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

Archive for the ‘Asha Bhonsle songs’ Category


“Tamasha” (1952) was a Bombay talkies production. It was directed by Phani Majumdar. The star cast of this movie had Ashok Kumar, Dev Anand, Kishore Kumar, Meena Kumari, Krishnakant, Haroon, Sunalini Devi, Randhir, Kaushalya, S. N. Banerjee, Shivraj, Amit Bose, Bipin Gupta etc.
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“Aankhen” (1968) is a “Saagar Arts International” movie which was directed by Ramanand Saagar. This movie had Dharmendra, Mala Sinha, Mehmood, Madan Puri,Amarnath, Zeb Rehman, Kumkum, Sujit Kumar, Nazir Hussain, Jeevan, Sajjan, Hiralal, Daisy Irani, Parduram, Dhumal, A. A. Khan, Master Rattan, Lalita Pawar etc.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Greetings to all, on the occasion of Durga Ashtami festival today, as well as he continuing celebrations of Navratris. Jai Mata Di.

‘Navratri’ means ‘nine nights’, a celebration to honor the Mother Goddess, that lasts for 9 days. There are many legends attached to the festival of Navratri, all of them related to Goddess Shakti (Hindu Mother Goddess) and her various forms.
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Barsaat Ki Raat (1960) – just take away everything else, all the story, the screenplay, the characters, the histrionics, all the songs and music, and on screen plays, just take it all away, and leave just the three qawwaalis, and the greatness of this film will not be dimmed one bit. The three qawwaalis are the epitome of what this music and art form is all about. The first in the sequence, Nigaah e naaz ke maaron ka haal kyaa hogaa was discussed yesterday. The third, and the best known iconic qawwali of the three, Na to kaarwaan ki talaash hai…ye ishq ishq hai(Barsaat ki raat) has been discussed almost a little over three years ago, and then recently updated to its complete form. We are now left with the second offering in sequence, which is the subject of this post.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

One song of the film Flat No. 9 (1961) is already posted on this blog. That one is the iconic Mukesh song, ‘Gaa Deewaane Jhoom Ke, Raat Ki Zulfen Choom Ke’. But the remaining songs in this film are no less a delight to listen to. Despite its wonderful music, there is literally no information available online, about this film. From the Geet Kosh, one finds that this film was produced under the banner of WS Films, Bombay. It is a social drama directed by Ramesh Sharma. There are a total of 6 songs in this film, four are sung by Lata Mangeshkar, one by Mukesh, and one by Asha Bhosle. The lyrics are written by Majrooh Sultanpuri, and the wonderful music is by Usha Khanna. The star line up for this film includes Ashok Kumar, Saeeda Khan, Tiwari, Jagdish Sethi, Helen, Dhoomal, Narbada Shankar, Ravikant, Dinesh Kumar, Kehsav, Prem Saagar, Razia, Aasi etc.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Film Barsaat Ki Raat (1960) is a tale of romance and love, built around a poet’s dream, and a troupe of singers who specialize in qawwaali singing. The storyline progresses as two sub plots intertwined with each other. The first is about Bharat Bhushan and his romantic interest in Madhubala. And the second is about Shyama and her family, who are the troupe of qawwaali singers, and their progression in the qawwaali competitions. Besides the wonderful songs that have been created for this film by Sahir Ludhianvi and Roshan, there are three iconic, and very famous qawaalis in this film, that basically defined its popularity in the minds of film goers.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The mention the word ‘qawwaali’ to a Hindi film buff, and 95 out of 100, the response will be the humming sounds of ‘Ye Ishq Ishq Hai Ishq Ishq. . .’. As a poetry form, qawwali originated in Persia and traveled to the subcontinent, during the emergence of the Sufi philosophers in the 12th and 13th centuries. In its original form, its intent is to sing the praises of Allaah, the Almighty, Prophet Muhammad, and other saints. The art was exclusively performed at places of religious worship and at dragaahs (mausoleums) of revered saints and teachers. The poetry is implicitly intended to be spiritual in its context, and its central themes are love, devotion and longing (of man for the Divine).
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