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

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This article is written by Avinash Scrapwala, 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 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 :

4370 Post No. : 15704

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 39
——————————————————————————

Today’s song is from the movie ‘Joru Ka Ghulaam’ a movie released in 2000. By the standards of the blog it is ‘new’ movie, but if we think about it dispassionately, 2000 was 20 years ago, and so this movie is already twenty years old by now. That is how time flies!!

The name ‘Joru Ka Ghulaam’ will also remind readers of the Rajesh Khanna movie of the same name that was released in 1972. That movie was considered to be unsuccessful at the box office at that time, but now some online sites (perhaps run by people who were not born by 1972) claim that it was a ‘hit’ movie. This movie of 1972 had some nice songs in it. Nainon mein nindiyaa hai was my most favorite song from this movie. All songs of this movie have already been covered in the blog.

Ten years ago on 05.07.2010, three songs were covered on the blog including one song each from “Joru Ka Ghulam”(1972) and “Joru Ka Ghulaam”(2000).

Song Movie title-Year Remarks
Main joru ka ghulaam banke rahoongaa Joru Ka Ghulaam-2000 01 song posted
Aayiye aapko main apne bangley ki sair karaaun Joru Ka Ghulaam-1972 All songs covered
Ek samay par do barsaaten Jhoola-1962 All songs covered

We can see that a good ‘variety’ of songs was presented on this day ten years ago. 🙂

‘Joru Ka Ghulaam-2000’ was directed by Shakeel Noorani for Noorani Film Corporation’. He was also the producer of this movie. Shadab Noorani was the executive producer of this movie and Nilesh Ronghe was the chief assistant director.

The movie had Govinda, Twinkle Khanna, Kader Khan, Ashok Saraf, Ashish Vidyarthi, Ali Asgar and Johny Lever, supported by Razak Khan, Sonu Sagar, Rushika, Rajashree, Ghansyam, Moses, Rakhi Sawant, Bobby Vatsa and many others.

Story and screenplay of this movie was written by Ikram Akhtar. Whereas the dialogues of this movie were written by Tanveer Khan. Editing was done by Sudhir Verma. Ganesh Acharya was the choreographer for this movie. Dinesh Telkar was the cinematographer.

Sameer was the lyricist for the songs of this movie and Aadesh Shrivastava was the music director.

So far only one song from this movie has been posted on the blog and that was exactly ten years ago on 05.07.2010.

Song Posted On
Main joru ka ghulaam banke rahoongaa 05.07.2010

Today’s song is another typical Govinda type dance song, but then it had the special music of Aadesh Shrivastava who has given some special rhythms of ‘Bhojpuri’ folk and had created many songs in his own style which always give a fresh mood to the listeners to enjoy.

Coming back to today’s song the song is picturised on Govinda, Johny Lever and others. (I am not aware of the female artist in the song).
Sonu Nigam and Aadesh Shrivastava are the singers of this song. Lyrics are by Sameer.

I had never watched this movie but remember this song and it also reminds of the ‘neeche paan ki dukaan, upar gori ka makaan’ scene of Amitabh and Shashi Kapoor from ‘Silsilaa-1981’, where both of them are in drunken state and wandering on streets. 🙂 I hope my recollection is correct.

So, here is one more Govinda songs after ‘Raja Babu-1994’ under the ‘ten-year challenge series. One can guess that the blog and our editor was suitably impressed by Govinda movies ten years ago which saw song from these Govinda movies being discussed, despite these movies being recent movies by the standards of the blog. 🙂

Let us now enjoy today’s song ….

Video

Audio

Song-Neeche phoolon ki dukaan upar gori ka makaan(Joru Ka Ghulaam)(2000) Singers-Sonu Nigam, Aadesh Shrivastva, Lyrics-Sameer, MD-Aadesh Shrivastava
Unknown female voice
Chorus

Lyrics

ghodi chadhke ae
baandh ke sehraa aa aa aa
uske ghar main jaaungaa aa
sach kehtaa hoon oon oon
raam qasam
main joru usey banaaungaa aa
ahaa aa re
aa re
aa re ae
ahaa aa re
aa re
aa re ae

ho neeche phoolon ki dukaan
upar gori ka makaan
aha aa aare
aa re
aa re ae
aha aa aare
aa re
aa re ae

ho neeche phoolon ki dukaan
upar gori ka makaan
jab wo chaubaare se dekhe ae
aaye hai ha ha ha
ho jab wo chaubaare se dekhe
mera dil ho beimaan
aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

ho neeche phoolon ki dukaan
upar gori ka makaan

(undeciphered words)

matak matak chaley
aise chhukariya
arey baap re baap
sarak sarak jaaye
tan se chunariyaa
sar sar sar sar
sar sar sar sar

hoye ae matak matak chaley
aise ae chhukariya
sarak sarak jaaye
tan se chunariyaa
laale laal honthhwaa se ae
laale laal honthhwaa se
barsaaye muskaan
aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

ho neeche phoolon ki dukaan
upar gori ka makaan
aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

(undeciphered words)

kaali kaali matwaali
ankhiyon se maare ae
arey maar daalaa re
meethhi meethhi bholi bhaali
batiyon se maare ae ae
haiyya hurrrr
hoye kaali kaali matwaali
ankhiyon se maare ae
meethhi meethhi bholi bhaali
batiyon se maare ae ae
solah saal ki jawaani ee
solah saal ki jawaani
le le le le meri jaan
aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

neeche phoolon ki dukaan
upar gori ka makaan
aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

ho neeche phoolon ki dukaan
upar gori ka makaan
jab wo chaubaare se dekhe ae
ae
ae
haay hai ae ae
jab wo chaubaare se dekhe ae
mera dil ho beimaan
aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

(aaja natkhata baarahon saal
arre natkhata baarahon saal
)

aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae

aha aa re
aa re
aa re ae
aha aa re
aa re
aa re ae


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 :

4370 Post No. : 15703

“Mahasati Behula”(1964) was directed by Shanti Kumar for Adarshlok, Bombay. The movie had Mahipal, Jaimala, Lalita Pawar, Niranjan Sharma, Ulhas, Mridula etc in it.

This by now forgotten mythological movie had nine songs in it. One song has been covered in the past.

Today (5 July 2020) is the 38th remembrance day of Bharat Vyas (6 January 1918-5 July 1982 ). As a tribute to this legendary lyricist, who worked mostly in mythological movies, here is another song from “Mahasati Behula”(1964).

Like the first song, this song too is a duet which is sung by Suman Kalyanpur and Mukesh. Bharat Vyas is the lyricist. Music is composed by Pt Shivram.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that this song is picturised on Mahipal and Jaimala.

This song mentions “poonam ka chaand” and that makes this song a topical song, seeing that today is poornima (guru poornima). In addition, today this poonam ka chaand is also figuring in a chandragrahan, the third chandragrahan for the year 2020.

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Chamke chaand poonam ka (Mahasati Behula)(1964) Singers-Suman Kalyanpur, Mukesh, Lyrics-Bharat Vyas, MD-Pt Shivram
Both

Lyrics(Provided by Avinash Scrapwala)

Chamke chaand poonam ka
Chhalke pyaar shabnam ka
Hum tum sang jab milte
Badle rang mausam ka

Chamke chaand poonam ka
Chhalke pyaar shabnam ka
Aa aa aa
Aa aa aa aa
Aa aa aa
Aa aa aa

Do man magan jab naache
Pariyon ke ghunghar baaje

Priyatam mere rang raache
Sapne hue sab saanche
Ghunghat
Aa aa aa aa aa
Ghunghat ude resham ka
Chhalke pyaar shabnam ka
Hum tum sang jab milte
Badle rang mausam ka

Chamke chaand poonam ka
Chhalke pyaar shabnam ka
Aa aa aa aa aa
Hmm hmm hmm
Hmm hmm hmm

Jab tak hain chaand sitaare
Honge nahin hum nyaare
Ganga ki hum lehren hain
Jamuna ke hum hain kinaare
Sangam
Aa aa aa aa
aa aa
Sangam hai apne milan ka
Chhalke pyaar shabnam ka
Hum tum sang jab milte
Badle rang mausam ka

Chamke chaand poonam ka
Chhalke pyaar shabnam ka
Aa aa aa aa aa
Hmm hmm hmm
Hmm hmm hmm

Sapnon mein tum ho chhaaye
Dhadkan mein tum hi samaaye
Duniya ne jaal bichhaaye
Hum tum bichhad na paaye

Goonje
Aa aa aa aa aa aa
Goonje geet sargam ka
Chhalke pyaar shabnam ka
Hum tum sang jab milte
Badle rang mausam ka

Chamke chaand poonam ka
Chhalke pyaar shabnam ka


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 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 :

4370 Post No. : 15702

Today’s song is a special song from the film Mirza Sahibaan-1957. It is special because it is almost a 9 minute song – 8 minutes and 36 seconds, to be exact. There is one more-Punjabi- song in this film, which is about 6m 30s long. Today’s song is written by Verma Malik and the music is composed by Sardul kwatra- one of the 3 Sikh composers in Hindi films during that period ( the other two were G S Kohli and S Mohinder). His younger brother Bhagwant Kwatra was his assistant here.

Sardul Singh Kwatra was one of the very few Sikh Music Directors Hindi Films had. He was born in Lahore in 1928. He was educated and trained in classical music at Lahore. His teacher in music was Sardar Awatar Singh, who was quite famous in Lahore. Later Sardul singh joined Hansraj Behl as his assistant.

After Partition, his family first shifted to Amritsar and then to Bombay. The family established a film production company and started making films. Their first film was ‘Ek Teri Nishani”-49. Sardul singh was its MD, along with Pt. Amarnath and Vinod. Later he composed for ‘Jalte Deep”-50, with T.K.Das. His first independent film was “Man ka Meet”-50.
His family company wanted to make a Punjabi film “Posti”-50. Sardul got newcomer Shyama to be the Heroine. Shyama also acted in their second film “Kode Shah’-53. Their next Hindi film was ‘Goonj’-52, for which Sardul convinced Suriya to be its Heroine. He was its MD of course.

Sardul singh was a tall,well built and handsome person. Unfortunately his severe inclination towards beautiful women overpowered his talents. He used to proudly say, ‘I can not create good music without beautiful faces. ” He was aware of his looks and used it unabashedly to influence women.

When he was in Bombay, he requested Mohd. Rafi ( after this film) to let out the top floor flat in Rafi’s bungalow to him , since it was empty. Being a good and helpful man, Rafi agreed. When Rafi’s son’s marriage was fixed, he wanted his flat back, but Sardul kwatra refused to vacate. Those days, the Bombay Rent control act was in favour of the tenants, so Rafi had a lot of problems. After a few years, Sardul filed a criminal case also against Rafi, in this connection. Rafi suffered a lot because of this. Finally, while going to Chandigarh before shifting to the USA, Sardul Kwatra vacated the flat. This detailed story is described in ” aap ki parchhaiyan” a book by Rajnikumar Pandya ji.

He gave music to 22 Hindi and 13 Punjabi films. In 1970, he visited Chandigarh and established ‘Chandigarh Film Institute”. He left his wife and children and went to the USA with another good looking woman, in 1978. He got 2 children from this association. Sardul singh Kwatra died in the US on 6-7-2004.

India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably since thousands of years and still the country is ONE unit, when the Nation needs it. Proving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?

The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour.

Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.

There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48 and 1970
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
Today’s film was directed by Ravi kapoor, who directed 3 more films-Kala Chor-56,Chalta Purja-58 and Accident-65. The cast of the film was Shyama, Shammi Kapoor, Ram Singh, Madan Puri,Uma Dutt, Indira, Nazir kashmiri, Tun Tun, Daljit and many others.

Indira. This is a ‘Same Name Confusion’ artiste. During the silent Era and early Talkie period, there was one Indira Devi. Her real name was Effie Hippolet- an Anglo-Indian She acted in 24 silent films since 1927, but did only two Talike films-Al-Hilal-35 and Wamaq Azra-1935. Then there is the comedian fatty Indira Bansal who was operative from 1951 to 1981, and worked in 116 films. This Indira was different.

Indira, one of Punjabi cinema’s most popular leading ladies of the 1960s, was born on August 6, 1938 in northern India. Growing up in an aristocratic family in the Punjab village of Kharian, her family lost everything when they had to flee their home during partition to settle in Kanpur. In 1952 her family shifted to Bombay where an Elder brother ran a successful business.

Indira was noticed by the popular comedienne Bhagwan while he was shooting a movie at Jagriti Studios, and she was put in the cast of his film Rangeela (1953). Raj Kapoor, who happened to be visiting the set of Rangeela, noticed Indira and later cast her as the daughter of a rich industrialist in his film Shree 420 (1955).

Indira continued to appear in supporting roles in major Hindi productions like Funtoosh (1956), Mirza Sahibaan-1957, Yahudi (1958), and Dil Deke Dekho(1959). She had just appeared as the lead in the low budget yarn Jungle Ki Duniya (1959) when she was cast as the heroine in a Punjabi film titled Yamla Jatt in 1960. This was followed that same year by two more Punjabi pictures, Do Lacchian and Kiklee. All three films were very successful.

Returning to Hindi language movies, she found herself much in demand for B-films with colorful titles like Maya Mahal (1963), Jungle Boy (1963), Tarzan Aur Jadugar (1963), Pahadi Nagin (1964), Arab Ka Lal (1964), Son of Zimbo (1966), Sheba and Hercules (1967), Tarzan in Fairyland (1968) and CID Agent 302 (1968), sometimes playing the heroine, but more often than not as a vamp or villain. Occasionally she would snag a nice supporting role in a major production like Do Dil (1965) or Mere Huzoor (1968), and she still continued to star in Punjabi fare.

Sometimes billed as Indira Billi (her real name was Indira Kaur) she was interviewed in 1963 for Picture Post magazine where she talked about her beginnings: “I had not the good fortune of stepping into films and finding myself a heroine right from the start as had been the case with many glamour girls these days. It was a life of toil and tears, fighting every inch, every day, and month after month. Sometimes I was fed up, felt tired of the ceaseless struggle to make my presence felt. With the struggle for existence keen and with not enough money, those early days were none too happy for a girl aspiring for a respectable place in the film world, let alone stardom. Sometimes I had my misgivings whether I was right in coming into films. Some kind of inferiority complex took hold of me and I thought several times that I would never become a star.” Indira married cinema owner Shiv Kumar in the early to mid-1960s and left the film scene in the early 1970s.

The story of the film Mirza Sahibaan-57 was…. Sahiba’s father (Uma Dutt) is Mirza’s mother’s brother (making them cousins). She brings Mirza for an extended visit to her family home, a visit cut short when Sahiba’s mother (Gulab) throws a fit over her young daughter’s budding relationship with Mirza, who for some reason is not considered worthy of her. Mirza adamantly refuses to leave his Sahiba when his insulted mother packs up her bags and goes.

Her sad-sack hen-pecked brother promises to take good care of Mirza, although how someone so lacking a spine can possibly protect a kid who is clearly not wanted is beyond me. Anyway, Sahiba and Mirza become inseparable and grow into young adults (Shyama and Shammi Kapoor) who adore each other. The little cocoon of love that surrounds them is constantly under attack by Sahiba’s brothers Mir (Ram Singh) and Shamir (Madan Puri) in addition to her mother, but the pair remains steadfast (although they spend a lot of time talking about their willingness to die for one another, never a good omen).

In addition to Sahiba, Mirza has a passion for his white mare and his bow and arrows and is a crack shot. This endears him no further to his nasty cousins, and his love for Sahiba is also a thorn in the side for the local barber and matchmaker Umara (?) who stands to lose a commission if the young lovers marry each other. When Sahiba persuades Mirza to take her to a local fair, Umara takes the opportunity to create trouble.

Umara informs Mir and Shamir that Sahiba is at the fair with Mirza. Infuriated, they track him down and beat him mercilessly, although not as mercilessly as Sahiba’s mother when they all reach home. She throws Mirza out of the house and locks Sahiba in her room. Sahiba’s father quickly accedes to his wife’s wishes that he get Sahiba married into the wealthy Choudhary family (who happen to be her relatives) nearby, and Umara is called in.

Sahiba, unable to escape her mother’s eagle eye, asks her friend Mora to take a message to Mirza, who is now homeless and despondently considering suicide.

Mora saves him from jumping off a cliff, and he goes to stay with their aunt, Bibo.

Umara the matchmaker now becomes very busy, going first to fix Sahiba’s marriage with the son of Choudhary Sahab (Nazir Kashmiri), and then to Mirza’s parents’ house, where he tells them how mistreated Mirza has been. Mirza’s mother asks him to plead with Mirza to return home—which he doesn’t have to do because Bibo is already suggesting it to Mirza. She relents though in the face of Mirza’s devotion.

He agrees to return to his parental home if Bibo will bring Sahiba to him to say goodbye, which she does. He promises to return for Sahiba, and she says that she will send word when her wedding date is fixed so that he can save her. I am not clear how this will work out better than if they just leave right now, but it’s not my plot. Sahiba’s wedding is eventually fixed for the same day as Mirza’s sister Chatti’s, and Bibo sends a message to Mirza.

Mirza receives the message, and races away on his trusty white mare to rescue Sahiba from her wedding. He runs away with her.

The end- The opposite party follows Mirza and Sahiba and kills Mirza. Sahiba commits suicide and both die in each other’s arms.

(For this post, I thank Wikipedia, Mike Barnum’s Blog, HFGK, memsaabstory.com and my notes.)


Song-Subah uthh ke Mirze yaar ne Sahibaan ka le liya naam(Mirza Saahiban)(1957) Singers-Rafi, Shamshad Begam, Verma Malik, Sardul Kwatra
Male chorus
Female chorus
All chorus

Lyrics

haddipa
haddipa
haddipa
haddipa
hey

ho o o
ho ho ho ho
subah uthh ke mirze yaar ne
sahibaan ka le liya naam
ghar ghar mashoori ho gayi ee
gali gali hua badnaam
ho o o o
o o o o
tera chori chori pyaar thha
ab aage sare aam
ho ho ho ho ho ho ho
kya jaane mirza sahibaan
ab kya hoga anjaam
khha liya beliya toone aam

aaha
aaha
aaha
aaha
aaha
aaha

hey kudiya ne
hey kudiya ne
hey kudiye ne

balle balle balle
hey mundaiy ne
hey mundaiy ne
hey mundaiy ne

ho sadqe
hey kudiya ne ?? kudiyaa waali ??
hurr
hey munde
shahar de gunde
baaj na aawan

aa hahahahaha
Hey kudiya ?? kudiyaa ho ?? dil churaawan
ho sadqe
Hey munde
shahr ke gunde
baaj na aawan

hurr
mohe le de dupatta malmal ka
ho rang zara halka
?? kal ka
?? karo kal ka
oye soniya aa
oye beliya

mohe le de dupatta malmal ka
ho rang zara halka
ho rang zara halka
ho soniya
hoy beliyaa

ho tu le ke dupatta jab aayegi ee ee
tu le ke dupatta jab aayegi
ho bindiya lagaayegi
najar lag jaayegi ee
ho soniye ae
ho heeriye
hey kudiya ni ?? kudiya
?? dil churaawan
ho balle balle balle
hey munde
shahr ke gunde
baaz na aawan

aa mil gale
duniya jale
duniya se chalen door hum
hai waasta
ab raastaa
chhodo jee ye majboor??

haaye
dil le liya aa aa aa
gham de diya aa aa
dil le liya aa aa
gham de diya
bedardi
gham de diya

ho mujhe dil ki
banaa le jee malika
bharosa nahin pal ka
na waada karo kal ka
oy soniyaa aa aa
oye beliyaa

oye kudiye ni ??
?? dil churaawan

hoye sadqe
Hey munde
shahar ke gunde
baaz na aawan

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

haathhon mein haath
?? ke kangan
?? rang

balle balle balle balle
?? chunari rang birangi ke ho gaye ??
ab ??

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ho gori
jab se chali gayi dhali ho hamko

ho balle balle
to humko dard judaai mili
?? kaun hamaara
ab chale na chaara
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari

shehron mein se shahar anokha
shahar hai ek Ambaala
ho Ambaale ki ek sundari
rang thha uska kaala
punjaab ke chhaile ne ae ae
is Punjaab ke chhaile ne thha usko jaadoo daala
chala gaya wo tod ke dil ko
bholi soorat waala
ab kahaan jaayegi haan
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
aa hahahaha

sadak kinaare ek chhokra
khada thha najar jamaaye
Raaja ki ek ladki dekhi
dekh ke bola haaye
kehne laga dil khaali hai

aay haay
kehne laga dil khaali hai
koi ismein aaye
ik ladki ne khol ke joote
sar pe khoob jamaaye
ro ro bole wo

koi mujhe banchaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo o
aahaa


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 :

4369 Post No. : 15701

“Zindagi”(1964) was written produced and directed by Ramanand Sagar for Gemini Productions, Madras. This movie had Raj Kumar, Rajendra Kumar, Vyjayanthimala, Helen, Mehmood, Prithviraj Chauhan, Jeevan, Dhumal, Jayant, Kanhaiyalal, Hiralal, Master Shahid, Leela Chitnis, Pushpavalli(Actress Rekha`s mother), Baby Farida & “Honey”, Mumtaz Begum, Moolchand, Nirupa Roy, Satyajeet etc in it.

The movie had 13 songs in it. Nine songs from the movie have been covered in the past.

Last year, on 30 august 2019, we had covered an expectant mother song, viz Ek naye mehmaan ke aane ki khabar hai. Today, some ten months later, we find Vyjyanti Mala, the expectant mother in that song, seeking to abandon that child, while Prithviraj Kapoor is also visible in the picturisation. I request our knowledgeable readers to throw light on the circumstances that are depicted in the picturisation of this song,

The song is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

Lyrics of this song were sent to me by Prakashchandra.


Song-Pyaar ki dulhan sada suhaagan (Zindagi)(1964) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics(Provided by Prakashchandra)

pyaar ki dulhan sada suhaagan
kabhi na widhwa hoye
jeewan maran se upar rishta
janam janam ka hoye

pyaar ki dulhan sada suhaagan
kabhi na widhwa hoye
jeewan maran se upar rishta
janam janam ka hoye
janam janam ka hoye

o chain mere dil ke
mere ghar ki raushni
tere to maa ka doodh
ye hai aakhiri ghadi
poochhe agar zamaana
teri ma kidhar gayi
kehna ke mere baaba se milne chali gayi
kehna ke mere baaba se milne chali gayi

ab na maa hoon main kisi ki
na bahu na beti
teri jogan hoon
tere paas chali aati hoon
teri yaadon ko liye
saath chali aati hoon
teri yaadon ko liye
saath chali aati hoon


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 : 4368 Post No. : 15700

While covering songs on most days, I do not feel much pressure. The only pressure on me is that the day should not end up as a DOT day. I make sure that at least one writeup appears on the blog every day. Fortunately there has been no DOT days this year. The last DOT day of the blog was in December 2019.

The other “pressure”, apart from that of avoiding DOT day, is to make sure that guest posts are published within a day or so. If there is too much delay in publishing them then it may lead to avoidable misunderstanding. Then there is pressure of publishing articles that are topical (having to do with anniversaries, special days etc) which must be published on the appointed day otherwise they lose their relevance.

When it is a question of publishing one post to avoid DOT day, I am happy just being able to publish a bare bones article, an article that hardly has any details other than the most basic information, a far cry from some of the three thousand words plus writeups in the blog. A few of the special occasion writeups are also like that. Guest posts are “easy” because all the hard work is already done by others. It is articles by me on special occasions that put me under pressure. If I am aware of the special occasion well in advance then I am mentally prepared, but if I become aware of the special occasion only on the day when it arrives, then I am in “trouble”. It happens with me in case of many of the anniversaries, seeing that I am not very good in remembering such dates.

Then there are some many days, like Mother’s day, Father’s day, Doctor’s day, Chocolate day and other such largely artificially created days that one becomes aware of only in the morning when one starts the computer and open the search page viz google. And there is some special google doodle staring at you, informing you that it was “Milk” day on that day ! I became aware of “milk” day on the morning of 1st June 2020. I felt that I needed to write an article on the occasion. Much of my day was spend thinking about an appropriate song, because there were very few songs on milk. Then it struck me that milk products qualify as well. And there are so many Hindi film songs on “Maakhan” (butter). We in India even have a God (Lord Krishna) who is the brand ambassador of “Maakhan”. It was already afternoon when this idea struck me and then I started typing out my writeup on the topic. This article finally appeared on the blog in the afternoon at 16:39 IST.

I feel the most “pressure” when the blog reaches its nervous nineties. It means that we need to have a special song as our blog century song. Nowadays, we are barely going at the rate of two or three songs in a day and we do not seem to able to muster the kind of creative writing juices that seemed to flow in abundance till a few years ago. Those days, people would start eagerly anticipating the moment. They would sometimes even stat guessing the song, taking hint from the tallies of various artists in the blog, or basing their guess on the anniversaries to come.

Those days are behind us. Those days we were galloping at Rajdhani express speed, reaching a century in 16 days. These days we are crawling at the speed of a passenger train, reaching centuries in over 50 days.

Just like in case of special occasion songs, I obviously has to think of an appropriate song for the blog century song. The song must be a “special” song befitting the special occasion. As in the case of other “special” occasion songs, this special occasion also puts me under pressure. This time the pressure is of my own making because I myself do not pay attention to the matter in time, and start worrying about it only at the last moment.

I was aware that we are reaching out 157th century, viz song post number 15700, but it was only yesterday (2nd July 2020) when I finally realised that the century post had to be inevitably posted on 3rd July 2020, if I had to ensure that this occasion did not clash with other special occasions viz anniversaries etc.

Like on many similar blog century occasions, I have chosen a “special” song as the blog post number 15700 of the blog. This song can be described as belonging to the category of rare songs, that few people may have heard of. Forget the song, one may not even have heard the name of the movie. The movie is called “Safed Ghoda Kaala Sawaar”(1960) aka “Black Rider”(1960). It was directed by Mehmood (same as the comedian or someone else ?) for Screenarts Bombay. The B grade obscure movie had Kamran, Krishnkumari, Habeeb, Shaam, Najma etc in it. HFGK mentions five songs for this movie.

One song from this movie has been covered in the past. Here is the second song from “Black Rider” (1960) to appear in the blog. The song is sung by Balbir and Minu Prushottam with chorus. Naqsh Llayalpuri is the lyricist. Music is composed by Harbans.

The song is a qawwaali and sounds wonderful to listen to. But while most qawwaalis are quite long, this qawwaali ends after three minutes , after just two stanza, with the listeners wanting more. I wonder if this song was originally longer and only three minutes long version of the qawwaali was released on record. I request our knowledgeable readers to thow light on the movie as well as on the picturisation of the song.
[Ed Note: As Sudhir ji points out in his comment, the full song is double the length – it is 6+ minutes and appears on two sides of a 78 rpm record. Whoever has uploaded the song did not take care enough to upload the full song. Sudhir ji has now uploaded the full qawwaali and updated the lyrics.]

With this extremely rare song, the blog reaches another century in the blog. This century took 53 days. Now that we are onto song post number 15700, the next magic number 16000 appears near by. Hopefully we will reach that big landmark in a matter of another few months.

With this post done, now I feel free to post next few articles without much pressure, before it would be time for the next important events for the blog, viz blog anniversary (which falls in july itself) etc.

I take this opportunity to thank one and all for their continued support in helping this musical bandwagon keep chugging along merrily. Many more musical gems still lie ahead that we need to explore and savor.

Song – Husn Waale Khilauna Jaan Ke Dil Tod Dete Hain (Black Rider)(1960) Singers – S Balbir, Meenu Purushottam, Lyrics – Naqsh Llayalpuri, MD – Harbans
Male chorus
Female chorus

Lyrics

aa aa aa
haseenon ki adaaon ne
hazaaron ko mitaa daala
kisi ko kar diya ruswa
kisi ka ghar jalaa daala

husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

kabhi palken jhukaa ke aur
kabhi zulfon ko bikhraa ke
aa aa aa
kabhi nazren milaa ke aur
kabhi aanchal ko lehraa ke
aa aa aa
dilon ko loot lete hain
dilaason per hi behlaa ke
tamaasha dekhte hain phir
tadapte dil ko tadpaa ke
sahaara dene se pehle
sahaare chhod dete hain
sahaara dene se pehle
sahaare chhod dete hain
nazar se loot lete hain
tadapta chhod dete hain
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain

hamaara naam bhi badnaam
kar daala zamaane ne
haa..aa..aan
ghazab ki talkhiyaan bhar di
mohabbat ke fasaane mein
bade hi tez hain ye ishq waale
dil lagaane mein
basa ke apne haathon
pyaar ki basti mitaane mein
ye aise raahbar hain jo bhatakta chhod dete hain
ye aise raahbar hain jo bhatakta chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

haa..aa..aa..aan
bade masoom bantey hain
bahut hoshiyaar hotey hain
haa..aa..aan
sambhal paate nahin wo
jin pe inke waar hotey hain
ye zaalim ishq waale
kis qadar ayyaar hotey hain
jo in se dil lagaate hain
bahut bezaar hotey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
aaa aaa aaa aaa aaaaa
aaa aaa aaa aaaaa
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
aaa aaa aaa aaa
aaa aaa aaa aaa
ishq waale laga kar aag daaman chhod dete hain

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

आ आ आ
हसीनों की अदाओं ने
हजारों को मिटा डाला
किसी को कर दिया रुसवा
किसी का घर जला डाला

हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

कभी पलकें झुका के और
लाभी ज़ुल्फों को बिखरा के
आ आ आ
अभी नज़रें मिला के और’
कभी आंचल को लहरा के
आ आ आ
दिलो को लूट लेते हैं
दिलासों पर ही बहला के
तमाशा देखते हैं फिर
तड़पते दिल को तड़पा के
सहारा देने से पहले
सहारा छोड़ देते हैं
सहारा देने से पहले
सहारा छोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं

हमारा नाम भी बदनाम
कर डाला जमाने ने
हाँ॰॰आँ॰॰आँ
ग़ज़ब की तल्खियाँ भर दीं
मोहब्बत के फसाने में
बड़े ही तेज़ हैं ये इश्क़वाले
दिल लगाने में
बसा के अपने हाथों
प्यार की बस्ती मिटाने में
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

हाँ॰॰आँ॰॰आँ॰॰आँ
बड़े मासूम बनते हैं
बड़े होशियार होते हैं
हाँ॰॰आँ॰॰आँ
संभाल पाते नहीं वो
जिनपे इनके वार होते हैं
ये ज़ालिम इश्क़ वाले
इस कदर अय्यार होते हैं
जो इनसे दिल लगाते हैं
बड़े बेज़ार होते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
आ आ आ आ आ
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
आ आ आ आ आ
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं


This article is written by Avinash Scrapwala, 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 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 :

4368 Post No. : 15699

Main ik panchhi matwaalaa re …

In this case we have a ‘reverse’ ‘repetition of song’ of a Hindi movie, i.e. reverse repetition on our blog 😊 where the new song was posted first and older will be covered here. 😊

– The song has been posted on the blog under the movie ‘Mamta Ki Chhaaon Mein-1989’ and it has also been mentioned there that it was recorded for ‘Door Ka Raahi-1971’ …

1) When it was recorded for ‘Door Ka Raahi-1971’, Amit Kumar (born on 3rd July’1952) must be around 17-18 yrs old.

2) The songs/soundtracks listing of ‘Door Ka Raahi-1971’ included this song, which is also mentioned in HFGK, so technically we need to include this song, the recording which was done when the singer was ‘Amit Ganguly’, on the blog.

3) Then, this song has a second stanza (which TILL NOW has not been mentioned or posted on the blog) and the full song is given below.

4) When the same song was recorded for ‘Mamta Ki Chhaaon Mein-1989’, it was recorded again and it was not the same recording from ‘Door Ka Raahi-1971’. The age of Amit Kumar (now he was Amit Kumar) at the time of second recording must be around 32-34 yrs, so here the voice is more matured now and I think the ‘length of the ‘sur’s’ too.

5) The song in ‘Mamta Ki Chhaaon Mein-1989’ has an additional second stanza as given in this audio link. The link of this song and the earlier song has also been posted by our ‘passionate favorite’ team members, but so far, they do not mention about the second stanza: –

There is onlyone difference in the lyrics at one place highlighted in red.

‘ghor ghataa chhaaye, chaahye bijlee
daraayein’
‘ghor ghataa chhaaye, chaahye bijuri daraayein’


Song-Main ik panchhi matwaala re (Door Ka Raahi)(1971) Singer-Amit Kumar, Lyrics-Kishore Kumar, MD-Kishore Kumar

Lyrics

main ik panchhi matwaala re ae ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

main ik panchhi matwaala re ae ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

door gagan ka panchhi hoon main
door thhikaana mera aa
door gagan ka panchhi hoon main
door thhikaana mera aa
is bagiyaa ki daal pe mera
ik pal rain basera aa
hichkoley khaaun
chah-chahaaun
gungunaaun
baadlon ke sang sang
ud ud jaaun
main apne aap mein bhoolaa re
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

toofaanon ka paalaa hoon main
aandhiyon mein khelaa aa
toofaanon ka paalaa hoon main
aandhiyon mein khelaa aa
taan ke seenaa udoon gagan mein
har mushqil ko jhelaa aa
ghor ghataa chhaaye
chaahye bijlee daraayein
badhhtaa chaloon main
lehraaye bal khaaye ae
main dhoop chhaaon mein
khelaa re ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

mera is duniyaa ke baagh mein
aanaa jaana re
mera is duniyaa ke baagh mein
aanaa jaana re

____________________________________________________________

Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————-
मैं इक पंछी मतवाला रे ए ए ए
मतवाला और निराला रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे

मैं इक पंछी मतवाला रे ए ए ए
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे

दूर गगन का पंछी हूँ मैं
दूर ठिकाना मेरा आ
दूर गगन का पंछी हूँ मैं
दूर ठिकाना मेरा आ
इस बगिया की डाल पे मेरा
इक पल रेन बसेरा आ
हिचकोले खाऊं
चह चहाऊँ
गुनगुनाऊं
बादलों के संग संग
उड़ उड़ जाऊं
मैं अपने आप में भूला रे
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे

तूफानों का पाला हूँ मैं
आँधियों में खेला आ
तूफानों का पाला हूँ मैं
आँधियों में खेला आ
तान के सीना उडूं गगन में
हर मुश्किल को झेला आ
घोर घटा छाये
चाहे बिजली डरायें
बढ़ता चलूँ मैं
लहराए बल खाए ए
मैं धुप छाँव में खेला रे ए
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे


This article is written by Avinash Scrapwala, 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 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 :

4368 Post No. : 15698 Movie Count :

4328

Today 3rd July 2020 is the sixty-eighth birth anniversary (born on 3rd July 1952) of Singer Amit Kumar Ganguly or Amit Kumar.

On this occasion here is a song from the movie ‘Swarthi-1986’ sung by him.

“Swarthi-1986” was directed by Radhakant for ‘Filmnagar’. It was produced by Sohanlal Kanwar. Smt. Vijayalaxmi was the co-producer of this movie. It had Suresh Oberoi, Neeta Mehta, Shafi Inamdar, Komal Mahuvakar, Aruna Irani, Paintal, with Anupam Kher, supported by Chand Usmani, Arun Mathur, Baba, Vandana Shastri, Sunanda, Rana Jung Bahadur, Tulsi, Manjit Sikhwal, Kaka, Malik, Sehgal, Ashok Saxena, Amar Nath and Alka Noopur and others.

Story of this movie was written by Ram Kelkar. Editing of this movie was done by Satpal Suri and Narinder Arora.

This movie had six songs (including one multiple version song). Lyrics of these songs for this movie were written by M.G. Hashmat (four songs, including one multiple version song), Vishweshvar Sharma and Dilip Tahir (one song each). Music was composed by Sapan Jagmohan.

Amit Kumar, Anuradha Paudwal and Suresh Wadkar had given their voices to the songs in this movie.

Today’s song is written by M.G. Hashmat and sung by Amit Kumar. Sapan Jagmohan is the composer as mentioned above.

Let us now enjoy this entertaining song. Lyrics of this song were sent by Prakashchandra. Only audio of this song is available and my guess is that it must have been lip synced by Suresh Oberoi the hero of this movie. The other details of this movie are taken from the ‘titles’ of the movie available on YT link. However, the date of passing by Censor Board of this movie could not be confirmed.

When Prakash ji had sent this song, he had put a question mark against the year-1985/1986- of this movie and that prompted me to check for this movie details. However, since this movie is not mentioned in the HFGK Vol-VI (1981-1985) I guess the year of the release of this movie is 1986. I was also not aware of this movie name or its songs. And I was listening to this song first time, I think. Amit Kumar has sung the song in his style with gusto and it’s a nice song to enjoy. 😊

With this song ‘Swarthi-1986’ makes its debut on the blog. …

(audio)
Song-Mera to iraada hai jaan e mann (Swaarthi)(1986) Singer-Amit Kumar, Lyrics-M G Hashmat, MD-Sapan Jagmohan

Lyrics(Provided by Prakashchandra)

mera to iraadaa hai jaan-e-mann
teraa kyaa iraadaa hai jaan-e-mann
mera to iraadaa hai jaan-e-mann
ho o o mujhe bhi nashaa hai
tujhe bhi nashaa hai ae
mujhe bhi nashaa hai
tujhe bhi nashaa hai
dil ko na rok aajdil ke paas aane de
meraa to iraadaa hai jaan-e-mann
bol teraa kyaa iraadaa hai jaan-e-mann
meraa to iraadaa haijaan-e-mann…aaa

sab haseenon mein tera
maine intikhaab kiyaa
ek zarre ko
mohabbat ne aftaab kiyaa aa
kehne ko hanstaa hoon
samjho to rotaa hoon
rakh ke tasveer teri
dil pe roz sotaa hoon
kehne ko hanstaa hoon
samjho to rotaa hoon
rakh ke tasweer teri
dil pe roz sotaa hoon
kab ke bichhde aaj miley hain
bujhe bujhe dil milke jaley hain
dil ko na rok aaj dil ke paas aane de
aaj kaa to waadaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol tera kyaa iraadaa hai jaan-e-mann
lutf aisaa nahin
kisi jannat ke maikhaane mein
jo nazar aaye tere
husn ke paimaane mein ae
nazar hai aashiqanaa
adaa har maashooqanaa
aisey mehboob mausam mein hai mushkil door jaanaa aa
haan aa
nazar hai aashiqanaa
adaa har maashooqanaa
aisey mehboob mausam mein hai mushkil door jaanaa
kyon na badan ki aag bujhaa lein
pyaas ko peekar pyaas mitaa lein
dil ko na rok aaj dil ke paas aane de
raat ka taqaazaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol tera kyaa iraadaa haijaan-e-mann a a a

ho o o meri ungli mein tere
husn kaa aa nagina ho
maroon to munh pe tere
pyaarkaapaseenaa ho o o
ha hahee
husn to teraa hai
ishq to meraa hai
maze ke waaste hi
raat ka andheraa hai ae
husn to teraa hai
ishq to meraa hai
maze ke waaste hi
raat ka andheraa hai
ek duje mein kho jaayenge ae
chain se phir to so jaayenge
dil ko na rok aaj dil ke paas aane de
donon kaa hi faaydaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol teraa kyaa iraadaa hai jaan-e-mann
mujhe bhi nashaa hai
tujhe bhi nashaa hai ae
mujhe bhi nashaa hai
tujhe bhi nashaa hai
dil ko na rok aaj dil ke paas aane de
meraa to iraadaa hai jaan-e-mann
tera kya iraada hai jaan-e-mann
bol meraa to iraadaa hai jaan-e-mann
ha haha
ho hoho
heeheehee

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————
मेरा तो इरादा है जानेमन
तेरा क्या इरादा है जानेमन
मेरा तो इरादा है जानेमन
हो ओ ओ मुझे भी नशा है
तुझे भी नशा है ए
मुझे भी नशा है
तुझे भी नशा है
दिल को ना रोक आज दिल के पास आने दे
मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन
मेरा तो इरादा है जानेमन अ अ अ

सब हसीनों में तेरा
मैंने इन्तिखाब किया
एक ज़र्रे को
मोहब्बत ने आफताब किया आ
कहने को हंसता हूँ
समझो तो रोता हूँ
रख के तस्वीर तेरी
दिल पे रोज़ सोता हूँ
कब के बिछड़े आज मिले हैं
बुझे बुझे दिल मिलके जले हैं
दिल को ना रोक आज दिल के पास आने दे
आज का तो वादा है जानेमन
मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन

लुत्फ़ ऐसा नहीं
किसी जन्नत के मयखाने में
जो नज़र आये तेरे
हुस्न के पैमाने में ए
नज़र है आशिकाना
अदा हर माशूकाना
ऐसे महबूब मौसम में है मुश्किल दूर जाना आ
हाँ आ
नज़र है आशिकाना
अदा हर माशूकाना
ऐसे महबूब मौसम में है मुश्किल दूर जाना
क्यों न बदन कि आग बुझा लें
प्यास को पीकर प्यास मिटा लें
दिल को ना रोक आज दिल के पास आने दे
रात का तकाज़ा है जानेमन
बोल तेरा क्या इरादा है जानेमन अ अ अ

हो ओ ओ मेरी ऊँगली में तेरे
हुस्न का आ नगीना हो
मरूं तो मुंह पे तेरे
प्यार का पसीना हो ओ ओ
ह ह ही
हुस्न तो तेरा है
इश्क तो मेरा है
मज़े के वास्ते ही
रात का अन्धेरा है ए
हुस्न तो तेरा है
इश्क तो मेरा है
मज़े के वास्ते ही
रात का अन्धेरा है
एक दूजे में खो जायेंगे ए
चैन से फिर तो सो जायेंगे
दिल को ना रोक आज दिल के पास आने दे
दोनों का ही फायदा है जानेमन

मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन
मुझे भी नशा है
तुझे भी नशा है ए
मुझे भी नशा है
तुझे भी नशा है
दिल को ना रोक आज दिल के पास आने दे
मेरा तो इरादा है जानेमन
तेरा क्या इरादा है जानेमन
बोल मेरा तो इरादा है जानेमन
ह ह ह
हो हो हो
ही ही ही


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 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 :

4368 Post No. : 15697 Movie Count :

4327

Hindi songs in Bangla Films – 33
————————————–

Music Directors, Ravi (Ravi Shankar Sharma) and Hemant Kumar (Hemant Mukherjee or Hemant Mukhopadhyay as he is known in Bangla films industry) had an interesting and collaborative partnership in the 1950s. As revealed in his multiple TV interviews, Ravi came to Mumbai in 1950 to become a playback singer. He started as a chorus singer and his first song as a chorus singer was for zara jhoom le jawaani ka zamaana in ‘Naujawaan’ (1951).

Hemant Kumar got his first Hindi film assignment as a music director in Filmistan’s ‘Anand Math’ (1952) in which Ravi got a chance as a chorus singer for the song vande maataram. Hemant Kumar seems to have found Ravi as a knowledgeable and resourceful person having good command over Hindi and Urdu, the latter being the weak points for Hemant Kumar. So, he appointed Ravi as his Music Assistant. What I have gathered from the TV interviews is that Ravi had become Hemant Kumar’s man Friday. Whenever Hemant Kumar found some ‘musical resources gap’, it was Ravi who would step in to fill the gaps – be as a musician, lyricist and singer and apprising him of the nuances of Hindi and Urdu words in lyrics.

One of the best collaborative efforts of Hemant Kumar with Ravi as his Assistant Music Director was in ‘Naagin’ (1954). All the songs of the films were super hit and Hemant Kumar won Filmfare’s Best Music Director’s Award for the film. In one of the film’s songs, Hemant Kumar did not want to use the Been as an instrument but he wanted the sound of the Been. Ravi came forward to compose the Been music on Harmonium which was played on Clavioline (a keyboard music instrument) by Kalyanji to produce Been like sound. The Been music was created on the tune of mera dil ye pukaare aaja and used in mann doley mera tann doley. The songs with Been music became so famous that HMV came out with a gramophone record covering only the Been music for which Ravi was given credit for composing the Been music.

Hemant Kumar was very much inspired by an East Bengal folk song ‘Allah megh de paani de chhaaya de tui’ which was made very popular by S D Burman when he sang this song in Jodhpur Music Festival held sometime in mid-1940s. Hemant Kumar wanted to use this folk tune in one of the songs of ‘Naagin’ (1954). But Ravi did not want the song to sound like folk tune. So, he played a variation of the mukhda tune on his harmonium based on the folk tune which Hemant Kumar liked and incorporated in the song chhod de patang meri chhod de. Only listeners of Hindi film songs with keen ears could have made out that this song was based on a folk song referred to above. At least, I can say for myself that I did not realise this fact until Ravi himself had revealed this in one of his TV interviews, despite the fact that I was aware of allah megh de paani de used in ‘Guide’ (1965) by S D Burman and I also knew that it was partially used in de de pyaar de pyaar de pyaar de re by Bappi Lahiri.

One more instance where Ravi came as a filler for Hemant Kumar’s muscian was on the day of the recording of the song na ye chaand hoga na taare rahenge for ‘Shart’ (1954). The musician playing the Clavioline did not turn up for recording. Since it was the main instrument to be used for prelude and interludes, Hemant Kumar decided to cancel the recording. But Ravi stepped in and offer to play the Clavioline. Thus, the song recording was completed as per schedule with Ravi playing the Clavioline.

During his association with Hemant Kumar, Ravi also stepped in as one-song lyricist in ‘Bandish’ (1955), ‘Arab Ka Saudagar’ (1956), Hamaara Watan’ (1956) and ‘Bandi’ (1957). Ravi as an Assistant Music Director also sang under Hemant Kumar in ‘Daaku Ki Ladki’ (1954), ‘Bahu’ (1955), ‘Lagan’ (1955), ‘Arab Ka Saudagar’ (1956), ‘Laalten’ (1956) and ‘Yahudi Ki Ladki’ (1957).

Ravi worked with Hemant Kumar as Assistant Music Director in 22 films during 1954-57 which included ‘Shart’ (1954), ‘Jaagriti’ (1954), ‘Naagin’ (1954), ‘Bahu’ (1955), ‘Bandish’ (1955), ‘Inspector’ (1956), ‘Ek Hi Raasta’ (1956), ‘Durgesh Nadini’ (1956), ‘Yahudi Ki Ladki’ (1957), ‘Ek Jhalak’ (1957), ‘Champakali’ (1957) etc. During this period, Ravi also got assignments as an independent music director in ‘Vachan’ (1955). ‘Albeli’ (1955), ‘Prabhu Ki Maya’ (1955), ‘Ayodhyapati’ (1956), ‘Ek Saal’ (1957) and ‘Narsi Bhagat’ (1957).

The association of Hemant Kumar and Ravi ended sometime in 1957, when the former advised Ravi to look for independent assignments as a music director. Hemant Kumar he felt that working with him as Assistant Music Director for a long time would restrict his musical career. Though Ravi was not keen to leave his association with Hemant Kumar, he saw logic in his mentor’s advice and parted his fruitful association with him. However, Ravi did not have to struggle to get his independent assignments as three of the production banners – Devendra Goel, S D Narang and Nadiadwala with whom he had worked as Assistant Music Director for Hemant Kumar, engaged him as music director for their films. After the success of his music in ‘Chaudhvin Ka Chaand’ (1960), Ravi never looked back in his musical journey. Before and after parting of their association, as per my counting, Hemant Kumar sang least 22 songs under the music direction of Ravi.

Hemant Kumar and Ravi also collaborated in a Bangla movie, ‘Shesh Parichaya’ (1957), where Ravi was associated as a lyricist for two Hindi songs in the film. These two songs are ‘chal aisi jagah ae dil’ and ‘jhoom jhoom kar gaa le’, both rendered by Lata Mangeshkar. Unfortunately, the film is not available for viewing online on any of the video sharing platforms. I do not have any idea about the story of the film. Whether the film ‘Shesh Parichaya’ (1957) has any connection with a novella of the same title written by Sharatchandra Chattopadhyay is difficult to guess. The only available information on-line is that the film was directed by Sushil Majumdar and Basanta Chaudhury, Sabitri Chatterjee and Chhabi Biswas acted in the film. Hemant Kumar was the music director.

I am presenting first of the two Hindi songs from “Shesh Paricay”, viz. ‘chal aisi jagah le chal’ sung by Lata Mangeshkar. The song reminds me of chali jaa chali jaa chali jaa from ‘Ham Log’ (1951).

Audio Clip:

Song-Chal aisi jagah ae dil (Shesh Parichay)((Bangla)(1957) Singer-Lata, Ravi, MD-Hemant Kumar

Lyrics

chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil

bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko…o
koi nahin sunega
bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko..o
koi nahin sunega
seene mein daba le tu
iss gham ke fasaane ko
kehna na zamaane ko
chal aisi jagah ae dil

duniya ne aaj tujhse
badlin hai jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
duniya ne aaj tujhse
badlin hain jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
taqdeer bani dushman
jab tere mitaane ko
ghar tera jalaane ko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil


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 :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


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 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 :

4366 Post No. : 15695 Movie Count :

4326

Today’s song is a very rare song from an obscure film-Parbat ki Rani-1948. The film was made by Leela Chitra Mandir, owned by the heroine of the film-Leela Pawar. The lyricist and director of this film was A.Karim and the Music Composer was Master Ibrahim. He gave music to only 2 films and his only one song is available. It is uploaded by Shri Girdharilal Vishwakarma ji, who kindly tells us about who are the singers too. HFGK does not mention any singers.

When filmmaking, especially the Talkie films started, there were some reputed and well known companies who produced films. In the few initial years, the films were sold and seen only based on who had made them. These companies had that much respect in India.Companies like Imperial, Ranjit, Sharda, krishna,Madon, Sarswati, Prabhat, New Theatres, Bombay Talkies etc had their own studios, own set of actors, directors, Music Directors and Technical staff. They employed good to very good people in different departments. These companies produced films, keeping in view the profile of their audiences. Who were they ? They were the educated middle class, well to do people doing service, the small and big businessmen, women of households and generally the upper crest and the affluent section of the society.

The question came up as to what about the entertainment of the lower middle class,poor people, servants of the rich and their families, the daily earners and generally the poor class, who could not afford tickets of the posh theatres and those who hesitated to to join the white collared audience, for seeing the social films ? For them new types of films came up.Films which were cheap to make, cheap to distribute and cheap to exhibit in old theatres or theatres located in the older parts of the towns. To make the film cheap, everything about it had to be cheap, like unknown or new actors, less known composers and directors less or no expenses on settings etc etc.

Yet, the films had to appeal to the poor people. These people liked stories about Kings and Queens, injustice taken revenge of, where the poor becomes the king, stories in which the Hero has extraordinary physical powers to deal with villains and beautiful girls dancing and singing. These stories are identified with their dreams. So, film makers made such films, using Folk tales and adapted Arabian Night stories. The audience did not bother about the Histrionic capabilities of the actors or the quality of music, what they wanted to see was fighting, stunts and the daring hero winning the damsel , that all. All that they wanted to see was the Hero bashing the bad men and taking away the girl of his choice, Hero helping and fighting for the poor and punishing the wicked rich.They wanted fun, fights and few damsels. That’s all. And then, such films were made for them. This was the beginning of ‘ C ‘ grade films !

Initially, these action films were crude, but as the time went by, the films became polished and got some prestige and respect when the big film companies, like Ranjit, Mohan, Imperial, Madon and later Wadia Movietone started producing these type of films.Actors like Billimoria brothers, Jal merchant, Fearless Nadia, Radha Rani, Boman Shroff etc. brought some prestige to these films. Later on such films were done by Dara Singh, Azad etc.

Everything about C grade films was weird- from theatres to the audience. Even their Titles were strange, for example…Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, Jadui putli etc.

The actors in such films,besides the main actors were…Bajar Battu, Phoolkumari, Maruti pehelwan, Bataata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films. Many such names appeared.

Stunt films were made more attractive by including wild animals and regular animals like Horse, Dog, cat, parrot, Lion, Tiger, Elephants etc. In some films there were Hyenas and pythons too.

From 1935 onwards stunt films ,including Nadia’s,had a Horse named ‘Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car named ‘ Rolls Royce ki beti’.

After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motorcycle called ‘Runnio’ as well.

Film critics and those who wrote in glossy magazines ignored these films, but a certain portion of Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.

The Music Director of this film was also one such person – Master Ibrahim, who did only 2 films as MD. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.

For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.

His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.

In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Raagas on Clarinet as per time of the day or night.

He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.

He played not just the Clarinet, but also played Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.

Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnayi etc is remembered even today. Every year Radio Ceylon celebrates his death anniversary on 20th September by playing only his records.

He had 3 sons, who all are in the Music industry. They are experts in Vibraphone. Its use is very frequent in films nowadays. ( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).

The film’s director and lyricist was an all rounder. He acted in 3 films. From the film Aaj ki Duniya-40 to Mehbooba-1965, he wrote songs for 20 films. He directed 13 films. First film was Kalakar-42 and the last film was Mehbooba-65. He also gave music to 5 films. The films were kashmir ki kali-46, Toofani Tirandaz-47, Atom Bomb-47, Maya mahal-49 and Dhumketu-49.

I do not find today’s song very good, but then it is wrong to conclude anything with just one song. This song is important, because this is the only song of Master Ibrahim as a MD that is available. With this song film Parbat ki Rani-48 makes its Debut on the Blog.


Song-Badi bekal hai mere dil ki tamanna sajna tere liye (Parbat Ki Raani)(1948) Singers- Mohantara Talpade,Yashwant Bhatt, Lyricist- A Kareem, MD- Master Ibrahim
Both

Lyrics

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
hardam seene mein teri yaad hai
hardam seene mein teri yaad hai
duniya ummeedon ki aabaad hai
duniya ummeedon ki aabaad hai
tujhko jo dekha
huye raushan meri aankhon ke diye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
aaoge tum to main chhup jaaungi
aaoge tum to main chhup jaaungi
dhoondhoge haath nahin aaungi
dhoondhoge haath nahin aaungi
tumko sataaungi bahut tumne mujhpe zulm kiye
sajna tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye

apna waada na kabhi bhoolnaa
apna waada na kabhi bhoolnaa

dil ki dhadkan pe sada jhoolnaa
dil ki dhadkan pe sada jhoolnaa
jab tak jeewan hai rahenge hum tum sang priye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye


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 ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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