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

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This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3800 Post No. : 14791

“Spy in Goa”(1966) was directed by Dharam Kumar. This “stunt” movie had Sheikh Mukhtar, Randhwa, Malika, Meenakshi, Amarnath, Maruti, Helen, Hercules etc in it.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Spy in Goa”(1966) to appear in the blog. The song is sung by Usha Khanna and chorus. Yogesh is the lyricist. Music is composed by Robin Bannerji.

The song is picturised as a club dance song. I am unable to identify the lady who lip syncs in Usha Khanna’s voice. I request our knowledgeable readers to help identify her.


Song-Aao na jaane jaan..ye samaa khushnuma(Spy in Goa)(1966) Singer-Usha Khanna, Lyrics-Yogesh, MD-Robin Bannerji
Chorus

Lyrics

aa aa aa
aa aa aa

aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa

ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
chhed de hum jawaan
daastaan
aao na
ye sama
khushnuma
aao na jaane jaan
chhed den
hum jawaan
daastaan

aaj chhaaya hai ye kya
in fizaaon mein ae dilruba
haaye jaalim nasha madbhara
saaj-e-dil pe ae sanam
dhun koi haay ab pyaar ki
chhed de tu bhi zara
ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane ja
ru ru ru ru
chhed de hum jawaaan
daastaan
aao na
ye sama
khushnuma
aao na ae jaane ja
ched de ham jawaan
daastaan

beet jaaye na yoonhi
baaton baaton mein dekho kahin
aaj humdum ye ghadiyaan haseen
kaun jaane kal ho kya
yahaan pal ka nahin hai pata
kar na kal pe tu yakeen
ye sama
ru ru ru
ho khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
ched de
hum jawaan
ru
daastaan
aao na
ye sama
khushnuma
aao na
ae jaane ja
ched de ham jawaan
daastaan

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This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3798 Post No. : 14788

“Bullet”(1976) was directed by Vijay Anand for Navketan Productions on the occasion of the silver jubilee of this production house. This movie had Dev Anand, Parveen Babi, Rakesh Roshan, Kabir Bedi, Jyoti Bakshi (new discovery), Sonia Sahni, Shreeram Laagoo, Jagdeep, Mohan Sherry, Ranjana Sachdev, Murad, Ranjan, Sheela, Shefali, Jazebel, Julie, Ratna, Julien, Mamaji, Moolchand, Sharat Saxena etc in it.

This movie had four songs in it. Three songs have been covered in the past. Here is the list of the songs already covered:-

Song Title

Post No.

Post Date

Jab tum chale jaaoge to yaad bahut aaoge 5100 4-Dec-11
Chori chori chupke chupke tere mere bin 13614 26-Sep-17
Mat chhedo gham ki baaten 14785 9-Dec-18

The fourth and final song left to be covered is in fact the first song in the movie. It is the title song of the movie as well, where the word bullet appears more than fifty times.
Sudhir Jee, in his comments to the earlier song mentions that

Praveen Babi is the love interest of Dev Anand, and Jyoti Bakshi is the love interest of Rakesh Roshan. Both are police officers. Praveen Babi works for Kabir Bedi, who is actually a gangster. Dev Anand is after him, but Kabir Bedi is successful in getting Dev Anand suspended from the police force on fabricated charges.

In the sequence of events, Jyoti Bakshi gets killed, and that pits Rakesh Roshan against Dev Anand, as the suspicion falls on the latter. Dev Anand then visits Kabir Bedi in his office and drops a bullet on his table, and challenges him that this bullet carries his (Kabir Bedi’s name) and that his days are numbered. That is where the title of the film comes from.

The song is sung by Kishore Kumar. Anand Bakshi is the lyricist. Music is composed by R D Burman.

With this song, “Bullet”(1976) joins the list of movies that have all their songs covered in the blog.

Audio

Video

Song-Bullet bullet (Bullet)(1976) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman
Chorus

Lyrics

bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet

hey dekho
yeh kya hai
ispe naam tera likha hai
arre dekho
yeh kya hai
ispe naam tera likha hai

bullet bullet bullet bullet
bullet bullet bullet
bullet bullet bullet bullet
bullet bullet bullet

hey dekho yeh kya hai
ispe naam tera likha hai

bekhabar baitha hai
mast hai peene mein
ek din yeh lagegi pyaare tere seene mein
bekhabar baitha hai
mast hai peene mein
ek din yeh lagegi pyaare tere seene mein
are yaar mere abb hota kya hai aage aage aage aage
dekho yeh kya hai
tere dard e dil ki dawa hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet

are dekho yeh kya hai
ispe naam tera likha hai

lallalala
lala
lalla
lalla

yeh nahin toh kya hai
jisse tu darta hai
main tujhe aur tu kisko talaash karta hai
yeh nahin toh kya hai
jisse tu darta hai
main tujhe aur tu kisko talaash karta hai

are yaar mere ab hota kya hai
aage aage aage aage
dekho yeh kya hai
yeh kya hai yeh tujhko pata hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet

are are dekho yeh kya hai, ispe naam tera likha hai

yaad rakh deewaane
yaad rakh deewaane
tu woh parwaana hai
usko apni lagaayi aag mein jal jaana hai
yaad rakh deewaane
tu woh parwaana hai
usko apni lagaayi aag mein jal jaana hai
arre yaar mere abb hota kya hai aage aage aage aage
dekho yeh kya hai,
yeh inaam hai ya saza hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet

hey dekho yeh kya hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet


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.

Blog Day : 3796 Post No. : 14785

“Bullet”(1976) was directed by Vijay Anand for Navketan Productions on the occasion of the silver jubilee of this production house. This movie had Dev Anand, Parveen Babi, Rakesh Roshan, Kabir Bedi, Jyoti Bakshi (new discovery), Sonia Sahni, Shreeram Laagoo, Jagdeep, Mohan Sherry, Ranjana Sachdev, Murad, Ranjan, Sheela, Shefali, Jazebel, Julie, Ratna, Julien, Mamaji, Moolchand, Sharat Saxena etc in it.
This movie was supposedly based on a James Hadley Chase novel but was slaughtered ( aka adopted) suitably as befitting a movie starring Dev Anand. 🙂

The movie had four songs in it. Two songs have been covered in the past. That leaves two songs to be covered.

Here is the third song from “Bullet”(1976) to appear in the blog. Video of the song does not appear to be available on YT. audio is available and that too is supposed to be a rare song.

The song is sung by Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by R D Burman.

The audio begins with a dialogue where a lady (played by Parveen Babi perhaps ?) is slapped by her father and then she utters some dialogues which precede the song.

I request our knowledgeable readers to throw light on the picturisation of this song.

PS-Prakashchandra, our extremely knowledgeable reader has provided the video link of the song, and has informed that the song is picturised on Jyoti Bakshi.
Sudhir Ji points out that the dialogue comes after the song in the movie.

Audio

Video

Song-Mat chhedo gham ki baaten (Bullet)(1976) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

dialogues
————————————–
ye chaanta aapko tab maarna chaahiye thha
jab maine pahla cigarette piya thha
us waqt main gyaarah saal ki thhi
lekin aapko meri taraf dekhne ki fursat kahaan thhi

ye chaanta aapko tab maarna chaahiye thha
jab maine pehla boyfriend banaaya thha
us waqt main chaudah saal ki thhi
lekin aapko dekhne ki fursat kahaan thhi

ye chaanta aapko tab maarna chaahiye thha
jab pehli baar main juye mein sau rupaya haari thhi
us waqt main pandrah saal ki thhi
lekin tab bhi aap ko fursat kahaan thhi

tab maarna chaahiye thha
jab maine pehli baar LCD ki goli khaayi thhi
pehli baar charas pi thhi
us waqt main solah saal ki thhi
lekin tab bhi aap ko meri taraf dekhne ki fursat nahin thhi
nahin thhi
—————————–

o o o o
hey hey hey hey hey
hey hey hey hey
mat chhedo o o
gham ki baatein
in baaton mein aen aen aen aen
dum nahin
in baaton mein aen
dum nahin

kaise hum jee rahe hain
aise hum jee rahe hain
kaise hum jee rahe hai
aise hum jee rahe hai
jaise koi zeher hai
hans ke hum pi rahe hain
sote huye ye din guzre
jaagte beetin raaten kayi
peene ke baad
aati hai yaad
bhooli huyi baatein kayi
o o
peene ke baad
aati hai yaad
bhooli huyi ee baatein kayi

jaadu se chal rahe hain
armaan nikal rahe hain
jaadu se chal rahe hain
armaan nikal rahe hain
shole lapak rahe hain
din mein dil jal rahe hain
palkon ke neeche
in aankhon ke peechhe
chhupi hai barsaten kayi
peene ke baad
aati hai yaad
bhooli huyi baatein kayi
o o
peene ke baad
aati hai yaad
bhooli huyi ee ee baatein kayi
bhooli huyi ee ee baatein kayi ee ee


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.

Blog Day : 3796 Post No. : 14784

Today’s song is from the film Mahatma Kabir-54.

India has been attacked and ruled by outsiders for centuries. Religions other than Hinduism ruled this country and at times it was feared if our religion will become extinct. Perhaps, from this feeling Bhakti Movement started in India in one part and over the years it engulfed the entire Bharatvarsha. During this period, many saints, teachers and holy figures came up and helped the country to be strong once again in matters of religion.

The Bhakti movement refers to the theistic devotional trend that emerged in medieval Hinduism and later revolutionised in Sikhism. It originated in eighth-century south India (now Tamil Nadu and Kerala), and spread northwards. It swept over east and north India from the 15th century onwards, reaching its zenith between the 15th and 17th century.

The Bhakti movement regionally developed around different gods and goddesses, and some sub-religions were Vaishnavism (Vishnu), Shaivism (Shiva), Shaktism (Shakti goddesses), and Smartism. The movement was inspired by many poet-saints, who championed a wide range of philosophical positions ranging from theistic dualism of Dvaita to absolute monism of Advaita Vedanta.

The movement has traditionally been considered as an influential social reformation in Hinduism, and provided an individual-focused alternative path to spirituality regardless of one’s caste of birth or gender. Postmodern scholars question this traditional view and whether the Bhakti movement ever was a reform or rebellion of any kind.

India is a Multi racial, multi language and Multi religions country. It is not only one of the largest Democracies in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.

Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.

Kabirdas ji is one saint who is revered equally by Hindus and Muslims as well as Sikhs. He belonged, in fact, to all Indian masses.

Kabir was born near Kashi (Varanasi) to a Bramhin widow, who deserted him, for fear of social boycott. He was found and brought up by a Muslim weaver couple-Niru and Naima. Vaishnava Saint Ramanand accepted him as his disciple. Unlike some other saints, Kabir did not become a Sadhu or a Fakir, but he married and led a normal life earning from his Loom works. He had 1 son and 1 daughter also.

Kabir campaigned against social discrimination and economic exploitation. He vehemently opposed dogmas in Hinduism and Islam. His language was straight from the heart, using common vernacular words, which appealed to the masses. He was against Moorti-puja and believed in Bhakti and Sufi ideas. He was an illiterate person. His poems and Dohas were heard ,noted and written by his followers. His works are included in the Guru Granth Sahib of the Sikhs also. His dohas were in Awadhi, Brij and Bhojpuri languages. Through his philosophies, he spread the message of unity during his times. For him Ram and Rahim were the same.

While the authentic period of kabir is 1440 to 1518, there are popular legends about him living for 120 years and after death, his body turning into Flowers.

More than anything else, Mahatma Kabir is remembered for the courage of his convictions. He was a religious reformer who slashed down the orthodox bigotism of Hindus and Muslims alike. He denounced with a touch of satire, the whole apparatus of piety of the temple and the mosque, the idol and the holy water scriptures and the priests, labelling them as cults that vainly tried to replace Reality with Ritual. And thus it was that while courting bitterness from the accepted monopolists of Faith, he tried to eliminate the bitterness that then existed between Hindu and Muslims of that day. The life story of Kabir saheb is surrounded by numerous contradictory legends, on many of which reliance cannot be placed. It is therefore not to be expected that any one version of his life could satisfy all such sections of people who claim to know anything about him.

Mahatma Kabir-54 was made by New premier Films, Bombay and it was directed by Gajanan Jahagirdar. The music was by Anil Biswas and the cast included Surendra, Sulochana, Jahagirdar, Randhir, Lalita Pawar and others. The story of the film is…

The story of Mahatma Kabir begins with the unfolding of a lotus as divine light penetrates through its petals. The infant that lay within, stretched out its chubby arms to Nooru and Naima, a weaver couple of Benares, who brought him up as Kabir, their foster son. But Kabir grew into a strange boy, dreamy and listless, curious of matters spiritual, until one day he saw in Swami Ramananda his destine teacher. Eager to meet his Guru alone, he lay upon the steps of the Ganges, where Ramananda was accustomed to bath. The master trod upon his body unexpectedly and exclaimed “Ram Ram”. Accepting this as a token of the mantra of initiation, and with inspiring words of the Guru, Kabir stepped forth in pursuit of his mystic mission.

As a youth, he found his opposition from the orthodox groups increasing in the threatening proportions. His family was ostracised socially and economically, a calamity to which his foster father Nooru succumbed. All legends agree that Kabir a simple unlettered weaver relied in work as a means of living independently of any charity and earned his livelihood from the loom. The work of his hands helped him rather than hindered the impassioned meditation of his heart from the depths of which he sang the rapturous lyrics of divine love.

Kabir Saheb was constantly harassed by the Mahajan for the repayment of his foster father’s debt which on account of his economic boycott he was not able to repay. He was involved in a theft charge and presented before the Ruler of Kashi who ordered him to be whipped. The sentence was executed but Kabir smiled at the foolishness of those trying to punish him for the offence he had not committed, while the real offender on whom the lashes were actually falling cried in pain. The repentant Kashi Naresh honoured and feted Kabir and the entire ensemble shouted Kabirji ki jai. Returning home Kabir found his ancestral home attached by his Mahajan. People offered to pay off the debt but Kabir declined their offer. He thought that Ram was taking him closer to Himself by removing slowly the barriers of worldly possessions.

With the ancestral house gone, Kabir walked away to the ruins in the outskirts of the Kashi with his foster mother Naima and wife Loi. From there, this apostle of Universal Love, travelled through the length and breadth of the land and the countries beyond, spreading his gospel far and wide while his foster-mother and wife Loi suffered the privations of life. After many years he returned to Benares, where his ailing mother held her breath only to see him for the last time. Now Kabir was an old man, but much revered and still more opposed. This opposition culminated in his being presented before Sikander Lodi on a charge that he was not only an enemy of Islam but also a traitor to the throne of Delhi. Sikander referred the matters to the Kazi of Benares, who ordered him to be thrown into the Ganges tied hand and foot. The cruel sentenced was carried out, while a vast multitude, thronging the Benares Ghats looked on with throbbing hearts and streaming eyes.

As expected Kabir survives and the Kazi and Sikander bow their heads in respect. Finally when Kabir dies, his body turns into flowers and Hindus and Muslims share it for their respective last rites.

The music for this film was given by Anil Biswas. C.H.Atma, who unsuccessfully tried to become a singing star in films like Bhai sahab-54 and Bilwamangal-54, had sung a Bhajan ” Ram Ras Barse re manwa ” in this film as a playback-in Saigal style. Anil Biswas and Saigal were good friends. Whenever Saigal wanted to avoid any unwanted visitor to him, he would escape to Anilda’s home and take his afternoon siesta. Unfortunately, Saigal never sang for Anilda, though he had kept one tune ready for him. This was later used for a song by Mukesh in another film.

Not Saigal, but singers who liked Saigal, sang for Anil Biswas…like Mukeh in Pehli Nazar-45 (dil jalata hai to jalne de), Kishore kumar in film Fareb-53 ( husn bhi hai udas) and C.H.Atma in the film Mahatma Kabir-54 (Ram ras barse re Manwa).

The Hero of Mahatma Kabir was Surendra. At one time he was projected as Bombay’s answer to Calcutta’s Saigal, by Sagar Movietone. While working in Sagar and National, Anil Biswas had used Surendra’s voice in films like Jagirdar, Mahageet, Gramophone singer, Comrade, Aurat and Jawani. Sagar Movietone always tried to compete with New Theatres, Calcutta. When they made President-37, Sagar made Jagirdar-37 and when Street singer-38 was made, Sagar made Gramophone singer-38. Though Surendra was popular, he could never match Saigal. It is to the credit of Surendra, that personally he revered Saigal and never thought of competing with him.

It was Naushad, who first stopped Surendra’s singing and gave him playback of Ustad Amir khan in film Baiju Bawra-52. When he was sporadically heard in films Gharbar-53 and Gawaiya-53, Anil Biswas bloked his singing again and all songs for Surendra in film Mahatma kabir were sung by Manna Dey as playback. After this Surendra only sang in film Pati patni-66. It was rumoured that Surendra himself requested the producer to allow him to sing his last song. He did it free too !

Amirbai Karnataki , who sang in this film was also in her last phase of film singing and after Mahatma Kabir-54, she sang only one song each in 57,61,64 and 72. Thus ended her singing career.

HFGK mentions that today’s song is written by Kabir himself. However, I find that except the Mukhda ‘ Ram Rahima ‘(repeated several times till last), the antara words are from a famous song by Wajid Ali Shah- ‘ Babul mora ‘, which was used in films like The trapped-31, Nachwali-34, Street singer-38 and Shatranj ke khiladi-77.

The song by Manna Dey and Chorus is very good. As such Anil Biswas was an expert in composing chorus songs, in his films. You may find at least one or two chorus songs in most of his films.


Song-Ram Rahima Ram Rahim (Mahatma Kabir)(1954) Singer- Manna Dey, Lyrics- Kabir Das , MD- Anil Biswas
Chorus

Lyrics

ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim

baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
naihar chhuta hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim

chaar kahaar mil ab doliya aa aa sajaawen
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
mora apna begaana aa aa chhuto jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa aa aa aa aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa aa baabul mora aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
)
baabul mora aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
)


This article is written by Peevesie’s mom, 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.

Blog Day : 3795 Post No. : 14783

Hullo, hi, pranaam. Good day to all of Atuldom.

Today (8 december 2018) we have a handsome man turning a year older. He has crossed 80 a few years ago but that has not reduced his charisma or charm or fan-following. He is still active on the silver-screen, even if only in home productions, and has his sons as his co-stars.

He has had a rather loooonnnngggg journey having started in 1960. He was the son of a village school headmaster in Ludhiana of Punjab. His mother was the one who supported him in fulfilling his dream of being an actor (he has mentioned this in various interviews of his). He was bitten by the acting bug after seeing Dilip Kumar on-screen. To pursue his dream, he entered the Filmfare New Talent Contest and won it. He was launched by Arjun Hingorani in “Dil Bhi Tera Hum Bhi Tere” in 1960. From then on, he has been entertaining us.

Dharmendra – the he-man with a soft heart. I have read in numerous of his interviews and heard him on television too that his home is always open to anyone who needs his help. The first time I registered this actor or fell in love with him was probably in “Guddi” along with Jaya Bhadhuri (she was also shown to be a Dharmendra fan) or was it in “Seeta aur Geeta”. Or it could be that I saw “Sholay” fell in love with Veeru and then subsequently saw “Guddi” and “Seeta aur Geeta” on Doordarshan and realized who Raka or Dharmendra (he played himself in Guddi) the actor was.

After “Sholay” I have seen many of his movies, even those where he stood next to a bookshelf and sang – “ya dil ki suno duniyawalon ya mujhko abhi chup rehne do” or stood looking out of a window with the “Meghdhoot” in had singing – “tum pukarlo, tumhara intezaar hai”. Loved him even with his heavy lip-sticked- makeup singing “aap ki haseen rukh pe aaj naya noor hai”.

How can anyone forget his pairing with Meena Kumari, Asha Parekh, Waheeda Rehman, Nutan, Vyjayanthimala, Sadhana, Saira Bano, Mumtaz, Babita and all the other ladies of the 60s. He is a lucky guy as he got to romance all the leading ladies of the 70s & 80s. He was sensible enough in not trying to play a romantic lead in the 90s and the few movies where he had heroines it was either Jaya Prada or Sridevi. In the other movies he played a mentor or guardian to the hero or heroine as in “Dadagiri” {1987} he mentors Padmini Kolhapure and helps her in her mission to take revenge against Amrish Puri.

Similarly, in the 1988 “Paap ko jalakar raakh kar doonga” he is shown his to keep his emotions under control in front of his niece played by Farha after her husband is killed by ‘goondas’ and quietly trying to take revenge against the people responsible of the havoc caused in his ‘hasta khelta’ niece’s life. He is an actor who held his ground during the Rajesh Khanna and Amitabh Bachchan wave.

There are many movies starring Dharmendra and we have covered all his popular ones. Atleast that is what I expected. But I am proved wrong there are many more out there which makes it a difficult job to decide what song to present here. I am taking the easy way out and posting the song which is topmost on my head. It is by the Kishore Kumar- Anand Bakshi- R D Burman trio, from the 1978 Pramod Chakravarty produced and directed “Azaad” which was decently successful at the box office.

It was a typical masala movie where Hema Malini played a rich-spoilt- haughty princess and Dharam an eccentric do-gooder (Ashok) who first has his run-ins with the Rajkumari, teaches her to respect food, the poor etc and finally lands up in a factory owned by her. The movie goes through the routine of the princess trying to humiliate Ashok, then falling in love with him and the evil villains trying every trick to bring the movie to the climax.

Today’s song happens when Hema is in the haughty phase and Dharam wants to protect all of the jungle creatures if possible. The song shows our darling Dharam in his trade mark style of being rough and tough (junglee to an extent) and Prem Chopra to be a little stupid. But this is the perfect song to show who or what we experienced when we saw Dharmendra on screen in the late 70s and early 80s.

Wishing you a very Happy Birthday dear Veeru or Garam Dharam alias Dharmendra.


Song-Main Laila ka Majnu Shirin ka Farhaad (Aazaad)(1978) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

O hoooo
o hoooooo

main laila ka majnu
shireen ka farhaad
main hoon sabse pehle
arre sab hain mere baad
main aazaad
main aazaad
main laila ka majnu
shireen ka farhaad
main hoon sabse pahle
arre sab hain mere baad
main aazaad
main aazaad

Ooooo
Ooooo

pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
arre pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
tum jaise dekhe hain
maine bade saiyyaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad

mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
arre mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
bhool na paaogi tum
main aaunga yaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad

inn aankhon ke raste
dil mein bas jaaoonga
tum naagin toh main sapera
tumko das jaaoonga
arre inn aankhon ke raste
dil mein bas jaaoonga
tum naagin to main sapera
tumko das jaaoonga
ab karti ho gussa
phir karna fariyaad
main laila ka majnu
shireen ka farhaad
main aazaad


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.

Blog Day : 3795 Post No. : 14782

Today’s song is from the film Naya Sansaar-41. This was a film made by Bombay Talkies. It was directed by N.R.Acharya and the music was by Saraswati Devi (4 songs ) and Ramchandra Pal (6 songs ). The lead pair of the film was Ashok Kumar and Renuka devi, along with Mubarak, Shahnawaz, Suresh, David, V.H.Desai and many more.

Bombay Talkies was established By Himanshu Rai and Devika Rani in 1934. Their marriage was a confluence of two rich,cultured,educated and Handsome/ Beautiful souls with common interests. While in England, these two frequently appeared on page 3 of the Tabloids of London. They came back to India and established Bombay Talkies Studios in the far western suburb of Bombay City- Malad. The rich and the famous joined them as shareholders and the studio soon boasted of most modern equipment, and a team of European ( read German ) technicians. Himanshu Rai was keen to have only the educated and capable artistes from respectable families. At the pinnacle period, the company had a roll call of 400 persons. They were offered the best of facilities for work and recreation. A 24 hr. Medical assistance with a Doctor was also made available.

Within two years of its existence, Bombay Talkies got its first jolt, when its Heroine cum owner-Devika Rani, eloped with her handsome Hero- Najmul Hasan. This whole thing was somehow managed, with Devika Rani’s return to Bombay Talkies. In the process, a new Hero- Ashok kumar emerged, from within its own stock. Soon all seemed well and the company rolled out 15 films- mostly successful and its name became synonymous with quality films and popular music.

The second jolt came in 1939, when film Kangan was being made and the Second World War started on 1-9-1939. In addition to restrictions on Raw film supply, the British Government arrested the German Technicians of Bombay Talkies and deported, Franz Osten-Director, Joseph Wirsching-Cinematographer, Carl Von Spratti- Set Designer and Len Hartley- Sound Recordist, to Deolali ( near Nashik) under house arrest. Film Kangan was completed by the second line staff of N.R.Acharya and Najam Naqvi. Soon Himanshu Rai lost his mind, suffered from mental illness and died on 19-5-1940.

After his death, the Directors of Bombay Talkies, namely-F.A.Dinshaw, Chimanlal Setalvad, Sir Chunilal Mehta, Sir Phiroze Sethna, Sir Richard Temple and Cawasji Jahangir met in a huddle and appointed Devika Rani as the Production In charge of the company with all powers. Consequently, this led to dissatisfaction among a group of people led by S.Mukherjee. So, two teams were formed for making films. To the credit of Devika Rani, it must be said that during her reign, Bombay Talkies rolled out the best films ever from the studio,like Bandhan, Jhoola, Kismet, Basant, Jwar Bhata, Milan etc till 1945. Devika Rani left Bombay Talkies in 1945 after her marriage. The other group had already left to form Filmistan. During this disturbed phase of the company, film Naya Sansar was made based on the story, screenplay and Dialogues by K.A.Abbas.

Khwaja Ahmad Abbas was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University

Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935- 47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest- running weekly political column, Last Page (1941-86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA? and drew sustenance from Nehruite socialism’s pre- Independence, anti-Fascist and anti-communal commitments. Founder member of IPTA’s all- India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943.

Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism. Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema. Interestingly in Interestingly in 1939, K A Abbas had written a letter to Gandhi urging him to reconsider his opinion on the idea of the evil of cinema. He writes
“Today I bring for your scrutiny – and approval -a new toy my generation has learned to play with, the CINEMA! – You include cinema among evils like gambling, sutta, horse racing etc… Now if these statements had come from any other person, it was not necessary to be worried about them… But your case is different. In view of the great position you hold in this country, and I may say in the world, even the slightest expression of your opinion carries much weight with millions of people. And one of the world’s most useful inventions would be allowed to be discarded or what is worse, left alone to be abused by unscrupulous people. You are a great soul, Bapu. In your heart there is no room for prejudice. Give this little toy of ours, the cinema, which is not so useless as it looks, a little of your attention and bless it with a smile of toleration”.

Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani . K.A.Abbas died on 1-6-1987 at Bombay. ( adapted, with thanks, from The Encyclopedia of Indian Cinema).

One of the many artistes developed by Bombay Talkies was N.R.Acharya. He was born in Karachi in 1909. He was a Government contractor, when he joined the East India Film Company, Calcutta- one of the first sound film studios in India. He shifted to Bombay and joined Bombay Talkies as Production Manager, when film Achhut Kanya was being made in 1936. When Franz Osten was arrested, while directing film kangan, he completed his work on that film.

He directed his first film Azad-40 and then Bandhan-40, both with Ashok kumar and Leela Chitnis. Then came Naya Sansar-41. When S.Mukherjee, Ashok kumar Wachha and others left Bombay Talkies, he too left, but did not join any group. He started his own company Acharya Arts productions. He produced and directed kishor Sahu’s film Kunwara Baap-42. Then it was Uljhan-42,Aage Kadam-43, parivartan and Shohrat-49, Gujarati film Lagna Mandap-50 and lastly Dhola Maru-56. Amiya Chakravarty and gyan mukherjee were his followers. He died in 1993.

The story of film Naya Sansar-41, as given on wiki, is…

The film was written by Abbas, who was a film critic at that time. He used his journalistic background to create a story about the rising radicalism in Indian society and journalism. The story addressed the conflict between a dynamic young reporter and his cautious, yet idealistic, editor of the fictional progressive newspaper, ‘Sansar’. The story line revolved around the editor, Premchand (Mubarak), who is in love with a beautiful orphan named Asha (Renuka Devi), whom his family has raised from an infant. Soon after Asha starts working for the paper, she falls in love with Sansar’s star reporter and dedicated radical-journalist, Puran (Ashok Kumar). Asha, however, still feels indebted to Premchand’s family.
When Premchand starts to hedge on his radicalism by dealing with the evil Dhaniram, Puran quits, and starts his own newspaper, “Naya Sansar”. Premchand quickly sees the error of his ways, and not only returns to the paper’s previous left-wing stance, but also condones the marriage of Asha and Puran.

One remarkable thing about film Naya Sansar. Ashok Kumar started his career from Jeevan Naiya-36 and acted in 11 films till Naya Sansar-41. He became famous as a Romantic hero. His biggest problem was he did not know what to do about his hands while acting and felt very embarrassed in his films. Due to this he looked bewildered in his films all the time.

In film Naya Sansar-41 he solved this problem. His role was of Puran-a radical journalist. For the first time, he smoked cigarette on the screen and his problem of hands was solved for ever. Thus started his smoking as his trademark in films. Even in private life, he was a heavy smoker.

Today’s song is a chorus song, sung by Arun Kumar and Kavi Pradeep.


Song-Naya zamaana aaya logon naya zamaana aaya (Naya Sansaar)(1941) Singers- Singers-Arun Kumar Mukherji, Kavi Pradeep, Lyricst- Kavi Pradeep, MD- Saraswati Devi
chorus

Lyrics

Naya zamaana aaya logon
naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
ho Naya zamaana aaya logon
naya zamaana aaya

jag mein jeewan jyot jagaane
aazaadi ka bigul bajaane
aaj naya sansaar nayi dhun
nayi zindagi laaya
haan haan
nayi zindagi laaya

lo Naya zamaana aaya logon
naya zamaana aaya

halchal charon aor machi hai
chahal pahal ghanghor machi hai
lo duniya bhar ke samaaj ki
palat chuki hai kaaya

Naya zamaana aaya logon
naya zamaana aaya

lo duniya bhar ke samaaj ki
palat chuki hai kaaya

Naya zamaana aaya logon
naya zamaana aaya

kadam kadam par naya taraana
kaun sunega geet puraana
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
lo Naya zamaana aaya logon
naya zamaana aaya
naya zamaana aaya


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.

Blog Day : 3794 Post No. : 14780

Today’s song is from a Mythological film-Waman Avataar-55.

Mythological and religious films have been my favourite Genre for two reasons. One was that, our family had shifted to Banares for about 2 years when my father-a Hindu Mahasabha leader- went underground after the termoil of the killing of Gandhiji, to avoid arrest. Savarkar and his followers were arrested all over India in this connection, as Godse was a Hindu Mahasabha member in his past. In Benares, we stayed very close to Vishwanath Mandir and father gave religious discourses, being a Sanskrit scholar, in that temple. So, from childhood I was exposed to religion and Mythology. Father was arrested anyway and later freed along with Savarkar and others, without any blemish. He left politics and started his legal practice ( he was BA,LLB ) as a criminal lawyer at Hyderabad High Court, as a normal citizen.

A Shiva Temple was built on the land surrounding our Bungalow and every Mahashivratri, there used to be big celebration. Temple was open to all public. This also influenced me greatly. Later, when I studied for my ” Jyotish Praveen” examination ( as a Hobby), I read many Astrological and Religious books.

The second reason was, I liked the magic and trick scenes in these movies and would willingly volunteer to accompany the old and the elderly family members ( a joint family), to such films as their escort, during my school days. These childhood influences cultivated my liking for religious films.

Few years back, I had run a series on this Blog, titled ” Bhajan Mala- The Golden 50s”. Today’s song is from the balance of songs which remained after discussing 12 songs in that series.

Among the many scriptures on Hinduism, I like ‘ Bhagwad geeta’ the most. BHAGVAD GEETA is one of our cultural heritage books.It is a part of Mahabharat and is also a part of Bramhopnishad-which is a scripture on Yogas.

This is a dialogue between Lord Shri Krishna and Arjun. The legend says that when Kauravas and Pandavas stood opposite each others for a war on Kurukshetra, Dhritrashtra,the blind father of Kauravas asked Sanjay-who had the divine power of seeing the war at Kurukshetra- to describe him the war happennings. Sanjay starts and in the course of his reporting,the entire Geeta too is narrated.

Without going into the details further,enough to stress that Lord Shrikrishna explains to Arjuna that,whenever there is a decline of Dharma and righteousness,He takes birth from age to age (sambhavami yuge yuge),to protect the virueous,destroy evil-doers and to reestablish Dharma and righteousness.
This is described in the IV chapter,stanzas 7 and 8 in Bhagvadgeeta thus-

यदा यदा हि धर्मस्य ग्लानिर्भवति भारत ।
अभ्युत्थानमधर्मस्य तदात्मानं सृजाम्यहम् ॥४-७॥
परित्राणाय साधूनां विनाशाय च दुष्कृताम् ।
धर्मसंस्थापनार्थाय सम्भवामि युगे युगे ॥४-८॥
Yada yada hi dharmasya glanirbhavati bharata
Abhythanamadharmasya tadatmanam srijamyaham
Paritranaya sadhunan vinashay cha dushkritam
Dharmasangsthapanarthay sambhabami yuge yuge

The meaning of these two slokas is—
Whenever there is decay of righteousness, O Bharata,
And there is exaltation of unrighteousness, then I Myself come forth ;
For the protection of the good, for the destruction of evil-doers,
For the sake of firmly establishing righteousness, I am born from age to age.

This is how Swami Vivekananda himself translated the shlokas-
“Whenever virtue subsides and wickedness prevails, I manifest Myself. To establish virtue, to destroy evil, to save the good, I come from Yuga (age) to Yuga.”

Generally it is found that people respect Religion,but when it comes to even obvious details,they are confused. For example, how many people can tell correctly whether Shri Ram came first or Krishna,on this Earth ? Or, how many people can tell the names of the 10 Avatars of God ? Or how many people know the names of the wives of Lakshman, Bharat and Shatrughna-all brothers of Shri Ram ? Or how many can even tell the names of 4 Yugas or 4 Vedas ?

Here are The God’s 10 Avtaars serially-

1. Matsya-(The fish) in Satyayug
2. Koorma-(The Tortoise)-
3. Varah-(The Boar)-
4. Narsimha-(Half Lion-Half man)-
5. Waman-(The Dwarf) in Treta Yug
6.Parshuram-(The warrior saint)-
7. Shri Ram in Dwapar yug
8. Shri krishna in Dwapar Yug
9. Balram ( In North India, Gautam Budha and in Eastern India Chaitanya Mahaprabhu are considered instead of Balram)
10. Kalki (yet to come) in Kali Yug

Actually,one can see the Human Evolution and the history of Human race in these Avtars.I feel that they are indicative of Development of Human Race and their Sociological structure.

The First 4 are the evolution of Life and Humans
Waman is about the Domination of Bramhins.
Parshuram is about the Conflict of the Rulers and the Pontiff.
Shri Rama as the Ideal King,how he should be.
Balrama is to stress importance of Agriculture.
Shri Krishna to teach us how to live Life and finally
Kalki will indicate self-destruction of Human Beings.

This is how I interprete these Avtars. ( By the way, the pairs are Lakshman-Urmila, Bharat-Mandavi and Shatrughna-Shrutikirti. The 4 vedas are Rig-,Saam-,Atarva- and yajur- ved).

When the religion was in danger, Lord Vishnu took the avtaar of Waman. Who was Waman and what did he do ?

Vamana was born to Aditi and Kashyapa. He is the twelfth of the Adityas. Vamana is also the younger brother of Indra.

King Mahabali was a generous man who engaged in severe austerities and penance and won the praise of the world. This praise, from his courtiers and others, led him to think of himself as the greatest person in the world. He believed that he can help any one and can donate whatever they ask. Even though he became benevolent, he became pompous of his activities and forgot that the almighty is above him. Dharma says that one should do his duty and helping others is the duty of a king. Mahabali was a devoted worshiper of the Lord. The story is an ample example that the almighty, the Parabrahma is neutral and unbiased; he only tries to balance nature. He showers his divine light to all, irrespective of what they do.The Bhagwat Puran describes that Vishnu descended as the Vamana avatar to restore the authority of Indra over the heavens, as it had been taken by Mahabali, a benevolent Asur King. Bali was the great grandson of Hiranykashyapu, the grand son of Pralhad and son of Virochana. Waman avatar is the first human form avtar of Vishnu,among the Dashavatars.

Vamana, in the guise of a short Bramhin carrying a wooden umbrella, went to the king to request three paces of land. Mahabali consented, against the warning of his guru, Shukracharya. Vamana then revealed his identity and enlarged to gigantic proportions to stride over the three worlds. He stepped from heaven to earth with the first step, from earth to the netherworld with the second. King Mahabali, unable to fulfill his promise, offered his head for the third. Vamana then placed his foot and gave the king immortality for his humility.

In worshiping Mahabali and his ancestor Prahláda, he conceded sovereignty of Pataal, the netherworld. Some texts also report that Vamana did not step into the netherworld, and instead gave its rule to Bali. In giant form, Vamana is known as Trivikrama.

Just before King Mahabali was pushed out of this earth, he was given permission by Vamana to visit his people once a year. The Onam festival is a celebration of welcoming Mahabali home to his lost kingdom. During this festival, beautiful floral decorations are made in every house and boat races are held throughout Kerala. A twenty-one-course feast is the most important part of the Onam festival.

Mahabali symbolizes ahankar, the three feet symbolizes the three planes of existence (Jagrat, Swapna and Sushupthi) and final step is on his head which elevates from all three states and he attains moksha.

Film Waman Awataar-55 was made by Bombay Film Productions. It was produced by B.C.Patel and Raman B. Desai- who also directed it. The music was by the Mythological film expert, Avinash Vyas, ably assisted by Sanmukh Babu Upadhyay. The cast of the film was Nirupa Roy, Trilok Kapoor,Sapru, Bipin Gupta, Praveen kumar, Jankidas etc etc.

The story of Sanmukh Babu Upadhya, who assisted the MD in this film, is not uncommon in Hindi film industry.

I am sure, not many will be knowing about this composer. He was one of those artistes in the film industry who had immense talent but Luck did not favour them.

Sanmukh Babu Upadhyaya was born on 13-9-1920 in Surat,Gujarat. His father Manibhai and brother Dinanath were Music experts, thus Sanmukh had Music as a tradional asset. Soon he acquired expertise in playing Jaltarang and Violin. Later in his life he became a well known Violin player of Gujarat. In 1940, he met Gujarat’s famous singer Master Vasant ( also from Surat) and he had a chance to play his instruments in the courts of Porbander, Jamnagar, Baroda, Udaipur, Bikaner, Bhopal etc.

In 1942 Sanmukh Babu came to Bombay. He happened to meet Dinkar Rao Amembal, an official in All India Radio,by chance. Sanmukh Babu was taken in A.I.R. services and he served for next 5 years.. He also went to Africa for one year to do stage shows.

After coming back, he joined Avinash Vyas as an assistant in the work of a Gujarati film and later in the famous Hindi film, “Har Har Mahadev”-1950. He was an expert in Jaltarang and Violin. His service at A.I.R. had given him exposure to many famous musicians and this helped him a lot. Next few years he participated in many Ballets and Dance Dramas in Gujarati and Hindi, along with Avinash Vyas.

He got his first break as an independent Music Director of Hindi film “Lalkaar”-56, with the help of Kavi Pradeep .He gave music to 7 Hindi films- Lalkar-56, Amar Singh Rathod-57, Sati Pariksha-57, Naag Padmini-57, Raaj Pratidnya- 58, Amar prem-60 and Hamir Hath-64.

When it became clear that he was getting only C grade films-action or Historicals- and no big banner ever offered him a film,he left film industry. Next few years he devoted his time in Directing Ballets and Dance Dramas in Hindi and Gujarati. He cut several private records of his music. He also gave solo performances of Violin all over the country.

It is unfortunate that his melodious music did not get enough opportunities or recognition, in the changing environment of film music of the 60s and the 70s, but he had no regrets. Sanmukh Babu Upadhyaya died on 24-2-1984, simply adding yet another name to the list of talented but less known composers.

Let us now enjoy the video song from this film.
( The article has used adapted information from” Hindu Dharma”- Prabhakar Shastry, Wikipedia and Harish Raghuwanshi ji. My thanks.)


Song-Aaja re aaja re aaja (Waaman Avtaar)(1955) Singers-Asha Bhonsle, A R Oza, Lyrics -G S Nepali, MD-Avinash Vyas
Chorus

Lyrics

aaja re
aaja re
aaja
bhagwaan teri duniya tujhko
din raat pukaare aaja
saagar ke kinaare aaja
aaja

aaja
bhagwaan tere bin kaun hamen phir paar utaare aaja
sab ke rakhwaare aaja
aaja
aaja

teri duniya mein dev dukhi hain
raaj nishhaachar karte hain

raaj nishhaachar karte hain
ye ek pita ki santaanen
aapas mein ladte marte hain
aaajaa
bhagwaan tere bin kaun humen phir paar utaare
aaja
sab ke rakhwaare aaja
aaja
aaja
aaja
bhagwaan teri duniya tujhko din raat pukaare
aaja
saagar ke kinaare aaja

aaja
aaja
aaja

hai dharm idhar mahaapaap udhar
o naath rahoge kaho kidhar

o naath rahoge kaho kidhar
hai shaanti idhar sangraam udhar
hai bhakti jidhar bhagwaan udhar
aaaajaa
bhagwaan tere bin kaun hamen phir paar utaare aaja
sab ke rakhwaare aaja
aaja
aaja
aaja
bhagwaan teri duniya tujhko din raat pukaare aaja
saagar ke kinaare aaja
aaja
aaja
aaja

hari uthho
samar ko kamar kaso
devon ka raaj nahin jaaye

devon ka raaj nahin jaaye
bhai bhai mein mel kara do
ghar ki laaj nahin jaaye
aaajaa
bhagwaan tere bin kaun hamen phir paar utaare aaja
sab ke rakhwaare aaja
aaja
aaja
aaja
bhagwaan teri duniya tujhko din raat pukaare aaja
saagar ke kinaare aaja

sab ke rakhwaare aaja
saagar ke kinaare aaja
sab ke rakhwaare aaja
saagar ke kinaare aaja
sab ke rakhwaare aaja
saagar ke kinaare aaja


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.

Blog Day : 3793 Post No. : 14779

“Khan Dost”(1976) was directed by Dulal Guha for Ramayan Chitra Mandir, Bombay. The movie had Raj Kapoor, Shatrughan Sinha, Mithu Mukherji (new discovery), Satyen Kappu, Sulochana, Asit Sen, Jagdish Raj, Maruti, Prakash, Shekhar Purohit, Rajan Haksar, Duggal, Saminder Pande, Chandulal, Rajrani, Amar Sen, Sameer, Baby Lubna etc, with special appearances by Subhash Ghai, Jagdeep, Sundar, Leela Mishra and Yogita Bali.

The movie had three songs in it. One song has been covered in the past.

Here is the second song from “Khan Dost”(1976) to appear in the blog. This song is sung by Manna Dey. Indeewar is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a poignant song on Shatrughan Sinha who plays a prisoner and who is seen looking back at his wasted life with regret in this picturisation. The pictorisation also shows Satyen Kappu playing a jailor and Raj Kapoor playing his subordinate.

Incidentally, Hindi movie jails look like a police station where a prisoner is seen kept behind bars in a small room. That is because Hindi moviemakers cannot differentiate between a police station and a jail. 🙂

Audio

Video

Song-Meri zindagi tujhpe roye (Khan Dost)(1976) Singer-Manna Dey, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

meri zindagi mujhpe roye ae
roye

meri zindagi mujhpe roye ae
roye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye

jo karz liya hai saanson ka
wo karz chuka na paaya
jo karz liya hai saanson ka
wo karz chuka na paaya
baaqi hi raha har karz mera
koi farz nibha na paaya
ab waqt kahaan kuchh kar sakoon
ab waqt kahaan kuchh kar sakoon
koi zakhm kisi ka bhar sakoon
ab pachhtaaye kya hoye
meri zindagi mujhpe roye ae
roye

kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
jisne dikhlaai duniya mujhe
us maa ka dil bhi dukhaaya
jis pe hon gunaahon ke saaye
jis pe hon gunaahon ke saaye
wo chain kahaan se paaye
dariya bhi ye daag na dhoye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye
roye


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.

Blog Day :

3792 Post No. : 14777 Movie Count :

4038

Recently, I came across one of the interesting topics of discussion about the ‘ghost’ singers of Hindi film industry in an editorial in October 1945 issue of ‘Filmindia’ magazine. I reproduce below some relevant portion of the discussion for the purpose of the article:

Outside the film industry, very few people seem to know what the ‘ghost’ singers of the screen earn per month. Many people are under the impression that music is still a cheap commodity in the motion picture world and can be purchased with paltry payments. Whatever be the actual quality of the film music from purely classical point of view, the silly, insipid music which Indian film producers usually give, cost them anything from Rs,400/- to Rs.1000/- per song and very often merely for the singing voice apart from the cost of orchestration and recording.

Amir Karnataki, a popular ‘ghost’ singer charges Rs.1000/- per song which require an hour for the rehearsal and two hours for recording the song. India’s best musicians (singers) – man or women – never earned so much money even during 24 hours of non-stop singing. There are many ‘ghost’ singers in the film industry. Some of the prominent ones like Zohra Jaan (Ambalawaali), Shamshad, Zeenat, Naseem Akhtar and Rajkumari should be earning Rs.8000/- to Rs.10000/- per month in good season. Amir Karnataki’s monthly earning should be colossal the way we find selling her voice to all and sundry pairs of lips on the screen.

The editorial has further estimated that with the number of films produced in a year, assuming an average of 9 songs per films, the total cost of music during a year comes to about Rs.6,50,000 with an average payment of Rs.500/- per song. This amount is shared by a dozen female playback singers and about half a dozen male playback singers, most of whom, according to the editorial, are rotten singers.

The editorial smacks of the jealous attitude towards the popular playback singers of that time. I have, however, brought this out for a different reason. If the producers thought that these were the popular playback singer those days and deserved such kind of payments, then why did producers refrain from giving them publicity to add value to their films in terms of creating the audience’s interest ?. Names of playback singers did not appear in the credit titles of the films until sometime early 1950s. Based on a few cases which I had come across, I guess, the song pamphlets of the films of the 1930s and the 40s may have mentioned mostly the names of the actors on whom the songs were picturised. So the playback singers during these times remained really the ‘ghost singers’ without any official identity with the films’ music. But why did they remain ‘ghost singers’?

The concept of ‘ghost singers’ has to be seen in the background of how the music in sound films evolved in its early stages. During this stage, actors were required to sing the songs on themselves in the films. Although the playback system was introduced in 1935 in Calcutta and in 1937 in Bombay, the system got well-established only in the early 1940s. However, the convention of giving credit to the actors as singers either in their own names or in the names of the roles they performed on the screen continued in most cases well into the end of the 1940s. The convention created a lot of problems in the latter years in identifying the so called ‘ghost singers’ especially for those who had interest in listening to the songs of pre-golden era period of Hindi film music. It was only after Lata Mangeshkar became a force to reckon with in the sphere of playback singing in early 1950s, the system of giving credit to playback singers both in the credit titles of the films as well as on the gramophone record labels was put in place.

It is in the context of identifying the playback singers and also music directors/lyricists that Har Mandir Singh ‘Hamraaz’ of Hindi Film Geet Kosh has rendered yeoman service in documenting the Hindi film music up to 1985. The process of documenting the Hindi film music – especially of 1930s and 1940s are an on-going process as we still come across many songs of these periods where playback singers, lyricists and music directors have not been identified.

Recently, I came across 4 rare songs of an obscure film ‘Mohini’ (1947). All the songs are very melodious. However singers for the songs have not been identified. There were three lyricists – Bekal, Sarshar Sailani and Raj Hashmi and two music directors – Lachhiram Tamar and Bhai Lal. But the individual songs were not identified with any one of the lyricists and music directors.

It was so frustrating for me for not being able to formally identify those associated with four melodious songs of the film. So I contacted Sudhir ji for help in identifying at least the singers of the songs. Though he had all the four songs in his collections, none of them were tagged. So he contacted one of his collector-friends who identified not only Munawwar Sultana as singer for all the four songs, but also confirmed that all the four songs were composed by Lachhiram Tamar. I am thankful to Sudhir ji and his friend for the help.

‘Mohini’ (1947) was produced under the banner of Mahindra Pictures, Lahore and was directed by Mahindra Gill. The star cast included Chand Kumar, Mahapara, Pran, Roofi, Nazar, Niranjan, Baby Shamshad etc. The film had 7 songs.

I am presenting the first song from the film,’meri mast aankhon se aa pee bhi le’ sung by Munawwar Sultana to appear in the Blog. As mentioned earlier, there were three lyricists and the song writer for this song has not been identified. The song was set to music by Lachhiram Tamar. The prelude music of the song would give an impression that the song belongs to the music style of early 1950s.

Enjoy this ‘Aankh’ song with ‘masti’.

With this song, ‘Mohini’ (1947) makes a debut in the Blog.

Audio Clip:

Song-Meri mast aankhon se aa pi bhi le (Mohini)(1947) Singer-Munawwar Sultana, MD-Pt Lachchiram

Lyrics

o o o
jeenewaale
pee bhi le
pee bhi le
pee bhi le
o o o
jeenewaale
pee bhi le
pee bhi le
pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le

lutaayi huyi zindagi laayi hoon
lutaayi huyi zindagi laayi hoon
laayi hoon
bebasi ki hansi
laayi hoon
laayi hoon
bebasi ki hansi
laayi hoon
bol kar aaj saahab mein tere liye
bol kar aaj saahab mein tere liye
ye aahon bhari zindagi laayi hoon
ye aahon bhari zindagi laayi hoon
zindagi ka sahaara hai hi kya
zindagi ka sahaara hai hi kya
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le

meri yaad dil ko sataati thhi jab
kya tujhe
yaad hai
yaad hai
aankhon(?) ke baat
yaad aati thhi jab
kya tujhe yaad hai
yaad hai
yaad ho ya na ho
ab aa bhi jaa
aa pee bhi le
aa pee bhi le
aa pee bhi le
meri mast aankhon se
aa pee bhi le
aa pee bhi le
aa pee bhi le


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.

Blog Day : 3792 Post No. : 14776

I was very fond of seeing movies and listening to the songs since childhood.Those days,children were not allowed to see films,unlike today. If at all a film is to be seen,the children had to go with their mother,aunt, grandmother or some such female relative and the film would invariably be something like Ram Ravan Yudh or Bakasur ki Maut.

Hyderabad state,where I spent my early years was ruled by a Muslim king-The Nizam(Ala Hazarat).There were some social customs,like Burkha,which reflected in the social lives of the citizen.

For example, in almost every theatre,there used to be a special class-“Zanana Class”.It was made out of the half of the Balcony class with a wall partition between them.The frontal portion facing the screen had a thick curtain,which was removed after the film started and covered again after the film ended,thus protecting the women spectators from the prying eyes of the public.

Same procedure was for Interval period also.Only women and small children were allowed in this subsidised class.A special ‘Curtain Mover’ used to be the in charge of this and the Zanana Class.

Usually a She -Male or a He -Female (don’t know which) was appointed for women’s safety.This type of arrangement was also available in other Muslim states like,Junagarh,Bhawalpur,Lucknow,Bhopal etc.Women used to make lot of noise and at times there were big quarrels,when the films were stopped,curtain moved, peace restored and the films were restarted.

I was lucky to start seeing films independently from the end of 40s. Usually,it was from the school directly. Every Friday to Sunday,there used to be a Morning show from 11 am. In this,the tickets were almost half rates, like 4 annas, 6 annas, 12 annas etc. Thus I was able to see many films of 30s and 40s, till about 1955-56 or so.

Once I went to college, then took up the job and other priorities of life,I saw less films,but never missing an opportunity to see older films and making notes. From 1980 onwards, I stopped seeing films, and when I retired in 1998, I dug out my old collections. I have not visited a theatre after 1980 and yet to see how a Multiplex looks like. I saw few films on TV and players.

In the initial era of Talkie films, Calcutta’s New Theatres and Poona’s Prabhat were the most well known film makers. They used to make films on social issues. Particularly, Prabhat was famous for keeping their films centred on the Reform themes like,Dowry, Child Marriage, Second Marriage, Cast difference etc.From the mid 30s one more company came into limelight and that was Bombay Talkies- founded by Himanshu Rai and Devika Rani. They also followed the trend and films on social issues like Untouchability, illiteracy etc were made. Today’s song is from a film made by Bombay Talkies- Jeewan Prabhat-37.

This was also a film dealing with Caste differences and second marriage. In this film,however, it was shown that the Caste difference stayed and the proposed second marriage got cancelled. I would say, it was quite a realistic depiction of the Indian mindset, because even after hundreds of years, the caste differences exist today, while the other social ills like child marriage, dowry, illiteracy etc are controlled to a greater extent. It would not be wrong to say that as long as the Reservation Policies exist, caste differences will continue to exist-with official support !

Film Jeewan Prabhat-37 was directed by the German Director Franz Osten. The Music Director was Saraswati Devi and lyrics and dialogues were by J.S.Casshyap. The screen play was by Niranjan Pal- Himanshu Rai’s friend since their London days. Kishor Sahu and Renuka Devi made their Debut in this film. Others in the cast were Mumtaz Ali,Prithwiraj kapoor, Maya Devi and M.Nazeer etc etc. The film was released on 2-11-1937 at Minerva Talkies in Bombay. Baburao Patel of Film India, in its December 1937 issue had not much good about this film. He, in fact, criticised both the Debutantes, for their acting calling them as ‘ disappointments ‘. However, the film did good business and ran for 17 weeks in Bombay.

Unlike Prabhat or New Theatres, Bombay Talkies produced their films in quick time. This film-Jeewan prabhat- was made in just 2 months. Their most popular film Achhut kanya-36 was made in 6 months. This was possible due to self sufficient facilities, good planning, modern equipment and total involvement of the staff. Franz Osten’s speed and his planning was such that in the span of just 4 years, Franz directed 16 films for Bombay Talkies !

The Debut making actress Renuka Devi was one of a kind. I am not only surprised,but awed and terribly impressed,when I went through her Autobiography ” A woman of substance-Begum Khursheed Mirza “.

Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi ( 4-3-1918 to 8-2-1989 ). She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses,who joined the films after their marriage. The other such examples I remember offhand is that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi and later wife of W.Z.Ahmed) in those times.

Renuka Devi had studied upto Masters degree in English Literature,from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer,journalist and Director P.K.Atre.

The story of Renuka Devi is quite interesting. Khursheed Jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed Jehan Beg. She was the 6th of the 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich Jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it, he was disowned by them. He took the name Shaikh Abdulla.

He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg,they both- being of progressive thinking- decided to work for the Muslim women’s education. They faced lot of resistance from the fundamentalists,but they established a Muslim women’s college in Aligarh. To provide students for this college,a school was also started for Muslim girls. soon the girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor,another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her Masters in English Litterateur in 1963,at the age of 45 years,later).
Khursheed Jehan was married to Akbar Mirza,a Police Officer in Aligarh. Soon she gave birth to 2 sons also.

Her brother Mohsin Abdulla was working in Bombay Talkies,at Bombay. He used to describe how professional these studios were. Khursheed was 21 year old and beautiful. She desired to work in films. She wrote a letter to Devika Rani expressing her desire. This she did, without informing her husband. She received a letter from Devika Rani, inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her.

Thus started her acting career. She was 21 years,married and had 2 children too. Her first film was ‘ Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was a Debut film for Kishore Sahu. Bombay Talkies bosses were very happy with her performance and she was offered a Heroine’s role opposite Jairaj in film ” Bhabhi”-1939. Jairaj was also from a rich background,cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang few songs in Bhabhi-39. ( when the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for next 2 years).

She was invited to Calcutta By New Theatres to act in film, Badi Didi-39. Her other films were Naya Sansar-41 (Ashok kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). her film career was very short. She announced her retirement from films in February 1944,while shooting for her last films. She did only 7 films and sang only 3 songs in 3 films.

After partition,her family migrated to Pakistan. In Pakistan,though in demand,she refused to do any films. Instead,she decided to devote her time for women’s uplift,education,welfare and social work. She also did some work on Pakistan Radio.

When TV came to Pakistan,she became very active and for next 15-20 years she was a popular figure on Pak TV. In 1963,she completed her Master’s degree,at the age of 45 years. From August 1982 to April 1983,she published 9 instalments of her autobiography in the popular magazine ” Herald ” as ” The uprooted sapling”. This was,later on,edited and published as a Book, ” A woman of substance- the memoirs of Begum Khursheed Mirza “, by her daughter Lubna,in 2004. Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”,in which she has described many interesting anecdotes. her detailed description of the times of the 30s and 40s is a lovely chronicle of history of Bombay film industry. here are some excerpts from her book, for you…

1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. I took the plunge and soon a star named Renuka Devi was born.

2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year), at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that I would want to make “a little dough”.

3) Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.

( My thanks to the book,”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).

One more name Maya Devi may be new to readers. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.( info from pakfilms.com).

The story of film Jeewan Prabhat-37 was……..

In this film Uma (Devika Rani) is born in a high caste Brahmin family,but falls in love with a boy of Kumhar caste(Potters).Her love with Ramu (Kishore Sahu) leads them nowhere as there is a great opposition to this from all sides. They realise that their love will lead them nowhere. Finally Uma is married off to Nandlal (Prithviraj kapoor), a Brahmin boy and Ramu accepts the reality.

The marriage makes the potters very happy too. Later it is rumoured that Nandlal is about to marry Padma (Chandraprabha),because Uma is a ‘ baanjh’ (infertile). Ramu meets Uma and their meeting is seen by Nandlal. He sends Uma back to her parents. Few days later, Uma discovers that she is pregnant,but Nandlal doubts her fidelity. At the end Padma, herself understands how much Uma loves Nandlal. She withdraws from the proposed marriage. Not only this,she also convinces Nandlal about Uma’s purity.

Finally, Nandlal and Uma begin a new life a new Jeevan Prabhat.


Song-Paalna mero munwa jhoole (Jeewan Prabhat)(1937) Singer-Chorus, Lyrics-J S Kashyap, MD-Saraswati Devi

Lyrics

bado bado ?? jhoola
dole it ut ??
bado bado ?? jhoola
dole it ut ??

baat banaawe bhori bhori
baat banaawe bhori bhori
bhookh lage par daudo aawe
kare ??
bhookh lage par daudo aawe
kare ??

ma ma
oti de
ma ma
dudhu de
ma daudo aawe doodh pilaawe
ma daudo aawe doodh pilaawe
paalna mero munwa jhoole
paalna mero lalna jhoole
paalna mero munna jhoole
paalna

?? ghar mein aawe
maatha peete
daud lagaawe
?? ghar mein aawe
maatha peete
daud lagaawe

arre kinne maara
baabu
babuwa kaun laaya
baabu
doodu kaun pilaaya
amma
paala kiska beta
amma

mere maara raajdulaara
amma amma karta pyaara
mere maara raajdulaara
amma amma karta pyaara
laalna mero jhulwa jhoole
paalna mero lalna jhoole
paalna mero munwa jhoole
paalna


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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 over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14789

Number of movies covered in the blog

Movies with all their songs covered =1153
Total Number of movies covered =4044

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