Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for July 2011


In Hindi movies, there used to be a case where a character would decide to leave his/her family/neighbours/friends for ever, not knowing where he/she would go. I call such songs as “chal ud ja re panchhi” song, in honour of the iconic song from “Bhaabhi” (1957) that depicted this scenario.
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Here is an absolute gem of a song that has been lying hidden all these decades.

This song is from “Nayi Kahaani” (1943). I am not only surprised that music lovers have forgotten this song, I am even more surprised at the fact that the print of this movie is still available and that too in a reasonably pristine condition, going by the print quality of this picturisation. So kudos to the people who have preserved the print of this movie in such a good condition.
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We have been discussing one K L Saigal song a day in this blog for the last 40 odd days and now we have notched up a healthy number of K L Saigal songs ( 71) in this blog. K L Saigal sang around 104 Hindi movie songs and another 30 odd non movie songs in this language. We will cover all the K L Saigal songs that are available.
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This article is written by Sudhir, a fellow enthusisat of Hindi movie music and a regular contributor to this blog.

The enticement of the tinsel world of films has fostered many real life stories of people from all walks of life giving up their professions and jobs, with an aspiration to make it a success in the film world. The story of the famous composer Chitragupt (full name Chitragupt Stivastava) is also of this kind. Born in 1917 in Karmaini (Chhapra District), Bihar, Chitragupt did a double MA in Economics and Journalism, and was working as a lecturer in Patna. In the early 40s, he gave it all up and came to Bombay with a dream to make it big, not as an actor, but as a singer and music director. He worked as an assistant with SN Tripathi, who became his mentor. In 1946, Chitragupt got his first independent assignment as a composer for the movie Toofan Queen. Not a success on the box office, the film did nothing much to help progress Chitragupt’s career. He would do another 20 odd films between 1946 and 1952, before coming into his own in the early 1950s. The 1952 film Sindbad the Sailor, though not a huge success in itself, its music was very successful. In 1955, SD Burman recommended him to the AVM studios (in Madras), which started an association that lasted for many years. During this time, he composed music for many hit films from AVM viz., Mein Bhi Ladki Hoon, Barkha, Mein Chup Rahoongi, Bhaabhi etc.
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“Pyaar ki Pyaas” (1961) is a moving story of an orphan girl who is adopted from an orphanage by a childless couple who bring her up with love an affection. But once the couple manage to have a child of their own, this girl gets neglected and she ends up in the same orphanage. In the end, the couple realise that their neglect towards the girl was unfair and they search for her. In the end,all is well that ends well.
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I have noticed that majority of Hindi movie characters do not seem to do anything for their living, at least as far as songs are concerned. Most songs are about feelings of happiness, sadness, love etc. There are very few songs about the activities that help people make a living.
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“Rail Ka Dibba” (1953) is one of the earliest movie of Shammi Kapoor. In this movie he is paired opposite Madhubala. By that time, Madhubala had already carved a niche for herself whereas Shammi Kapoor had yet to discover his niche.
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This article is written by Sudhir,a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Sheeshmahal (1950) is a well known Sohrab Modi production that deals with the ups and downs of life. The movie contains a number of good songs, four of which have already been discussed on this blog.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The poetry rendered to life by Saigal saab, is limited and yet infinite. By all accounts, the total recordings available of the songs and ghazals sung by him is less than 200. And yet, the presence of these countable offerings is infinite in themselves. Every time I pick up a recording to listen, it sounds new, fresh, and with new meanings and inflections. Such is the depth and range of this divine voice, that it is impossible to fathom it fully, no matter how many times one listens.
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