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

Archive for February 2013


This article is writtten by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The ghazal ‘ae mohabbat tere anjaam pe ronaa aayaa’ and Begum Akhtar are inseparable. If ‘deewaana banaana hai to deewaana banaa de’ (1925) heralded the arrival of Begum Akhtar as a ghazal singer, ‘ae mohabbat tere anjaam pe ronaa aayaa’ (early 1950s) consolidated her position in ghazal singing paving the way for her to be bestowed upon the title of ‘mallika-e-ghazal’ later. I came to know about Begum Akhtar in my younger days only because of this ghazal which was regularly played on the radio. The simple words in this ghazal with the captivating style of Begum Akhtar’s rendition attracted not only the connoisseurs of ghazals but also the commoners. No wonder, the sales of gramophone records of this ghazal attained the stature of a platinum disc.
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“Janam Janam Ke Phere” aka Sati Anapurna was a Mukti Films production movie. It was produced by Subhash Desai and directed by Manoo Desai. The movie had Nirupa Roy, Manhar Desai, MB M Vyas, S N Tripathi, Satish Vyas, Amar, Pandey, Kanta Kumari, Malay Sarkar, Champaklata, Krishna Kumari and Mahipal (guest artist) in it.
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This article is written by Pamir Harvey, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

“Zehreela Insaan” (1974) was Rishi Kapoor’s second movie after his debut as a lead actor in “Bobby” (1973). He took a major risk going from his chocolate hero in “Bobby” to a hero with dark shades in “Zehreela Insaan”. The box-office, unfortunately, didn’t think highly of this commendable act. The film flopped and from then on he hardly ventured into this territory again.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

When the techniques of song recording were first introduced in India by a few music record companies, there was some initial myths and superstitions associated with it. A few of the professional singers believed that song recordings reduced the life span of singers as the electric gadgets suck away the lung power. A few even went to the extent in saying that the microphone takes away all the good qualities of a singer’s voice. It is said that Kesarbai Kerkar, the classical singer did not record a single song for music companies during her life time. Ustad Bade Ghulam Ali Khan, the doyen of Patiala Gharana initially evaded recordings on some pretext or other but the underlying factor seemed to be the fear of losing the quality of his voice.
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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.

My younger days were made more enjoyable by Talat’s songs. Though I was born and brought up in Hyderabad state- a Muslim ruled state(The Nizam was the king ruling on 85 % Hindu population….exactly opposite of Raja Harisingh of Kashmir ruling on 85% Muslims ! ), initially I was not much interested in Urdu Gazals etc. My interest in Urdu Gazals was ignited and further nurtured by by the way Talat sang them.
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