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

Archive for the ‘Boatman’s Song’ Category


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 :

4449 Post No. : 15905

“Son of Sindbad” and “Daughter of Sindbad” were both released in 1958. So it seems to me that they were twins. 🙂

“Daughter of Sindbad”(1958) was directed by Ratilal for Starland Productions movie, Bombay. The movie had Jairaj, Nadira, Pran, Maruti, Tiwari, Kamal Kapoor etc in it. The movie had eight songs in it. One song has been covered in the past.

Here is the second song from “Daughter of Sindbad”(1958) to appear in the blog. This song is sung by Rafi , Usha Mangeshkar and chorus. Anjum Jaipuri is the lyricist. Music is composed by Chitragupta. Incidentally, Chitragupta was the music director in “Son of Sindbad” (1958) as well.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Lahar chup hai hawa chup hai (Daughter of Sindbad)(1958) Singers-Rafi, Usha Mangeshkar, Lyrics-Anjum Jaipuri, MD-Chitragupta
Chorus

Lyrics

lahar chup hai hawa chup hai
rawaan hai kaarvaan apna

nahin hai naakhuda koi
khuda hai paasbaan apna
lahar chup hai
hawa chup hai lahar chup hai
hawa chup hai

jahaan bhi hum gaye
apni khushi ke geet gaaye hain
hmm hmm hmm
hmm hmm hmm

tareeke hamne jeene ke
zamaane ko sikhaaye hain
mohabbat ki kahaani hai
ye lahraata nishaan apna
lahar chup hai hawa chup hai
rawaan hai kaarvaan apna
lahar chup hai hawa chup hai
lahar chup hai hawa chup hai

kabhi toofaan se khele hain
kabhi lehron pe machle hain
kabhi toofaan se khele hain
kabhi lehron pe machle hain
sahaara leke himmat ka
hawa ke rukh bhi badle hain
hazaaron baar duniya ne ki(?) hai imteha apna

lahar chup hai hawa chup hai
ravaan hai kaarvaan apna
lahar chup hai hawa chup hai
lahar chup hai hawa chup hai

khuda ki raah mein
duniyaa ki daulat deke jaate hain
hmm hmm hmm
hmm hmm hmm

safeena ab usi ke aasre pe
leke jaate hain
wo hi maalik hai duniya ka
wo hi hai mehrbaan apna
lahar chup hai hawa chup hai
rawaan hai kaarvaan apna

nahin hai naakhuda koi
khuda hai paasbaan apna
lahar chup hai hawa chup hai


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 :

4218 Post No. : 15420 Movie Count :

4248

‘Anokha Milan’ (1972) is a dubbed Hindi version of Bangla film, ‘Paari’ (1966). Produced by Pranoti Bhattacharya (nee Ghosh, wife of Abhi Bhattacharya) under the banner of New India Pictures, Calcutta, the filmias directed by Jagannath Chatterjee. The main star cast includes Dharmendra, Pranoti Ghosh, Abhi Bhattacharya, Bikash Roy, Dilip Roy, Satya Banerjee, Padma Devi, Renuka Roy etc. Dilip Kumar had a guest role of a Warden of Andaman Jail. The film is based on a story written by the famous Bengali writer, Jarasandha (real name: Charu Chandra Chakraborty). Pranoti Ghosh is not new to the Hindi films. Earlier, she had worked in Hindi films like ‘Phulwaari’ (1951), ‘Parichay’ (1954), ‘Jagriti’ (1954), ‘Love Marriage’ (1959) and ‘Sautela Bhai’ (1962).

‘Paari’ (1966, Bangla film) is the only film in which Dharmendra got opportunity to work with his childhood idol, Dilip Kumar even though he had only one or two scenes with his idol. However, Dharmendra could not get a full-fledged Hindi film to work with Dilip Kumar. He felt that some ‘jinx’ came on the way and he could not fulfil his dream of working with Dilip Kumar in a Hindi film. The ‘jinxed’ examples are set out below:

Dharmendra was to work in ‘Aadmi’ (1968) with Dilip Kumar but his role ultimately went to Manoj Kumar. In 1979, his dream of working with Dilip Kumar almost became a reality when Nasir Hussain selected Dharmendra and Rishi Kapoor in the role of sons of Dilip Kumar in ‘Zabardust’. However, after a few days of shooting, the film was shelved reportedly due to creative differences between the director and Dilip Kumar about the storyline. Later, Nasir Hussain made the film afresh in 1985 with Sanjeev Kumar, Sunny Deol and Rajiv Kapoor with some changes in the story. BR Chopra selected Dharmendra to play the role of Chandragupta in ‘Chanakya’ (1980s) in which Dilip Kumar had a role of Chanakya. However, the film got shelved due to financial problems faced by the producer. When Dilip Kumar got chance to act and direct ‘Kalinga’ (UR – 1990s), Dharmendra tried his best to get a role for himself but Dilip Kumar told him that he could not be fitted in any worthwhile role in the film.
(These are taken mostly from interviews Dharmendra gave to film journalists at various times).

The chance which Dharmendra got to work with Dilip Kumar in the Bangla film ‘Paari’ (1966) was like a ‘consolation prize’ for him having done only a couple of scenes with Dilip Kumar in the film towards the end. The story of the film which was dubbed in Hindi with a new title as ‘Anokha Milan’ (1972) is as under:

The story is set in the pre-independence period in a rural setting in Bengal. The film starts with a Jail Warden asking Tara Sen (Pranoti Ghosh), a prisoner as to why she has requested to be transferred to Andaman Jail. From here onwards, the story is unfolded in a flash-back mode until her sea journey to Andaman Jail.

Tara is the only daughter of a landlord in a village. She is fond of walking in the midst of nature in the village along with her childhood friend Ghanshyam (Dharmendra) who is looked after by the landlord. Because both of them indulge in some sort of mischiefs in the village, Ghanshyam’s gaurdian sends him to the city for schooling. After few years, Ghanshyam returns to the village as he failed in matriculation examination. He is employed by the landlord. Tara and Ghanshyam like each other but due to societal constraints, they refrain from expressing their love for each other to culminate into a marriage. After all, Tara is the daughter of a wealthy landlord and Ghanshyam is a poor commoner who works for landlord.

Tara’s parents are looking for a suitable boy for her marriage. In the meanwhile, she falls prey to the lust of the village Daroga, Badal Gupta (Abhi Bhattacharya) who is a drunkard and a womaniser. Tara’s parents try their best to take care of her by arranging her marriage with a suitable boy. However, the scandal comes to the notice of the father of the groom, a landlord who humiliate Tara and her father in derogatory words. Ghanshyam gets angry that his employer and Tara are getting insulted. He starts dispersing groom’s side supporters by wielding his lathi which accidentally kills the groom’s father. Ghanshyam is arrested on murder charge. Tara’s father is also under threat of arrest as an accomplice.

With scandal looming on her head coupled with police case, Tara decides to marry Daroga, Badal Gupta provided he drops the charges against her father and Ghanshyam which he agrees. They get married. Tara tries her best to make her husband to mend ways and give up his vices but fails. One day, Tara comes to know that her husband is going to spoil the life of an innocent girl who happens to be her friend. She confronts him. In fits of anger, she stabs her husband resulting in the life-threatening injuries to him. Tara is arrested as she has admitted the crime.

While in hospital, Daroga requests his wife Tara to change her statement to police to say that he accidentally fell on a sharp instrument so that she is saved from the jail and more importantly to preserve his self-respect as he has never been defeated in his life, that too from a woman. Tara refuses to change her statement to the police. Badal dies of stab injuries. Tara is jailed for the murder of her husband.

In the meanwhile, Tara comes to know that the court has awarded Ghanshyam the imprisonment for life and he is jailed in Andaman. She remembers the sacrifice made by Ghanshyam to save her honour and wishes to be with him as he has no one to support in Andaman. She pleads with the Jail Warden to transfer her to Andaman Jail which is granted. The Warden of Andaman Jail (Dilip Kumar) is not prepared to accept her in the Andaman jail as she cannot stay with Ghanshyam as a prisoner who is on parole. The reason is that as per the Jail Manual, only the husband and wife prisoners can stay together not necessarily in prison but in the outskirts of the prison as well.

In the meantime, Warden has gone through their files and suggest to both of them to get married so that they can stay together in Andaman. Both Tara and Ghanshyam are not ready to get married to each other due to their conventional upbringing. The Warden shows his helplessness and orders her repatriation to her original prison. The next day, Tara runs away from the jail. The jail police forces fail to locate her. Ghanshyam is also on lookout for her but returns unsuccessful. The film ends with Ghanshayam returning to his room disappointed only to find Tara sitting in a corner of his room in a semi conscious state. Ghanshyam brings her to consciousness and for the first time they embrace each other.

The highlight of the film is the presence of Dilip Kumar in a special appearance in the role of the Warden of Andaman Jail. His presence suddenly galvanises the film for about the last 15 minutes. His fluency in dialogue delivery with voice control – both in Hindi (Bengali in Bangla version) and English is worth watching. The video of Dilip Kumar’s 15 minutes’ role in the film as a Warden is here for those interested in watching his performance.

‘Anokha Milan’ (1972) has three songs one of which is a Bangla pre-marriage folk song. I am presenting the first song from the film to appear on the Blog. The song is ‘Bandhu Re, Ye mann dole bole kya re koi jaane’ sung by Manna Dey. The song is set to music by Salil Chowdhury on the words of Haneef-Jackie whose names I heard for the first time. I have also listened to the equivalent song in the Bangla version of the film ‘Paari’ (1966) which is written and set to music by Salil Chowdhury. The same tune has been used for the Hindi version song which I feel, is more or less the translation of the Bangla version. Haneef-Jackie seems to be the pseudo names.

A small part of the song under discussion is also used as a background song on the day of the marriage of Tara (Pranoti Ghosh) with Badal Gupta (Abhi Bhattacharya). I like the prelude music of the song with a beautiful combination of musical instruments especially Flute, Sitar and Guitar which is partly available in the video clip but fully available on the audio clip. It is interesting to note that Manna Dey sings second stanza of the song with somewhat Bengali pronunciation.

With this song, ‘Anokha Milan’ (1972) makes its debut in the Blog.

Video Clip:

Audio Clip:

Song-Bandhu re ye man doley boley kyaa re (Anokha Milan)(1972) Singer-Manna Dey, Lyrics-Haneef Jackie, MD-Salil Chaudhary

Lyrics

bandhu re. . .ae
ye mann doley boley kya re koi jaane
jal bhara megh ye
dil ke pyaasa
je mann sune
ye mann wohi re gaaye

bandhu re. . .ae hey
ye man dole bole kya re koi jaane
jal bhara megh ye
dil ke pyaasa
je mann sune
ye mann wahi re gaye
bandhu re. . .ae. . .ae

ban harini…eeeeee
ban harini tumhar lochan dekhe na
ban morni chalan tumhaar dekhi na
ban harini tumhar lochan dekhe na
ban morni chalan tumhaar dekhi na
jo ye lochan tore dekhe aaj wo bhoole na
bandhu re. . .ae
ye man dole bole kya re koi jaane
jal bhara megh ye
dil ke pyaasa
ye mann sune
ye mann wahi re gaye
bandhu re. . .ho. . .ho

ichhamati re. . .ae. . .ae

ichhamati nadi tum kya kya ho bolo na
donon re dole dole aao re dolo na aa
ichhamati nadi tum kya chaaho bolo na
donon re dole dole aao re dolo na
bolo chaahe doob ke maroon tumhaare taley
bandhu re. . .ae hey
ye man dole bole kya re koi jaane
jal bhara megh ye
dil ke pyaasa
ye mann sune
ye mann wahi re gaye
bandhu re. . .ae. . .ae

——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
बंधु रे॰॰ए
ये मन डोले बोले क्या रे कोई जाने
जल भरा मेघ ये
दिल के प्यासा
जे मन सुने
ये मन वही रे गाये

बंधु रे॰॰ए हे
ये मन डोले बोले क्या रे कोई जाने
जल भरा मेघ ये
दिल के प्यासा
जे मन सुने
ये मन वही रे गाये
बंधु रे॰॰ए॰॰ए

बन हरिणी॰॰ई
बन हरिणी तुम्हार लोचन देखे ना
बन मोरनी चलन तुम्हार देखि ना
बन हरिणी तुम्हार लोचन देखे ना
बन मोरनी चलन तुम्हार देखि ना
जो ये लोचन टोरे देखे आज वो भूले ना
बंधु रे॰॰ए
ये मन डोले बोले क्या रे कोई जाने
जल भरा मेघ ये
दिल के प्यासा
जे मन सुने
ये मन वही रे गाये
बंधु रे॰॰ए हो हो

इच्छामती रे॰॰ए॰॰ए
इच्छामती नदी तुम क्या क्या हो बोलो ना
दोनों रे डोले डोले आओ रे डोलो ना॰॰आ
इच्छामती नदी तुम क्या क्या हो बोलो ना
दोनों रे डोले डोले आओ रे डोलो ना॰॰आ
बोलो चाहे डूब के मरूँ तुम्हारे तले
बंधु रे॰॰ए हे
ये मन डोले बोले क्या रे कोई जाने
जल भरा मेघ ये
दिल के प्यासा
जे मन सुने
ये मन वही रे गाये
बंधु रे॰॰ए॰॰ए


This article is written by Sudhir, 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 : 3737 Post No. : 14689

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 26
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘भ’ – भैया रे भैया नैया छूआओ ना’ ॰ ॰ ॰

– – – –

चंदा का दिल टूट गया
के रोने लगे हैं सितारे ॰ ॰ ॰ 

कुछ ऐसा ही हुआ था उस दिन, जिस दिन तुम्हारे कूच की खबर आई थी॰ ॰ ॰

[Something as such, happened that fateful day, when the news of you departure came. . .]

– – – –

Today’s song is a wonderfully crafted song. And is euqally well performed and filmed.

The scenario is familiar – Shri Ram, accompanied by Sita ji and Lakshman, are travelling on foot, after departing from Ayodhya, for their sojourn of 14 years in the forest. They come to Shringverpur on the banks of river Ganga. To cross the river, Shri Ram requests the boatman to ferry them in a boat. Kevat, the boatman, at first refuses to ferry them. He has heard of the incident at the deserted ashram of Gautam Rishi, where by the mere touch of the dust from the feet of the Lord, Sati Ahilya who had been cast into stone by the curse of her husband, Gautam Rishi, came to life once again. Kevat cites that incident, and expresses apprehension that if by the touch of the dust from the feet of the Lord, his boat made of wood, would also come to life in the form of a lady, then what would become of him. Not just that he would lose his only source of income, and the only occupation he knows, he would have the additional burden of another member added to the family.

Much to the chagrin of Lakshman, Kevat dithers and dilly-dallies. And then he agrees on one condition – that the Lord should permit him to wash His feet, ostensibly to wash off any dust from the divine feet, and only then allow the trio to step on to his boat.

This event from the Ramayan is well known. It is so beautifully presented here in this song. The film is ‘Bharat Milap’ from 1965. The verses of this song are penned by Bharat Vyas, and the music is from the mind of Vasant Desai. The words are so beautifully crafted and the verses are embellished – अलंकृत is the word. The melodic construction is also very pleasing. It is a quick paced song, based on the folk music of the rural North India. The singing voices are of Rafi Sb and Kamal Barot.

On screen, the song is performed by Sunder, and a lady actor I am not able to identify and name. I request knowledgeable readers and friends to please help make the identification. The duo is accompanied by other members of the village community, and the song is presented as a group dance.
[Note: Thanks to Pramod ji and Prakash ji, the lady dancers are identified as Jeevankala, Manjula, Sheela Ramchandra, Aruna.]

The other main players in this scene are Shri Ram, Sita ji and Lakshman. Indrani Mukherjee plays the role of Devi Sita. As per IMDB listing of cast and crew, Anand Ashish Kumar plays the role of Ram. As far as Lakshman, I am not able to identify and name the actor playing that role.
[Note: Thanks to Pramod ji for correction to the name of he actor in the role of Ram.]

All in all, a very lilting, very pleasing and a very energetic presentation. Lovely song.

Song – Bhaiya Re Bhaiya Re Bhaiya Naiya Chhuaao Na  (Bharat Milap) (1965) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Bharat Vyas, MD – Vasant Desai
Male Chorus
Female Chorus
All Chorus

Lyrics 

dhum tak
hey tak dhum tak
dhum tak
hey tak dhum tak
ho taa naa dere naa dere naa taa naa dere naa
hoooom
ho taa naa dere naa dere naa taa naa dere naa

uhun aahoon uhun aahoon uhun aahoon uhun aahoon

bhaiya re bhaiya re bhaiya ho..oo

dhum tak
hey tak dhum tak

ho bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan se ye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
oho oho oho oho oho..oo
hum ne suni kahaani
gaaon waalon ki jabaani
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
jadu waala hai re ye ramaiyya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
daiya daiya daiya
daiya re daiya re
ik patthar chhuaa to
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
jhat ban gayi phat se lugaiya
hey hey bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo

bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
hmmmmmm
arey haa..aan
bhori bhori batiyaan
suratiyaa suhaani hai
to batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
batiyon mein mat phas jaiyo
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
ehe ehe ehe..ae
saaf safaai kar
paaon dhoaai kar
peechhe naiya mein bithaio
peechhe naiya mein bithaio
peechhe naiya mein bithaio
e he he bhaiya re bhaiya re bhaiya ho..oo
bhaiya re bhaiya re bhaiya naiya chhuaao na
in ke paiyyan seye naiya chhuaao na
bhaiya re bhaiya re bhaiya ho..oo
dhum tak tak
dhum tak
dhum tak
o tak dhum tak

oo oo ooo ooooooo
ooooooo oooooooooo
ooooooooo ooooooooooo
hum bhi kevat prabhu
tum bhi kevat ho to
bhaichaara hum se nibhaio
prabhu ji bhaichaara hum se nibhaio
oo ooo ooo
nadiya ke paar
nadiya ke paar lagaayen tumhen tum
hum ko bhi paar lagaiyo
haaaaye hum ko bhi paar lagaiyo
bhav saagar se paar lagaiyo
ho ho
bhav saagar se paar lagaiyo
e he he bhaiya re bhaiya re bhaiya ho ho..oo
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
dhum tak tak
tak tak dhum tak tak
tak tak
dere na dere na taa naa dere na
hoom hoom
dere na dere na taa naa dere na
oo oo ooo ooooooo

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

धुम तक
हे तक धुम तक
धुम तक
हे तक धुम तक
हो ता ना देरे ना देरे ना ता ना देरे ना
हूम
हो ता ना देरे ना देरे ना ता ना देरे ना

उहूं आहूँ उहूं आहूँ उहूं आहूँ उहूं आहूँ

भैया रे भैया रे भैया हो॰॰ओ

धुम तक
हे तक धुम तक

भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
ओहो ओहो ओहो ओहो ओहो॰॰ओ
हमने सुनी कहानी
गाँव वालों की जबानी
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
जादू वाला है रे ये रमइय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
दैय्या दैय्या दैय्या
दैय्या रे दैय्या रे
इक पत्थर छूआ तो
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
झट बन गई फट से लुगईय्या
हे हे भैया रे भैया रे भैया हो॰॰ओ
भैया रे भैया रे भैया नैया छूआओ ना
इनके पइय्यन से ये नैया छूआओ ना
भैया रे भैया रे भैया हो॰॰ओ

भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
हम्ममममम
अरे हाँ॰॰आँ
भोरी भोरी बतियाँ
सुरतिया सुहानी है
तो बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
बतियों में मत फंस जइय्यो
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
ऐहे ऐहे ऐहे॰॰ऐ
साफ सफाई कर
पाँव धोआई कर
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
पीछे नैया में बिठईओ
ऐ हे हे भैया रे भैया रे भैया हो॰॰ओ
धुम तक तक
धुम तक
धुम तक
ओ तक धुम तक

ओ ओs ओss ओsssssss
ओssssss ओsssssssss
ओssssssss ओssssssssss
हम भी केवट प्रभु
तुम भी केवट हो तो
भाईचारा हम से निभईओ
प्रभु जी
भाईचारा हम से निभईओ
ओ ओss ओss
नदिया के पार
नदिया के पार लगाएँ तुम्हें तुम
हम को भी पार लगईओ
हाए हम को भी पार लगईओ
भव सागर से पार लगईओ
हो हो भव सागर से पार लगईओ
ऐ हे हे भैया रे भैया रे भैया हो हो॰॰ओ
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
धुम तक तक
तक तक धुम तक तक
तक तक
देरे ना देरे ना ता ना देरे ना
हूम हूम
देरे ना देरे ना ता ना देरे ना
ओ ओs ओss ओsssssss


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 TWELVE years. This blog has over 15900 song posts by now.

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

Important Announcement

(© 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.

Total number of songs posts discussed

15994

Number of movies covered in the blog

Movies with all their songs covered =1229
Total Number of movies covered =4378

Total visits so far

  • 13,914,229 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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