Tag Archives: Hema Malini

Listening to: Mehbooba (1976)

MehboobaRaga Shivaranjani has taken root in my mind since my classical music post a couple of days back.  Remembering a haunting song (pun intended!) set to this raga, I sat down to see Mehbooba. Of course, knowing that its Shakti Samanta film, I felt confident that it would have a certain class.

Mehbooba belongs to the Bollywood genre which I call Lost-Love-From-A-Previous-Life. This genre boasts some interesting films like Milan, Mahal and Karz. As always in films such as this, there is an abandoned palace, a photograph or painting to trigger memory and a haunting tune plaintively sung by a spooky woman trailed by the hero looking enchanted (I would have been terrified and run in the opposite direction!). And of course, people look exactly the same in all their lives so as to make recognition easy!!

So here is Rajesh who comes to a haunted and haunting mansion on a stormy night. Subsequent events lead him to remember his tragic love story from the previous life where he is a court singer and Hema Malini the court dancer. They fall in love but there is a childhood marriage which must be honoured and it all leads to the death of the lovers. In his current life, he comes across his lost love and has to work hard (ie. sing the haunting melody very often) to make her remember. There is a current life villain in Prem Chopra but after the most unconvincing of climaxes and fight scenes, all ends well.

I confess to being slightly bored by the predictability of the story. The actors I don’t blame; they did their bits well enough except for Yogeeta Bali who is quite wooden. Asrani’s role reminded me of a similar role in Abhiman. Its a good enough time-pass film.

The music by R.D.Burman has some memorable moments. The background score has some lovely lilting melodies as well. The lyricist, Anand Bakshi has woven some good lines.

  • Mehbooba – Kishore Kumar. I listened without attention to the title song as I got distracted by a bad guitar-playing act by Rajesh. He is supposed to be a musician here, surely he should have made a better attempt? Kishore has sung this well enough but there are no surprises. Thinking smile
  • Mere Naina – Lata Mangeshkar. People are always divided between which version they like, Lata’s or Kishore’s. See below for a comparison. Open-mouthed smile
  • Gori Teri Painjaniyan– Manna Dey. When it comes to classically based songs, its difficult to touch Manna Dey. He has sung this with his usual verve and energy. Hema has danced well. At some instances, the lyrics leave much to be desired – घर से निकलती है तू गिर के संभलती है तू  Is that supposed to be poetry?? Still, a very nice song indeed.Open-mouthed smileRed heart
  • Aapke Shahar Mein – Lata Mangeshkar. Mujra song. Loved the turquoise-black ghagra set that Hema was wearing, other than that nothing interested me. Disappointed smile
  • Chalo ri – Lata Mangeshkar. A nice ethnic dhun but it does remind me of a myriad other songs. Nothing unsual. Smile
  • Mere Naina – Kishore Kumar. A memorable performance and definitely the better version of the song. See below for analysis.Open-mouthed smileRed heart
  • Parabat Ke Peeche – Lata Mangeshkar, Kishore Kumar. The only duet of the movie, I remember it being played on the radio quite often so I reckon it was quite popular. I like the refrain very much indeed, very unusual and it is also beautifully sung. Open-mouthed smile

Why do I like Kishore’s version better? Lata’s version starts better, with a lovely little alaap which is repeated mid-song as well. This establishes the more ‘ghostly’ effect for the female version. The musical interludes are also prettier, with lovely sounds of the ghungroo.  Still, I prefer Kishore’s version. There are some long notes in the song (eg. the word deewane in ae dil deewane)  which in Lata’s version is uninteresting while Kishore’s voice has a natural vibration which makes even the flat notes lovely. The composer has used Mishra Shivaranjani, with the extra note G3 (Carnatic system) while Shivaranjani uses only G2. In the first verse, in the line Dard Bhara Yeh Geet Kahan Se in Hoton Pe Aye-Door, the G2-G3 slide comes on Aye-Door. This only presence of G3, that too only in the upper octave, lends the most important haunting quality (sad G2-happy G3) to this song. And is therefore very important. Lata’s voice unfortunately sounds quite sharp in this slide while Kishore simply shines. For lyrics click here.

To listen to the whole album, click here.

My pick for the day is of course Kishore’s version of Mera Naina.

and Gori Teri Painjaniyan to enjoy Hema’s dancing.


Filed under Bollywood 70's Music, Kishore Kumar, Lata Mangeshkar, Manna Dey

Listening to: Lal Patthar (1971)

Lal Pathar1यह है फतेहपुर सिकरी | इसे शाहंशाह अकबर ने बसाया था | इसकी वीरानी और ख़ामोशी में अजीब कशिश है| जादू सा है | इसलिए मैं यहाँ बार बार खींचा चला आता हूँ | और फिर भी दिल नहीं भरता |

“This is Fatehpur Sikri. Emperor Akbar established it. There is strange attraction in its emptiness and silence. A kind of magic. That is why I am drawn to come here again and again. And even then I remain unsatiated.”

Thus starts the film in Raaj Kumar’s Lal Pathar2impeccable voice. How could I not like this film? I feel exactly the same way! Here’s the Durgah of Salim Chisti where I heard the most beautiful music many many years ago.

The protagonist is Prince Gyanshankar, a man tortured by what he considers to be his inherited ‘bad blood’ – there is madness in the family. He lives a controlled life to keep a reign on himself. His character is briskly established at the start of the film and though I did cringe at the tiger hunt, it added to describing him as a man.

He rescues a young and beautiful widowed woman from bandits and then from her in-laws who ill-treat her. He establishes her as his concubine in his palace, going so far as to give her the jewellery his mother had left for his future wife. He says ‘तुम्हे इन गहनों पे पूरा अधिकार है’ – you have full rights over this jewellery. It sounds like a defining moment in their relationship. He gives her a new name to cement their relationship – does that symbolise a cut-off from her previous life? Saudamini is dead and Madhuri comes to life. 

Hema is gorgeous once she sheds her window’s whites. Gyanshankar seems to have Pygmalion like intentions, trying to change an illiterate and uncultured woman to be a suitable partner for a Nawab. But Madhuri is no Eliza.  Her English teacher says ‘Rani sahiba is rather dull-headed’. Though she cleans up well and learns to read, she falls short of his needs in a companion.

Ten years pass. When he realises it, he is shocked. But why? Was this not the life he chose? In spite of his apparent acceptance of his ‘tainted blood’, he must have had some expectations of his life which did not come to pass.

He chances upon a Lal Pathar3young and lovely singer and as before, he selects another woman to adorn his life without really getting to know her. Its consistent with his character but not normal for a prince who is marrying ‘to do his duty’, as he puts it. In effect, he buys her from a drunkard father with gambling problems. History repeats itself; once more he picks a beauty in a helpless situation. Does he have a need to be needed, to be looked up to ? Does he not feel equal to women of his own social level? What happens when the concubine and his wife have to share his favours?

Well, you’ll have to see the film to answer that! I have to warn you that the climax is a bit of nonsense, totally illogical. Script-writers seem to like mad characters so as to get away with anything, but it doesn’t work. However the strength of the first half carries the film. Raaj Kumar gives a controlled performance and Rakhee does reasonably well. Hema Malini has lost an opportunity to shine as her role is strong, but she doesn’t impress. Her interview  here seems to be a bit of an excuse. Vinod Mehra provides very decent support.

Shankar-Jaikishen have given a solid album with some very good music here.

  • A Aaja Dikhaoon – Asha Bhonsle. Disappointing. Sad smile
  • Unke Khayal Aaye To – Mohammad Rafi. A beautiful ghazal with some memorable lyrics by Hasrat Jaipuri.   इस दिल से आ रही है किसी यार की सदा, वीरान मेरा दिल था बसा के चले गए Open-mouthed smile
  • Sooni Sooni Sans – Asha Bhonsle. A classically based song, with good lyrics by Neeraj. Open-mouthed smile
  • Phoolon Se Meri – Asha Bhonsle. A beautiful poetry recitation with next to no instrumentation. Admire Asha’s voice and these beautiful lines by Neeraj.
  • फूलों से मेरी सेज सजादो आज मैं लूंगी जनम दुबारा
    चंदा की बिंदिया  तारों का कंगन सपनों की लाओ हार
    साँसों में मेरी केसर महके अंगों में झूमे बहार
    ऐसा करो सिंगार सखीरी सुध-बुध भूले श्याम हमारा Open-mouthed smile

  • Geet Gata Hoon Main – Kishore Kumar. An excellent melody with superb singing by Kishore. Lyrics by Dev Kohli are quite touching. I was going to give it a heart but I found the instrumentation to be below par and also the beat of the songs seems too fast. Open-mouthed smile
  • Re Man Sur Mein Ga – Manna day, Asha Bhonsle. A superb classically based song in Raag Kalyan (Yaman) with lyics by Neeraj. Manna Dey is in his element and Asha proves that she can out-sing any singer when she sets her mind to it. Open-mouthed smileRed heart

You can listen to the full album here.

My selection for the day is Re Man Sur Main Ga. The movie has used only one stanza, so listen to the audio version below.

And as a fan of Kishore, I cannot help but feature this song as well! You can admire the pretty ladies too!


Filed under Asha Bhonsle, Bollywood 70's Music, Manna Dey

Listening to: Sholay (1975)


The first time I saw this film in 1985, it was already ten years old, a legend even then. What at impact it had! Sometimes, very rarely, different facets of a movie come together and magic happens because the movie becomes greater than the sum of its parts. Sholay is one such film.

Today I watched it 26 years after I saw it last.  It still had tremendous  impact. People who know my dislike of bloodshed would wonder at my statement about a film which has so much violence. Yes, I cringed in places and hid my eyes in quite a few others but in spite of that I say emphatically – if you haven’t watched it, do.

A Wild-West story Indian-style, it seems to be inspired by films such as the Magnificent Seven, except the odds are even worse, there are only two to defend the village. Yet the movie is 100% Bollywood Masala – there is a great mix of action, violence, tragedy, emotion, drama, comedy, love. Its a buddy movie, an action movie, a romance and a drama. And it has nice music too!

There are funny little cameo roles by Asrani, Jagdip and Keshto Mukherjee but its Dharm, Hema and Amitabh who provide the best comedy. Dharm is a natural, his performance in the water-tank suicide attempt scene had me in giggles. Amitabh is no less when he goes to speak on Dharm’s behalf to Hema’s aunt. Even though I am not a big Hema fan, I think she’s great here; she has a definite flair for comedy. Jaya’s performance is understated but excellent. I did not much like Sanjeev’s take of the avenging Thakur. His teeth-clenching to show anger in every other scene quite tired me. I would have a preferred a colder, more controlled performance. The supporting cast have done a commendable job.

Dharmendra and Amitabh carry the film with their contrasting styles. But I give the award to the superbly evil Amjad; he is just unbelievably good.  His eyes, his dialogue delivery, his smile – everything is as evil as can be!

There are, of course, holes in the script. Why don’t they organise better defences? Why spend so much time drinking and romancing instead of keeping lookouts? Why would Hema plan to meet Dharm  in so lonely a place when they know they are surrounded by villains? Is it still important to capture the enemy alive when one’s life is in danger? Why do they attack the enemy with so little smarts and so much emotion? And isn’t the idea of a handless Sanjeev beating up Amjad quite ridiculous? And really, does it have to be SO long? There are many whys but we shall ignore them because its still a good film.

R.D.Burman weaves his magic wand for the music with good lyrics by Anand Bakshi.

  • Yeh Dosti – Kishore Kumar, Manna Dey. This is THE buddy song of that era. Is the sidecar a metaphor for friendship? Smile
  • Holi Ke Din – Kishore Kumar, Lata Mangeshkar. There are better Holi songs but its not too bad. Smile
  • Mehbooba – R.D. The song is so famous that it is difficult to make an unbiased judgement. Helens gyrations and RDs gruff voice made an impression the first time I saw it, and it still remains startlingly good. I don’t have the qualification to critique RD of all people, but sometimes the voice seemed to be getting ahead of the beat..it disturbed me, so no dil. Open-mouthed smile
  • Koi Haseena – Kishore Kumar. This always make me smile; the song suits Dharm so very well! The picturisation is very amusing too. Open-mouthed smile
  • Haan Jab Tak Hai Jan – Lata Mangeshkar.  Hema’s big dance number is very good, Lata does a good job. Smile

Leave a comment

Filed under Bollywood 70's Music

Listening to Seeta aur Geeta(1972)

‘I need something to cheer myself up’, I think as an excellent but sad English  film I saw on TV keeps lingering in my mind. Cheering up film? I immediately think of Seeta aur Geeta which I haven’t seen since the seventies. But it left a happy impression on my mind then so I am hopeful about it. Though the music is no classic, I remember a couple of cheerful numbers. The presence of a very handsome Dharmendra and an endearing Sanjeev Kumar is a definite draw!

The film is as much fun as I remembered. A light-hearted plot, you shouldn’t look for too much logic in it otherwise you’ll just get frustrated. Take it as it comes and you’ll get a couple of hours of amusement. Some off-the-cuff observations :

  • Hema is more convincing in the fight scene at the end than Sanjeev! Its nice to see the leading lady see some action instead of simpering in a corner.
  • Dharmendra has such great comic timing! He shows it off in a number of movies, I remember Chupke Chupke in particular.
  • Sanjeev is so natural! When it comes to making acting look effortless, he and Balraj Sahni stand apart, as far as I am concerned.

The music I found to be just average, but perhaps its unfair to expect R.D.Burman to deliver each time.  Or is it? However, thanks to Asha, Lata, Kishore and Manna being in great voice, even ordinary compositions provide easy listening pleasure. In short, an album for good time-pass, but no more.

  • Zindagi Hai Khel – Manna Dey, Asha Bhonsle . Manna’s voice doesn’t suit Dharmendra, in my opinion. These days they never look for voice match but films in the seventies used to do a good job of it. Nevertheless its well sung. Smile
  • O Saathi Chal – Asha Bhonsle, Kishore Kumar. This is the song I associate with this film so I have to mark it as my favourite ! Very catchy tune, Kishore & Asha enhance each other’s singing. Open-mouthed smile
  • Abhi To Haath Mein Jaam – Manna Dey. It was as if I heard the song for the first time, I don’t remember ever hearing it. Its quite a well sung song but I don’t know….I don't know smile
  • Koi Ladki – Lata Mangeshkar, Kishore Kumar. A cheerful song, I found myself singing along and remembering all the words! Yet I haven’t heard it at least for 25 years!! Open-mouthed smile
  • Haan ji Haan – Lata Mangeshkar. Hey, why not Asha? Isn’t it her kind of song? I must do a post on sharabi songs, there is such a wealth of them in Bollywood! A good song.Smile

To remind all of you in my generation of our carefree years, here is O Saathi Chal with Hema looking beautiful and Sanjeev charming as ever.


Leave a comment

Filed under Asha Bhonsle, Bollywood 70's Music, Kishore Kumar

Listening to : Meera (1979)

If there was a popularity poll for Indian Saints, I reckon Meerabai (1498-1547) would do very well indeed! Her story has all the makings of a blockbuster – a beautiful princess, a handsome prince – or is he a heartless husband?, an evil priest, a conspiring sister-in-law, political machinations and war, murder attempts, rebellion, devotion, music and poetry  written so beautifully that they are still on the lips of Indians after 500 years – not historians and academics, but on the lips of the average man and woman.

There had been a Tamil film made in 1945 on Meera featuring the Carnatic singer M.S.Subbulakshmi as Meera, later dubbed in Hindi. My mother used to sing Meera bhajans from this film. I learnt चाकर राखो जी and पग घुँघरू बाँध मीरा नाची रे as an 8 year old at school. As I grew, I became attached to Lata Mangeshkar’s Meera bhajans as they were broadcast over morning radio in Delhi. Even now, I catch myself murmuring some bhajans to myself quite often. These songs have formed a musical background to my life.

So when Meera came out in 1979, I was very eager to see the film. The music was written by the renowned Ravi Shankar, the songs sung by Vani Jayaram, and the part played by Hema Malini. It seems interesting to me now that my filmi associations of Meera, a Rajasthani pricess, are with MSS, Hema and Vani – all Tamilian ladies. An example of national integration?

Unfortunately, the film fails, mainly I think because Hema is wrongly cast as Meera. The other cast are more impressive, Vinod Khanna in particular (well, I have a weakness for him!).  The music is excellent, I will not hesitate to recommend this album. The tracks are as follows:

  • Mere to giridhar gopal Open-mouthed smile
  • Jago bansiwale Smile
  • Pyare Darshan Dijo Smile
  • Bala main bairagan hoongi I don't know smile
  • Karna Fakiri Sad smile
  • Jo tum todo piya Open-mouthed smile
  • Karuna Suno Shyam Open-mouthed smile
  • Badal Dekh dari Sad smile
  • Main Sanvre ke rang ranchi Smile
  • Mere to giridhar gopal (duet) Open-mouthed smileRed heart
  • Shyam mane chakar rakhoji Smile
  • Ranaji main to govind Open-mouthed smile
  • Ayri main to prem diwani Open-mouthed smile

I have found most of the lyrics online, please see footnote. I have yet to confirm if the film version matches the lyrics as listed on the site.

I present my favourite song (please ignore the subtitles, they don’t seem well done). I realised after I selected it that Vani Jayaram won a Filmfare award for this song; very well deserved!

Mere to giridhar gopal–Vani Jayaram

मेरे तो गिरधर गोपाल दूसरो न कोई |
जाके सर मोर मुकुट मेरे पति सोयी ||
मेरे तो…..
अंसुवन जल सींचि-सींचि प्रेम-बेलि बोई।|
अब तो बेल फैल गयी आणंद फल होई ||
मेरे तो…..
तात मात भ्रात बन्धु आपनो न कोई |
छांड़ि दई कुलकी कानि कहा करिहै कोई॥ ||
मेरे तो……
चुनरी के किये टूक ओढ़ लीन्ही लोई |
मोती मूंगे उतार बनमाला पोई |

The only one for me is Giridhar Gopal (=Krishna the cowherd, who held up a mountain)
the one with the crown of peacock feathers is my husband.

I watered the creeper of love with my tears,
now that the creeper has spread, there are flowers of happiness.

Father, mother, brother, friend – I have no one who is mine,
I have left the honour of my family, what can anyone do.

I have forsaken my head scarf and wrapped myself in rough clothing,
I have shed my jewels (pearls & ??) and wear a garland of forest flowers.

I transcribed it myself and then later found the site below which confirms my lyrics. There are a couple of words that I do not know, please do comment with the correct translation if you know it.

Footnote (lyrics):

Here are the some of the lyrics of bhajans in this film from the site www.kavitakosh.org

Jago Bansi Wale :

जागो बंसी वारे जागो मोरे ललन।
रजनी बीती भोर भयो है घर घर खुले किवारे।
गोपी दही मथत सुनियत है कंगना के झनकारे।
उठो लालजी भोर भयो है सुर नर ठाढ़े द्वारे ।
ग्वाल बाल सब करत कोलाहल जय जय सबद उचारे ।
मीरा के प्रभु गिरधर नागर शरण आया कूं तारे ॥

Pyare Darsan Dijyo :

प्यारे दरसन दीज्यो आय, तुम बिन रह्यो न जाय॥
जल बिन कमल, चंद बिन रजनी। ऐसे तुम देख्यां बिन सजनी॥
आकुल व्याकुल फिरूं रैन दिन, बिरह कलेजो खाय॥
दिवस न भूख, नींद नहिं रैना, मुख सूं कथत न आवै बैना॥
कहा कहूं कछु कहत न आवै, मिलकर तपत बुझाय॥
क्यूं तरसावो अंतरजामी, आय मिलो किरपाकर स्वामी॥
मीरां दासी जनम जनम की, पड़ी तुम्हारे पाय॥

शब्दार्थ :- रजनी =रात्रि। सजनी =दासी। कलेजो खाय = बिरह कलेजे को मरण जैसी पीड़ा पहुंचा रहा है। बैना = बचन। पाय =चरण।

Bala Main Baragan Hoongi :

बाला मैं बैरागण हूंगी।
जिन भेषां म्हारो साहिब रीझे, सोही भेष धरूंगी।
सील संतोष धरूँ घट भीतर, समता पकड़ रहूंगी।
जाको नाम निरंजन कहिये, ताको ध्यान धरूंगी।
गुरुके ग्यान रंगू तन कपड़ा, मन मुद्रा पैरूंगी।
प्रेम पीतसूँ हरिगुण गाऊँ, चरणन लिपट रहूंगी।
या तन की मैं करूँ कीगरी, रसना नाम कहूंगी।
मीरा के प्रभु गिरधर नागर, साधां संग रहूंगी।

Jo Tum Todo Piya :

जो तुम तोडो पियो मैं नही तोडू। तोरी प्रीत तोडी कृष्ण कोन संग जोडू
तुम भये तरुवर मैं भई पखिया। तुम भये सरोवर मैं तोरी मछिया॥ जो०॥१॥
तुम भये गिरिवर मैं भई चारा। तुम भये चंद्रा हम भये चकोरा॥ जो०॥२॥
तुम भये मोती प्रभु हम भये धागा। तुम भये सोना हम भये स्वागा॥ जो०॥३॥
बाई मीरा कहे प्रभु ब्रजके बाशी। तुम मेरे ठाकोर मैं तेरी दासी॥ जो०॥४॥

Karuna Suno Shyam Mori :

करुणा सुणो स्याम मेरी, मैं तो होय रही चेरी तेरी॥

दरसण कारण भई बावरी बिरह-बिथा तन घेरी।
तेरे कारण जोगण हूंगी, दूंगी नग्र बिच फेरी॥
कुंज बन हेरी-हेरी॥

अंग भभूत गले मृगछाला, यो तप भसम करूं री।
अजहुं न मिल्या राम अबिनासी बन-बन बीच फिरूं री॥
रोऊं नित टेरी-टेरी॥

जन मीरा कूं गिरधर मिलिया दुख मेटण सुख भेरी।
रूम रूम साता भइ उर में, मिट गई फेरा-फेरी॥
रहूं चरननि तर चेरी॥

शब्दार्थ :- बावरी =पगली। सुणी =सुनी। जोगण = योगिनी। नग्र बिच = नगर में भभूत =भस्म, राख। यो तन =यह शरीर। टेरि-टेरि = पुकार-पुकारकर सुख भरि = सुख देने वाले। रूम-रूम =रोम-रोम। साता =शांन्ति। फेरा-फेरी =आना-जाना, जनम-मरण।

Badal Dekh Dari :

बादल देख डरी हो, स्याम, मैं बादल देख डरी
श्याम मैं बादल देख डरी
काली-पीली घटा ऊमड़ी बरस्यो एक घरी
जित जाऊं तित पाणी पाणी हुई सब भोम हरी
जाके पिया परदेस बसत है भीजे बाहर खरी
मीरा के प्रभु गिरधर नागर कीजो प्रीत खरी
श्याम मैं बादल देख डरी

Chakar Rakho Ji :

स्याम! मने चाकर राखो जी
गिरधारी लाला! चाकर राखो जी।
चाकर रहसूं बाग लगासूं नित उठ दरसण पासूं।
ब्रिंदाबन की कुंजगलिन में तेरी लीला गासूं।।
चाकरी में दरसण पाऊँ सुमिरण पाऊँ खरची।
भाव भगति जागीरी पाऊँ, तीनूं बाता सरसी।।
मोर मुकुट पीताम्बर सोहै, गल बैजंती माला।
ब्रिंदाबन में धेनु चरावे मोहन मुरलीवाला।।
हरे हरे नित बाग लगाऊँ, बिच बिच राखूं क्यारी।
सांवरिया के दरसण पाऊँ, पहर कुसुम्मी सारी।
जोगी आया जोग करणकूं, तप करणे संन्यासी।
हरी भजनकूं साधू आया ब्रिंदाबन के बासी।।
मीरा के प्रभु गहिर गंभीरा सदा रहो जी धीरा।
आधी रात प्रभु दरसन दीन्हें, प्रेमनदी के तीरा।।

Ranaji Mhain Tho :

राणाजी, म्हे तो गोविन्द का गुण गास्यां।
चरणामृत को नेम हमारे, नित उठ दरसण जास्यां॥

हरि मंदर में निरत करास्यां, घूंघरियां धमकास्यां।
राम नाम का झाझ चलास्यां भवसागर तर जास्यां॥

यह संसार बाड़ का कांटा ज्या संगत नहीं जास्यां।
मीरा कहै प्रभु गिरधर नागर निरख परख गुण गास्यां॥

शब्दार्थ :- गास्यां =गाऊंगी। दरसण जास्यां =दर्शन करने जाऊंगी। निरत =नृत्य। झाझ =जहाज। ज्या =जिस।

Mere Tho Girdhar Gopal full version :

मेरे तो गिरधर गोपाल दूसरो न कोई॥
जाके सिर है मोरपखा मेरो पति सोई।
तात मात भ्रात बंधु आपनो न कोई॥
छांड़ि दई कुलकी कानि कहा करिहै कोई॥
संतन ढिग बैठि बैठि लोकलाज खोई॥
चुनरीके किये टूक ओढ़ लीन्हीं लोई।
मोती मूंगे उतार बनमाला पोई॥
अंसुवन जल सींचि-सींचि प्रेम-बेलि बोई।
अब तो बेल फैल गई आणंद फल होई॥
दूधकी मथनियां बड़े प्रेमसे बिलोई।
माखन जब काढ़ि लियो छाछ पिये कोई॥
भगति देखि राजी हुई जगत देखि रोई।
दासी मीरा लाल गिरधर तारो अब मोही॥

शब्दार्थ :- कानि =मर्यादा, लोकलाज। अंसुवन जल = अश्रुरूपी जल से। आणद =आनन्दमय। फल =परिणाम। राजी =खुश। रोई =दुखी हुई।


Filed under Bhajan, Bollywood 70's Music, Vani Jayaram