atul's bollywood song a day- with full lyrics

Archive for the ‘Post by Sudhir’ 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.

Amitabh – The Later Decades – 4
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Almost ‘Lolita’, but not quite so.  In the book, the young nympho is only 12 years old, and the old man is actually a pedophile.  In this Hindi film take off, the young girl is 18, and the old man is not a pervert, but is actually in love. And for all that matters, for all the time it matters, it is a two way love between the girl and the old man.

Around the time this film was relased, a joke was doing the rounds. Q: What is the height of good luck?  A: Amitabh in ‘Nishabd’.

One critic has commented that India and Indian cinema is not yet ready, maybe will never be, for a true ‘Lolita’ story.  But when this variation, ‘inspired’ in parts from the original, is conceptualized, who else but it is Amitabh for this role.  I have not seen this film, yet.  But more I hear and become aware of such films, the more I marvel at the performer behind these performances.  Is it the popular following he has that feeds into the producers mind to create films for him in which he excels?  Or is it his performing capabilities that sustain his popular standing that feeds into the producer’s minds?  Whichever way it works, we are witnessing the rising trajectory of a phenomena; not a super star, not a jubilee hero, but a phenomena, a legend – that continues to surprise with the ease and grace, with which he gets, and he executes, befitting roles.

‘Nishabd’ is a 2007 film by Ram Gopal Verma, who is known more for his films of the horror genre.  In some ways, I believe this film is also exposing a dark side of the human mind.  The music is by Vishal Anand, lyrics are by Munna Dhiman and the singing voice is that of Amitabh himself.
View, listen and enjoy.

Video (partial)

Audio (complete)

Song – Rozaana Jiyen Rozaana Maren Teri Yaadon Mein Hum (Nishabd) (2002) Singer – Amitabh Bachchan, Lyrics – Munna Dhiman, MD – Vishal Bhardwaj

Lyrics

rozaana jiyen
rozaana maren
teri yaadon mein hum
teri yaadon mein hum
rozaana
rozaana

rozaana jiyen
rozaana maren
teri yaadon mein hum
teri yaadon mein hum
rozaana
rozaana

ungli teri
thaame huye
har lamhaa chalta hoon main
ungli teri
thaame huye
har lamhaa chalta hoon main
tujhko liye
ghar lautun aur
ghar se nikalta hoon main
ik pal ko bhi
jaata nahin
tere bin kahin
yoon raat din
bas tujh mein hi
bas tujh mein hi
liptaa rehta hoon main
rozaana
rozaana
rozaana
hummm rozaana

rozaana jiyen
rozaana maren
teri yaadon mein hum
rozaana chalen
rozaana ghoomen
teri yaadon mein hum
teri yaadon mein hum
rozaana
rozaana
rozaana
hummm rozaana

har din teri
aankhon se is
duniya ko taktaa hoon main
tun jis tarah
rakhti thi ghar
vaise hi rakhta hoon main
teri tarah
sang sang chalen
yaadein teri
kyon har ghadi
baaton mein bas
baaton mein teri
gum sa rehta hoon main
rozaana
rozaana
rozaana
hummm rozaana

kuchh gaaun to yaad aate ho
gungunaaun to yaad aate ho
kuchh pehnoon to yaad aate ho
kahin jaaun to yaad aate ho
kuchh khone pe yaad aate ho
kuchh paaun to yaad aate ho
rozaana chale
yaadon pe teri
zindagi ka safar
tujh se hai roshan
tujh se hai zinda
mere dil ka shehar
mere dil ka shehar
rozaana
rozaana
rozaana
hummm rozaana
rozaana
rozaana
rozaana
rozaana. . .haan
rozaana. . .haan

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Hindi script lyrics (Provided by Sudhir)
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रोज़ाना जिएं
रोज़ाना मरें
तेरी यादों में हम
तेरी यादों में हम
रोज़ाना
रोज़ाना

रोज़ाना जिएं
रोज़ाना मरें
तेरी यादों में हम
तेरी यादों में हम
रोज़ाना

उंगली तेरी
थामे हुये
हर लम्हा चलता हूँ मैं
उंगली तेरी
थामे हुये
हर लम्हा चलता हूँ मैं
तुझको लिए
घर लौटूँ और
घर से निकलता हूँ मैं
इक पल को भी
जाता नहीं
तेरे बिन कहीं
यूं रात दिन
बस तुझ में ही
बस तुझ में ही
लिपटा रहता हूँ मैं
रोज़ाना
रोज़ाना
रोज़ाना
हुम्म रोज़ाना

रोज़ाना जिएं
रोज़ाना मरें
तेरी यादों में हम
रोज़ाना चलें
रोज़ाना घूमें
तेरी यादों में हम
तेरी यादों में हम
रोज़ाना
रोज़ाना
रोज़ाना
हुम्म रोज़ाना

हर दिन तेरी
आँखों से इस
दुनिया को तकता हूँ मैं
तू जिस तरह
रखती थी घर
वैसे ही रखता हूँ मैं
तेरी तरह
संग संग चलें
यादें तेरी
क्यों हर घड़ी
बातों में बस
बातों में तेरी
गुम सा रहता हूँ मैं
रोज़ाना
रोज़ाना
रोज़ाना
हुम्म रोज़ाना

कुछ गाउँ तो याद आते हो
गुंगुनाऊँ तो याद आते हो
कुछ पहनूँ तो याद आते हो
कहीं जाऊँ तो याद आते हो
कुछ खोने पे याद आते हो
कुछ पाऊँ तो याद आते हो
रोज़ाना चले
यादों पे तेरी
ज़िंदगी का सफर
तुझसे है रोशन
तुझसे है ज़िंदा
मेरे दिल का शहर
मेरे दिल का शहर
रोज़ाना
रोज़ाना
रोज़ाना
हुम्म रोज़ाना
रोज़ाना
रोज़ाना
रोज़ाना
रोज़ाना॰ ॰ हाँ
रोज़ाना॰ ॰ हाँ


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.

Yeh Hai Bombay Meri Jaan – 5
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         Bombay Gangout – Part 5
         The Day After.

The next day to the gangout meeting, we had plans for a visit to our dear Arun ji.  As the readers may be aware, Arun ji had not attended the gangout meeting.  The personal family circumstances in the recent past, had been exigent to the extreme.  His life partner had passed away just 10 days prior to the scheduled meeting.  We had decided to go ahead with the meeting, sans his participation.

Bharat Bhai, Khyati Ben, Sadanand ji and myself – we coordinated to arrive at the Versova Metro station at around 10.30 am.  Bharat Bhai traveled directly from his residence, which is connected with Versova, on the metro line.  Sadnand ji and Khyati Ben coordinated to meet at Borivali, then travel to Andheri via the local train, and then change over to Metro line.  I followed the same method, except that coming from Santa Cruz where I was staying, I took the local train in the opposite direction.  Getting on to the metro and then traveling to Versova – it was a very nostalgic experience for me.  A while back, in 1987-88, when I had started working with the Tatas (their erstwhile software engineering unit TUL – Tata Unisys Ltd.), I was posted in Bombay to start with.  The office was in Andheri (East) in an area that is called ‘SEEPZ’, which, if I recall correctly, stands for Sant Cruz Electronic Export Promotion Zone.  This was located just after the MIDC Complex (Maharashtra Industrial Development Corporation) in Marol area.  For a major part of my stay in Bombay, I was staying in Andheri (West), in the Versova area, in a flat that I had rented from an office colleague, who was then stationed abroad on a project.  Getting that flat was a providential blessing – that was my first real stay in Bombay.  Stay as in living for an extended period of time, as opposed to visiting, which I had done on numerous occasions in the past.  That experience was a culture shock, as well as a wonderful lesson of life.  I will be covering that experience in the next post in this series.

So coming back to the nostalgia part, the short trip from Andheri station to Versova going by JP Road, was a reminder of my daily back and forth trip from my place of stay to the TUL office.  A lot had changed.  Of course the trip itself was happening many meters up in the air, as compared to the daily trip earlier, in BEST buses and or three wheeler auto rickshaws, all driving very much on the terra firma at the ground level.  But the route was same.  As the metro wended its way to Versova, I could see that lot of the skyline had changed.  Lot of landmarks that I was familiar with – some were still there, and many were changed.  It was a short trip down the memory lane, that tickled the strings of my heart, as I recalled the months that I had spent in this area, with memories mostly sweet.  Anyway, I will come back to that later.

So the four gang members landed up and met at the Versova station.  Bharat Bhai, who had earlier visited Arun ji, guided us as to the direction to take.  Arun ji’s residence is just a walking distance from the metro station.  So we walked, and enquired on way, and reached Jyoti Apartments.  As we were entering, I just happened to look across the road, and lo, I could see the Avinash Apartments complex where I had stayed for almost a year, and I could see the very apartment on the 4th floor where I lived.

We went towards block B in Jyoti Apartments.  In response to our call to him, Arun ji was waiting for us at the window of his first floor apartment, and guided us to the correct gate to enter.  We went up and reached his apartment B-13.

It was a very emotional encounter, especially for Khyati Ben and myself.  It would be the first time that the two of us were meeting Arun ji, and the circumstances could not have been more solemn and subdued.  It was a traditional greeting, touching his feet, and then I held him in my hug for a long time.  Any other occasion, I am sure there would have been some lively exchange on his “jet black” moustache, but it was not to be so that day.

We entered and we settled down in the study area, where Arun ji works on his computer, generating the many hundreds of posts that he has added to the blog.  The bookshelf just next to his work table, is full of books and notebooks.  Notebooks in which he stores his memories in writing.  His daughters were also present, and we were briefly introduced.

We talked about his loss and the current family situation.  Arun ji was quite composed and assured us that he is doing ok.  Yes, the loss is surely extreme, but then life is such.  One pauses and grieves for the loss, but then also one takes the next breath, the next step and the life continues.  Altered in some ways, but the relentless clock continues to tick and the life has to go on.

Next, we talked about the gangout meeting from the previous day.  Arun ji was very keen to know the details, and between the four of us, we gave him a fairly good briefing, on the gangout proceedings.  That was a lively discussion, as the four of us were quite keen to review the previous days program, and Arun ji, on his part was equally keen to know about how the day went.

It was a good almost couple of hours that we had spent there, sharing, reminiscing, discussing and reviewing, the program and events of the previous day.  It was a very lively session, as we all sat and discussed.  I assure you that being in the presence of Arun ji, is completely a wonderful experience.  Ah yes, I did mention to him that I had been living across the road from him for almost a year.  And then Arun ji in turn informed us that he had already moved into Jyoti apartments around 1985 or so, very well in time.  And so, the two of us have been neighbors for many months in the years 1987-88.  Just that, at that time, we did not holler across the road, checking into lyrics and songs information.  :)

Time came, and we had to take leave.  With sentiments still fresh in the hearts, we bade good bye to Arun ji.

The subsequent plans were that Nalin ji Shah, invited us all to his flat, for a brief get together.  Bharat Bhai took leave, as he had other things to attend to.  So, Khyati Ben, Sadanand ji and myself, we took the three wheeler auto rickshaw and via th Juhu Road, we traveled to Santa Cruz, to Nalin ji’s apartment.  As a gracious host, he had prepared ‘bataka pao’ for a lunch savory.  As we reached his place, the phone call exchange confirmed that Ranjan Sain had already reached and was waiting for us.  Ranjan ji is the cousin of Manju Amarnath Das, and a nephew to the producer director K Amarnath.

And thus followed a very lively session for the rest of the afternoon, at Nalin ji’s residence.  To start with, he recounted and reminisced about the numerous get togethers that had happened at the very place where were now sitting – gatherings that were attended by the stalwart artists of the industry, all friends of Nalin ji.  People like Kavi Pradeep, Anil Biswas, Indeevar, Rajkumari, Jairaj, Qamar Jalaalabaadi, Meena Kapoor, Bulo C Rani, Nini Majumdar, Sudha Malhora, and more.  He shared anecdotes from such gatherings.  The group had a lot of eager queries and Nalin ji recounted the things he knew.  Somehow, being a person with whom others simply confide, he carries in his head a lot of things that are proverbially from the horse’s mouth.  And some of them, he is not able to share.

Nalin ji’s apartment is also an interesting curio’s place.  There are rare photographs, rare books and records, some of them signed by the artists themselves.  Being a journalist, his habit is to collect and catalog documents and artifacts.  In fact he has original documents from the past, that have historical importance for the interested folks.  He recounted how met the family members of Saigal Sb, of music director Husnlal, Anil Biswas himself, OP Nayyar himself, Naushad Sb himself, and many more.  And with each such encounter, his collection of documents, photographs and artifacts became richer.

We also turned to Ranjan ji, and requested him to recount his memories of being the nephew of the great producer director.  He recounted the gala days when K Amarnath was a name that spelt success in the industry, and the also told about the days when his popularity and status waned, the episodes and events not all that happy anymore.

As we were talking, Nalin ji wandered away into another room. He returned after a few minutes, carrying in his hand, what looked like a large register.  This is his scrapbook, one of the many volumes that has prepared, to store the documents and photographs – a partial record of the history of the film industry itself.  He had the register opened at a particular place and he showed it to us and to Ranjan ji in particular.  Ranjan ji almost jumped up with joy.  What Nalin ji was displaying was a document that is the original contract document by which K  Amarnath retained the services of music director Shyam Sunder for the film ‘Alif Laila’ (1953).  This is an important document for Manju ji, and her archival web page for her father, producer director K Amarnath.  He requested for a copy, and Nalin ji promptly promised to send a scanned copy via email.

The string of interesting episodes continue to flow.  However, we came to a time when sitting any later would have been difficult for most of those present.  So we decided to close the session.  Ranjan ji, Khyati Ben and Sadanand ji took leave and departed.  It had been a very lively session.

So with this post, we have now documented all the events related to the gangout and the other outings of the gang members on the 21st and 22nd of December, 2014.

For this post, I present this lively song from the 1966 film ‘Gogola’, starring Azad, Tabassum, Rani, Paulson, Niyampalli, Habeeb, Bhale Rao, Sharma, and Chander K.  The songs of this film are written by Baalkavi Bairaagi and the music is by Roy Frank.  The singing voice is that of Mahendra Kapoor. It seems as if  the creators of this song tried to recreate an aura of “Ae Dil Hai Mushkil Jeena Yahaan” (‘CID’, 1956).  Tried, but have been able to get just a shadow of that classic. However, the song does take you on a trip from Boribunder in the extreme south, to Borivali in the north.  Another suggestion of a new category – ‘searching for love’.

A fun song, reasonably good.  Listen and enjoy.

Song – Boribunder Se Borivali Dekh Li Maine Gali Gali (Gogola) (1966) Singer – Mahendra Kapoor, Lyrics – Balkavi Bairaagi, MD – Roy Frank

Lyrics

boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

railon mein dekha
melon mein dekha
chhail chhabeele chhailon mein dekha
caron mein dekha
thelon mein dekha
kaarkhaanon mein dekha
jailon mein dekha
nahin mili par nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

sau sau baar samandar dekha
chidiya ghar ke andar dekha
bhaalu dekha
bandar dekha
overbridge ke under dekha
nahin mili par nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

batua khoyea
jeb kataaya
terylene ka pant ganwaaya
isey pataaya usey pataaya
bhookhon reh kar weight ghaaaya
nahin mili par nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali
dekh li maine gali gali
meri saanwri mujhe nahin mili
meri saanwri mujhe nahin mili
boribunder se borivali

———————————————————-
Hindi script lyrics (Provided by Sudhir)
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बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली

रेलों में देखा
मेलों में देखा
छैल छबीले छैलों में देखा
कारों में देखा
ठेलों में देखा
करखानों में देखा
जेलों में देखा
नहीं मिली पर नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली

सौ सौ बार समुंदर देखा
चिड़िया घर के अंदर देखा’
भालू देखा
बंदर देखा
ओवर ब्रिज के अंडर देखा
नहीं मिली पर नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली

बटुआ खोया
जेब कटाया
टैरीलीन का पैंट गंवाया
इसे पटाया उसे पटाया
भूखों रह कर वेट घटाया
नहीं मिली पर नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली
देख ली मैंने गली गली
मेरी सांवरी मुझे नहीं मिली
मेरी सांवरी मुझे नहीं मिली
बोरिबंदर से बोरीवली


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.

The film ‘Jwala’ was started sometimes in the second half of 1950s.  It was finally released in 1970, a year after the passing away of Madhubala.  As with some of her last films, this film also has deficient and compromised editing, and possible use of a double in some scenes, just to try and complete the storyline.  But forever, this will be known as her last released film.
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.

The twinkling eyes and the arresting smile get to your heart when she sings “Kabhi Aar Kabhi Paar Laaga Teer e Nazar”. An accomplished dancer, who has the capability to take a song, many levels higher.  Witness that in “Diya Na Bujhe Ri Aaj Hamaara” (‘Son of India’, 1962), “Dagaa Dagaa Wai Wai Wai” (‘Kaali Topi Laal Roomaal’, 1959), “Tera Jalwa Jisne Dekha Wo Tera Ho Gaya” (‘Ujaala’, 1959), “Tera Teer O Bepeer Dil Ke Aaram Paar Hai”, (‘Sharaarat’, 1959), “Madhuban Mein Radhika Naache Re” (‘Kohinoor’, 1960), “Rang Rangeela Saanwra Mohe Mil Gayo Jamna Paar” (‘Baarood’, 1960), “Ab Na Chhupo Re Chhalia” (‘King Kong’, 1962), “Kaanha Jaa Re Teri Murli Ki Dhun” (‘Tel Maalish Boot Polish’, 1962), “Zulmi Hamaare Saanwariya Ho Ram” (‘Mr X In Bombay’, 1964), “Tujhse Wo Neha Lagaaye” (‘Shreeman Funtoosh’, 1965), “Door Kahin Door Hamen Le Chalo Sanam” (‘Ek Sapera Ek Lutera’, 1966), “Main To Khadi Re Khadi Re, Aankh Ladi Re Ladi Re” (‘Sab Ka Ustad’, 1967), “Mera Naam Hai Chameli, Main Hoon Maalan Albeli” (‘Raja Aur Runk’, 1968), and many more.  Once again request Atul ji to create a new category – ‘Kum Kum Dances’.

Greetings to Kum Kum on her birth anniversary today (22nd April).
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.

‘. . . given a chance, I’d choose to be an actress all over again.’ Closing words in an interview that she gave ten years before she passed away in 2000.  She is the recipient of the very first Filmfare award for best female supporting role – she won it for her portrayal of a young fisherwoman, Mohnia, in the film ‘Baadban’ (1954).

Remembering Usha Kiran, on the anniversary of her birth today (22nd April).
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.

The first lady of Bangla cinema. And the first lady singing superstar of Indian cinema. It is said that at the height of her popularity, she required protection when she was traveling.

Remembering Kanan Devi on the anniversary of her birth today (22nd April). (It is her 99th anniversary)
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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.

Songs to Tickle Your Memory – 18
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Bring up and test this, works every time.  Looking for a good melodious song that will strum the strings of the heart – just pick an obscure film from 1950s or 60s.  If the lyricist and music director and the singer(s) are from the proverbial ‘lesser known’ category, all the better.  Just run through the song list of such a film.  I promise you will find a memory tickler hidden in there, which will make you exclaim – “achhaa, ye gaana is film ka hai”  (“Aha, so this song comes from this film”).  I have tried this many times; always been a success.

Take this film, and this song.  I have wonderful humming memories of this song from the radio listening days.  For all this time, I was unaware of the details.  Searching for songs by Chitragupt, I ran into this a few days ago, and had that ‘Aa Haa’ reaction.  Wow, so this is it.
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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.

Not many debuts can be better than starting with the song “Afsaana Likh Rahi Hoon. . .” (‘Dard’, 1947).  His innings lasted for 23 years.  A long time in which he could not even complete a century of films.  He has written about 750 songs in 89 films across his career.  Typecasting, or more correctly to state, pairing groupism was responsible for this state of affairs.  All along his career, his partnership with music directors remained primarily confined to just three – Naushad Sb, Ghulam Mohammed Sb and Ravi.  His films with other music directors are really few and far between.

Remembering Shakeel Badayuni on the anniversary of his passing away today (20th April).
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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.

Seven years, nineteen films, a celebration wedding that was the talk of the tinsel town, and then handing over the torch to the next generation.  That about sums up the career of the once beauty star – Babita.  Greetings to her on the 67 birthday today (20th April).

The short lived career, however, was a scintillating one.  She appeared opposite to practically all the top heroes in the industry at that time, and did a number of musical romantic films, as could have be the draw for the young and beautiful lady.  It is known that GP Sippy first offered the role of Sheetal, the young widow with child, for his upcoming film ‘Andaz’ (1971) to Babita. After some in-family discussions, she turned down the role, possibly considering that it might work to be a negative for her career.  Another youngster, Hema Malini, took on the role.  Hema Malini had made her debut in 1969, three years after Babita’s debut (‘Dus Lakh’, 1966).  Both are of the same age though, having the same year of birth.  The trajectories of their subsequent careers and lives, tell their own stories.
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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.

The Wonderful Sounds of 1930s – 5
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What to write about the voice for which no information is apparently traceable.  Many artists of the 1930s have become obscure.  The Indian cinema industry is notorious for ignoring its own history and roots.  There have been no industry supported or sponsored programs or efforts aimed as compiling and collating the history of its own.

Akbar Khan Durrani Peshawari – a voice that appears to be a trained classical singer, has no traceable information available, other than of course the listings in the Geet Kosh, that identify maybe about 5 songs sung by him. Searching on the YouTube, one can locate maybe about four or five of his songs, all of which are not identified in the Geet Kosh.  There are two songs from the film ‘Sultaana’ (1934), which are available in his voice.  Both are wonderful gems – “Kitaab e Dard mein Likha Mere Gham Ka Fasaana Hai” and “Mushkil Kushaa Hai Naam Tera”.  On the blog, we have one more song in his voice already posted; the film is ‘Postman’ (1938) and the song “Hauslaa Aashiq Ko Chaahiye Dil Ko Lagaane Ke Liye“.
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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 11000 song posts by now.

Total number of songs discussed

11094

Number of movies (All songs covered)

662

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