atul's bollywood song a day- with full lyrics

Archive for the ‘“Aankh” song’ Category


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Genius of Jaidev
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Gaman (1979) was produced and directed by Muzaffar Ali and had star cast consisting Farooq Shaikh, Jalal Agha, Nana Patekar, Smita Patil, Gita Siddharth, Satish Shah etc., with lyrics by Shahryar and music by Jaidev. In his unique style Jaidev used new voices, not usually used by other MDs. Chhaya Ganguli got her first break as a film playback singer with her award winning song ‘Aap Ki Yaad Aati Rahi Raat Bhar’ in film ‘Gaman’. Other voices used in the film ware Classical Singer Hiradevi Mishra, Hariharan, Suresh Wadkar etc.

‘Shahryar’ with the pen-name of Akhlaq Mohammad Khan (16 June 1936 – 13 February 2012), was born at Aonla, Bareilly to a Muslim Rajput family. In 1987,he was awarded the Sahitya Akademi Award in Urdu, and in 2008 he won the Jnanpith Award, the highest literary award and only the fourth Urdu poet to win the award. He has been widely acknowledged as the finest exponent of modern Urdu poetry. He retired as the head of Urdu Department at the Aligarh Muslim University, and thereafter he remained sought after name in ,mushaira, or poetic gatherings. Shahryar wrote lyrics for select films. Muzaffar Ali and Shahryar were friends from their student days and when Ali made his directorial debut with ‘Gaman’ he invited Shahryar to write songs for the film. He also wrote for Yash Chopra’s film ‘Faasle’, and it is said that thereafter Chopra offered him three more films to write for, but he refused as he did not want to become a “song shop”. It was a different case though, with friend Muzaffar Ali, and he wrote for all of his films, ‘Umrao Jaan’, ‘Anjuman’ and unfinished ‘Zooni’and ‘Daaman’. His last film lyrics ware for Mira Nair’s ‘The Namesake’.

I do not know much about Hira Devi Mishra. She was a classical singer from Banaras and had settled in Mumbai in her later years, with her daughter who was a katthak dancer. It will be a great pleasure for me, if some knowledgeable ‘Atulite’ may throw some light on the life of this superb singer of yesteryears.

The song based on Raga Bhairavi, is a title song for this classic film and am sure will please the listeners immensely. Shahryar modified this traditional ‘bandish’ to suit the situation in the film.


Song-Ras ke bhare tore nain (Gaman)(1979) Singer-Hiradevi Mishra, Lyrics- Shahryar, MD-Jaidev

Lyrics

arre pathik giridhari tu itni kahiyo ter
drig jhar laayee raadhika aa
ab brij bhoolat pher

aa ja sanvariya
tohe garwa laga loon
aa aa ja sanvariya aa
tohe garwa laga loon
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

ras ke bhare tore nain
ras ke bhare tore nain sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

ras ke bhare tore nain sanvariya
ras ke bhare tore nain sanvariya
ras ke bhare tore nain sanvariya
ras ke bhare tore nain sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

jehi chitavat tehi bas karee raakhat
jehi chitavat tehi bas karee raakhat
bas karee raakhat
bas karee raakhat
naaheen pade maika chain sanvariya
naaheen pade maika chain sanvariya
naaheen pade maika chain sanvariya
naaheen pade maika chain sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

aa ja sanvariya aa aa
tohe ae garwa laga loon
aa aa ja sanvariya
tohe
tohe garwa laga loon
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain
sanvariya
ras ke bhare tore nain

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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today we remember Mohd Rafi Saab – the ‘divine and soulful voice’, on his anniversary!!
My tributes to this great great great voice, a gentleman, and a humble human being, as he is known to all- Shri.Mohd Rafi Saab !

While I was working on finding the songs of ‘Pancham-Rafi Jodi’ since last nine/ten months so far and reading various posts/articles on our blog, I read some posts which mention about the so called ‘lean period’ (1971 to 1976 (or 1974?) of Rafi Saab where the quantity of Songs sung by him is said to be decreased.
For anyone of us it is hard to believe that something of this sort was possible!

Now this so called ‘weak period’ of Rafi Saab’s is cited from 1971 to 1976 so far. And it is said that he made a comeback in 1976 with Laila Majnu. (Whereas some people think he had already made a comeback with ‘teri galiyon mein na rakhenge kadam’ for Hawas in 1974)

What was going through my mind was when did it would have been actually started from? – The decline! Or the weak period for Rafi Saab!

Does the decline started with Rafi Saab singing one song for some movies and that too with the Music Directors whom he already had some great work done earlier and with whom he had a longer association so far?

Some songs easily come to my mind e.g. 1971 Haathi Mere Saathi – he got that ‘nafrat ki duniya ko chhodkar’ (which left everybody watching the movie with tears in their eyes) (HMS ranked at the TOP at the BO that year).
Music for Haathi Mere Saathi was by Laxmikant Pyarelal who has been so far given many hit numbers of Rafi Saab.
Then ‘Abhimaan’ in 1973 where Sachin Da composed the music and Rafi Saab had only one duet with Lata in that film.(Abhimaan ranked 18th at BO)

This is just my estimation and we cannot really judge what would be the circumstances then.
Similar thing must have been happened with other Singers also (and some of these types of songs must have been posted on our blog too).

Take this example of ‘Mehboob Ki Mehendi’ in 1971 where Rafi Saab had 03 solos and one duet, while Kishore Kumar the voice in demand had only one solo. (This movie wasranked 24th at the Box Office)
This was the peak time for Kishore Kumar in those years.

What I can conclude is that Rafi Saab was very much there and he also had sung a good number of songs then, only the films he sung with either performed badly or were in non-Rajesh Khanna movie.

May be, but Rafi Saab continued to give us memorable song till he was there. And I have come across some very good songs from this period up to 1980 which I have noted and which I will share in future.

While this was going through my mind, there was this song in the program ‘Rangoli’ on Doordarshan.

‘Zamaane ki aankhon ne dekha hain yaaron’ …

As I go through this meaningful song the lines repeatedly came back to me and symbolically I start to relate this song with Rafi Saab’s going through that phase at that time ….

This is from the 1972 film ‘Ek Baar Muskura Do’.
Songs sung by Kishore Kumar from this movie were very popular and we are aware of them. Now what about other songs from the movie?

The film had total 07 songs, out which Kishore Kumar had four songs – 03 solos and one duet with Asha Bhonsle. Mukesh had two songs – 01 solo and 01 duet with Asha Bhonsle.

Rafi Saab had one song!!

With O.P.Nayyar being the music director and Rafi Saab singing just one song!
How many such songs are there?
Many of them, I think, have already been posted and we shall be discussing the balance in the days to come;

Till then let us enjoy this composition of O.P.Nayyar Saab, where the beautiful verses are penned by S.H.Bihari and soulfully rendered by Rafi Saab.

Incidentally in the film this song transforms the hero Deb Mukerji to a rich and famous ‘kalaakar/sangeetkar (as he is referred to in the film) – Kumar Saab from a ‘mamooli’ aadmi and gaanewaala Dilip.


Song-Zamaane ki aankhon ne dekha hai yaaron (Ek Baar Muskura Do)(1972) Singer-Rafi, Lyrics-S H Bihari, MD-O P Nayyar
chorus

Lyrics

Nafrat se jinhe tum dekhte ho
tum maarte ho jinko thokar
kya un pe guzarti hai dekho
ek baar kabhi ghaayal ho kar

zamaane ki aankhon ne dekha hai yaaron
zamaane ki aankhon ne dekha hai yaaron
sadaa apni duniya mein aisa nazaaraa
kabhi unko phoolon se pooja hai sabne
kabhi unko phoolon se pooja hai sabne
kabhi jinko logon ne
patthar se maara
zamaane ki aankhon ne dekha hain yaaron

pise na jahaan tak patthar pe mehendi
kisi bhi tarah rang laati nahin hain
hazaaron jagah thokaren kha na le jab tak
koyee zindagi muskuraati nahin hai
bina khud mare kisko jannat mili hai
bina khud mare kisko jannat mili hai
bina dukh sahe kisne
jeewan sanwaaraa
zamaane ki aankhon ne dekha hai yaaron

bhanwar se jo ghabra ke peechhe hate hain
dubo di hai maujon ne unki hi naiyaa
dubo di hai maujon ne unki hi naiyaa
jo toofaan se takra ke aage badhe hain
jo toofaan se takra ke aage badhe hain
bina koyee maanjhi bina hi khivaiyya
kabhi na kabhi to kahin na kahin par
kabhi na kabhi to kahin na kahin par
hamesha hi unko
milaa hai kinaaraa
zamaane ki aankhon ne dekha hain yaaron

yahaan aadmi ko sabak dosti ka
sikhaate huye jo lahu me nahaaya
maseehaa banaa aur Gaandhi banaa wo
hazaaron dilon mein yahaan ghar banaaya
unhi ki bani hai yahaan yaadgaarein
unhi ki bani hai yahaan yaadgaarein
unhi ka jahaan mein
chamka sitaaraa
zamaane ki aankhon ne dekha hai yaaron

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Devnagari Script Lyrics (Provided by Avinash Scrapwala)
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नफरत से जिन्हें तुम देखते हो
तुम मारते हो जिनको ठोकर
क्या उन पे गुज़रती हैं देखो
एक बार कभी घायल हो कर

ज़माने क़ी आँखों ने देखा हैं यारों
ज़माने क़ी आँखों ने देखा हैं यारों
सदा अपनी दुनिया में ऐसा नज़ारा
कभी उनको फूलों से पूजा है सबने
कभी उनको फूलों से पूजा है सबने
कभी जिनको लोगों ने
पत्थर से मारा
ज़माने क़ी आँखों ने देखा हैं यारों

पिसे न जहां तक पत्थर पे मेहँदी
किसी भी तरह रंग लाती नहीं हैं
हज़ारों जगह ठोकरें खा न ले जब
कोई जिंदगी मुस्कुराती नहीं हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद सहे किसने
जीवन सँवारा
ज़माने क़ी आँखों ने देखा हैं यारों

भंवर से जो घबरा के पीछे हटे हैं
डुबो दी हैं मौजों ने उनकी ही नैय्या
डुबो दी हैं मौजों ने उनकी ही नैय्या
जो तूफ़ान से टकरा के आगे बढे हैं
जो तूफ़ान से टकरा के आगे बढे हैं
बिना कोई मांझी बिना ही खिवैय्या
कभी न कभी तो कहीं न कहीं पर
कभी न कभी तो कहीं न कहीं पर
हमेशा ही उनको
मिला है किनारा
ज़माने क़ी आँखों ने देखा हैं यारों

यहाँ आदमी कों सबक दोस्ती का
सिखाते हुए जो लहू में नहाया
मसीहा बना और गांधी बना वो
हज़ारों दिलों में यहाँ घर बनाया
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही का जहाँ में
चमका सितारा
ज़माने क़ी आँखों ने देखा हैं यारों


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

GEMS FROM THE MIGRATORS…Song No. 4
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When I decided to start this series and my first post appeared here, I had anticipated that there will be several comments from learned readers, who were more knowledgeable than me about the details of Partition and the artistes involved. True to my guess there were many comments on my Fb page immediately. Comments were from people like Ummer Siddique ji, Khawaja Irfan Anwar ji and Dr.Surjit Singh ji. Ummer Siddique ji runs the famous Blog CINEPLOT.

Besides appreciating the post, they have also pointed out certain additions and alterations in the facts mentioned therein.They hav,thankfully, added so much of new information in the comments, that I must thank them heartily.

Oxford Dictionary gives the meaning of the word ” Migrate ” as ‘to move from one place to another’. The Collins Dictionary also gives similar meaning, adding that the migration could be for a job or to live. I have used the word Migration in its simple meaning when people moved from Bombay to Lahore or vice versa. It is well known that many film artistes of those times were initially working in Lahore or belonged to that part of old India, and came to Bombay in search of greener pastures. For example Master Ghulam Haider worked in Lahore from 1934 to 1944 and then came to Bombay. When he left for Pakistan in 1947, it is termed as his Migration. Nissar Bazmi, who was born in Jalgaon area of Khandesh in Bombay Presidency shifted to Pakistan in 1947. This too is Migration.

Partition was truly an injury to both the nations and during that period million lives were lost, property worth billions were looted and destroyed and thousands of families were divided. Post Partition period also saw its impact on contents of films and film making in both countries. All this is described in details in the book ‘Mourning the Nation-Indian cinema in the wake of Partition’ by Bhaskar Sarkar (published by Duke University press-2009). Fortunately,there were few noble souls on both sides to help stabilise matters early.

Today we will talk about Composer RASHEED ABDUL ATRE. he was born in Amritsar in 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time too.

Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course a Hindu,but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awrded the coveted Nigar Award 3 times in a row. He died on 18-12-1967,at the age of only 48 years. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. (Thanks to shri Harish Raghuvanshi ji for information).

Film Nateeja was made by Bombay Talkies and it was directed by Najam Naqvi. The Lyricist was Nakshab Jarachavi and the cast consisted of Yaqub, Shameem, Rehana, Majeed, Maya Devi, Khaleel Aftab etc. All these named persons left for Pakistan later at different times.

Director Najam Naqvi’s full name was Najmul Hasan Naqvi. He was born on 11-4-1913 at Moradabad-UP. When he was working in Bombay Talkies as a continuity man and as a general assistant and an actor (Achhut kanya-36),the Hero of the film ‘Jawani ki Hawa’-35-Najmul Hasan (an extremely handsome man) eloped with Devika Rani, Heroine of the film and wife of the owner Himanshu Rai. Due to similar names, this Naqvi was embarrassed and to avoid Same name Confusion, he changed his name to a shorter verios as Najam Naqvi.

He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940.

He went on directing films like Raja Rani-42, Tasveer-43, Naya Tarana-43, Panna-44, Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film-Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films there from Kunwari Bewa-56 to Payal Ki Jhankaar-66. Najam Naqvi died on 26-1-82 at Lahore. Due to same name, many sites including IMDB mix up the filmography of these two artistes.

Here is the story of film ‘ Nateeja ‘-1947-

This film was built upon the principle that, the impressions and the environments of childhood mould the life and character of the man. The life and happiness of many an individual have been wrecked on account of the follies of their parents. The so-called pleasant pastimes of the rich father have so often gone to make his son even a criminal. Born in a once rich and high society family of a Nawabs. Aslam (Yaqub) the little kid often witnessed the orgies of gambling, cockfights and dancing girl parties organised by his father. Aslam, the man revelled in such gambling, visited singing girls and had to resort to crooked ways and cheating to make his both ends meet.

He was enamoured by Zohra,a professional singing girl, the latter caring for nothing but the money and jewels the former could bring for her. Aslam succeeded in impressing upon an erstwhile rich Nawab that he was conducting a big business, and the Nawab gave his daughter Suraiyya in marriage to Aslam. The wife was soon disillusioned, because Aslam robbed her of all her ornaments to bestow them on Zohra. Suraiyya’s life was all misery, as Aslam neither cared for her nor for their first born, Salim, and so her father took her and her son to his house.

One day Aslam came across a little boy playing on the road. He lifted him up and went to a jewellers shop. leaving the child there, under the excuse of showing the ornaments to his womenfolk in purdah, waiting in a tonga outside the shop. He decamped with the ornaments. The jeweller took home the child and as he had no issue, he brought him up as his own son and called him Mehmud.

Some years later, on the death of her father, Suraiyya, with her little niece Shabana shifted to a new place, which happened to be adjacent to the jeweller’s residence. By that time Mehmud had grown up into a handsome youth, so much so that he could not be recognised even by his mother. Mehmud and Shabana loved each other, and Suraiyya was about to propose Shabhana’s marriage to Mehmud, when his adopted mother gave out that he was an orphan of unknown parentage.

Mehmud abruptly left the jewellers place and joined a film company in Bombay, where the heroine, was so much infatuated with this handsome youth, that she even spurred and insulted her paramour. The heroine was none else than Zohra and her paramour was Aslam. Neither Aslam knew that the other youth was his son, nor did Mehmud know that the other man was his father. Aslam had satrted practice as a hypnotist, and Suraiyya, seeing an advertisement with his photograph in a paper learnt that he was in Bombay, and so she persuaded her neighbour, the jeweller, to accompany her to Bombay to reclaim her husband. The jeweller did the trick. He once accosted Aslam on the road, and under the pretext of taking him to a new singing girl, he took him to the place where Suraiyya had put up. On seeing Suraiyya, Aslam was astonished. On the other front, the rivalry between Aslam and Mehmud about Zohra had grown into a desperate situation, and very sensational development takes place.

Aslam asks Suraiya about their son Salim and she tells him that he was lost. Listening to this talk,the jeweller realises that Mehmood is no one but Saleem. Suraiyya,Aslam and the jeweller go to the company where Mehmud’s shooting is going on. Zohra is also there. Aslam and the jeweller tell Mehmud that he is son of Aslam. Aslam is now ashamed of what he did in the past and stays with Suraiya. Mehmud is married to Shabana. Zohra goes away and thus the end is happy.

Let us now enjoy a song by Zohrabai Ambalawali, from this film. This had become very popular in those day.


Song-Ho mori baali umariya saanwariya (Nateeja)(1947) Singer-Zohrabai Ambalewaali, Lyrics-Nakshab Jarachavi, MD-Rasheed Atre

Lyrics

Ho o o
moree baalee umariya
ho o o
moree baalee umariya
saanwariya
saanwariya
dekho maaro naa
o dekho maaro naa tirchhee najariya
dekho maaro naa tirchhee najariya
najariya
saanwariya
saanwariya
haay baalee umariya
ho o o
moree baalee umariya

tore nainan mein jaadu hai o bekhabar
ho tore nainan mein jaadu hai o bekhabar
yahee darr hai ke dil mein naa kar jaaye ghar
haan yahee darr hai ke dil mein
naa kar jaaye ghar
rahe apnee naa mohe khabariya
rahe apnee naa mohe khabariya
O sanwariya
dekho maaro naa
O dekho maro naa tirchhi najariya
najariya
sanwariya
sanwariya
haay baalee umariya
ho o moree baalee umariya

miley naina se naina
jiya kho gaya
haay jiya kho gaya
miley naina se naina
jiya kho gaya
haay jiya kho gaya
yeh aankhon hee aankhon mein
kya
ho gaya
ho gaya
jaane aankhon hee aankhon mein
kya ho gaya
more baanke sajeele sanwariya
more baanke sajeele sanwariya
O sanwariya,
dekho maaro naa
O dekho maaro naa tirchhi najariya
najariya
saanwariya
saanwariya,
haay baalee umariya
ho o moree baalee umariya


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Atul Song-A-Day 10K Song Milestone Celebrations – 13
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When this blog began in 2008, there were very few visitors and hardly any comments. Everyone needs encouragement, and a blog like this was in sore need of visitors.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Atul Song-A-Day 10K Song Milestone Celebrations – 8
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Continuing the series of introductions, today, I have the honor of bringing Mahesh ji into the frontline of contributors.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Genius is one percent inspiration and 99% perspiration”. This declaration has been made by Albert Einstein, the one who himself is regarded as one of the greatest ever. For the perceptive minds, it is ever so the experience that whenever we witness people who are considered consistent achievers, and accomplishments that are significantly impressive, then a little bit of probing behind the bright lights will reveal a whole amount of dedicated hard work behind the achievements. When we see an acrobat so effortlessly doing some wondrous acrobatics, one should not just stop at the amazement that the protagonist has made this difficult trick look very simple. We should also realize the importance of the fact that the same person spends maybe twelve to fourteen hours every day to practice the trick that is played out in a few minutes for the audience.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Atul Song-A-Day 10K Song Milestone Celebrations – 4
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On 30 january 2011, I received an e mail in my inbox. This contents of the email warmed the cockles of my heart and made my day. The e mail read

Hi Atul,

Wonderful site. A very useful & handy reference tool, too. I browse it regularly for my dose of golden oldies, rare gems, lyrics, song info or just to surprise myself. The days of yore studded with glittering jewels such as Radio Ceylon/SLBC & Vividh are sorely missed.

One thing that I notice & love about your blog is the painstaking indexing & categorisation of the content & the accuracy of material, esp. lyrics. Generally, the lyrics are free from errors, authentic and spelled brilliantly. Only a person of language can do such justice to transliterating hindi into english with admirable precision & exactness.

I’m sure you devote a considerable amount of time to build up and maintain this blog. As I do consult this blog from time to time, to repay the favour and as a token of my gratitude, I would like to offer my assistance in keeping this blog ticking over. What I can do for this blog is to submit a song’s lyrics & youtube link directly to you. After your approval & review, you may post it on to the blog alongwith your usual valuable & insightful comments.

Thank you indeed.

Atif.

N.B.: I am submitting a song below.

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

THE JOY OF NFS(Song No. 9)
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Manna Dey never achieved the kind of popularity that some of his more commercially successful contemporaries (Rafi, Kishore Kumar, Mukesh etc) enjoyed, but that in no way is a reflection on Manna Dey’s calibre as a singer. As a singer he had perhaps the widest range of them all. He could sing songs ranging from philosophical to comical with equal felicity. In his case, passage of time has helped enhance his reputation.
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This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Genius of Jaidev
==========

Asha-ji had released an album of her songs as a tribute to MD Jaidev, where she gave number of songs that ware recorded but never utilized or published. She also requested Amol Palekar to let her include some of the numbers from his unfinished films. I have no information and am in total dark about Amolkar Palekar’s unfinished film ‘Footpath’, from which today’s song is posted. I request some knowledgeable members like Arun-ji to shed some light to it. (Tamaso ma Jyotir gamaya)
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

THE JOY OF NFS (Song No. 3)
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Believe it or not, but there is some kind of an unseen hand of Destiny that shapes Human life. In film industry, one can see very strange cases. Some people gracefully retire, when they are on Top of their careers and some have to retire because there is no work for them. Some people join the industry in a department of their choice,but Destiny changes their life and they end up working and succedding in an entirely different field of activity.
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(© 2008 - 2014) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10000 songs post by now.

Total number of songs discussed

10037

Number of movies (All songs covered)

483

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