Italy and Japan etc. go through similar melee. Moreover both South and North India have so huge audiences that they have their own world and oysters as well.

When the “Kuhu, Kuhu” became a hit and an award winning song, many thought it was not composed by Aadi Narayan but by C.Ramchandra who was very famous as the MD in the South Indian films. But Laxmikant Pyarelal gave assistance to make it more popular in Hindi as the song existed in the Telgu version. Bharat Vyas, a Rajasthani Sanskritist, created a divine image of the Koyal love song and drenched it in the Shringar Ras. He is Sanskritist because he uses motifs and words predominantly from the Sanskrit in his lyrics.

Aadi Narayan was a prolific composer in Telugu and Tamil and also in Kannad as well. So I would say it is his song and nobody should take the credit for it. And Lata excelled herself in singing it.

Why the song is an iconic song for the use of the Koyal image? This song is constructed in many elements of many Ragas in one song. The voice of Rafi adds male quality and still remains in the shadow of Lata who dominates the melodic sweetness and classicalness to the apex. Lata has done many filmy classical songs and hardly anyone could match her though in Baiju Bawara Rafi is Tansen of the classical singing, yet whenever Lata gets opportunity she shows her lightening quality. It is sad that Lata was not given matching opportunity by Naushad in Baiju Bawara as Khemchand Prakash had given to Khursheed in Tansen. Mr Subodh Agarwal probably will have more liquorish and final remarks about this. Of all the classical songs in the films this song is more near to the great songs in Sanskrit and near to the verses in the play called Mrichhkatikam which was written in ancient time by an Andhra King called Shudrak.

कुहू-कुहू बोले कोयलिया
कुंज-कुंज में भंवरे डोलें
गुन-गुन बोलें … कुहू …
सजा सिंगार ऋतु आई बसंती
जैसे नार कोई हो रसवंती
सा नी दा मा दा नी सा, गा मा गा मा दा नी सा
रे Sआ नी दा नी सा रे सा नी सा रे सा नी
दा नी नी दा नी नी दा नी, मा दा दा मा दा दा मा दा
सा रे गा मा दा ना
सजा सिंगार ऋतु आई बसंती
जैसे नार हो रसवंती
डाली-डाली कलियों को तितलियाँ चूमें
फूल-फूल पंखड़ियाँ खोलें, अमृत घोलें, आ …

काहे घटा में बिजुरी चमके
हो सकता है मेघराज ने बादरिया का
श्याम-श्याम मुख चूम लिया हो
चोरी-चोरी मन पंछी उड़े, नैना जुड़े आ …

चंद्रिका देख छाई, पिया, चंद्रिका देख छाई
चंदा से मिलके, मन ही मन मुस्काई
छैइ चंद्रिका देख छाई
शरद सुहावन, मधु मनभावन
विरही जानों का सुख सरसावन

छाई-छाई पूनम की घटा, घूँघट हटा
आ … कुहू-कुहू …

सारस रात मन भाए प्रियतमा, कमल-कमलिनी मिले
किरण हार दमके, जल में चाँद चमके
मन सानंद, आनंद डोले रे
नी रे गा मा दा नी सा, दा नी सा, सा नी सा, गा रे गा
सा रे नी सा दा नी मा दा सा, नी रे नी रे
दा नी दा नी मा दा मा दा गा मा गा मा
गा मा दा नी सा, गा मा दा नी सा, दा नी सा

I have seen and heard many female singers singing this song and singing both female and male parts but I have not seen a male singer singing this song alone. However I have seen C.Ramchandra in his own show called “Bhule Na Bhaye” singing female songs like Radha na bole and many other female songs. The Mughal-e-Azam song Mohe panghat pe was a original classical ditty sung by many Khan Sahebs.

My only question here is that how the Koyal sings in the शरद ऋतु-Sharad Season when the Koyal should have migrated long back before the Sawan or monsoon’s downpour? Perhaps Bharat Vyas has taken too much poetic liberty.

There is an anecdote about Lata and the Koyal birds I am tempted to mention here as the anecdotes add spice and sugar for the taste of the readers. Lata was a guest at the house of Gemini Ganeshan. For the occasion Gemini arranged a dish of Koyal curry or rather broth as for the enhancing of her singing voice. A number of Koyal birds were caught and put in the cage. When Lata saw their flapping of the wings and beating of the beaks on the cage grid iron she was overcome by agony and asked why these birds were there? Gemini Ganeshan told her it was for the enrichment of her voice. When she had eaten she would sing more sweetly. She told him, “Please release the birds. What I have got is enough and I will never eat a Koyal bird for the charming of my voice.” The birds were released.

Whether the above anecdote is true or false does not matter. It shows how far Lata would go to care for her voice. Secondly in India like China and in Africa there are so many false notions about the superior qualities of the birds and animals that at the hands of human beings animals suffer. Tigers and elephants are killed in China and Africa for their bones. African people like to eat wild animals, and certain animals have become now extinct. The high class Russians and Europeans eat caviars that are made from the eggs extracted from the female fish that are now becoming very rare. An ounce of caviar is sold at £200.00. Human beings are more destructive than the animals are and they do not need to eat rare animals or animals that are going to be extinct. There is plenty of alternative food.

Lata is a non-vegetarian or mixed food eater, as we know from Raju Bharatan’s book on her that she loves “English Fish and Chips with the Tartan sauce”. (The batter made for the fish to dip in is wetted in beer. As Lata is a teetotaller this may not be much to her liking. The Tartan sauce is Scottish and is made of egg and a touch of pure whisky and some other ingredients.)

However Lata should be warned that the oily Tempura batter made with wheat and egg quoting may not be good for her “Kokil Kanth”. But at this age of hers it does not matter. Why not let the hair down and enjoy the tastes of life as the time is very short. Throw all the carefully guarded constrains out of the window and sing out in real terms पंछी बनूँ उड़ती फिरूँ.

9. A) Sānjh bhayī ghar āyā panchhī: सांझ भई घर आया पंछी

Movie: Sanyasi; Singer(s): Shyam Kumar; Music Director: Naushad; Lyricist: Pt. Madhur; Actors/Actresses: Ghulam Mohammad, Shamim, Shyam Sundar Year/Decade: 1945, 1940s

सांझ भई घर आया पंछी
भोर भये उड़ जाना है
जिस डाली पर किया बसेरा
उसको भी मुरझाना है

B) Sānjh kī belā panchhī akelā साँझ की बेला पंछी अकेला

Movie: Jwar Bhata; Singer(s): Chorus, Arun Kumar Music Director: Anil Biswas; Lyricist: Pt. Narendra Sharma; Actors/Actresses: Dilip Kumar, Shamim, Arun Kumar, Vikram Kapoor, Mridula, Agha Jan; Year/Decade: 1944, 1940s

साँझ की बेला
साँझ की बेला पंछी अकेला
साँझ की बेला
नैनन में दुख रैन अंधेरी
नैनन में दुख रैन अंधेरी
मन में तूफ़ानों का मेला
साँझ की बेला

C) O ājā panchhī akelā hai: आजा पंछी अकेला है

Movie: Nau Do Gyaarah; Singer(s): Mohammad Rafi, Asha Bhonsle; Music Director: S D Burman; Lyricist: Majrooh Sultanpuri; Actors/Actresses: Dev Anand, Kalpana Kartik; Year/Decade: 1957, 1950s

ओ आजा पंछी अकेला है
ओ सो जा निन्दिया की बेला है
ओ आजा पंछी अकेला है

All the above songs have the bird’s association with the evening. In Indian culture, the evening in poetry and literature is a very poignant time. Visualise this scene in the famous song of Talat Mahmood from the film Footpath (1953) ,“शाम-ए-ग़म की क़सम”:

शाम-ए-ग़म की क़सम आज ग़मगीं हैं हम
आ भी जा आ भी जा आज मेरे सनम
शाम-ए-ग़म की क़सम
दिल परेशान हैं रात वीरान हैं
देख जा किस तरह आज तनहा हैं हम
शाम-ए-ग़म की क़सम

Our heart breaks with that of Dilip Kumar.

The evening brings emotional upheaval when Nargis sings in Lata’s voice in the film Aah.

ये शाम की तनहाइयाँ ऐसे में तेरा ग़म – २
पत्ते कहीं खड़के हवा आई तो चौंके हम – २
ये शाम की तनहाइयाँ …

जिस राह से तुम आने को थे – २
उस के निशाँ भी मिटने लगे – २
आये न तुम सौ सौ दफ़ा आये गये मौसम – २
ये शाम की तनहाइयाँ …

We shed tears with Nargis. Evening is a very tender period. In these periods the lovers’ feelings to meet each other becomes very intense and the Asht-Nayikas make audacious walks to go and see their lovers, crossing the Laxman Rekha of religion and social customs. Recall Dilip Kumar’s Devdas when Paro comes to see him in his bedroom one late evening. She is the archetypal Asht-Nayika. In Anmol Ghadi Noorjehan finds her childhood lover. She wanted to see him but could not cross the threshold of her house. She is the Asht-Nayika who could not cross the Laxman Rekha. And Nargis in the Aah is the frozen Asht-Nayika in the balcony of her house that is an archetypal Indian Atariya. AK has written an interesting post on Atariya.

In the evening the birds instinctively return to their nests or partners so this image is fully exploited by the Hindi lyricists and film makers of India.

10. Panchhī banū, udati phirūn: पंछी बनूँ उड़ती फिरूँ

Movie: Chori Chori; Singer(s): Lata Mangeshkar; Music Director: Shankar-Jaikishan; Lyricist: Hasrat Jaipuri; Actors/Actresses: Nargis, Raj Kapoor and many others; Year/Decade: 1956, 1950s

पंछी बनूँ उड़ती फिरूँ मस्त गगन में
आज मैं आज़ाद हूँ दुनिया की चमन में

(हिल्लोरी हिल्लोरी …) ओ … ओहो

ओ मेरे जीवन में चमका सवेरा
ओ मिटा दिल से वो ग़म का अँधेरा
ओ हरे खेतों में गाए कोई लहरा
ओ यहाँ दिल पर किसी का न बैरा
रँग बहारों ने भरा मेरे जीवन में -२
आज मैं आज़ाद हूँ दुनिया की चमन में
पंछी बनूँ …

आ …
ओ दिल ये चाहे बहारों से खेलूँ
ओ गोरी नदिया की धारों से खेलूँ
ओ चाँद सूरज सितारों से खेलूँ
ओ अपनी बाहों में आकाश ले लूँ
बढ़ती चलूँ गाती चलूँ अपनी लगन में -२
आज मैं आज़ाद हूँ दुनिया की चमन में
पंछी बनूँ …

(हिल्लोरी हिल्लोरी …)

ओ मैं तो ओढूंगी बादल का आँचल
ओ मैं तो पहनूँगी बिजली की पायल

This is an iconic song of the human understanding of the birds “as free as bird” as it says in the idiom. In my opening song of this post, मैं बन की चिड़िया बन के बन बन बोलूं रे, the image of the birds was free like the two lovebirds in the free woodland and not in the cage.

In the song of Chori Chori the image of freedom is much wider and also the joy of the bird that has been released from the cage and is enjoying the space in the sky. Here a girl is crossing over the social customs and traditions that she found suffocating and taking life out of her. It has creative image of the sky, sun clouds, lightening, river and blossoms etc.

The film has been recreated in Hindi almost scene by scene from It Happened One Night directed by Frank Capra, an ultimate name in Hollywood as the director of some iconic comic films from the thirties to the fifties. The film had two powerful actors Clark Gable and Claudette Colbert, and Walter Connolly and many others for other characters.

Clark Gable   Raj Kapoor

Clark Gable stands head and shoulders above and along with Paul Muni and many of his contemporises and also competes with Marlon Brando who arrived late in forties in acting. His all-time great role in the mammoth film Gone with the Wind as a frustrated and possessed lover of Vivian Leigh, who was born in Darjeeling of an English broker, who later became an officer in the Indian Cavalry, was monumental. His famous lines in Gone with the Wind, at the end of the film when Vivian Leigh as Scarlet says without any deeper meaning “Rhett, Rhett… Rhett, if you go, where shall I go? What shall I do?”, Gable as Rhett says “Frankly, my dear, I don’t give a damn” and walks out of her life forever.

In Chori Chori Raj Kapoor kept his look alike of Clark Gable as a great tribute to him and also enhanced the story and acting for the Indian audiences who might have found the Hollywood version alien. Chori Chori is the best among all the copies or inspirations from Hollywood. Dev Aanad and Madhubala-starrer Naadan (1951) was one of the many copycat Bollywood versions, which was saved by the music of C Ramchandra. The music director’s name Chic Choclate was either to avoid the Revenue Department’s eye or to give his friend and orchestrator and the great Trumpet player a chance to have some footing in the Hindi Films. Pyarelal Santoshi was the lyricist. C Ramchandra, also known as “Annaa Sahab” had good combo with Santoshi who married Rehana. Rehana ran away to Pakistan with all the money and jewellery of Santoshi who later died of the shock. His contribution to the Hindi films was very great. The film Naadan was produced by M&T Film Company, which had all their films’ names with the letter “N”.

Clark Gable and Claudette Colbert_It Happened One Night_bus tripRaj Kapoor-Nargis_Chori Chori

Claudette Colbert and Clark Gable_It Happened One NightChori Chori curtain scene

According to me Chori Chori is far too superior in entertainment value to the Hollywood film of Frank Capra for the elite Hollywood fans of India. All the minor characters with their enhanced songs and movements are more entertaining than the original cast in the Hollywood version.

Nargis as the daughter of a rich man being chased by the gold-digger Pran, frustrated when found the real love that let her down, is better than Claudette Colbert, and the songs she acts out are sweeter than sugar. Shankar-Jaikishan won the Filmfare Award, and rightly so. Strangely this was the last film of Nargis-Raj Kapoor who were then nicknamed as the pair of Fred Astaire and Ginger Rogers of Hindi films.

The film Chori Chori was directed by Raja Thakur, an expert in directing comic films in Maharashtrian comic films’ ambience and matched the talent of Frank Capra. Raj Kapoor was not just the copy of Clark Gable but more lighter and more romantic and no macho at all as Clark Gable always was. All in all Chori Chori was an outstanding film and an entertainer for all the time. The film was produced by the mighty AVM studio.

11. Kahte hain pyaar kisko panchhī zarā batā de: कहते हैं प्यार किसको पंछी ज़रा बता दे

Movie: Baarish; Singer(s): Lata Mangeshkar, C Ramchandra; Music Director: C Ramchandra; Lyricist: Rajinder Krishan; Actors/Actresses: Nutan, Dev Anand, Kumkum, Jagdish Sethi, Anwar, Lalita Pawar, Gope; Year/Decade: 1957, 1950s

ल : कहते हैं प्यार किसको पंछी ज़रा बता दे
उड़ना खुली हवा में ओ बेज़ुबाँ सिखा दे
ओ बेज़ुबाँ सिखा दे

कहते हैं प्यार किसको पंछी ज़रा बता दे
उड़ना खुली हवा में
दो : ओ बेज़ुबाँ सिखा दे -२

ल : मुश्क़िल है इस जहाँ में आज़ादियों से रहना -२
चि : जो बात दिल में आये उसको ज़ुबाँ से कहना -२
ल : आज़ाद तू है जैसा वैसा हमें बना दे

चि : उड़ना खुली हवा में ओ बेज़ुबाँ सिखा दे
ओ बेज़ुबाँ सिखा दे

ल : नफ़रत की वादियों से हो दूर एक बसेरा
शामें जहाँ सुहानी रंगीन हो सवेरा
चि : नफ़रत की वादियों से हो दूर एक बसेरा
शामें जहाँ सुहानी रंगीन हो सवेरा
ल : वो कौन सी है दुनिया रस्ता ज़रा दिखा दे

चि : उड़ना खुली हवा में ओ बेज़ुबाँ सिखा दे
ओ बेज़ुबाँ सिखा दे

The film Baarish (1957) was inspired by the much powerful iconic film On the Waterfront (1954) about a reluctant boxer who eventually takes up the fight against the gangster who organised the trade union’s corrupt racket of the Dockers for his own benefit and power. The boxer did not want to win and gets beaten up, but in his being beaten up he wins the war as the Dockers show support for him. This was a traditional story of the various workers in America since the industrial revolution needed the mass labour force. The film won an Oscar for Brando who played the lead role of the boxer. It also won many Oscars for other departments as well, including the best direction for Elia Kazan who became a legendary director of the Hollywood films. He was a stage actor and director and made great films that would leave the audience disturbed but would bring out great acting performances from his actors. Brando was wasting his youthful life when his sister suggested him to go to the Method Acting School of New York that was started by Michael Chekov, a nephew of the famous Russian writer Anton Chekov. Brando gave great performances in the films like A Street Car Named Desire, Viva Zapata and a few other films before he appeared in On the Waterfront. From then onward Brando became the actor of actors and influenced Dilip Kumar as well.

When these things were set like thus to match, for the Baarish (1957) it was not a big surprise that it was going to fail. Dev Anand was no match to Brando nor was he a boxer. He had done some protest films in the forties when he was in Poona, like Hum Ek Hain and Hum Bhi Insan Hain, but taking the trade union gangsters on was not his game. He was a sissy actor of styles and a light actor though he did the roles of criminals and CID officers. And the whole company that made Baarish did not do much hard work from the original film and gave a pale and puerile version of On the Waterfront. But the music of C Ramchandra and lyrics of the maestro Rajinder Kishan were very good. Nutan’s good acting did not help much. The music always saved the films of Dev Anand.

There were memorable films and film songs of Dev Anand. But he did not bring himself to understand that his career in all aspects of the filmy life ended from the eighties onward and he became a caricature of himself in flops after flops.

In the above lyric the image of the bird as the champion of freedom is well narrated and some philosophy about what freedom is is very nicely described. The composer C Ramchandra also sang the song sofltly along with Lata. The SoY readers may recall that the song had even a more soulful and softer solo version sung by C Ramchandra himself, which has recently figured in the AK’s post on C Ramchandra as Chitalkar. C.Ramchandra gave his voice as playback singer to a few films under other music directors too. Those were the days when there was no leg pulling or jealousy among the music directors. They were friends and would sing in each other’s films or join the choruses. Anil Biswas was often in the chorus songs of C Ramchandra and vice versa.

Baarish was made a crime film like those of films of Dev Anand from Baazi onwards from the various inspirations of the Hollywood in which Hollywood’s essence was lost.

Bārish is the classic antithesis of Chori Chori.

12. A Nightingale Sang In Berkeley Square

Singer: Nat King Cole; Lyricists: Maschwitz, Eric Sherwin & Manning; Year: 1937

That certain night, the night we met,
There was magic abroad in the air.
There were angels dining at the Ritz,
And a nightingale sang in Berkeley Square.

I may be right, I may be wrong,
But i’m perfectly willing to swear
That when you turned and smiled at me,
A nightingale sang in Berkeley Square.

The moon that lingered over London town
Poor puzzled moon, he wore a frown.
How could he know that we two were so in love?
The whole darn world seemed upside down.

The streets of town were paved with stars,
It was such a romantic affair.
And as we kissed and said goodnight,
A nightingale sang in Berkeley Square.

When dawn came stealing up, all gold and blue
To interrupt our rendez-vous,
I still remember how you smiled and said,
“was that a dream? or was it true?”
Our homeward step was just as light
As the dancing of Fred Astaire,
And like an echo far away
A nightingale sang in Berkeley Square.

I chose the above song because it is easy listening, and to show that the English lyricists also use the bird images to express human feelings and thoughts. This song was written when the WWII started. The WWII ended over 70 years ago. This song reminds many of that dark period of the world when millions were killed and catastrophe of holocaust loomed over humanity.

London’s Berkley Square was a very romantic place with a Bandstand and surrounded by very thick tall trees. During the early period of the 20th century young people wandered around this square and in the park in the centre. The great International Hotel called Ritz is just opposite to this place famous for the dancing in the evenings. In English there is a phrase “Putting on the Ritz” which means getting dressed up for a romantic evening. The phrase is used in one for the songs of Fred Astaire films.

This song has been sung by many male and female singers from 1939 to date. Every singer interpreted it in his or her own way. The interpretation of the song is not a new art but very old one. The song Mohe panghat pe chhed gayo re made famous by Naushad in Lata’s sweet and immortal voice is not a new song. It was a ditty famous from 17th century used by the classical singers. Shakeel Badayuni might have changed it here and there as needed for the occasion.

Many singers in America and England too have changed the above song and sung according to their styles. But all the interpretations are very sweet and intelligent.

Recently I heard a new interpretation of the CID song Jata kahan hai deewane in a different voice and it is very good.

Nat King Cole was an Afro-American singer and sang many lovely and romantic songs in the forties and fifties.

My second choice is very poignant and refers to the post-Marxist idea of freedom for one and freedom for all.

Singer: Jonathan King; Lyric of the Original Song is in Spanish but successfully translated into the English language and used by many singers in the sixties and to date.

Una Paloma Blanca: A White Dove

When the sun shines on the mountain
And the night is on the run
It’s a new day
It’s a new way
And I fly up to the sun

I can feel the morning sunlight
I can smell the new-mown hay
I can hear God’s voice is calling
For my golden sky light way

Una paloma blanca
I’m just a bird in the sky
Una paloma blanca
Over the mountains I fly
No one can take my freedom away

Once I had my share of losing
for they locked me on a chain
Yes they tried to break my power
oh I still can feel the pain

Una paloma blanca
I’m just a bird in the sky
Una paloma blanca
Over the mountains I fly
No one can take my freedom away

The Dove bird is a messenger of peace and prosperity started in Judeo-Christian myth.

Jonathan King was one of the popular singers of the time of the Beatles singings culture.

13. Morī atariyaa pe kaagaa bole: मोरी अटरिया पे कागा बोले

Movie: Ankhen; Singer(s): Meena Kapoor; Music Director: Madan Mohan; Lyricist: Raja Mehdi Ali Khan; Actors/Actresses: Nalini Jaywant, Shekhar; Year/Decade: 1950, 1950s

मोरी अटरिया पे कागा बोले
मोरा जिया डोले
कोई आ रहा है

AK has included this song as the last song in his post of Atariya songs. I want to discuss it here with the image of Kaga. In many filmy songs the image of the Kaga bird is many fold. The word “Kaga” is etymologised form the Sanskrit word “Kākă”. This bird is generally known as “crow”, the perennial bird that has light dark colour and grey around other part. His bigger cousin is called raven which is charcoal dark. In many songs the words “Kālā Kaga” Kālā Cowā” are used. I often wonder why Indian use the the adjective “Kālā”. Is it because of its dark designs associated to it by the Indians? Like the RK song Jhoot bole cowa kāte, kālė cowė sė dariyo” etc. There are more good and bad superstitions associated with this bird than any other.

This is the bird along with the sparrow a baby is introduced to in nursery songs and stories. The crow is a wise bird in the stories called “Niti Katha”. This is the bird that has to eat or touch the cakes offered to him after a person dies in a ritual called “Shraadh”. A crow is supposed to be a go-between human world and divine world.

The sight of a crow is good and bad. The English people are usually not superstitious. But at the government level in the Tower of London “Ravens” are kept. Also on the Rocks of Gibraltar ever since it was won from Napoleon, monkeys are kept with a belief that if the monkeys will disappear England will lose Gibraltar.

There is a belief that the Robin the red breast bird got its redness because he tried to take away the thorns from the thorny crown Jesus was made to wear before he was crucified.

In many Hindi filmy songs the arrival or seeing of “Kaga” is celebrated by the Abhisarika Nayika – lover girls as the sign of their future meeting with their lovers. AK has made a reference to this myth about the crow in his introduction.

14. Chun chun karati aai chidiyā: चुन चुन करती आई चिड़िया

Movie: Ab Dilli Door Nahin; Singer(s): Mohammad Rafi; Music Director: Dattaram; Lyricist: Shailendra Singh; Actors/Actresses: Motilal, Romi, Sulochana, Yaqub; Year/Decade: 1957, 1950s

चुन चुन करती आई चिड़िया
दाल का दाना लाई चिड़िया
मोर भी आया कौवा भी आया
चूहा भी आया बन्दर भी आया
(खौं, खौं, खौं खौं खौं)
चुन चुन करती आई चिड़िया

There is a big drought of children’s films and songs in over hundred years of the Hindi and Indian filmy art. When one sees a song like that one feels we are in an oasis. But then the famine continues. Indian children grow up watching Indian adult films along with their parents and grew up without having a childhood life. When Suraiya sang Panchhi ja, her age was right for the song, but generations of children sang songs that were meant for the adults. For the Indian producers children existed only to take up the characters of adults like Shashi Kapoor did in some of RK Films and became eager to to do an adult role when Indian films were dominated by the aged actors pretending that they were still in the last years of school or early college years. Hands up those who would be present at an hour long programme of the filmy songs for the children? Answer will be it will be finding a needle in a haystack.

While Hollywood and England made hundreds of films for the children and theatres were made available to show them on Saturday and Sunday mornings for the children alone or with their parents. Wizard of Oz (1939) was one of the hundreds of the films with all great songs. It is still popular and showed on TV during the Xmas Holidays. Judy Garland was a young girl who went through the adventure of finding a Witch. Her song Somewhere over the rainbow is an all time hit song. Judy Garland’s tortured life is described in her autography called The Other Side of the Rainbow. There are other films like Anne of Green Gables (1934). The book became so popular before the film was made for its high literary values that the main character who was “Anne Shirley” became the filmy name for that actress. There are hundreds of films for boys alone as well. Furthermore, Walt Disney made hundreds of films for the children, and “Disney Parks” in America and other countries. Compared to this India is poor, vey poor indeed!

The song from Ab Dilli Door Nahin is written by Shailendra Singh after reading many children poems in Hindi. Hindi has a very rich treasure of Children’s poems but hardly any got in the films.

This song is for the children about five to six years old. The actor Rommy was about ten years at the time and did not look like a five year old for which the song was done. However, it is very good and was shot on Yaqub who was a very good actor. His performance as an angry son of Sardar Akhtar in the film Aurat, from which later film Mother India was made, was far too superior to the acting of Sunil Dutt in the colourful theatrical film centred on Nargis.

15. Pankhidane ā ā pinjaru junu junu lāgė: પંખીડાને પીંજરુ જૂનું જૂનું લાગે

Non Filmy Song: Singer: Mukesh; Composer: Avinash Vyas, Date; Lyricist: unknown but probably Avinash Vyas might have written it as he was involved in composition and music direction of similar song Pinjare ke panchhi re tera darad na jaane koi written by Pradeep.

પંખીડાને પીંજરુ જૂનું જૂનું લાગે
બહુ સમજાવ્યું તો યે પંખી નવું પીંજરુ માંગે

ઉમટ્યો અજંપો એને, પંડના રે પ્રાણનો
અણધાર્યો કર્યો મનોરથ દૂરના પ્રયાણનો
અણદીઠેલ દેશ જાવા, લગન એને લાગે
બહુ સમજાવ્યું તો યે પંખી નવું પીંજરુ માંગે

સોને મઢેલ બાજઠિયોને, સોને મઢેલ ઝૂલો
હીરે જડેલ વિંઝણો મોતીનો મોંઘો અણમોલો

Pankhidane Āā Pinjaru Junu Junu Lāgė: In Roman Script

Pankhidane āā pinjaru junu-junu, junu-junu lāgė
Bahu āė samjāvyu toye pankhi navu pinjaru māāgė
Umatyo ajampo ene pand nā re prāān no
Ăndhāryo karyo manorath dōōrna prayaan no
Ăndithė desh jāāva lagan ėnė lāāgė
Bahu āė samjāvyu toye pankhi navu pinjaru māāgė

Sonė madhel bāājathiyo ne sone madhel jhulo
Heerė jadėl vinjhano moti no monghė anamolo

This song is good to end this post. This is a characteristic Mukesh song. Mukesh Chand Mathur, a Kayasth Brahmin of U.P. born in Delhi married a Gujarati Brahmin girl. He has sung many Gujarati songs as if he was a Gujarati. Gujarati people also think he was their singer. He had put his soul in it and one can hear the fluttering eagerness of the soul bird to fly away to look for another cage or country. This song has the perennial image of a bird and a cage. But this time it is more than the caged bird. The lyricist is talking about old age and dying. In the Bhagvad Gita, Chapter Two, the image of the abandoning of the old clothes is used and the soul’s transmigration is mentioned.


Vāsāṃsĭ jīrăṇānĭ yăthā vĭhāyă
năvānĭ gṛĭhṇātĭ naro-ăpărāṇĭ
Tăthā shărīrāṇĭ vĭhāyă jīrṇān
yănyānĭ săṃyātĭ năvānĭ dèhĭ 2.22

Like an old garment the wearers throw away and wear fresh ones
Likewise the souls cast away the worn out bodies and take anew! 2.22

This topic is a pet subject in the Indian literature and religious talks. Tagore’s Gitanjali is full of this kind of poems about the yearning for the unknown journeys to the land from where no travellers return. There is a similar song Panchhi pinjara hua purana. The soul and super soul (Jivatma and Paramatma) are discussed in the Upanishads using the birds’ image. Many poets from William Blake to present day English, American poets like Ezra Pound, and European poets have been influenced by the Gita. Here is an extract from an English poet’s poem based on the Upanishad.

Two Brilliant Birds
In the early morning misty miasma
At the dawn of the civilization
The seers saw the nature’s marvels
And man’s quest for his origin arose
Who am I? Whence I come? Whither I go?
While in the matrix of the heaven
Stars started vanishing one by one
They saw two brilliant birds
A couple – a male and female
Perched on a branch
On the celestial Banyan tree
And the Brahman’s mysterious mantra
Was revealed to them as the sun was rising up
A duet the birds sang
The Purush’s first word “Om Ahum”
And the Prakriti’s restoring rondo “So Ahum”

Here I finish my escape into the Birds’ Songs.

{ 141 comments… read them below or add one }

1 Dinesh K Jain January 1, 2016 at 10:51 am


Such a masterly narrative! If I were AK, I would confer the highest lifetime award of SoY to Shalan. And your diverse erudition – I am repeating the description soon after yesterday – defies credibility. It was sheer delight to read through the contribution, its length notwithstanding.

2 Arunkumar Deshmukh January 1, 2016 at 11:11 am

What a lovely write up !
Thoroughly enjoyable !!
A pleasant gift from Shalan ji., for the New Year.
Thanks Shalan ji and AK ji.

3 Shekhar January 1, 2016 at 12:37 pm

This lovely scholarly collection reminds me of two more superb पन्छी songs: (1) Kavi Pradeep’s “Pinjre Ke Panchhi Re Tera Dard Na Jaane Koy” in his own voice in Naagmani (1957) – on YouTube at https://youtu.be/Vb95cXCqaBE, and (2) Rajinder Krishan’s “Chal Ud Ja Re Panchi” in Rafi’s voice in Bhabhi (1957) – on YouTube at https://youtu.be/XH_kWzpQ8E0 (the movie version), and also by Talat (not used in the movie) – on YouTube at https://youtu.be/MwWaXZB8-4k.
– Shekhar Gupta

4 gaddeswarup January 1, 2016 at 1:45 pm

What a treat on New Year Day.
Still relishing it and did not want to add any hasty commenmts. But we are expecting guests tonight and have to postpone reading this. Meanwhile for those who are Hindi-challenged like me, there is a translation of the Chori Chori song here http://mrandmrs55.com/2013/05/25/panchhi-banoon-udti-phiroon-lyrics-and-translation-lets-learn-urdu-hindi/

5 ksbhatia January 1, 2016 at 4:46 pm

Ms .Shalan lal , AK ji;
A 70mm creation and majestic in narration ; of a well chosen subject deeply studied and nicely presented with numerous related examples of vintage era . Its a rare piece of effective narration and should find its place in library for its reference qualities .
Truly a great treat for the New Year Day .
The study reminds me a few references to the topic ; one is by the great hollywood movie… Birds…by the master of suspense movie maker Alferd Hitchkock and second … a reminder of Shantaram’s Pinjra …a remake of Blue Angel . I happened to have seen both the movies and was impressed by its masterly direction and content.
Film Baddshah ‘s song by Hemant kumar…..Rula kar chal diye ek din hassen ban kar jo aye theey, chaman ro ro ke kahtaa hai kabhi gul muskura aye theye……a beautiful song by Shailendra and SJ combo depicting the sadness of the birds forcefully set apart . The movie had another good song by Lata ji and chorus ……Gul muskura utha baghoan mein aa gayi bahar …..conveying the happiness of the union.
The song Kahe koyal shor is surely based on Punjabi folk song….Datchi wale mode mohal way , laitchal naal wey….. may be the presence of shankar [ jaikishan] being punjabi and assistant to Ram Ganguly.
I will post these songs as I am expecting some guest on this new year day .

6 AK January 1, 2016 at 6:03 pm

Shalan has to take a bow for all the accolades. It is awesome, but she may yet surpass herself, therefore, it is too early to talk about the SoY Lifetime Achievement Award.

Thanks a lot. Shalan would also be acknowledging your appreciation.

Thanks a lot. You have added lovely songs.

Thanks. Waiting for your return. I remember you had sent the link of a scholarly article about birds songs.

KS Bhatiaji,
Birds was the most scary of Hitchcock films. While I and Shalan were discussing this post, obviously this reference did not occur to us.

Shankar was a Punjabi? I thought he had Andhra connection.

7 Shekhar January 1, 2016 at 6:11 pm

Shankar Singh was indeed a native of Telangana, and spent his early years in Hyderabad.

8 Jignesh Kotadia January 1, 2016 at 6:38 pm

Shalanji and Akji
A grand opening of new year with a wonderful write up, exhaustive, all inclusive, encyclopedic.
It’s a different experience as if i am enjoying Bhule Bisre on National Geographic Channel !!

9 mumbaikar8 January 1, 2016 at 6:57 pm

New Year Surprise!
Glancing through it was exhausting.
Will surely be looking for some फुर्सत के रात दिन to read.
Thanks to you Shalan Lal

10 KB January 1, 2016 at 7:23 pm

One possible addition in this is the melodious Panchhi re from HARE KANCH KI CHOORIYAN (1966) film starring Biswajeet and Naina Sahu.

11 Ashok M Vaishnav January 1, 2016 at 9:43 pm

A flying start to 2016……
As is made strongly evident, this is only the beginning……

12 Ravindra Kelkar January 2, 2016 at 12:17 am

What a wonderful start to year 2016. My hearfelt compliments for this beautiful write up.

13 gaddeswarup January 2, 2016 at 4:15 am

AKJi, That was in your post “Twin songs: a front runner and a laggard”. I am still very intrigued by that post and your comment on the paper I mentioned is in your comment 58 and perhaps later too. A discussion of the paper I mentioned and other theories is in this article in The Economist which is much shorter:
It is wonderful that you throw up these ideas and facts and some of these continue to be puzzling.

14 Arunkumar Deshmukh January 2, 2016 at 11:59 am

Since an NFS is already included, another apt addition would have been NFS of Saigal’s….Panchhi, kaahe hot udaas, an evergreen song.

15 Mahesh January 2, 2016 at 1:34 pm

Shalan ji and AK ji,

Excellent, Exhaustive, Extraordinary, Elegant, Elaborate, Entertaining, Educative, Edifying, Elucidating.

I can never get over songs #5 and #7. My all time personal favourites.

One more Shamshad Begum classic.


A Subir Sen number


and finally Mukesh


16 Shalan Lal January 2, 2016 at 6:41 pm

Dear all
Thank you all for so gorgeous greetings to my post. Half of those congratulations should go to Ak for his superb editing and A1 introduction. Only I know how great editing can make the post such as this as good sounding. At present my nose is running a river and my head has many earth quakes inside and my eyes refuse to stay open. I had too much of brandy, rum and honey and lemon to cure this awful cold.

I shall come back again when I am sane and healthy.

A mountain of thanks


17 Siddharth January 3, 2016 at 10:13 pm

Shalan Lal ji, AKji,
What a grand opening for the new year.
Birds always remind me of inspirational story of Jonathan Livingstone Seagull.
Thanks for the fabulous article.

18 AK January 4, 2016 at 10:10 am

Thanks a lot for your appreciation. Jonathan Livingston Seagull was a very endearing story. Incidentally, we now have two extreme references on birds. KS Bhatiaji mentioned Hitchcock’s Birds, which were menacing and scary.

19 AK January 4, 2016 at 10:46 am

The Economist always does a fantastic job of presenting complex theories in an accessible language for general readers. This article touches upon many radical ideas about music, such as Steven Pinker’s that music happened by an accident in human evolution, and that it sates unnecessary desires just like cheesecake. Therefore, if all music was erased nothing would change. Impossible to accept that, but then what are academics for!

20 Shalan Lal January 4, 2016 at 5:22 pm

Dear Dinesh K Jain @ number one and you are Number One for me. You have made my New Year Day a blessing from heaven.
With that kind of praise I shall bloat so much like a balloon and eventually break into pieces.
However those commendation are honey sweet for me as AK has said, “ I still have got many miles to go before I sleep or slip”.
The idea of the award for the contribution in SoY is a good idea. But we must have a good debate about it.
All kinds of awards we have seen so far they fall down the steeple. We know that the awards are corrupted by the power and business interest and many so.
After Dilip K was awarded Padma Bhushan, some minister is now complaining that Asha Parekh has been putting pressure for the same Award!
This would make the old bed ridden heart of throb of India and Pakistan that he was given it under some understanding.
My own view about the awards for me does not with my own philosophy.
All I want is people should read my articles and see if they could do any changes in their own understanding about the eco balance and also care for the depressed people. Women are the first section of human being depressed all over the world. Then comes our “Untouchable” thirdly the Black people of the world who were once free and their state is not the same after the abolition of the slavery.
Once more I am very ,very grateful to you for your inspired commendation and blessings.
Shalan Loves and wishes you a very happy year all through days and months.

To other readers
I shall come back to each of you to say something about your comment by and by as I am not yet recovered fully.


21 Dinesh K Jain January 4, 2016 at 5:50 pm

Shalan @20

I am deeply touched by your kind sentiments. You have actually turned the tables on me! All I did was to to express my admiration for your contribution, and every other member since has echoed similar views, in different words and emphasis, but we are all one in paying our compliments to you. Thanks again, and thanks to AK too.

22 Jignesh Kotadia January 5, 2016 at 1:40 am

If we consider पन्छी as birds in general, can we include here मयुर or मयुरी ?
मन मोर हुआ मतवाला
मन मोर मचावे शोर घटा घनघोर
Morni baaga ma bole aadhi raat ma

aabad hai tu meri dhadkano men
meri jaan tujh men basi hai
baadal se jo aas hai Mor ko
mere dil ko woh tujh se lagi hai..

23 Jignesh Kotadia January 5, 2016 at 1:52 am

Kaaga (कागा) : the old messenger

Once upon a time in British India कागा was appointed by the govt as the messenger of BLB (Birds for Love Birds : a charity wing of National Message Services) for the poor lovers to serve free of charge. Beneficiaries were mostly women who had to lament after their gone away pardesi baalams. Baalams were mostly addressless so telegrams, phones and postcards were almost useless. The only quick and sure way was to inform a Kaaga.

कागा रे जईयो पिया की गलियन में
Bombay Mail..1935

कागा रे जा रे जा रे
मोरे पिया का संदेसवा ला रे ला रे जा रे
Wafa.. 1950

कगवा रे जा बलमा के देसवा
मन को सुना उनका संदेसवा
Bahadur .. 1953

The smart and swift Kaaga was able to do Same Day Delivery ..but..
But no lunch is free. The कागा who infamously known as काला कागा had a devil mind.His eyes were on lady’s flesh. He used to place a cruel deal with the lady in return of his service that is to eat her flesh ! The hapless lady had no other option. She would accept it with a tearful request :

कागा सब तन खाईयो , चुन चुन खाईयो मांस
पर दो नैना मत खाईयो , इन्हें पिया मिलन की आस
(Lata, Piya Milan Ki Aas, 1961)

Not only ladies, कागा had also trapped some jolly men and reduced them to beg literally :
कागा सब तन खाईयो , चुन चुन खाईयो मांस
पर दो नैना मत खाईयो , इन्हें पत् … पत् … पत्नी मिलन की आस (Chacha zindabad ,1959, KK in Des chhudaye bhes chhudaye)

Later in 50’s some Mahila Mandal had filed a case against Kaaga for his serial abuses. The case ran almost for 3 decades and finally in late 80’s in Rajeev Gandhi Govt the devil काला कागा found guilty by high court and dissmissed from his Messenger service job and sentenced.
The then Govt choose two new messengers for
BLB :  Kabutar and Tota.

कबुतर जा जा जा .. (Maine pyar kiya,1989)
तोता तोता सजन से कहना (First love letter,1991)

During this transition period some remote placed ladies couldnt find any messenger
So they used to plea direct to the Chitthi : O Chitthi, please wear wings and fly away to my saajan :
चीठ्ठीये पंख लगा के उड़ जा
ग़ैर दे हथ ना आवी
ख़ैर ख़बर ले जावी अड़ीये
ख़ैर ख़बर ले आवी .. (Henna, 1991)

Thereafter Kaaga went to supreme court and surprisingly supreme had declared him innocent and pure veg.. Bcz of insufficient evidences and all dead eyewitnesses in 90’s. Supreme believed that who eats the holy श्राद्ध lunch can not commit such crimes. After fresh release काला कागा again appeared once in public to remind his previous rule.

उड़ जा काले कांवा तेरे मुँह वीच खंड पावां
ले जा तु संदेसा मेरा मैं सदके जावां
Gadar .. 2001.

(Courtesy : Jikopedia)

24 AK January 5, 2016 at 9:45 am

This is fabulous and very imaginative. Thanks.

25 Jignesh Kotadia January 5, 2016 at 1:03 pm

Thanks you very much Akji

26 Shalan Lal January 5, 2016 at 4:49 pm

Jignesh Kotadia @ 23

Wonderful collection on the bird “Kaga” and also for the Information about BLB.

I hope many other reader would get inspirations and do similar collection.

I have not mentioned the Indian Nationsl Bird “More 0r Peacock”.


27 Ashok Kumar tyagi January 5, 2016 at 7:22 pm

AK ji
Ms Lal deserves compliments for the article. She has beautifully underlined the inhuman behaviour of human beings. So many songs (including English songs), and verses in Hindi, English, Sanskrit and Gujarati and highly literary presentation make it an article which is going to be a collectors’ delight. Comparison of Hindi films with Hollywood films makes an interesting and educative reading.

28 Jignesh Kotadia January 5, 2016 at 8:47 pm

Thanks for appreciation Shalanji
Hope you get well soon.

29 Gaby January 6, 2016 at 2:26 am

Another gem in the string of pearls called Songs of Yore. A new jeweller too. Therefore the readers are doubly blessed this year. Shalan and AK, thanks for a lovely and erudite exposition relating birds and Hindi Cinema songs.

Shalanjee, I hope you get better soon and write more for our reading pleasure.

As rightly pointed out by Shalan, the Shoka (Sorrow) that became Shloka ( verse) was related to a bird.
‘maa NISAADA pratisthaamtva | magamah shaashvatiih samaah |
yat krauncha mithunaat eka | mavadhiih kaama mohitam ||
(You shall never ever know joy, glory or hope.
For thou hast killed the pair of birds, happy in their coupling)
Valmiki Ramayana’ 1-2-15

While it was poetry, it was also a curse. Therefore it is my submission that the best poetry is that of sorrow and great poetry carries with it the desolation of hopelessness.

From the utter sadness of the Virahotkantita Vadhu :
Ja Re Ud Ja Re Panchhi Lata Mangeshkar in Maya – YouTube

To the married daughter waiting endlessly for word from her father:
O Panchhi Pyaare Asha Bhonsle Music SD Burman – YouTube

To the mounting hopelessness of the migrant in a strange land
Chal Ud Jare Panchhi (sad) – Mohammed Rafi, Bhabhi Song 3
Video for Chal Ud Jare Panchhi (sad) – Mohammed Rafi, Bhabhi Song 3▶ 4:12

To the gloomy sadness of the rejected woman
mera man ka bawara panchhi ..lata mangeshkar- c …
Video for mera man ka bawra panchhi▶ 5:07

Hindi cinema is filled with gems and it is such a joy to be able to share these gems with all of you lovely people and read such good writing from all of you.

30 AK January 6, 2016 at 10:51 am

Thanks for your appreciation and addition of some more beautiful songs. Two small points: Mere man ka bawra panchhi is a joyous song. And the reference to Valmiki’s shlok was not by Shalan, but by me in my introduction.

31 Shalan Lal January 6, 2016 at 3:19 pm

Arunkumar Deshmukh @2
Thanks for your sincere appreciation of the article. You are the custodian of the History of Indian Film Art, artists and ambiance. I am glad to see that Pancchi has gladdened you so far. I hope in your second reading you may find more points to differ, depreciate or increase in value. Thanks for your valued comment.

– Shekhar Gupta @ 3
Thank you for your additions to the bird-songs collection. I wonder in the songs you have mentioned, do you find any specialty of the use of the image of the bird. Or they are just a run of mill to the supply of the demand by the MDs?

gaddeswarupJanuary @4
Thanks for your comment. Your comments are always well informed and stimulate brain. I always enjoy the versions of the Hindi-songs in other songs and vice versa.

32 Shalan Lal January 6, 2016 at 3:33 pm

KSBhatia @ 5
I enjoy your collection of the Bird songs and your intelligent analysis of them. “Gul Muskara Utha has such good upward tilt. A college friend of us at the picnic would sing it with some acting and that put in my memory.
Shekhar @ 7
At the end of seventies Mr. Shankar visited London. There was an interview with him by one of the Hindi programmer presenters. In that interview he mentioned that he was fromPunjab but grew up in Hyderabad.

Shalan Lal

33 raunak January 6, 2016 at 5:00 pm

Every time i read a post on SoY, i am amazed to say the least. And i must congratulate Shalanji for writing such an in-depth and yet very engrossing article, which is rare; for often it is seen that in-depth analysis and boredom go hand-in-hand. That said i would like to point out few things which i don’t agree with. And no i am not going to talk about views like CC being far more entertaining than IHON, or Dadamoni being a sissy actor or music saving Devsaab’s films. I would rather talk about facts as facts are what matter at last and not views or opinions, which are bound to and should differ.

First, Ashok Kumar is not a nephew of Shashadhar Mukerji. Instead Shashadhar Mukerji was brother-in-law of Ashok Kumar, being married to Ashok’s sister Sati Devi.

Second, yes Himansu Rai was despondent when Devika Rani eloped with Najmul Hassan, but he didn’t suffer a heart attack or fell ill then. Himansu Rai fell ill and suffered a heart attack after the WWII started and died soon after.

Third, yes Ram Ganguly could not make much of a mark in the film industry but then the history of film industry is filled with instances of talented composers/artists of not being able to carve out a place for themselves inspite of doing good work. It has to be noted that Ram Ganguly did compose music for 12 other films apart from Aag, including Prithviraj Kapoor’s Paisa (1957) ; and many of those songs are very good , though not as popular as the ones from Aag. His song ‘Aise toote taar’ from Gawaiya is among the very best of Talatsaab and i am sure there are others who will agree with me. Plus he was a very respected sitarist and student of the great Baba Allaudin Khan and was very famous for his work at Prithvi Theatres. Also both Shamshad Begum and Mukesh have said it on record that they were trained and recorded by Ramsaab himself for their Aag songs and not by anyone else. In lieu of such circumstances, it would not be completely right to say that Ramsaab could not could compose or orchestrate a song himself.

34 ksbhatia January 6, 2016 at 5:13 pm

Ms.Shalan Lal , AK ‘ ji ;
Panchi /Kaga is surely a subject that fascinate every one . Different acts and sounds are related to different moods of the listeners . Not only that different dialectic sounds at different point of time and season brings out different charms ; specially during migratory season . Hearing them in a calm state of mind is a pure pleasure .

Life in the 50s and 60s were like that . There was less of noise , no vehicles on the roads except bicycles , tongas and cycle rikshaws . Chirping of the birds usually started at 4.30pm in the winters and at 6.30pm in the summer season as indicater of finishing their daily task .
This was the scene of that time when I used to live near G P O , General post office , also known as Gole Dak khaana, New Delhi and this was the time when we had to make quite a frequent trips to G P O for buying the stamps, post cards, envelopes and first day covers . What I liked the most was the availability of glue [ gound ] which was in plenty [ and hence the smell ] . Wherever your hand goes it was sure to get sticky.
Near the entrance steps of the G P O there used to squat a number of persons wearing rajesthani cloths and with their munshi type tables in front . They used to write post cards for illetrate persons ; mostly labourers . We used to refer these munshis as Ka-‘an or Kauwa as messengers ……a la …. khat lekh de sawariya ke naam babu . With no computers and no internet this mode of communication was really a fun .

Coming back to related songs , i am to offer such songs where reference is made to state of mind of the singer as the song proceeds .

1. Babul ….Ek mundere kaaga bole ; sun ke mora man dole
2.Seema….Ghayal manwa paagal panchhi udne ko hai bekarar
3.Boot Polish……Ek ek tinke tinke se panchhi ka ghar ban jaata hai
4.Teesri Kasam……Chalat musafir moh liya re pinjre wali muniya .
5.Sehra…..Pankh hote to udh atee re rasiya o balma
6.Naag Mani…….Pinjre ke panchhi re , tera dard na jaane koye
7.Piya milan ki aas……Kaga sab tan khaiyo

35 Shekhar January 6, 2016 at 8:14 pm

Re: Your kind comment of Jan 6, 2016 at 3:19 pm in response to “Shekhar Gupta @ 3”, may I respectfully submit that “पन्छी” is often used with telling effect as a metaphor in poetry rather than just a visual on the screen.
One of the foremost early examples is Kidar Sharma’s non-movie composition “Panchhi Kahe Hot Udaas” immortalized in K L Saigal’s vocals under the baton of Pankaj Mullick, available on YouTube at https://youtu.be/a5xjB0wN9zo but erroneously shown as from the movie ‘My Sister’.
I doubt if this or other such numbers are “just a run of mill to the supply of the demand by the MDs” or even by the lyricists.

36 ksbhatia January 6, 2016 at 10:56 pm

….in continuation of comments @ 5 …. Here is the punjabi folk song which relates to film Aag song …. Kahe koyal shor machaiye re……Ram Ganguli as MD.
Dachi walia mod muhar ve…….Surender kaur

37 Shalan Lal January 7, 2016 at 3:42 pm

raunak @ 33

I am extremely sorry for incorrect information about Ashok K and Shashdar Mukharji. It should be as you have written down in your comment.

About the slow death of Himanshu Rai: my information came from teh extracts read to me by a Marathi fellow from the book “Chanderi Duniya” by Leela Chitnis. This book she wrote in the Poona House of C.Ramchandra. The book covers her time at the “Bombay Talkies. She has graphically described about the state of Himanshu Rai after the affair of Devika Rani. About that also there are writes ups and occasional mentions in many film journals of the period including Film India.

If you still believe that my mentioning is faulty then I express apology. But the story is very famous and it is in the making of the Indian film history.

About R.Ganguly, my conclusion mainly based on the film Aag and the book wriitn on Raj Kapoor by Bunny Ruben who was a Publicity officer of RK for many decades.

I do feel sorry that some people do not like my words “sissi” in connection with Ashok Kumar. They are actually the words of Baburao Patel in connection of his mentiong him as “sissi”. Not only that the style of acting of the male actors upto the end of forties I beleive is “sissi”. Because the stories they pressented were not of taking decision but carry on blaming the society and the way their love was not satisfied.

These stories made a kind of appeal to the sad hearts of young men who frequented the film theatres.

Furthermore it is in the book of Shantaram that he mentioned that after the film Devdas in theirties many young Bengali killed themselves. So he created afilm called “Aadmi” sub Tittled as “Life is for Living”.

However I do appreciate your comments immensly and I hope you will continue expres yourself in your style.

Shalan Lal

38 ksbhatia January 7, 2016 at 11:48 pm

… in continuation of songs @34……
8. Gunga jamuna…………Do hunson ka joda
9.Raagini……..Man mora bawara
10.Kanhaiya………Kare papiha pukar kahe aaja ek baar
11.Barsaat…………..Pankh hote ud aati mein
12.Aan Baan [?]………..pee pee ki boli na bol papihay
13. […private…]………Koyaliya tere bol sune to
14. Dahej………Ambua ki dali pe bole re koyaliya
15.[ private]……Ambua ki dari bole kari koyaliya kahe aaja balamwa

39 Giri January 8, 2016 at 9:47 am

The author’s range of knowledge on subjects as varied as ornithology,sanskrit/hindi literature, film music and the trivia connected with them etc. is amazing. I thoroughly enjoyed the article and also the comments from knowledgeable readers.
One correction: the south indian actor mentioned in the “koel curry” /Lataji incident is Sivaji Ganesan and not Gemini Ganesan.Lataji became a family friend of Sivaji (I don’t know how) and every time she was in Madras she used to be entertained at his house. On one such occassion she came to know that he used to go shooting birds ( with an air gun) and koel meat was a delicacy he liked. She immediately extracted a promise from him that he would not hunt koels and eat the meat, in future.

40 AK January 8, 2016 at 2:55 pm

Shalan #27, Raunak #33,
Let me add my perspective on some points you have mentioned. SJ came in Barsaat with an entirely new style of music and orchestration, which has no similarity to Aag. Kaahe koel shor machaye re belongs to the vintage style, which reminds you of Shamshad Begum’s songs by Naushad or Pandit Govind Ram. SJ did use her later, but very sparingly, and in a very different style. Only Mukesh’s Zinda hun is tarah has some stamp of SJ style, such as Hum tujhse mohabbat karke sanam from Aawara, but I would put it more to Mukesh – he was always Mukesh no matter who was the MD. Therefore, per se, from Aag‘s music it is difficult to conclude that it could be SJ and not Ram Ganguly, only because the latter was not very successful.

On Baburao Patel, I have been browsing through filmindia. From his reputation, I was looking for some irreverent humour, which we all like to read. It is anything but. It can’t be even called caustic or scathing. Patel is vitriolic, venomous and vicious. He has contempt for most people, the rest he loathes. filmindia has a historical place in film journalism, but I would not rely on his ‘views’ on people or films.

41 Shalan Lal January 8, 2016 at 4:55 pm

Jignesh KotadiaJanuary 5, 2016 @ 22

Your quotes of songs are very interesting.

Mor, Mayur or Mayuri etc. As suggested by Shekhar Gupt in the comment 35, has nicely put in ““पन्छी” is often used with telling effect as a metaphor in poetry rather than just a visual on the screen.” Most of the lyricists early and later have used this metaphor cleverly.

In the song “Jungle-mein Mor Naacha” the imagery of the dance of peacock is comically and expertly used by the lyricist to that of a drunken stupor of Johnny Walker whose name comes from that drunken trance. Sadly this song was removed from the film after some complaints by some Mahila groups. The image of mayor or Mor in most of the lyrics like “Man-Mor Hua Diwana …. The image is not general “““पन्छी” but the state of dance of this particular bird. Replacing Mayur or Mor by the word ““पन्छी” will not work in that particular lyric.

I am not sure if the Mayur dances because of the clouds in sky or to get the attention of the peahen. More research work is needed in this area.

However I feel that the birds and other animals should have been subjects of the songs on their own as they deserve, they should be treated so, for their existence along with us human beings.

In English, French and American culture and languages song writers have written songs on the birds and animals without making them metaphors for human meanings and feelings.

Ashok Kumar tyagi January @ 27

Thanks for your very understanding compliments.

KSBhatia @ 34 and 36

Your anecdotes and lists of songs always are thorough. Your timely link to the Punjabi folk song which relates to film Aag song …. Kahe koyal shor machaiye re……Ram Ganguli as MD is very useful and looks very definitive:
“Dachi walia mod muhar ve…….Surender kaur

ShekharJanuary 6, 2016 @ 35

I am sorry that you felt that my remark “just a run of mill to the supply of the demand by the MDs” as insensible. It was in general remark to find out if there were songs that used the bird imagery in similar way too much. I never made a particular remark at the “Saigal’s song”. If Kidar Sharma needed to use the bird imagery in that song he then had every right to do so. As a lyricist and script writer I have high regard for Kidar Sharma. I grant that the voice of Saigal is unique in the “Awaj Ki Duniya” and whatever he sang is loved by people to date including myself. Dispassionately looking at the numerous songs that have used the bird imagery to me looks similar to seamy. This should not be taken as offensive but as a exploratory idea about the quickies in songwriting.


42 Shalan Lal January 8, 2016 at 6:39 pm

Giri – January 8, 2016 at 9:47 am @ 39

Thanks for your correction that it was not Gemini but Shivaji.
I like the way you have retold the koel anecdote. it looks now the incident really happened.

Good for preserving these Koel Birds.

Thanks for your comment. This gives authenticity to the post.


43 Shalan Lal January 8, 2016 at 6:47 pm

mumbaikar8 January 1, 2016 at 6:57 pm @ 9

Dear Mumbaikar 8

Many thanks for your very generous compliment.

I am glad that you have ignored my harshness at the Chitlkar post and gave your free and kind opinion.

I lke people who ignore my old habits. I am now a very old crow goes on cawing without rhyme or reasons. That is a weakness of all old people. They don’t learn when to shut up.

Thanks again
Know this that Shalan love you.


44 Jignesh Kotadia January 8, 2016 at 10:46 pm

Shamshad Begum has only 3 songs with Shankar Jaikishan ( if i am not missing any other )

1. Ek do teen – Aawara 1951
2. My my dear aao near – Nagina 1951 (with Rafi)

and way later in Parde Ke Pichhe 1971 !!
a triad with Asha and Usha

Teen Kanwaariyan Teen Kanwaariyan
Haathon men mehndi laga de koi
Doli men aake bitha de koi

45 Jignesh Kotadia January 8, 2016 at 11:17 pm

Shalan ji
thanks for revisiting
you are right. मोर is used mostly as a metaphor for मन esp. when it is in elated state.

46 Jignesh Kotadia January 8, 2016 at 11:44 pm

Shalan ji
here’s a tajik persian poignant song in which the Bulbul is mentioned. The terrific song is sung by Nigora Holova so movingly.

बुलबुल : Nightingale : अंदलिब

शहर ख़ाली जादा ख़ाली कूचा ख़ाली ख़ाना ख़ाली
जाम ख़ाली सुफ़्रा ख़ाली साग़र ओ पैमाना ख़ाली

कूच करदा दस्ता दस्ता अाश्नायाँ अंदलिबाँ
(Migrated flock by flock friends and nightingales)
बाग़ ख़ाली बाग़चा ख़ाली शाख़ा ख़ाली लाना ख़ाली


47 Jignesh Kotadia January 9, 2016 at 12:26 am

Bhatia ji
wonderful list of bird songs…

some more

Papeeha :

O papeehe O papeehe
tune papeehe nahin dekhe more saiyaan
dekhe to le lega unki balaiya
ja re diwaane maar na taane
piya ki sun ja ke baansuriya..jiya le gayo

Papeehe se kaho gaaye na woh naghme bahaaro ke
kaho gulshan ujad jaaye kaho kaliyaan bikhar jaaye
kahan tak hum uthaaye gum.. (aarzoo, 1950)

Tore paiyaan padu main o papeehara
jaari jaari jalaa na mora jiyara
tohe taras na aaye kaahe raar machaaye
jale aap mujhe bhi jalaaye
bundaniya barasan laagi re
kaahe shor machaaye re papeehara

Papeeha bola pee pee
to maine pee li
main bhi thi pyasi pyasi
rut thi nasheeli
(Noorjehan, Accident 1978, pak movie)


48 Jignesh Kotadia January 9, 2016 at 12:53 am

Daal pe Papeeha jab hole hole rota hai
bada dukh hota hai..
(mehbooba,1953,Pukhraj Puppo, pak movie)



Chakori ka chanda se pyar
pyari pyari aankhon pe aankhen nisaar
Chakori ka chanda se pyar

नैनों से नीर बहे मुंह से वो कुछ ना कहे
चुपके चुपके गोरी बिरहा की पीड़ सहे
सुज गये है रो रो के साजन
हाय नैना जो तुम से लड़े
चकोरी यहाँ रो रो मरे .. हाय चंदा गये परदेस

Baawri chakori kare duniya se chori chori
chanda se pyar.. Anarkali 1958, noorjehaan

49 Jignesh Kotadia January 9, 2016 at 1:03 am

Pijanvaa : pigeonva : पिजनवा

have you heard this word before in hindi songs ? 🙂
here it is..

atkan matkan dahi chata
chor pijanwa phur hui jaa
aa re aa re kha re kha
chun chun moti kha re kha
bundan bundan barse barse
dhuan dhuan hui jaa re jaa
atkan matkan dahi chata
kha re kaaga, kha re kha (Raajneeti,2010)

50 Jignesh Kotadia January 9, 2016 at 1:20 am

Bagula : बगुला

generally not found in film songs
but it is there in Kabir’s doha..

कबीर लहरें समुद्र की
मोती बिखरे आये
बगुला परख ना जान ही
हंसा चुन चुन खाये

चील and बाज़ can be found rarely

चील चील चिल्ला के कजरी सुनाए
झूम झूम कौवा भी ढोलक बजाए
(Half ticket , KK, 1962)

मैना बोली चिड़ैया को बाज़ ले गया
ऐसी भोली को कैसा दग़ाबाज़ ले गया
(kasam suhaag ki, Anuradha Paudwal, 1989)

51 Jignesh Kotadia January 9, 2016 at 1:25 am

some vintage birds..

Ja re papiha piyu ke desh..jyuthika roy..1942

Uma shashi..ek thi toti ek tha tota..anaath aashram..1937

Bhala kyon ban ki chidiya.. Prem kasauti 1937

Ped ki daali pe koyaliya bole kaali.. Prem kasauti 1937

Haaye ri koyaliya .. Prem Yatra 1937

52 Jignesh Kotadia January 9, 2016 at 1:32 am

and this is my favourite चीड़ीया

sublime creation of SJ

बाबुल हम तेरे अंगना की चीड़ीया
दो दिन यहाँ सौ दिन घर पराये

College girl, 1960

53 AK January 9, 2016 at 6:30 am

Thanks a lot for adding so many wonderful songs. However, everyone seems to have missed Bol re papihara. This is a famous bandish in Miya Ki Malhar, and many classical singers, too, have sung it.

Shamshad Begum-SJ: This supports my point. She was not their cup of tea, and Kaahe koel shor machaye re has nothing of SJ they displayed later.

54 Siddharth January 9, 2016 at 1:21 pm

I would like to add two more songs –
1.) Na bol pee pee more angna – Dulari – Naushad -1949
2) A more hopeful song – Do panchi do tinke…

The other pigeon or pigeonva I know is Glen Mcgrath who was always on song 🙂

Birds and animals are often used as metaphors and the greatest example is Panchtantra.

55 Jignesh Kotadia January 9, 2016 at 9:24 pm

Oh yes
McGrath “Pigeon” है ये तो मैं भुल गया था !
Thanks for reminding.
Plz call me only Jignesh

56 Anu Warrier January 10, 2016 at 6:35 am

Just my two cents: Vivien Leigh was not born in Bangalore. She was born in Darjeeling, lived for a while in Ooty while her father was stationed in Bangalore and was sent back to London as a toddler.

Two, the Chakor is not a mythical bird. It belongs to the partridge family, and is, one of Pakistan’s two national birds. Whether it yearns for the moon or not, I cannot claim with any veracity, not being known for my interest in bird watching.

Three, the song, Jungal mein mor naacha is very much present in Madhumati. I watched the film in a rundown theatre in Bangalore in the late 70s/early 80s, and it definitely was there then.

(Sorry, AK.)

57 mumbaikar8 January 10, 2016 at 9:42 am

Jignesh @23
The male begging continues…… ROCKSTAR 2011 at 4.06

58 mumbaikar8 January 10, 2016 at 9:57 am

Shalan @ 43
I love you too but with all the harshness, please do not humiliate (for the lack of better word) yourself; it does not suit your (our) personality.

We can thrive with our differences because the bonding element named AK keep us bonded.

Old age has many advantages, flaunting greys and wrinkles I can get away with many things:)

59 AK January 10, 2016 at 10:46 am

Thanks for your comments and corrections.

60 Jignesh Kotadia January 10, 2016 at 12:28 pm

Mumbaikar8 ji
Naadan Parindey is very nice song ! Thanks for adding it.

61 Mahesh January 10, 2016 at 12:39 pm

@Jignesh #44.
Thanks for the info reg SJ-Shamshad Begum combo.
I always wanted to get this info, but never tried enough to fetch it.
They should have come together more often.

62 Shalan Lal January 10, 2016 at 6:48 pm

Jignesh Kotadia @44 + and perhaps more

Your collections of songs and poems are varied and
: wonderful, prodigious, phenomenally staggering, More please.

Keep them rolling I enjoy each and every one.

Thanks again


63 Manoj January 10, 2016 at 7:10 pm

Have yet to enjoy thoroughly this collection presented by Shalanji. Thanks a lot.
I don’t know if Saigalji’s “panchhi kahe hot udas ” comes in this category.
I used to listen one bhajan : ….. Radhe Govind …… Bolo re panchhi ……. Radhe Govind ……. yeh jaga char dinoka mela …….: For me it was like a lullaby. Can anyone bring it back?

64 Jignesh Kotadia January 10, 2016 at 10:22 pm

Akji > #53 and Maheshji > #61
Many Thanks for appreciation.

Shalan ji
A hundred Thanks for the generous praise. I would like to share surely many more gems and i pray May God keep the momentum in the same fashion.
Your multilingual write up has really instilled a zeal in me to come out with different varities.

65 Shalan Lal January 11, 2016 at 4:48 pm

AK @ 40

I can get along with your understanding about the Aag Song “Kahe Koyal Shor Machaye.”

If you add KSBhatia’s information as well’ it may gave more understanding. I re-quote it here for all readers’ use:

“Here is the punjabi folk song which relates to film Aag song …. Kahe koyal shor machaiye re……Ram Ganguli as MD.
Dachi walia mod muhar ve…….Surender kaur

Reader Raunak has built up a theory about Ram Ganguli at comment number 33. I quote his statement:
“Also both Shamshad Begum and Mukesh have said it on record that they were trained and recorded by Ramsaab himself for their Aag songs and not by anyone else. In lieu of such circumstances, it would not be completely right to say that Ramsaab could not could compose or orchestrate a song himself.”
You have also made a statement @ 40:
“Only Mukesh’s Zinda hun is tarah has some stamp of SJ style, such as Hum tujhse mohabbat karke sanam from Aawara, but I would put it more to Mukesh – he was always Mukesh no matter who was the MD.”
Further information about Ram Ganguli I quote from the Bunny Ruben’s plush and lavish broad printed book “ Raj Kapoor the Fabulous Showman an intimate biography”. Published by the National Film Development Corporation, 14 December 1988.

This book is thick with many photos of the Kapoor Khandan and also RK at work and his team etc.

This book starts with the boyhood days of RK and ends at his death and tributes to him. Vishwa Mehra who was a maternal uncle and also worked as the Production Manager of RK Films is telling the story of Ram Ganguli’s exclusion from the RK Films on the page number 61:

“They played Ram Ganguli’s orchestra. In those days we had unusual system of recording. There were those round discs of HMV, the 75RPMS and labels on them stated Music By Ram Gangili, Tune by Shankar and Tune by Jaikishan……”

(The narration of Vishwa Mehra is full of palaver. The main recording of the songs and incidental music is done at the Tardeo’s Famous Sound Recording Studio with orchestra and singers etc. Then this recording is taken to the HMV studio by RK and Vishwa Mehra and the the second recording is sent to Dum Dum Calcutta to cut the 75 RPMS and this recording later on used to record sound and songs on the film.)

Vishwa Mehra continues after returning from the HMV studio: “ I’d been having a little trouble with Ram Ganguli about the signed vouchers of some musicians in the orchestra. Raj and I were given feedback that Ram Ganguli was rehashing Raj’s own tunes and selling them to some other produces. This enraged Raj who asked me what to do? I told Raj,” the songs have been composed by Shankar and Jai Kishan. So let us give their names. “Done” said Raj.
Immediately I dashed off instructions to HMV to delete Ram Ganguli’s name and replace it with the new credit line MUSIC: SHANKAR JAIKISHAN.”
The above mentioned book has extensive information about RK’s passion from music and singing. He sang songs in the play Deewar and in the many variety entertainments shows organised by Prithvi Theatre he was the main singer and played various instruments.

In the book there is a photo of RK singing to Lata Mangeshkar showing how the song he wanted her to sing.

I think now the readers of SoY should draw their own conclusions from this. My own conclusion is that all the songs of Aag were composed by Raj himself and also the melodies of the songs of Barasaat as well. This only a conjecture based on his early collections of Kashmiri Dhoons..


66 raunak January 12, 2016 at 1:10 pm

First of all, i think there is some sort of confusion regarding my comment about Himanshu Rai. The only correction i was pointing out was about the timing of his heart attack and falling ill, which was in 1939 and not in 1935-36, when Devika Rani had eloped with Najmul Hassan. And as far as Leela ji is concerned, she was not even with Bombay Talkies when all this Jeevan Naiya ruckus happened. Leela ji’s first film with Bombay Talkies was Kangan in 1939 with Ashok Kumar as hero.

Coming back to R.Ganguly, i know about the Bunny Ruben’s book and the comments made by Vishwa Mehra, Rajsaab’s maternal uncle. But considering that RK films and R.Ganguly had a bitter fallout, it won’t be right to judge R.Ganguly’s musical abilities on the basis of this book completely. It would be akin to judging S.P.Mukherjee on the basis of writings of Congress people or judging Chachaji on the basis of things said by BJP folks. To bring in a bolly perspective, i don’t think it would be right to judge a KK based only on Sajjadsaab’s views or SRK based only on Kjo’s views. Views can be and often are one-sided and biased, leading to distortion of facts. Nobody doubts Rajsaab’s abilities but in absence of strong evidences, i think we better not make any conclusions and mock someone totally and give cent percent credit to the other.


67 KB January 12, 2016 at 8:29 pm

One more Koyal song in Aap aye bahaar aye(1971) Koyal Kyoon gaaye

68 ksbhatia January 12, 2016 at 11:43 pm

Ms Shalan Lal, AK ji; @ 65
I think exclusion of Ram Ganguly from R K camp happened during the planning , composition of songs and on going production of the film Barsaat . I remember to have seen publicity in magazines [ of those times ] and banners of the Barsaat ; that carried the name of MD as Ram Ganguly . Suddenly names of Shanker and Jaikishan appeared in subsequent issues . The magazines that usually appeared in those days were in small sizes , 6 in. by 9 in. or may be 5 in. by 7 in., including Filmfare .

If one see the film Barsaat again and again and carefully listen to its background music as well , I am sure he / she will be surprised to find many tunes of the songs of the RK’s movies which were yet to come. Barsaat background music carried the tunes of Aah and Aah carried the tunes of Mera naam Joker and so on …. Since Raj kapoor himself was very passionately involved in composition of the songs , his inputs were well taken by SJ in the course of their melodies in the making . As such Raj kapoor created a music bank of SJs tunes to be used in his home productions later on . With so much melodies in store the presence of SJ in RK productions and his starers as well ,were insured .

Coming back to Aag , this film’s music , sort of carried [ not completely but ] grey shades of Husan lal Bhagat Ram style of music . Dekh chand ki oore …….I believe is a song which could be termed as Shanker’s composition . Raj kapoor and Shanker [ both being punjabi ] must have decided song based on the famous punjabi folk song of that time resulting into the song…..Kahe koyal shor .

69 ksbhatia January 12, 2016 at 11:58 pm

AK ji ;
With so many Koyals on daalies , one need to reinforce them with good supports ; otherwise this song…….. jis daal par kiya tha baseera woh jal gayi , duniya badal gai….. One of my fav.song from Babul . The sad branch with no birds sitting on .
Duniya badal gai……..Talat , Shamshad….Babul …Naushad.

70 ksbhatia January 13, 2016 at 4:10 pm

AK’ji ;
Here is one of Geeta Dutt’s best NFS which should find its place at the strongest branch .
Haule haule hawa dole , kaliyon ke ghunghat kholey……

71 AK January 13, 2016 at 5:54 pm

KS Bhataji,
One of the best NFS of Geeta Dutt, and a radio era favourite. But does it fit in पंछी songs?

72 ksbhatia January 13, 2016 at 11:37 pm

The song goes like this…..
Haule haule hawa dole, kaliyon ke ghunghat khole
Aaja mere man ke raja, pihu pihu papiha bole
…….Because of pihu pihu paphiya , I think this song should fit the bill .
It will be interesting to have the views and comments of others also.

73 AK January 14, 2016 at 9:39 am

KS Bhatiaji,
Sure. I should have realised the papiha was there.

74 Mahesh January 14, 2016 at 11:16 am

Enigmatically #15 and the songs sort of went unnoticed.

Does this qualify since we already have a Gujarati Mukesh number in the post.

Lastly, a M G Hashmat classic.

75 gaddeswarup January 14, 2016 at 12:43 pm

ksbhatiaji at #72, There is an interesting song by Lata Mangeshkar with similar words though I do not know the meanings of the lines https://www.youtube.com/watch?v=adJ5Jw0p9V8

76 ksbhatia January 14, 2016 at 3:51 pm

Gaddeswarup ji;
Perfect fit to the theme . Tune is different but mukhda is almost same. A good song and a good find .

77 mumbaikar8 January 14, 2016 at 8:47 pm

Mahesh beat me to o neel gagan na pankheroon my favourite.
Let me add my other favorite surprising it has not been added yet
Devdas; O albele panchhi tera door thikana hai

78 atina January 14, 2016 at 9:42 pm

consoling the nightingale ! a talat mehmood NFS.

79 Jignesh Kotadia January 14, 2016 at 11:31 pm

Mahesh ji

This Epic Gujarati song will not go unnoticed. It is a mile stone song of Gujarati Sangeet. A sublime poetry made unforgettable by the legendary voice of Mukesh. Brings tears in no time.

Mumbaikarji has already admired your selection and i am posting the full lyrics.
Many thanks for reminding a top favorite song.

ओ नील गगन ना पंखेरु
तु काँ नव पाछो आवे
मने तारी..
ओ मने तारी याद सतावे

साथे रमता साथे फरता
साथे नावलडी मां तरता
एक दरिया नुं मोजु आव्यु
वार न लागी तुज ने सरता
आज लगी तारी वाट जोऊ छु
तारो कोई संदेशो लावे ..
मने तारी याद सतावे

तारा विना ओ जीवनसाथी
जीवन सुनु सुनु भासे
पांखो पामी उडी गयो तु
जइ बेठो ऊंचे आकाशे
केम करी हुं आवु तारी पासे
मने कोई नव मार्ग बतावे ..
मने तारी याद सतावे

मोरला सम वाटलडी जोऊ
ओ रे मेहुला तारी
विनवु वारंवार हुं तुने
तु साम्भळ विनती मारी
तारी पासे छे साधन सौए
तु काँ नव मने बोलावे
मने तारी याद सतावे
ओ नील गगन ना पंखेरु .. पंखेरु ..

80 ksbhatia January 14, 2016 at 11:38 pm

Mumbaikar8 ;
Four songs from my collection with the word…. Panchi ….appearing in them:
1. Hum panchi mastane…..Lata, Geeta…..Dekh kabira roya…..MM
2.Hai yeh duniya kaun see…..Hemant…..Sailab…..Mukul Roy
3. Hum tere pyar mein sara aalam…Lata…Dil ek mandir……SJ
4. Dekh hamen awaz na dena…..Asha, Rafi…Amar Deep……CR

81 Jignesh Kotadia January 14, 2016 at 11:47 pm

The Gujarati Songs sung by Mukesh are a treasure for we Gujaratis. Each song is a favorite. He maintained his strike rate in Gujarati too.
सजन मारी प्रीतडी सदीयो पुराणी;
आवता जता जरा नजर तो नांखता जजो;
नजर ना जाम छलकावी ने चाल्या क्यां तमे;
नजर ने कही दो के नीरखे न एवु;
माहताब सम मधुरो दिलकश दीदार तारो;
चाल्या ज करु छु;
आवो तो ये सारु न आवो तो ये सारु;
One of these is included by Shalan ji in Main post ( पंखीडा ने आ पींजरु )

Every piece is Amazing !

Also this

सनम तु बने गुल तो
बुलबुल हुं बनी जाऊं
कमल नुं रुप तारु हो
भ्रमर हुं तो पछी थाऊं

तु दीपक बनी ने प्रगटे
हुं बनु प्रेम परवानो
वफ़ा थी जान ने अर्पी
प्रीति काजे जली जाऊं

82 Jignesh Kotadia January 14, 2016 at 11:55 pm

This song from “Raja Bharathari” has also achieved an iconic status.

पेला पेला जुग मां राणी
तु हती पोपटी अने
अमे रे पोपट राजा राम ना
हो जी रे .. अमे रे पोपट राजा राम ना

ओत्तरा ते खंड मां आंबलो पाक्यो त्यारे
सुडले मारेल मुने चांच राणी पिंगळा
ई रे पापीड़े मारा प्राण ज हर्या ने
तो ये ना हाली मोरी साथ राणी पिंगळा
दनड़ा संभारो खम्मा
पूरव जनम ना सहेवास ना

83 Siddharth January 15, 2016 at 2:42 pm

Another lilting duet –
Fariyad– Wo dekho dekh raha tha papiha

This movie had some lovely songs including an outstanding song – Haal-e-dil unko sunana tha sunaya na gaya which has rightly deserved a separate post. This song is Suman Kalyanpur’s best as Hamari yaad aayegi which is Mubarak Begum’s best song –courtesy Snehal Bhatkar and Kidar Sharma.

84 ksbhatia January 15, 2016 at 11:31 pm

AKji, Siddharth ji , Here is Lata at her best :
…..Jab door papiya bole……in the song ….Sapne suhane larakpan ke….from Bees Sal Baad .

85 Jignesh Kotadia January 16, 2016 at 12:39 am

atina ji

> # 78

What a nice lyrics and composition ! Spellbinding ! Soothing voice of the Ghazal king.

Ai andaleeb-e-zaar
Jaane ko hai bahaar
Tu kyun hai beqaraar
Bata kyun hai beqaraar

Is gulsitaan ko dekh
Us baaghbaan ko dekh
Tu mujh ko dekh aur
Gham-e-do-jahaan ko dekh
Main bhi hun ashqbaar
Jo tu hai jigar-figaar
Jaane ko hai bahaar…

Yeh teri aarzoo
Kitni hai khoob-roo
Khwabon men bhi jise
Hai usi gul ki justujoo
Aankhon men jis ki
Baad-e-ulfat ka ho khumaar
Jaane ko hai bahaar..

Ai andaleeb-e-zaar
Jaane ko hai bahaar

Lyrics : Raj Meerthi (?)
Music : Girin Chakravarty (?)

This Talat NFS is also discussed in Atulsongaday by Ava Suri ji with nostalgic memories. Really beautiful song.

86 ksbhatia January 16, 2016 at 4:41 pm

Atina , Jignesh Katodia ji[s];
Talat’s NFS is really a song to be played again and again . The smooth silky voice conveys the lyrical beauty and a beautiful composition to top it all .
I have mentioned two songs happy and sad songs @5 on ….Gul….from the same film Badshah , a 1954 movie . The songs….gul muskura hutha ….and….rula kar chal diye ek din….were hit of the Binaca geet mala chart of those times .
Now that I have found the gul muskura utha song I am loading both the songs:
Gul muskura utha
Rula kar chal diye

87 ksbhatia January 16, 2016 at 11:26 pm

Now a vintage song with paphiya appearing in second stanza :
…….Shyam ki bela jiya akela….Uma devi, Moti……Chandralekha [1948]…..S Rajeshwara Rao

88 ksbhatia January 16, 2016 at 11:35 pm

….in continuation ….one more vintage melody by Uma devi from the same film Chandralekha . Papiha again appearing in second stanza .
……..O Chand mere……

89 Jignesh Kotadia January 17, 2016 at 1:01 am

The serenity of this Talat NFS (ai andaleeb e zaar) can be compared with that Mangu Suman song (koi pukaare dheere se tujhe, brought by you) Or Rafi’s Sabhi kuchh luta kar hue hum tumhare ( Indrani, 1958, brought by Mumbaikarji). This kind of songs offers sheer peacefulness, too ear friendly hence have more repeat value, we dont tire listening them. But these supreme quality songs miss ‘loudness’ at all hence can not reach the mass and easily go into oblivion.
The songs of Baadshah are gems ! Rula kar chal diye is a quintessential Hemantda classic.

90 ksbhatia January 17, 2016 at 10:36 pm

Jignesh Kotadia ji ;
I entirely agree with you . Listening to such soothing and peaceful songs even after a time gap always take you to a different cloud . Make your room a little dim lighted and see its enhanced effect . One must have a designated cozy corner with undisturbed surroundings to give full respect to such songs . I am giving suggestion in general ; it is not a compulsion .
Yes ; Baadshah songs are beautiful songs. Another great song [ not related to the theme ] from the same film is …..Aa neel gagan talle pyar hum kareen….a Hemant Lata duet . Sj ‘s one of the best romantic composition .

91 Shalan Lal January 18, 2016 at 4:38 pm

Gaby @ 29
Thank you very much for your bejewelled appreciation of the post “पन्छी : An aviary of Songs” A jeweler often gets bludgeoned on his head and taken away the jewelry he has made. I must be careful not to celebrate your gracious diamond studded comment.
The brilliant introduction, skillful editing and finding songs from the original films with apt illustrations by AK also deserve equal congratulations.
Your quotation from Valmiki Ramayan and the English translation of it adds luster to the post.
From the songs you have quoted I choose two to comment as they are quoted by many other readers:
From the utter sadness of the Virahotkantita Vadhu :
Ja Re Ud Ja Re Panchhi Lata Mangeshkar in Maya –https://www.youtube.com/watch?v=Thd-5bFfbAg
To the mounting hopelessness of the migrant in a strange land
Chal Ud Jare Panchhi – Mohammed Rafi, Bhabhi https://www.youtube.com/watch?v=HyUP1NwVj4U
The above two songs have similarity in lyrics and sung by the two top singers in the SoY. Let us put these songs together and see how similar they are and what they are:
chal u.D jaa re pa.nchhii ki ab ye desh huaa begaanaa
• Movie: Bhabhi
• Singer(s): Mohammad Rafi
• Music Director: Chitragupt
• Lyricist: Rajinder Krishan
• Actors/Actresses: Nanda, Balraj Sahni, Pandhari Bai
• Year/Decade: 1957, 1950s

चल उड़ जा रे पंछी (२) कि अब ये देश हुआ बेगाना
चल उड़ जा रे पंछी …
खतम हुए दिन उस डाली के जिस पर तेरा बसेरा था
आज यहाँ और कल हो वहाँ ये जोगी वाला फेरा था
सदा रहा है इस दुनिया में किसका आबू-दाना
चल उड़ जा रे पंछी …
तूने तिनका-तिनका चुन कर, नगरी एक बसाई
बारिश में तेरी भीगी काया, धूप में गरमी छाई
ग़म ना कर जो तेरी मेहनत तेरे काम ना आई
अच्छा है कुछ ले जाने से देकर ही कुछ जाना
चल उड़ जा रे पंछी …
भूल जा अब वो मस्त हवा वो उड़ना डाली-डाली
जब आँख की काँटा बन गई, चाल तेरी मतवाली
कौन भला उस बाग को पूछे, हो ना जिसका माली
तेरी क़िस्मत में लिखा है जीते जी मर जाना
चल उड़ जा रे पंछी …
रोते हैं वो पँख-पखेरू साथ तेरे जो खेले
जिनके साथ लगाये तूने अरमानों के मेले
भीगी आँखों से ही उनकी, आज दुआयें ले ले
किसको पता अब इस नगरी में कब हो तेरा आना
चल उड़ जा रे पंछी …

jaa re jaa re u.D jaa re pa.nchhii
• Movie: Maya
• Singer(s): Lata Mangeshkar
• Music Director: Salil Choudhary
• Lyricist: Majrooh Sultanpuri
• Actors/Actresses: Mala Sinha, Dev
• Year/Decade: 1961, 1960s

जा रे, जा रे उड़ जा रे पंछी
बहारों के देस जा रे
यहाँ क्या है मेरे प्यारे
क्यूँ उजड़ गई बगिया मेरे मन की
जा रे …
ना डाली रही ना कली
अजब ग़म की आँधी चली
उड़ी दुख की धूल राहों में
जा रे …
मैं वीणा उठा ना सकी
तेरे संग गा ना सकी
ढले मेरे गीत आहों में
जा रे …

On the first look at the titles one feels that both the lyrics could be similar as both the lyrics have in their titles
“चल उड़ जा रे पंछी (२) कि अब ये देश हुआ बेगाना” and the second one
“जा रे, जा रे उड़ जा रे पंछी ……….. बहारों के देस जा रे यहाँ क्या है मेरे प्यारे”
The later lines show that the land has became hostile and arid for the bird as it its natural need should go on looking for a land that has easy life of good harvest.

But on closer looks they are not very similar but there is some similarity of the claustrophobia. In the first one the inner voice that turned into the song is telling the person get away from the place or rather from the self. While in the other through the song is telling that she has been in the Gothic situation and nobody could help her. The bird here is the other person who came to her for her love and happiness. But her mind has dried up all her juices. She is not good for him and he should find another harvest.

Both lyricists are prolific in their output and kept poetic qualities in their work. In the lyric of Rajendra Kishan he uses the image as easily like:
“आज यहाँ और कल हो वहाँ ये जोगी वाला फेरा था” and by doing so puts the higher quality of the character that Balaraj Sahani played higher than a mundane person in a family situation. He uses the idea of the “जोगी वाला फेरा” as the reason of the bad kismet of the bird and blames the situation and regrets the hard working of the nest building as washed out efforts. There is good storytelling there.

Rajendra Kishan was a very good literary writer before he spent his life in writing lyrics, stories and dialogues for the film. He was the contemporary of the classically great gods and goddesses of Hindi literatures like Nirala, Sumitanand Pant, and Mahadevi Verma, Upndra Nath “Ashk” etc. and should have been drinking Amrit with them. But he chose fillum world and according the time denigrated himself. But nobody defended that by working in the “Neecha Nagar” he had uplifted it and made it a “ Uocha Nagar”. This is a great act not all writers could do. Premchand and many similar came to the glitzy, tinsel town and returned with disappointment.

The second lyric was written by Majrooh Sultanpuri who was equally prolific in few lines he could pack more meanings. There is similar situation with the girl. Here a hurricane of unhappiness struck and the situation has changed.

Both are very poignant melodies and have been sung with great intensity. The second song was sung by Shobita Chaudhari in a concert when Sholilda came to London a few decades back along with his daughter Antara wife Shobita. Shobita sand it with little lilt of Bengaliness. I found that very sweet.

This makes me think why music directors wanted every song has to be in perfect Hindi. Think fo singers like Geeta Dutt and Sandhya Mukherji. They sang in perfect Hindi. Geeta Roy even sang Meera Bhajans made popular by Juthika Roy with touch of Bengali sang in perfect Hindi. Moreover wasn’t meera Rajastani and her wordings ar more Rajastahni than in modern Hindi?

Just to mention the Parakh Song sung by Lata and composed by Shlilda O Sajan Barakha Bahar Aayi. The lyric has a “Papiha” in it. On the screen it was presented by Sadhan Shivdasani. A very good actress of many successful films! But Bollywood seemed to have forgotten her.
Shalan Lal

92 Shalan Lal January 18, 2016 at 4:48 pm

Jignesh Kotadia @89 and ksbhatia @90

I am enjoying the Marathon of these stalwarts of SoY. They bring so many new points. But at present I enjoy their Barasaat of songs.

Shalan Lal

93 ksbhatia January 19, 2016 at 4:26 pm

Ms Shalan Lal ,
Thanks for liking my duet ship with Jignesh Katodia ji . It is good to learn and exchange many things with the learned person . I am happy to have met some cross section of such learned persons of SoY family personally in delhi . Meeting them regularly under the learned host A K ji is a fun .

While discussing and and analysing the above two songs [ Ja re ud ja re o panchi….and ….chal ud ja re panchi……] you referred to ” Jogi Wala Phera” as aaj kahan kal kahan of birds in distress leaving their nest for no undoing by them . This reference took me back to some of the songs of the same [ or even older ] era that some how depicts almost same reason and situation of leaving the life in distress without referring to ashiana or nest. The songs are….

1. Jag wala mela yaaro…Rafi….Lacchi [1949, Punjabi ]….Hansraj Behl
2.Aaye bhi akela jaaye bhi akela…Talat…Dost [1954]…Hansraj Behl

To move to main theme here is one more sad panchi song by Pradeep

3.Aaj suno hum geet vida ka ga rahe , Do dukhyiare panchi ja rahe….Pradeep…School master….Vasant Desai

94 Shalan Lal January 19, 2016 at 8:09 pm

Jignesh KotadiaJanuary @ 82 14, 2016 at 11:55 pm

I am glad you have mentioned the parrot song Re:
पेला पेला जुग मां राणी
तु हती पोपटी अने
अमे रे पोपट राजा राम ना
हो जी रे .. अमे रे पोपट राजा राम ना ……..
I just want to use this mention “(पोपट and पोपटी)” to tell the readers about the English parrots.
The visitors from India will have a delightful surprise if they wander in the various parks in London. They will see overheads the chirping parrots in groups flying from one place to another.
The story told by a representative of the National bird watch in a lecture demonstration to promote among the people to watch the birds. These long tail parrots are the Indian parrots survived and thrived and weathered all kinds of snowstorms and ice and cold of London and England. According to him the present generation could be the Victorian caged parrots released by some kind person or those could not afford to feed them regularly.
There is another story that in the fifties when there was a law passed about bringing in various animals in the country that needed the animals kept separately for three months to check up that they had no disease and purpose of the owners and whether they were going to be looked after humanely etc.
The parrots were very popular among all classes of the English people ever since the English started colonizing various countries especially India and Eastern countries. The sailors in the olden days would always bring in parrots as pets to their family members. Later on it became a profitable business for certain people. Parrots became a much wanted merchandise due to a caged parrot could learn to talk. “Who’s the pretty Polly?” would be repeated by the parrot after the reward of an apple, or banana, grape etc.
But when the law came into practice the sailors away in the Indian waters did not know that. In one cargo ship there were some fifty cages of the parrots. Those sailors got frightened and away from the landing port of Southampton, they released all the parrots.
These parrots survived all English weathers and went on producing their generations. So today you see them flying high in the London and South England’s sky. The South England is the English fruit and granary which grow all kinds of fruits and vegetables including Corn, sweet potatoes, tomatoes, grapes etc. These farmers are not happy about the growing number of parrots who gorge on their crops. They want Government and Birds Watch to control them. But the Bird-watch says that their number is not as dangerous as the seabirds which eat more fish and other sea food.
The English parrots are not migratory. They live high up in the trees and hardly come to near human beings. They breed in all seasons and eat available fruits and green sprouts of the trees and hard nuts like pine nuts or chestnuts both sweet nuts and horse chestnuts. Sweet chestnuts roasted by humans are traditionally eaten during Xmas time. Both these are in abundance in London and elsewhere.
Shalan Lal

95 Shalan Lal January 19, 2016 at 8:17 pm

KSbhatia @ 93 & Jignesh Kotadia
Viva la songthon (that is the song mara-thon) between you two and hope you will continue as long as it goes and I hope you will bring as many birds with different shades. It is sheer pleasure to see so many varied songs in so many shades of meanings. This will also encourage others to look into their memory lane as well.

Shalan Lal

96 Nasreen A January 20, 2016 at 6:40 pm

Very good to see someone writing in so much detail on a musical topic. But one would require a lot of time to go through the whole write up properly. I found myself impressed by the poems, extra information and songs chosen. Rhett Butler was my heart-throb when I read Gone with the Wind as a young woman. I read it so many times, would sometimes open it randomly (while cleaning my room) and then could not put it down, just had to read on. I so wished Rhett had been real!!
Una Paloma Blanca also a favourite song from that time. Loved it, a later version was that of Demis Roussos, Greek singer, not bad either.
I also thought of a very beautiful song not included in your list with music by Salil Chowdhury, singer Lata (of course!). The song: JA RE JA RE UD JA RE PANCCHI. It also has a Bengali version in which I believe Lata sounds even sweeter, if that’s possible. I also love Panchhi re o panchhi ud ja re o panchhi, mat chhed tu yeh taraaney, ho jaaye na do dil deewaney………..

97 ksbhatia January 20, 2016 at 11:22 pm

Ms Shalan Lal , Jignesh Katodia ji ;
Here are three more songs from the vintage/ golden era :
1.Haye jeeara kasak masak more rahen lagan……Rafi,,,,Nahar chhootal jaye…..Jaidev
2.Pipra ke patwa sarikhe dole manva…..Rafi….Godaan….Pt.Ravi Shanker
3.Kabuttar Aaja…..Geeta dutt……Mangla….Kaale, Shasthari,Parthashastri [ Three MDs]

98 ksbhatia January 21, 2016 at 12:44 am

Ms Shalan Lal ;
Reference to ….Una Paloma Blanca….song@96 prompted me to listen to …La Paloma…song , my fav. played by Andre Rieu’s orchestra as also sung by Engelbert as solo [ English Version ] . These are a must for every music lover . If permitted , I am loading both the versions.

1. ….La Paloma……Andre rieu
2…..La Paloma…….Engelbert Humperdinck

This song has crossed many borders and is one of the best spanish song known and played world over .

99 Shalan Lal January 21, 2016 at 3:27 pm

Nasreen A @ 96

Many thanks for your appreciation about the “Gone With the Wind” mention and two suggested songs. I have dealt with Jare uda jare… at Gaby 91 above which you may find it interesting. Please send more birds songs if you happened to know.


100 Shalan Lal January 21, 2016 at 3:36 pm

KSBhatia @97 and 98

It looks that you are the one who is going to win the Songthon on the birds songs.

About Una Palona. Indeed Engelbert’s singings is very good. This song is sung by many artists and it is the common features of Spanish Hotels to present this song to the English tourists who could sing along.

Thanks again for your prolific contribution.


101 Jignesh Kotadia January 22, 2016 at 12:07 am

Shalan ji
I am also very happy that you enjoyed the variety of songs..
A wonderful informative essay on the parrots in England.

You also wished in your next comment to see more birds into discussion,, hence i am trying to bring some more :
In that song पेला पेला जुग मां राणी there is a word सुडला which is also a Bird.
I dont know whether it is a parrot like bird or else : Experts may clarify this.

सुडलो : सुडो : which is this bird exactly ?

102 Jignesh Kotadia January 22, 2016 at 12:18 am

हुडहुड दबंग दबंग
हुडहुड दबंग दबंग

We dont know whether the lyricist was aware of the meaning of this word “Hudhud” when he had rhymed it ! But Hudhud aka Hoopoe is a colorful bird , which is national bird of Israel.


we have also a Teetar song

तीतर के दो आगे तीतर
तीतर के दो पीछे तीतर
बोलो कितने तीतर

Mera Naam Joker

103 Jignesh Kotadia January 22, 2016 at 12:27 am

मुर्गा : मुर्गी

Padosan apni Murgi ko rakhna sambhaal
mera Murga hua hai diwaana
(Jaadugar, 1989)

हंसिनी : हंसा

O Hansini Meri Hansini

surprising thing is that this song in my voice recorded with karaoke track.


104 Jignesh Kotadia January 22, 2016 at 12:54 am

Bhatia ji
You brought kabootars from Mid century, bravo !
कबूतर आजा आजा रे
By Geeta Dutt in Mangala (1950) is a real kabootar song where Kabootar is not a metaphor unlike Dil junglee kabootar or Nain kabootar ud gaye dono.

In Gujarati there is a beautiful poetry targetting the Ego of human by poet Meenpiyasi sung by many singers :

कबूतरो नुं घू घू घू
कोयल कूंजे कू कू कू
चकला उन्दर चूं चूं चूं
छछुंदरो नुं छू छू छू

घुवड समा घुरकाटा करतो
आ माणस बोले हुं हुं हुं

105 Siddharth January 22, 2016 at 2:59 pm

Jignesh @103,
Kya baat hai!! You are multi-talented.

106 ksbhatia January 22, 2016 at 3:38 pm

Jignesh Katodia ji ;
Yes I was also surprised to find with so many friendly Kabooters in Mangla song . In fact the whole movies carried so many animals and birds . Similarly there are two more movies of that time which had such sets and stories…..Nishan and Chandralekha . more movies followed thereafter like Aurat , Badal etc . I remember to have seen two more movies like these in my childhood……Ek tha Raja and Prisoner of Golkunda .

Well now I am overstepping my bounds and coming to color movies songs and I will continue my venture with B & W songs as well .

…………..Pardesiyon se na akhiyan milana……Jab jab phool khile
………….Ek tha gul aur ek thi bulbul…….Jab jab phool khile

Here are two songs as dedication to the kabooter type hair style .
………………Jis pyar mein yeh haal ho….Phir subha hogi
…………….Yeh aaj kal ke ladke……..Dillagi [1966 ]

107 Jignesh Kotadia January 24, 2016 at 12:46 am

Siddharth ji
Thanks very much

108 Ashwin Bhandarkar January 24, 2016 at 1:57 am

A selection of compositions from the khayaal, thumri, daadraa and bhajan genres that feature birds in their lyrics:

‘Ud jaa re kaagaa’ and ‘Anganaa more aajaa kaagaa’ in Raag Bhinna Shadaj by Kishori Amonkar:


Sant Meerabai’s ‘Ud jaa re kaaga ban ka’ composed in Raag Bhinna Shadaj by Hridaynath Mangeshkar and sung by Lata Mangeshkar with the initial aalaap by Hridaynath:

Sant Dnyaaneshwar’s ‘Paila toge kau’ composed in Raaga Bairaagi by Hridaynath Mangeshkar and sung by Lata Mangeshkar. The flute is played by Hariprasad Chaurasiya. The meaning is explained in the first comment by one Mandy:

‘Kagawaa bole mori atariyaa’ in Raaga Poorvi rendered by Padmawati Shaligram-Gokhale:

‘Bole re papiharaa’ in Raaga Miyan Malhaar by D.V.Paluskar:

‘Koyaliyaa bole ambuwaa’ in Raaga Maalkauns rendered by Kamalakar Bhat Sirsi:

‘Koyaliyaa bole ambuwaa’ in Raaga Tilak Kaamod rendered by D.V.Paluskar:

‘Koyaliyaa mat kar pukaar, karejwaa laagi kataar’ in Raaga Maaj Khamaaj rendered by Begum Akhtar:

‘Koyaliyaa naa bol daar’ in Raaga Bhairavi rendered by Kishori Amonkar:

Sant Kabeer’s ‘Ud jaayega hansa akelaa’ sung in Raaga Maand by Kumar Gandharva:

109 Ashwin Bhandarkar January 24, 2016 at 2:12 am

Both versions of ‘Naacho naacho pyaare ban ke more’ from ‘Punarmilan’:

The Kishore Sahu/Arun Kumar Mukherjee version:


The Snehaprabha/Snehaprabha (not Parul Ghosh)version:


110 Ashwin Bhandarkar January 24, 2016 at 2:24 am

‘Saawan ki rimjhim mein thirak thirak naache re mayurpankhi re sapne’ (Anjaan/Shyam Sagar/Manna Dey):


While Googling this song I stumbled upon this link from which I learnt that mayurpankhi is also the name of a flower:


111 Ashwin Bhandarkar January 24, 2016 at 2:37 am

Two more songs that have references to birds (have not been able to go through all the comments – my apologies if they are repeats):

‘Saawan ka mahinaa’ from ‘Milan’ (‘Jaise banmaa naache mor’)


‘Nazar laagi raaja’ from ‘Kaala Paani’ (‘Jo mein hoti raja ban ki koyaliyaa’):


112 ksbhatia January 24, 2016 at 4:57 pm

Ashwin Bhandarkar ji;
Nice references to the classical based based N F S ; as also film songs . Birds…. panchi, gul, moore , koyal etc. is a vast subject; the more you dig the more you get .
I am listing four more songs which I myself was not aware earlier that they carry the references to birds . Here they are :

1.Masti bhara hai sama….Mannadey, Lataji…..Parvarish….Dattaram

2.Sanware salone aye…..Hemant, Lataji…..Ek hi raasta…..Hemant

3.O mere sanware salone piya….Lata, chorus…..Kanhaiya….SJ

4.Ye kisne geet chheda…..Mukesh, Lataji….Meri surat teri ankhen..SDB


113 gaddeswarup January 30, 2016 at 11:08 am

May be a repeat. Lata and Suraiya from Sanam 1951 ‘bedard shikari’ https://www.youtube.com/watch?v=VNg0MJk6aNw

114 ksbhatia February 7, 2016 at 4:08 pm

Duet song of Sanam……bedard shikari… by Lata and Suraiya is really a great one .
Here is one ….Papihhiya…..song by Asha ji from Jagte Raho .

This beautiful rendered song reminds of two of such more sweet songs though not related to the theme :
………….Koi pukare dhire se tujhe……….by Suman Kalyanpur…..Mangu
…………Mehlon ka raja mila………Lata ji……Anokhi Raat

115 KB February 13, 2016 at 9:51 am


May I add another melodious song to your wonderful list : Panchi Preet Ki Reet Nibha, a non film song by Talat Mahmood.

And as Jigneshji mentioned, Aye Andaleeb e Zaar by Talat Mahmood is another serene rendition by Talat Saab. I fully agree with his views on Mukeshji’s lovely Gujarati song O neel gagan.

By the way, I am not sure if you mentioned about the singers of Telugu version of Kuhu Kuhu Bole Koyaliya, the legendary Ghantasala and Jikki.

116 N Venkataraman June 1, 2016 at 4:45 pm

Shalan ji,
Hats off to you. Just completed reading your article on birds and listened to the songs. Twice earlier I tried to go through your post, but it was a hurried effort. There is a saying- ‘Jab jab jo jo hona hai, tab tab so so hota hai.’ Perhaps I was not in the right frame of mind, then. Coming to the point, it was simply outstanding. I would like to reiterate the views posted in the comments section by our esteemed members. Trying to add to your wide ranging erudite presentation would be foolhardy on my part. Thanks a lot.

117 ksbhatia June 4, 2016 at 3:17 pm

Ms. Shalan Lal;
Here is one of the post of the new century song from Parineeta , a remake of an old hindi film …Parineeta [ Ashok kumar , meena kumari].

…..Piyu bole piya bole….Sonu nigam., S. Ghoshal…..S. Moitra [MD]…


It is interesting to note that S. Moitra repeated the interlude of this song in one of his later film P K in the song…..Char Kadam …..by Shaan and S.Ghoshal . Here is the link…


118 ksbhatia July 11, 2016 at 12:52 pm

Ms Shalan Lal;
While looking for chand sitare songs , came up for a surprise finding Rafi sahib’s excellent non filmi ghazal that carried both taare and papiha referal words . I thought this ghazal should find a place in your article also.
As for me this ghazal is a beauty to listen again and again . I don’t know its composer ; but to me it looks like Naushad sahib . Experts to examine please .

….Keh ke bhi na aaye mulakat ko
Chand taare haanse khub kal raat ko…


119 SSW July 11, 2016 at 7:19 pm

If I remember my Vividh Bharati days correctly it was either Shyam Sharma or Raj Kamal, definitely not Naushad.

120 ksbhatia December 20, 2016 at 9:54 am

Jignesh Kotadia ji ;

The year coming to an end and visiting this site down the memory lane . I am bowled by the various inputs you have posted from time to time and enjoying the songs at my leasure. The collection of songs on birds at one place is a real treat for the wonder listeners .

One request , Do you have the collection / listing of songs that include the chhipring of birds as part of the song ? I think a little efforts may bring some results . panchhi re o panchhi….and …na bol panchhi more angana …..are the well known songs , additions like these will be a fun .

Now , a beautiful song from Jagte Raho which carries the word …papihha….in its last stanza . A must for the Salil da’s fan….

Thandee thandee savan ki phhuwar…..Asha


The song carries the memory of another beautiful song….Mehlon ka raja mila….from Anokhi Raat….Roshan’s superb creation .

121 ksbhatia December 20, 2016 at 10:20 am

Ms .Shalan Lal ;

More than hundred countries , including India , have birds as their National Symbol . Some mention them in their National Anthem as well . Collection of national bird based songs could be good appendix to your fascinated theme .

For India , listing of songs on our national bird ….Peacock…at one place , simlarly , can be quite informative .

122 Jignesh Kotadia December 21, 2016 at 1:42 pm

it was really a very memorable experience to present various birds songs in this post in last January. It is also possible to gather such songs in which there are birds chirrpings..but again i have my time restrictions ! 🙂 but i can remember some songs like Kuchh dil ne kaha (Anupama) in which sparrows chirping in the very beginning .
also some songs in which instrumental chirping used e.g. Hiya jarat rahat din rain (Godaan)..

123 AK December 21, 2016 at 2:37 pm

And also Mere desh ki dharti in which there is morning scene with various sounds of nature.

124 Jignesh Kotadia December 21, 2016 at 3:04 pm

yes, Akji
and the biggest example is : Udke pawan ke rang chalungi, main bhi tihaare sang chalungi…

125 Jignesh Kotadia December 21, 2016 at 3:16 pm

LP were terrific until late 60’s..Aaye din bahaar ke, Shagird, Patthar ke sanam, Night in London..etc were graceful candidates of the outgoing Golden Era..thereafter i feel that they lost the beauty of their music.

126 ksbhatia December 21, 2016 at 6:32 pm

Jagnish ji ;

Interestingly there are quite a few more bird related songs which have not been covered ; but before those here are two more songs with chirping prelude and interludes .

1. suhana safar aur yeh mausam haseen…..Madhumati…mukesh…salil


2.bole pihu pihu pi papihara…..ek gaon ki kahani….lata….salil


127 ksbhatia December 22, 2016 at 8:25 am

Jignesh ji ;

And the missed bird songs are…..

1.Haye koi kehde papiha se ……Lata…..Barati[1954]……MD ?


2.Koyal ga re , papihe bol….Husn Banu…..Bahen [1941]….MD?


3.Bol papihe bol re….Lata, Sandhya….Tarana[1951]….Anil Biswas


4.Hai koi kahde paphiha se ja ke….Lata…Barati[1954]…MD [Roshan ?]


5.Piyu piyu bol paphiya….Jhutika Roy….film of 40s[?]….MD [?]


6.Pihu pihu bole papihara….asha….Dhobi Doctor [1954]…Khaayam


7.Pee pee ki boli na bol paphiye re…Lata…Aan Baan[1956]….HB


8.Pihu pihu papihe na bol…Lata…Holiday in Bombay…N. Dutta


9.Papi paphiya re pi pi na bol…Suraiya….Parwana….MD[?]


10.Door papiha bola re…Suraiya….Gagre[ 1948]….Anil Biswas


……to be contd. ……

128 AK December 22, 2016 at 5:46 pm

KS Bhatiaji,
Thanks a lot for adding these nice songs. The YT link of #5 was the repeat of #4. Here is the correct link of Juthika Roy’s “Bol papiha bol papiha”.

129 ksbhatia December 23, 2016 at 5:37 pm

AK ji ;

Thanks for the corrected link . Here are two more songs that fits the theme .

1.Mora pihu pihu man bole…..singer ?….Bahen[1941]….Anil Biswas


2.Piyu piyu piyu bole…Geeta Dutt….Jungle King….Bipin Babul


……to be contd…….

130 ksbhatia December 28, 2016 at 6:31 pm


Saal Abhi Baaki Hai…..so coming up with some more songs….

3. Madhuman mein mat ja bhanwaraa….Surendra…Bharathari[1944]…Khem chand prakash


4. Teeri pee pee ki pukaroan ne dil jeet liya….Amirbai karnatki….Bhanwaraa [1944]….Khem chand prakash


5.Aa khilte hain gul jahaan bulbul….Lata….Sitaroan se aage[1956]…SDB


6.Bulbul ko gul pasand hai….Rafi….Ek din ka badshah[1964]….Hansraj Behl…..


7. Qaid mein hai bulbul saiyaad muskuraye….Lata,…Bedard jamaana kya jaane[1959]….Kalyanji Veerji.


……to be contd….

131 Jignesh Kotadia December 29, 2016 at 5:50 am

very nice collection of bird songs. You have showered them throughout the year incessently..great effort.

one more lyrics having Koyal :

rim jhim jhim gaye jharnon ki dhaar
dil ko lubhaye koyal pukaar
jharnon ki dhara men tera sangeet
gaye koyal tera hi geet, guiyaan
nain so nain naahi milaao
nain so nain naahi milaao

some webs are providing crystal clear audio quality of this film and you wont believe it is heavenly experience to listen JJPayalBaaje’s songs with such excellent audio. Nain so nain, Saiyan jaao, Jo tum todo piya, Ustad Aamir Khan’s Jhanak jhanak paayal baaje can put you on cloud nine.

132 Jignesh Kotadia December 29, 2016 at 6:35 am

sparrows are chirping here again at the beginning of this song :

Suno…suno…sunoji more rasiya
o man basiya
kuchh kuchh tumse bole ankhiyan…
(Lata, JJPayalBaaje)

133 ksbhatia December 29, 2016 at 9:14 am

Thanks for reminding the beautiful song …nain so nain nahi milayo. Listening to the long play version [ full chorus ] is really a treat for the un plugged ear listeners . That surely takes you to the clouds riding the high hill peaks .

Like songs Sounds of birds do connect you to nature . Hear the chirping sounds in the morning and you can imagine the wake up call of the leader to follow her to the place of work. Similarly hear them around evening when they are packing up after their hard day work . They are at their loudest best sharing their experience . The noise is just like students comparing the answers after appearing in a test .

This is a season in India when migratory birds throng the bird sanctuaries and we get blessed listening to different dialect and different shapes and colours as well . Indian birds surely make different noise or sound .

Farmers , not all , do have different relationship with birds . To protect their agriculture produce and seeds they have to install a number of scary gadgets in and around their land . Of all , I like the scare crow vintage method which to me is a great piece of art as well . Just now I am able to recall a song sung by Manna Dey picturised on Mehmood in a comedy act with ….of course….Shobha Khote and Dhumal . The song I think is….Mein tere pyar mein kya kya na bana ……from Ziddi .

https://www.youtube.com/watch?v=7WrP61qY3hk…..watch till end to see the scare crow .

134 Jignesh Kotadia December 30, 2016 at 6:49 am

yes there is a scarecrow at the end of that nice duet.
now see very young Pran and Noorjehan
in Khandan ,1942, under Ghulam Haider.

Ud ja ud ja panchhi
kaali kaali aankhon waale
bholi bhaali surat waale
matwaale matwaale o panchhi

who is playback singer for Pran ?

135 ksbhatia December 30, 2016 at 7:20 am

Jignesh ;

Oye hoye !! Simply amazing . What a discovery and what a song !. Pran looking so handsome and Noorjahan beautiful too.

Pran was there in 1965 movie by the same name Khandan . Here is a song from the same film which starts with Nutan scaring away birds ; of course with panchie as theme of the song .

Neel gagan pe udte badal….Rafi, Lata…Ravi


136 ksbhatia December 30, 2016 at 7:05 pm

Jignesh ;

Here is one song which i like to listen to after every beautiful day I spend in a happy mode .

Bhanwaroan ka bhoor na
phoolan ka dool na
Aaj mujhe bhaa raha
O koyi ga raha

Song from Parchhain …chanda ki chhaon mein…Lata….CR


137 Jignesh Kotadia December 31, 2016 at 5:31 am

again superb melody, a quintessential CR-Lata. we can listen such songs tirelessly for hours.
Right now i am enjoying nature with our sublime music
at the bank of Narmada, taking a year end break from my routine, in a farm house in complete silence and with real chirping of little birds very close to the neers of Narmada. It’s more then wonderful experience !!
Since last some days i am again in grasp of the album Jhanak Jhanak Paayal Baaje.Listening it repeatedly. What a music !! after a long time again this music has taken a grip over me. Lata’s voice is certainly matchless.

tum bhaye taruvar main bhayi pankhiyaa
tum bhaye sarovar main bhayi machhiyaa

tum bhaye girivar main bhayi chaaraa
tum bhaye chandaa main bhayi chakoraa

jo tum todo piyaa
main naahin todoon re
tori preet todi Krishna
kaun sang jodoon
kaun sang jodoon


138 D P Rangan January 1, 2017 at 5:46 am


In one site it has been mentioned that the male singer is Ghulam Haider himself.

Happy new year to you and others following this blog

139 Jignesh Kotadia January 1, 2017 at 7:03 am

Thank u very much. Happy new year to SoY family.
Happy bday to this post, glad to see that this post is still flying high !

140 ksbhatia September 26, 2017 at 4:24 pm

Ms. Shalan Lal, Jignesh;

Beautiful migratory birds spotted today in my garden ; perhaps one of those visiting Sultanpur birds sanctuary ; prompted me to look for more of birds songs . Here are two which I think missed the listings.

1. Pihu Pihu bole re papiharah…Asha….Dhobi Doctor[1954]…Khaiyaam


2. Guloan ko Khilaon…..Asha…..Daku Ki Ladki…..HK


3. Bole pihu pihu pi papihara…Lata….Ek gaon ki kahani….Salil Da


…..will visit again….

141 Shalan Lal September 30, 2017 at 3:28 pm

KSBhatia @ 140

You have eagle eyes for rare birds and rare songs! I wonder if you had time to take the pictures of these rare guests in your garden. I hope they will come again and as a true Indian you will receive your guest as god in guise!

Your Songs are very suitable for the occasion and for the collection of the Bird Songs.


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