atul's bollywood song a day- with full lyrics

Archive for the ‘Guest posts’ Category


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.

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Rafi Sb – In The Seventies – 15
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(1978 – Solo)

This solo song that got picked for 1978 is a real surprise. Wonderful gem from an obscure film. A song that was heard occasionally, before fading away from radio waves and settling into the quicksand of memories. As I was browsing the list for 1978, this song strummed lost memories of absolutely lovely songs and I had to pick it as tops.

The film is ‘Pal Do Pal Ka Saath’. The lead actors in this film are Shekhar Kapoor and Rama Vij. After a short stint as an actor in a handful of films, Shekhar Kapoor transitioned to film direction, making a huge splash with his first directorial venture ‘Masoom’ (1983). Beyond that he has continued to make name for himself with outstanding films. I would hazard a guess that this song would have been performed on screen by him.

The creators of this song are somewhat less notable names in the industry. The lyrics are by Dev Kohli, and the music is by Shyam Saagar. There are four songs in this film, all sung by different artists. And I promise you, just like this one, the other songs are also veritable gems by themselves.

This is the first of the songs from this film on the blog, making a debut today. The magic of Rafi Sb’s voice continues to play on and on. The freshness and the energy in the voice never fails to amaze. A fabulous rendering by all measures. Listen and enjoy.


Song-Chupke se peechhe se aa ke (Pal Do Pal Ka Saath)(1978) Singer-Rafi, Lyrics-Dev Kohli, MD-Shyam Saagar

Lyrics

o o o
chupke
se peechhe
se aa ke
muskaa ke
ho o o
chupke
se peechhe
se aa ke
muskaa ke
phir meri aankhen meenchogi tum
kab aa ke
ho o o
chupke
se peechhe se aake
muskaa ke

kya ab bhi baagh mein jaati ho tum. . .
kya ab bhi baagh mein jaati ho tum
apni saheli ko le kar
ab bhi pareshaaniyon mein aksar hi
karti ho behas jhunjhulaa ke..ae ae ae
ho oooooooooo
chupke
se peechhe se aa ke ae
muskaa ke
ho o o
chupke
se peechhe se aa ke ae
muskaa ke ae

kya ab bhi taash khelti ho kabhi
waise hi thaath se rehti ho
yaa ke bas pooja paath karti ho
gaati ho bhajan ghabraa ke..ehe..ehe..ehe
ho o o
chupke
se peechhe se aa ke ae
muskaa ke ae
phir meri aankhen meenchogi tum
kab aa ke
ho o o

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Hindi script lyrics (Provided by Sudhir)
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ओ ओssssss
चुपके
से पीछे
से आके
मुस्का के
हो ओssssss
चुपके
से पीछे
से आके
मुस्का के
फिर मेरी आँखें मीचोगी तुम
कब आ के
हो ओssssss
चुपके
से पीछे
से आके
मुस्का के

क्या अब भी बाग में जाती हो तुम॰ ॰ ॰
क्या अब भी बाग में जाती हो तुम
अपनी सहेली को ले कर
अब भी परेशानियों में अक्सर ही
करती हो बहस झौ झुंझुला के॰॰एहे॰॰एहे॰॰एहे
हो ओssssss
चुपके
से पीछे
से आके
मुस्का के
हो ओssssss
चुपके
से पीछे
से आके
मुस्का के

क्या अब भी ताश खेलती हो कभी
वैसे ही ठाठ से रहती हो
या के बस पूजा पाठ करती हो
गाती हो भजन घबरा के॰॰एहे॰॰एहे॰॰एहे
हो ओssssss
चुपके
से पीछे
से आके
मुस्का के
फिर मेरी आँखें मीचोगी तुम
कब आ के
हो ओssssss

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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.

SONGS FROM ARTIST NAME FILMS…..Song No. 3
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Today’s song is from the film Veena-1948. It is sung by Chitalkar, ie. C.Ramchandra,under the baton of Anil Biswas. C.Ramchandra used to respect Anil Biswas very much and Anil Biswas knew that he was a talented composer, who would carry forward the use of western instruments started by Anil ji in HFM. Anil ji liked his style of singing and used to call him to sing in his films,whenever there was an opportunity.

Film Veena’s cast was Rahman, Sulochana Chatterjee, Veera, Yaqub, Leela Mishra etc. Actress Veena was not in this film, though she was very much around in the film industry doing other films at the same time. Veena had a long career of more than 40 years. She acted in 110 films in all,including a few Punjabi films. In fact she had begun her film career with Gavandi,a Punjabi film. Some of the well known films she acted in were, Najma, Humayun, Dastaan, Afsana, Halaku, Naya Zamana, Mehendi, Chalti ka naam gaadi ( she was the lady-love of Ashok kumar), Kagaz ke phool, Chhoti behan, Taj mahal, Phir wohi dil laya hoon, Aashirwaad, Do Raaste, Banarasi babu, Chhupa Rustom, Shatranj ke khiladi and Razia Sultan-1983 (last film).

Veena was a famous character actress. She was born as Tajour Sultana on July 4, 1926 in Quetta, Balochistan (present day Pakistan). At some point in time, her family shifted to Lahore’s Chuna Mandi.

If ever there was a competition for the most beautiful woman on the screen in olden days, it would undoubtedly narrow down to two actresses—Veena and Na­seem. And the result would be a close tie.

God Almighty Must have had a great deal of time to spare when he created Veena. Her features were chiselled, like a work of art done by a Renais­sance master: the perfect aquiline nose, the high forehead, rose-petal lips and those limpid heavy lidded eyes, with that re­gal look in them, which at once gives everybody around her an inferiority complex. Tall, state­ly, dignified, endowed with a statuesque figure Veena looked every inch a Queen from the Indian monarchy.

Her facial bone structure was classic. Coupled with all this was her well modulated voice, her superb delivery of dialogue. An­other striking feature of Veena was her enchanting smile—her whole face lights up. While speaking Veena opened only one side of her mouth giving a downward tilt to her lips.

In Bombay filmdom they have pet names for stars. Madhubala was called ‘Venus of the Indian screen’, Saira Banu the ‘beauty queen’, Hema Malini the ‘dream girl’, Veena was called ‘the Mona Lisa’.

Sexy women could be des­cribed as fiery volcanoes but there is something in Veena which makes one think of an iceberg. She was the touch-me-not type. From her youth Veena had a very apparent line between her eyebrows when she frowned. There was something so powerful in her glare that everyone around her feels ner­vous.
Veena’s regal personality and her beauty was a curse rather than a blessing for her. She could never fit into the image of a gharelu Hindu bahu, nor could she play a village belle, the two types without which the Hindi screen cannot survive.

All of Veena’s successful roles have been of royal characters, or downright haughty, bitchy she-dragon types. In person she was one of the most courteous, amiable and kind women. She never had ‘star airs’ nor the nakhra. She never acted as a lackey to filmwallahs. In Film-land where nearly every hero and heroine have had affairs (the re­sulting publicity upgrading their box-office value) Veena is one exception whose image was un­tarnished. Maybe that is the reason why she never achieved the high fame she deserved. The love of her life was the hand­some actor Al-Nasir. They made a beautiful couple. Their children are as beautiful as their parents: one wonders why they have not taken to movies.

Years ago Al-Nasir had shot a tiger and had invited the press to see his prey. Some journal­ists—it seems were more en­chanted by the beautiful tigress Veena.

In 1941, Veena then 16 was an Intermediate student at a college in Amritsar. She sent her photograph to a film con­cern in Lahore and was select­ed out of thousands of candi­dates to play the lead in a film titled, “Gawandi” (Punjabi). When “Gawandi” was half-way through she was signed for an­other Punjabi film whose hero was none other than today’s producer S. D. Narang.

Veena’s entry into films was opposed by members of her fa­mily. The college authorities refused to take her back be­cause a movie-career in those days was considered lowly by the high brow society. But Veena was determined and was not cowed down by the odds against her. The late Mazhar Khan signed her up to act in his “Yaad”, and Veena came to Bombay. While “Yaad” was still in the making Mehboob signed her up for the lead in “Najma”.

She started to play supporting roles in many films of which Mehboob Khan’s Najma (1943), Humayun (1945) and K. Asif’s Phool (1945) are notable. During the early phase of her career, one of her best performances was as a sexually repressed woman inDastaan (1950) who ends up causing grief to all who knew her. She was also cast as a heroine in Afsana(1951) opposite Ashok Kumar. The movie was a box-office hit telling the story of the adultrous wife (Kuldip Kaur) having an affair with his husband’s friend, played by Pran. However, it was the vamp Kuldip who easily stole the show with her strong performance as the adulterous wife and Veena was reduced to playing character roles again. She was cast in many films in supporting roles including Chalti Ka Naam Gaadi (1958) and Kaagaz Ke Phool (1959). In Kaagaz Ke Phool, she was snobbish upper-class wife of Guru Dutt looking down on his work in the film industry.

In the latter part of her career, her most memorable role was as Meena Kumar’s sister and aunt (Meena Kumari in double role) in Pakeezah (1971). The way she yelled “Shahabuddin!” during the climax of the film showed what a fine actress she was and her full control over her dialogue delivery. She retired in 1983 after the release of Razia Sultan (1983) in which she played Empress Shah Turkhan. She died in Bombay on 14-11- 2004 after 21 years of retirement when she was 78 years old after suffering from a protracted illness.

Film Veena-48 was an ordinary film, with usual plot and ordinary music. There were 10 songs in the film. 6 songs were posted. Today’s song is the 7th song. It is sung by Chitalkar.

The story of the film Veena-48 was-
Madan( Rahman) was a poet or at any rate, he claimed to be one. Seeing stars during the day, sailing on the silvery clouds hearing the breeze whisper sweet words of love and twittering with the birds in the trees was his favourite pastime. . And this was a constant source of worry to “Manji “, his old Granny( Leela Mishra) who had brought him up after the death of his father and mother when he was only a tiny tot. She tried to cure him of this madness but all her efforts proved in vain. So she decided to use the only remedy that had never failed and would never fail. Marriage. Wtih Veena,(Sulochana chatterjee) the girl of her choice.

But Madan was not prepared for this Forced marriage. Love was the Voice of his Heart; nay, his very life. So he revolted against this Hitlerian attitude of “Manji” and ran away form his home in quest of a wife whom he loved and who loved him. . His wanderings led him to “Preet Nagaria”. Preet Nagaria was exactly what it should be; the Land of Love and Romance, Joy and laughter, mirth and melody. And, Madan felt that the Village Damsels were all standing there to welcome him to this land of Dreams and fairest amongest them all was “Ratna”(Veera) the Village Belle. Gay and carefree, Ratna was a symbol of joy and her dimples worked havoc with Madan’s heart.

Madan became the guest of Ratnas brother, Mangloo,( Yaqub) Mangloo was a gay vagabond. Chicanery and fraud was his favourite occupation. He succeeded in every little subterfuge that he used to transfer money from other peoples pockets into his own. But the only thing in which he failed was the Affair of his Heart. He was in love with Myna(Hemavati) but Myna had no eyes for him and this was a deep sore in Mangloos tiny little heart. And when Madan came to know of his malady, he promised to guide and help him and mangloo succeeded in opening a little, the door of Mynas heart. Romance was fast developing between Ratna and Madan and the meetings in the Moonlight and under the shadows of the trees resulted in their engagement. The cup of happiness and joy was full for Ratan and Madan and they were eagerly waiting for their Wedding Day.

And then Behari came there to inform Madan that Manji was lying on death bed and that she wanted so much to see him before she died. Madan refused to go but Ratna forced him to go. They wanted Manjis blessings; not her curses. . And so Madan went back to the city, promising to return soon. But Fate had something else in store for him. With her last breath, Manji placed Veenas hand in his hand and breathed her last before Madan could say anything Madan and Veena were married.

It was their Wedding Night and Veenas heart was surging with all hopes,and desires of a newly married bride. But Madan destroyed all these by telling her that she could have everything he possessed but not his heart.But Veena wanted none of these;she wanted only his love. This he could not give her. . Veena was stricken dumb but she quickly recovered and before Madan turned to go, she said in a determined tone:”I am going to fight for my Right and I am going to win your love or perish in the attempt.”

The rest of the story has several subplots wherein Veena’s attempts to win Madan are shown.Even Ratna realises that veena is the right choice for Madan,she decides to part with Madan. She explains this to him and goes away for ever. Thus Veena wins back Madan by transforming him with her devotion and love.

(Thanks to Cineplot for some info on Veena,the actress).


Song-Koi shyaam rang koi gori (Veena)(1948) Singer-C Ramchandra, Lyrics-Pt Narendra Sharma, MD-Anil Biswas

Lyrics

koi
shyaaaam rang
koi gori
koi chapal
aur koi bhori
koi shyaam rang
koi gori

hain badi chatur sab chhori
hain badi chatur sab chhori
karne mein dil ki chori
per aisi koi hai na
per aisi koi hai na
koi hai na
koi hai na
jaisee meri manohar maina
eh meri manohar maina ji
meri manohar maina
jaisi meri manohar maina

koi alhad chhail chhabeeli
koi naaj bhari nakhreeli
koi alhad chhail chhabeeli
koi naaj bhari nakhreeli
ban thhan ke chalee koi tan ke
koi dabey paaon sharmeeli
ban thhan ke chalee koi tan ke
koi dabey paaon sharmeeli
per aisi koi hai na
per aisi koi hai na
koi hai na
koi hai na
jaisi meri manohar maina
eh meri manohar maina ji
meri manohar maina
jaisi meri manohar maina

koi neeli koi angoori
koi gulroo aur koi noori
hai koi gulroo aur koi noori
koi nanhi
koi munni
koi nanhi aur koi munni
maine chhori har ek ghoori
per aisi koi hai na
per aisi koi hai na
koi hai na
koi hai na
jaisi meri manohar maina
eh meri manohar maina ji
meri manohar maina
jaisi meri manohar maina


This article is written by Sadanand Kamath, 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.

Sahir Ludhianvi will always be remembered for the respect he brought to the lyricists of Hindi films. His arrival in the Hindi film industry set a bench mark for lyricists which brought about a transformation in the style of lyrics writing for Hindi film songs from the 5Os through 7Os. His stock went so high after the success of Pyaasa (1957) and Naya Daur (1957) that some producers started signing him first before deciding on the music director or sometime even the main cast during his hey days. He ruled the Hindi film industry during most of his 3 decades of association with it. This was despite the fact that he had no opportunity to work with three of the top music directors of his time viz Naushad, Husnlal Bhagatram and Shanker-Jaikishan. And two other top music directors namely S D Burman and O P Nayyar refused to associate with him after 1957. How did he manage to stay aloft in the Hindi film industry? The answer is that the quality of his lyrical poetry far outweighed his temperament and his rigid conditions for writing songs. Let us see his report card in the following table:

Music Directors No. of Films No. of Songs
S D Burman 18 137
Ravi 19 129
N Datta 18 115
Roshan 8 60
Khaiyyam 5 41
Laxmikant-Pyarelal 6 32
R D Burman 4 25
Madan Mohan 3 24
O P Nayyar 5 23
Jaidev 3 2O
Chitragupta 2 13
Others(19) 24 1O5
Total 115 724

NOTE: This table has been prepared from the list of songs available at sahirludhianvi.com which has been counter checked with http://www.myswar.com. Ultimately, I have gone by the latter source. There could be some minor discrepancies because of version songs.

Sahir wrote 724 songs in 115 films for 30 music directors. More than 5O% of his songs were written for just 3 music directors – S D Burman, Ravi and N Datta. It is significant to note that Sahir worked with S D Burman only during 1951-57 but still he wrote his maximum number of songs for him. A few prominent music directors in the ‘Others’ category with whom he worked were Anil Biswas, C Ramchandra, Hemant Kumar and Kalyanji Anandji .

Period wise song output of Sahir Ludhianvi throws some interesting statistics. During 1948-6O, he wrote 3O9 songs which came down to 241 songs during 1961-7O and further declined to 174 songs during 1971-82. Surely, his condition of getting remuneration of one rupee more than the music directors and his rigid stand of not writing lyrics to pre-set tunes had affected his output. But financially, he may not have been worse off as during this lean period, he constructed his bungalow ‘Parchhaayian’ sometime in mid 7Os and stayed there with a fleet of cars until his death in October 25, 198O.

Sahir Ludhianvi was almost like ‘in house’ lyricist for B R Films (B R Chopra) and for Yash Raj Films (Yash Chopra) who wrote lyrics for most of their films. Yash Chopra, who directed films, ‘Joshila’ (1973), ‘Deewaar’ (1975) and ‘Trishul’ (1978) produced under the banner of Trimurti Films of Gulshan Rai, also entrusted Sahir Ludhianvi for writing songs for these films.

I am presenting here one of the songs from the film TRISHUL (1978) ‘aapki mehki huyi zulf ko kahte hain ghata’ sung by Yesudas and Lata Mangeshkar under the music direction of Khaiyyam. The song is picturised on Sanjeev Kumar and Waheeda Rehman when the credit titles of the film are being shown on the screen. While the lover admires his beloved and tells her that he calls her intoxicated eyes flowers. She smiles and tells him that she is nothing. It is he who feels that way. Then she teases him saying that his admiration of her is nothing but his desire filled glances. In the next, she teases him further by saying that his admiration of her is something which is difficult to believe. Such type of praises reflects his ultimate intention. Of course at the end they feel that they are fortunate to have each other for company, the fructifying desires of the centuries of both of them to be with each other.

It is a beautifully worded romantic song nicely picturised without much of disturbances from the credit title display on the screen.


Song-Aapki mehki huyi zulf ko kehte hain ghata (Trishul)(1978) Singers-Yesudas, Lata, Lyrics-Sahir Ludhianvi, MD-Khayyaam

Both

aapki ee
mehki huyi ee
zulf ko kehte hain ghata
aapki ee
mehki huyi ee
zulf ko kehte hain ghata
aapki madbhari aakhon ko kanwal kehte hain
aapki madbhari aakhon ko kanwal kehte hain
main to o
kuchh bhi nahin ee
tumko haseen lagti hoon
isko chaahat bhari nazron ka amal kehte hain
isko chaahat bhari nazaron ka amal kehte hain

ek ham hi nahin
ek ham hi nahin sab dekhne waale tumko
sangemarmar pe
sangemarmar pe likhi shokh ghazal kehte hain
sangemarmar pe likhi shokh ghazal kehte hain
aisi baaten na karo
aisi baaten na karo
jinka yakeen mushkil ho
aisi taareef ko
aisi taareef ko neeyat ka khalal kehte hain
aisi taareef ko neeyat ka khalal kehte hain

aapki madbhari aakhon ko kanwal kehte hain
isko chaahat bhari nazron ka amal kehte hain

meri taqdeer ke tumne mujhe apnaa samjhaa
meri taqdeer ke tumne mujhe apnaa samjhaa
isko sadiyon ki
isko sadiyon ki tammanaaon ka phal kehte hain
isko sadiyon ki tammanaaon ka phal kehte hain
isko sadiyon ki tammanaaon ka phal kehte hain


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.

SONGS FROM ARTIST NAME FILMS……Song No. 2
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The famous song, ” Jaane naa nazar, pehchane jigar” was being shot on the floor, on Raj Kapoor and Nargis for the film ‘Aah’-53. It was a romantic song, but Nargis was weeping. The director of ‘Aah’ was Raja Nawathe. He said, ‘ What is this Nargis ? This is a romantic song and you are crying ? ‘. Nargis requested him to stop the shooting. Raj Kapoor,the film’s hero and her close friend was worried. He went to her and asked,” what is the matter,Baby ? ‘. She said sobbingly,” Nani ki bahut yaad aa rahi hai”. Her Nani- Dilipa – was very sick those days. Raj had met her some times, so he understood.
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.

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Rafi Sb – In The Seventies – 14
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(1977 – Duet)

Come 1977 and Shatrughan Sinha had been around in films for about 8 years now. He already had two Filmfare awards for best supporting actor under his belt – in 1971 for ‘Paaras’ and 1975 for ‘Dost’. On screen, majority of his roles have a style – freewheeling, assertive and emphatic, whether being the smug good guy or the abrasive bad guy. In the seventies, Shatrughan Sinha was one of the busier actors in the industry, averaging 8 to 9 films a year.
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.

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Rafi Sb – In The Seventies – 13
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(1977 – Solo)

When I picked this song for this series, my first reaction was – wow, not yet posted on the blog? I remember from the radio listening days, that this song was very popular in its time. And it still carries a very vibrant appeal that will take the listener to a high. Rafi Sb has sung this song with such zest and abandon, his voice sounding so bright and breezy. Without the visual, the song conjures up images of a playful teasing situation, as the lady seems to be upset and is walking off, being pursued by a persistent lover, who expresses casual disregard for her but also promises that she will be turning back in no time. A promise that is fulfilled, not later than the end of the song.
Read more on thistopic…


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.
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Songs from Artist name movies- article 1
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While browsing through the list of film titles from 1931 to recent times, I was wondering how the names of films are decided. In the silent era, almost every silent film used to have one name for the purpose of Censoring and then in every state, the film would have a new title in local language. Usually, the silent films used to have One English name and one Hindi name, like e.g. Samudra manthan or Churning of the Sea, Amarsingh Dagger or Marwad’s Moti, The Leopard or The Lal Cheetah, The Treasure or Khazana, Society Scoundrel or Shareef Badmash, Dancing Girl or gutter ka Gulab, The Enchantress or the Zalim Jadugarni etc etc.
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.

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Rafi Sb – In The Seventies – 12
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(1976 – Duet)

If nothing else, producer director Rajkumar Kohli has made a place in memory and in records, for producing films that have a huge galaxy of stars working together. I cannot easily recall any other producer director having pulled of this feat. In this film, ‘Naagin’, the star cast is a veritable milky way with the presence of Sunil Dutt, Feroz Khan, Sanjay, Jeetendra, Kabir Bedi, Vinod Mehra, Anil Dhawan, Premnath, Ranjeet, and Roopesh Kumar , working opposite to Rekha, Reena Roy, Yogita Bali, Mumtaz, Prema Narayan, Aruna Irani, Heena Kausar, Neelam Mehra, Aarti, Anita Guha and Komilla Wirk. And the second line of casting is still to come – Jagdeep, Gulshan Arora, Tun Tun, Sulochana, Maruti, Satish Arora, Rajan Sethi etc.
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.

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Rafi Sb – In The Seventies – 11
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(1976 – Solo)

As I am checking the list of songs from 1976, I find this gem of a ‘naat’ (Islamic religious song) rendered by Rafi Sb. The film is ‘Sangraam’, directed by Harmesh Malhotra. The words are written by Gauhar Kanpuri and the music is by Bhappi Lahiri. ‘Sangraam’ is a film that is not in memory otherwise. The films that I remember from that year are ‘Chitchor’, ‘Hera Pheri’ and ‘Chalte Chalte’. And yes, ‘Fakiraa’ and ‘Dus Numbri’. I remember I had seen ‘Chitchor’ and ‘Hera Pheri’ on the big screen.
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This article is written by Sadanand Kamath, 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.

In my younger days, I used to identify Hyderabad with Nizams. For me Hyderabad and Nizamshahi were inseparable in the city’s history, developments and monuments. The establishment of Osmania University is one example among others of the contributions of Nizams in this region. It was only when I visited Hyderabad for the first time on a sightseeing trip in 1989, I became aware of the role of Qutub Shahi (also written as Qutb Shahi) dynasty in the development of Hyderabad. Of the 7 Sultans of Qutub Shahi dynasty that ruled from Golconda and later from Hyderabad, the reign of 5th Sultan, Mohammed Quli Qutub Shah was regarded as the golden period. During his rule, Charminar was constructed and a new capital across Musi River called Bhagnagar and later renamed as Hyderabad was established.
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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 10200 songs post by now.

Total number of songs discussed

10277

Number of movies (All songs covered)

533

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