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

Archive for September 2011


Here is a song that is extremely rare and obscure even by the standards of this blog where rare songs are discussed on a regular basis. And a song like this cannot be discovered just by stumbling against them in some site. One needs to consciously search for songs like this by name. I had got a lead somewhere that there was a music director called Pt Govardhna Prasad who was the father of Khemchand Prakash. Pt Govardhan Prasad worked as a music director in only one movie and that movie was called “Ismat”. With this minute bit of information, I set out to search for the songs of this movie.
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“Pehle Aap” (1944) was one of those early movies which decided the course of action that future Hindi movie music was to take. This movie, like other movies where Naushad was the music director, had its music based on folk music, and that enabled public to readily connect and identify with this music.
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“Nartaki” (1963) is a Film Bharati productions movie. It was directed by Nitin Bose. This movie had actors like Sunil Dutt, Nanda, Preetibala (Zeb Rehman), Aruna Irani, Moni Chatterji, Om Prakash,Nana Palsikar, Agha, Chandrima Bhaduri, Polson etc.
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The realisation that there are no more K L Saigal songs to discuss now gives me an empty feeling, but with that also comes the satisfaction of a job well done. The satisfaction that the blog now has all the K L Saigal songs in Hindi/Urdu that are available- movie songs as well as non movie songs is immense.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

‘baalam to pe sabar padey, moraa maikaa chhudaaye deenhon raam’

“O dear sweetheart, you have made me relinquish my mother’s home, hope you are now pleased and satisfied”

More than ‘Gham diye mushtaqil kitna naazuk hai dil (Shahjahan). . .’, and ‘Jab dil hi toot gaya(Shahjahan). . .’, this unfinished song is a much more fitting signature song that suddenly defines the totality of Saigal Saab’s essence of spirit, and sums up his entire life in terms of the most relevant event of human existence – the final departure.
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When it comes to artists of 1940s, there was a plethora of two names. One name was Khursheed and another was Shyam. There were far too many persons being called Khursheed and Shyam. The onfusion was further enhanced by the fact that the two Shyams will act together in the movie and one Shyam would give playback for the other Shyam.
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