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

Archive for the ‘Calling the beloved’ Category


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.

“Kaarwaan”(1956) was produced by Dev Jolly and directed by Rafiq Rizvi for Shahkar Productions, Bombay. This movie had Shakila, Mahipal, Hiralal, Gope, Yashodhara Katju, Randhir, Sateesh, Z Hussain, Pal, Sharma, Dhanraj, Prema, Sheila Vaz, Helen, Cuckoo etc in it.

The movie had nine songs in it. One song from the movie has been covered in the blog.

Here is the second song from “Kaarwaan”(1956) to appear in the blog. The song is sung by Talat Mehmood. Tanvir Naqvi is the lyricist. Music is composed by S Mohinder.

The video of the song is quite unclear and one cannot make much out of the picturisation. I can only notice Shakila and a waterfall, as Shakila looks around to find out towards the source of this song.

So in effect, this song is better heard than seen because one cannot see much in the picturisation in any case. On the flip side, most audio versions of this song that are available online are concert version rather than the record version of this song.

Audio

Song-Aaja tujhe muhabbat aawaaz de rahi hai (Kaarwaan)(1956) Singer-Talat Mehmood, Lyrics-Tanvir Naqvi, MD-S Mohinder

Lyrics

aaja tujhe mohabbat aawaaz de rahi hai
aawaaz de rahi hai
tu meri zindagi hai
aaja aaja

bujhne lage hain taare
ab raat kam hai aaja aa aa
meri kasam hai aaja
bekaif hain nazaare
pheeki si chaandni hai
aaja tujhe mohabbat aawaaz de rahi hai
aaja
aaja

bechain hai mohabbat
ae husn tu kahaan hai
chup chaap aasmaan hai
khaamosh hoke duniya
tasveer ban gayi hai
aaja tujhe mohabbat aawaaz de rahi hai
aaja
aaja

ae shama dekh
tera parwaana aa gaya hai ae ae
deewana aa gaya hai
ae shama dekh
tera parwaana aa gaya hai ae ae
deewaana aa gaya hai
aaja ke aarzu ki
ye raat dhal rahi hai
aaja tujhe mohabbat aawaaz de rahi hai
aaja
aaja

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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.

अब क्या मिसाल दूँ में इस प्यारी आवाज़ की
इन्सान बन गई है तरंग वीणा के तार की

वीणा, माँ सरस्वती के हाथ की वीणा – जो सब ज्ञान का स्रोत है, जो समस्त सृष्टि के संगीत का उद्गम स्थान है, जो वाणी और ध्वनि का आरंभ है।

Veena, that is in the hand of Goddess Saraswati; veena, that is the source of all knowledge and all that is music in this creation.

Yes, the voice of Lata ji. A voice that is adorned in many a thousand ways, a voice that lives in the minds and memories through many a thousand songs, in Hindi films, in films of other regions, and songs that don’t belong to films. The legacy is a treasure. Quite so much has been written about this voice, my adding more would simply be repeating what has been said before. And much of that discussion is an overbearing analysis of the phases and careers, that are after all moot points, when arrayed against the qualities of the voice itself. That discussion is like ‘गूंगे की शक्कर’ – the description of the sweetness of sugar as expressed by a person who cannot speak. He would place the sugar on your palm, and tell you silently, to taste it, to eat it. After that tasting, no words are necessary, to discuss what sugar is. 🙂

The voice descends inside like sweetened ‘मलाई’. I do not know what word to use in English; I can’t recall if there is a corresponding word for it in English. The smoothness and the sweetness – is all that matters to the taste buds of the mind.

And the special today. Yes, a very significant milestone is reached. With this post, we now have 3200 songs sung by Lata ji showcased on our blog. If we take the overall number of songs posted – this is almost one fourth the number. Almost 25% of the song population on our blog belongs to this gifted voice.

As we get more and more songs on to the blog, then searching for an appropriately wonderful song for such milestones, becomes a non-trivial task. It happened so with SD Burman’s 600th song just a few days ago. And so it happened today too, trying to search for a song by Lata ji, when more than half her portfolio is already represented here. But with little effort, and little bit of luck, I am so far able to get to real wonderful songs for such milestones.

Today’s song is from an as yet unrepresented film on the blog – ‘Mukti’.  Ah yes, I know there are two films by this name already present in our blog. There is this famous film from New Theatres, from 1937, and then the comparatively recent one from 1977. In between, there was another film by this name, released in 1960.

About this film – this film is produced and directed by a gentleman named N Buli, for the banner of Gurudev Pictures, Bombay. The film is a social drama with the lead pair billing in the list of actors being given as Motilal and Nalini Jaywant. Other members of the cast include Sulochana, Krishna Kumari, Anant Kumar, SN Bannerji, Bhudo Advani, Prem Kumar, Tuntun, Indira Bansal, Kiranmala, Hemlata, and a host of other names that are very unfamiliar.

The films has 9 songs. Two of these song are written by Aarzoo Lakhnawi, a name that is very familiar to the regulars in the group, and the remaining seven are from the pen of Munir Aarzoo Kazmi. This second name is totally new and unfamiliar, making a debut on the blog. This song is one of the seven that he has written.  The music director’s name is another new and unfamiliar one – Malay Chakravarty. The name does not appear anywhere else in the Geet Kosh, except for one regional film (a Chhatisgarhi film – ‘Kahin Debe Sandes’ from 1965). For these two unfamiliar names, I request other knowledgeable readers and friends to please add more information if available.

The song itself is a very soft and sweet song, that will endear itself into your hearts. A lady beseeching her lover, not to forget her, not to pain her tender heart that pines so much for him. There is a short list of lovely and soft love songs that I have put together for myself. This song is getting added to that list today.

The words are just lovely. Had this post happened yesterday or before, I would decidedly have requested Avinash to add the following lines to his write up for the World Environment Day,

chaandni bhi khil uthi
neele gagan ke baag mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein

What a thought, what a beautiful shining thought, what a construction of the verse; wish we had more to listen from the writer of these lines.

3199 beautiful melodies so far, before this one. Listen now today, to the 32 hundredth addition.

Song – Dil Lubha Ke Mere Saathi Bhool Jaana Na (Mukti) (1960) Singer – Lata Mangeshkar, Lyrics – Munir Aarzoo Kashmiri, MD – Malay Chakravarty

Lyrics

hmm hmm hmmm hmmmm
hmmm hmmm hmmmm
hmm hmmmmmm hmmmmmmm

dil lubha ke mere saathi
bhool jaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na
dil lubha ke. . .
bhool jaana na

baat nainon se hui
raaton ki neend gayi
baat nainon se hui
raaton ki neend gayi
baar baar aaye khayaalon mein
ye keh na saki
ik tadpte dil ko tum
meri kasam tadpaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na

chaandni bhi khil uthi
neele gagan ke baag mein
chaandni bhi khil uthi
neele gagan ke baag mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein
chain dil ka dhoondhti hoon
chandrama ke daagh mein
aas ke taaron ko baadal mein chhipaana na
jaise roti hai ghataa
waise rulaana na
dil lubha ke. . .
bhool jaana na
dil lubha..aa ke. . .
bhool jaana na

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

हम्म हम्म हम्मम हम्ममम
हम्म हम्मम हम्ममममम
हम्म हम्ममममम हम्मममममम

दिल लुभा के मेरे साथी
भूल जाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना

बात नैनों से हुई
रातों की नींद गई
बात नैनों से हुई
रातों की नींद गई
बार बार आए ख़यालों में
ये कह न सकी
इक तड़पते दिल को तुम
मेरी कसम तड़पाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना

चाँदनी भी खिल उठी
नीले गगन के बाग़ में
चाँदनी भी खिल उठी
नीले गगन के बाग़ में
चैन दिल का ढूंढती हूँ
चंद्रमा के दाग़ में
चैन दिल का ढूंढती हूँ
चंद्रमा के दाग़ में
आस के तारों को बादल में छिपाना ना
जैसे रोती है घटा
वैसे रुलाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना
दिल लुभा के॰ ॰ ॰
भूल जाना ना


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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.

In my recent article, I had listed the films from 1936 to 1942 in which Anil Biswas was associated with producer-director, Mehboob Khan under the banners of Sagar Movietone and later National Studios. Their association came to an end with the release of ‘Roti’ (1942). A news clipping in October 1942 issue of ‘Filmindia’ magazine revealed that on the eve of the release of ‘Roti’ (1942), National Studios was sold to K M Modi (I believe, he was the younger brother of Sohrab Modi) who was a film exhibitor.

At the time of the sale of National Studios, there were 3 films on the floor – ‘Apna Paraaya’ (1942), ‘Jawaani’ (1942) and ‘Lala ji’ (1942). These films were completed and released under the banner of National Studios with Mehboob Khan as producer. Incidentally, one song each from these films have been covered in the Blog which means that these films have already made their debuts in the Blog.

APNA PARAAYA (1942) was directed by Ramchandra Thakur. The star cast included Shahu Modak, Hansa Wadkar, Urmila, Sankatha Prasad, Qaiyam Ali, Agha, Jyoti, Dulari, Gulzar, Pesi Patel, Raj Rani, Wasekar etc. The condensed version of the story of the film, based mainly on a review of the film in ‘Filmindia’ magazine is set out below:

Vasant (Shahu Modak) returns to India from England after a long stay and finds everything not to his taste in India. Prior to his departure to England, he was married to Veena (Hansa Wadkar). Both have not seen each other as grown up persons for a long time. In England, Vasant has fallen in love with a sophisticated Laxmi (Urmila) who also returns to India with him. His father Jeewan Seth(Sankatha Prasad) wants him to stay with Veena which he refuses as he thinks that she is not suitable for him. This angers Jeewan Seth and in the ensuing quarrel, Vasant decides to leave the house of his parents.

Vasant wanders all over the places, looking for job but he gets none.(I wonder as to how England-return Vasant cannot get a job!). His love interest, the sophisticated Laxmi, deserts him. Ultimately, he gets a job in a village where his wife Veena stays with her poor uncle (co-incidence). She is waiting for her husband (Vasant) to take her to his place. She is heart broken when he does not turn up. Ultimately, her other rich uncle takes her with him in his place. Now Vasant gets a job as a teacher for Veena at her rich uncle’s place (another co-incidence).

While travelling in a train to reach his new place of employment, Vasant loses his bag to a thief who while on a run is crushed under the train. Vasant reaches Veena’s place and starts teaching Veena without knowing that they are actually husband and wife. Both Veena and Vasant are fond of each other but having already married, Veena does not outwardly show her feeling towards Vasant.

In the meanwhile, the thief who had been run over by the train is unidentified because of severity of the accident. At last, from the tag of the bag, dead body is identified as that of Vasant. Now Veena considers herself to be widow. However, seeing the condition of Veena, he narrates the true incidence in the train thereby disclosing himself to be Vasant. However, with this revelation, Vasant finds himself in difficulties. Due to some misunderstanding, police keeps him in lock-up for some time until the confusion gets cleared from both the families and Vasnat and Veena are united.

The film did not fare well at the box office. The film was not much advertised probably due to the change of hands at National Studios. I guess, the story of the film was not of much interest to the front benchers in theatres and for other cinegoers, the story of the film was too pedestrian to be interesting.

As of now, I could locate online only two songs (out of 11) from the film of which one has already been covered in the Blog. Here is the second song ‘gori kaahe khadi anganaa atariyaa mein aao’ to appear in the Blog. The song is sung by Anil Biswas and Maya on the words of Pandit Indra.

I am aware of the names of two female actor-singers of the 1940s – Maya Bannerji and Maya Devi. None of them seems to have acted in ‘Apna Paraaya’ (1942). To the best of my knowledge, none of them have done playback singing. Probably, Maya in this song may be a different person.

The composition and rendering by Anil Biswas show his mastery over folk music. Note the flute prelude, probably by Pandit Pannalal Ghosh. From the singing style and wordings, the song may have been picturised on some side actors performing in a nautanki (folk theatre).


Song-Gori kaahe khadi angna (Apna Paraaya)(1942) Singers-Anil Biswas, Maaya, Lyrics-Pt Indra Chandra, MD-Anil Biswas

Lyrics

gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao

o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao

atariya mein naahin
nazariyaa mein aao
atariya mein naahin
nazariyaa mein aao
aayi aayi balmaa
nazar na lagaao
aayi aayi balmaa
nazar na lagaao

nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
karejwaa mein aao
jigarwaa mein aao
karejwaa mein aao
jigarwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao

gori aisi aao
jaise baaghon mein phool
jaise joban mein dhool(??)
jaise baaghon mein phool
jaise joban mein dhool(??)
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao

o gori kaahe khadi anganaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao

o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa aa aa


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.

जब मैं छोटा बच्चा था, (and my, not just then. . . even now). . .

No, no I am not going to start a description of my ‘शरारती’ pranks and naughtiness. I am going to tell somethings about my favorite actor and songs; that my favorite male performer was Dev Anand. There was a charismatic attraction in his face, his smile with one out of line canine, his mannerism, and his style of dialogue delivery – all put together made for a striking package,  that would steal hearts. I am talking of the time when films like ‘Baazi’ and ‘Jaal’ and ‘Taxi Driver’ continued to be popular in re runs, and continued to be discussed as iconic films. This popular set of films was shown more than once on TV, and it would be a gala Saturday/Sunday when a Dev Anand film was scheduled. Those were days when the weekly film shows were split across the two last days of the week. And needless to say, the break was very irritating. 🙂

That was for the days of the film shows. And for the rest of the week – well, it was the songs that would occupy the mind. My favorite of all times was (and is) “Ye Raat, Ye Chaandni. . .” from ‘Jaal’. As I look back on those days of childhood, and surmise, I realize that there is a set of songs that stood apart, even amongst the other thousand favorites. And practically all these songs belonged to Dev Anand on screen. Be it “Jaayen To Jaayen Kahaan”, or “De Bhi Chuke Hum Dil Nazraana. . .”, or “Hum Hain Raahi Pyaar Ke. . .”, or “Chup Hai Dharti. . .”, or “Dukhi Mann Mere. . .”, or “Haaye Haaye Haaye Ye Nigaahen. . .” or “Hai Apna Dil To Awaara. . .”, or “Khoya Khoya Chaand. . .” or “Dil Ka Bhanwar Kare Pukaar. . .”, or “Chupke Se Miley, Pyaase Pyaase. . .”, or “Gaata Rahe Mera Dil. . .”,or “Ye Dil Na Hota Bechaara. . .” and more. Mind you, all these songs were first heard on radio, and by association of the film name, one concluded that Dev Anand would have sung them on screen. And then, when the opportunity came to watch the film on TV, or in some cases, many years later, in the morning show re runs, when we would bunk the morning classes at college to go and see a favorite. Most of such films were seen, only to view the songs – how a wonderful favorite had been presented on screen. And for a Dev Anand movie, I would travel miles to the other end of the city even.

It was many years later, as the interest grew in film music, and the awareness spread from just knowing the lyrics and the tune of the song, to learning about the other members of the team who collaborated to create these wonderful melodies, that the realization settled in. That all these lovely songs of Dev Anand, that I adored and loved to sing to myself, had one thing in common – the music was composed by SD Burman. That added a new dimension to my awareness and appreciation of film music, and the name Sachin Da became associated with great music, all time and every time.

After this understanding settled in, I became more careful in noting the names of music directors and lyricists when I heard a song that would pull at the strings of the heart. And with that, I began to search for songs and films of this creator of magical music, other than those of Dev Saab. And with every film that I came across, I had these ‘Aha’ moments – OKay, so this song, which I have been liking for so long, is also a creation of Sachin Da, wow.

Let me pause and tell about the special occasion. You are right, we are not near any of his anniversaries. And the occasion was so imminent, we could not have waited for one of his days to come along. The special thing is that this post celebrates the 600th song of Sachin Da to be posted on our blog. Given that his portfolio of film songs numbers a little above 650, means that we have almost 90% of his work already accounted for on our blog. That certainly speaks volumes about his work.

Hailing from the north east part of the country,Sachin da is a princely composer, or we can also say, a prince of composers. He belongs to the royal families of Tripura and Manipur. His grandfather was the king of Tripura, and his mother was the daughter of the king of Manipur. His father was trained in classical music, and was a major inspiration in the life of Sachin Da. His father’s untimely and unexpected departure created some difficult situations in the household. The young Sachin decided to leave home. He spent time in the villages and forests of Tripura, and then went on to Calcutta, where he joined the radio station in 1932 as a singer. It was in 1932 itself that he recorded his first song on a 78 rpm record. One side of that record carries the classical composition “Ee Pathery Aaj Eso Priyo” and the second side has a folk song “Dakle Kokil Roj Bihaane”.

His reputation as a singer of note spread in Calcutta, and Pankaj Babu invited him to sing for New Theatres – for the film ‘Yahudi Ki Ladki’ (1933). However, the recording never took place, as in a shift of casting, Pahadi Sanyal was brought on board, replacing the young Sachin. It is noted that he played small singing roles in Hindi film ‘Selima’ (1935) and Bangla film ‘Bidrohi’ (1935). He went on to sing for some more Bangla films, and continued to record non film songs. His non-film repertoire is on the better side of 130, but majority of it is in Bangla. By the end of 1930s, he started getting independent assignments for composing music for films, starting with ‘Rajgee’ in 1937. The music of the film ‘Rajkumarer Nirbashan’ (1940) became very popular. He went on to compose for 17 Bangla films, in this phase of his career.

Not satisfied with the success and its rewards in Calcutta, he decided to move to Bombay in 1944. Veterans like Prithviraj Kapoor and KL Saigal, friends like Manna Dey (Sachin Deb had part of his training under KC Dey), had preceded him, and he too chose to head to the Bombay center. Filmistan’s ‘Shikari’ and ‘Eight Days’ were the first assignments that he bagged. The year was 1946. More films followed – ‘Chittor Vijay’ and ‘Dil Ki Rani’ both in 1947. And then, in 1947 came ‘Do Bhai’, and the Geeta Roy gem – “Mera Sunder Sapna Beet Gaya”. Rest, as they, is history, that lasted till 1975.

Coming to the song for today. As noted above, almost 90% of his work is already accounted for on our blog, and so, searching for a special song for today has not been easy. As I pored through the song lists of his films, I came across this wonderful folk melody, which I instantly picked for this post. Two reasons I did. For one, this song is one of those which, for the longest time, I did not know that it is composed by Sachin Da. The connect with the film, ‘Sitaaron Se Aagey’ (1958) did not happen till quite recently. The song has been a favorite since the radio listening days. The pace at which it flows is remarkable. A very heartening composition – the line “. . . bhool jaana naa. . .”, simply gets into the strings of the heart.

And yes, the second reason for this song, I was surprised that such a lovely melody has managed to keep away from the eyes of the team on this blog. And I wondered, how come this song is not posted so far. Anyway, we are getting to it today, as we celebrate six hundred songs of this peerless composer.

Majrooh Sultanpuri is the songwriter. The singing voice is that of Asha Bhosle. On screen, this song is performed by a very energetic Vijayantimala, and a chorus of dancing ladies. This is a stage song, and apparently, this is a audition performance. The seats in the theatre are empty and there are just two people in the audience – Ashok Kumar and Jagdish Sethi. Actually there is a third person also, sitting in the row behind these two, but I am not able to place a name. In the wings, there are other people present, notably Iftekhar and two others, who look familiar but once again, I am not able to place a name to them. The gentleman standing ahead of Iftekhar; is that Prem Dhawan? (yes, the name appears in the list of actors). The lady in this group turns away almost immediately as the camera pans in. I have feeling it is Raja Sulochana. I request other friends and readers to place confirm or correct.
[Ed Note:  With inputs from Prakash ji and Nayan Yagnik ji, we now confirm that the third person sitting behind Ashok Kumar and Jagdish Sethi is Kundan; and that the persons standing in the wings with Iftekhar are Prem Dhawan and Raja Sulochana. Thanks Prakash ji, Nayan ji.]

It is a village scene, complete with fields, a scarecrow, a machaan, and also a peacock thrown in for good measure. The song is about calling home the beau, who has gone to faraway lands. The message is that the fields are blooming with the crop of ‘sarson’ (mustard), and it is time now to come home for the harvest. A lovely song, and as I said, a favorite from the radio listening days. The song leaves behind a feeling of cheerfulness in the heart. Enjoy.

Song – Aaj Kal Parson Mein Phoole Jab Sarson (Sitaaron Se Aage) (1958) Singer – Asha BhosleLyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus

Lyrics

oo oo ooooo oo
ho oo oooo ooooo oo
oo oo aaa aaa aaa aaa aaaaaa

ho ho ho ho ho. . .
ho oo oo ooooo

aaj kal parson..on..on..on
aaj kal parson
mein phoole jab sarson
videsi piya aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana
aaj kal parson
mein phoole jab sarson
videsi piya aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

jeth mein jalan se. . .
jeth mein jalan se
pasina bahey tan se
to latt bikhraa jaana
bhool jaana na
bhool jaana na
oy latt bikhraa jaana
jeth mein jalan se
pasina bahey tan se
to latt bikhraa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

jhoome kaare badra. . .
jhoome kaare badra
bahaun jab kajra
galey se lipta jaana
bhool jaana na
bhool jaana na
galey se lipta jaana
jhoome kaare badra
bahaun jab kajra
galey se lipta jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

hariyaali chhaaye. . .
hariyaali chhaaye
pawan lehraaye
kadam taley aa jaana
bhool jaana na
bhool jaana na
kadamb taley aa jaana
hariyaali chhaaye
pawan lehraaye
kadamb taley aa jaana
bhool jaana na
bhool jaana na
videsi piya aa jaana

aaa aaa ja
aa ja aa ja re aa ja

aaa aaa ja
aa ja aa ja re aa ja

aaj kal parson
mein phoole jab sarson
aaj kal parson
mein phoole jab sarson
videsi piya aa  jaana
videsi piya aa  jaana
bhool jaana na
videsi piya aa jaana
bhool jaana na
videsi piya aa jaana
bhool jaana na
videsi piya aa jaana

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओ ओsss ओ
हो ओ ओss ओsss ओ
ओ ओ आs आs आs आs आssss

हो हो हो हो हो॰॰॰
हो ओ ओ ओsss

आज कल परसों॰॰ओं॰॰ओं॰॰ओं
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

जेठ  में जलन से॰॰ए॰॰ए
जेठ में जलन से
पसीना बहे तन से
तो लट बिखरा जाना
भूल जाना ना
भूल जाना ना
ओय लट बिखरा जाना
जेठ मे जलन से
पसीना बहे तन से
तो लट बिखरा जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

झूमे कारे बदरा॰॰आ॰॰आ
झूमे कारे बदरा
बहाऊँ जब कजरा
गले से लिपटा जाना
भूल जाना ना
भूल जाना ना
गले से लिपटा जाना
झूमे कारे बदरा
बहाऊँ जब कजरा
गले से लिपटा जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

हरियाली छाए॰॰ए॰॰ए
हरियाली छाए
पावन लहराए
कदम्ब तले आ जाना
भूल जाना ना
भूल जाना ना
कदम्ब तले आ जाना
हरियाली छाए
पावन लहराए
कदम्ब तले आ जाना
भूल जाना ना
भूल जाना ना
विदेसी पिया आ जाना

आ॰॰ आ॰॰ जा
आ जा आ जा रे आ जा

आ॰॰ आ॰॰ जा
आ जा आ जा रे आ जा

आज कल परसों
में फूले जब सरसों
आज कल परसों
में फूले जब सरसों
विदेसी पिया आ जाना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना
भूल जाना ना
विदेसी पिया आ जाना



This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from the 1951 film ‘Simba’, which is making its debut on the Blog. The film was made by Comedy pictures and was directed by Mohammed Hussain. Mohd. Hussain was born in Bombay on 25-2-1918. He directed about 40 odd films, which included some known names like Roop lekha-49, Sipah salar-56,Qaidi-57, Aji bas shukriya-5d, Delhi Junction, Shikari,Faulad,Teesra kaun,Thakur jarnial singh, Dilruba,CID 909,Jaal saaz and lastly Madina masjid-77.

‘Simba’ was a C grade film. Though not exactly an action or stunt film, it was a costume film having a story of a lost son, old king, young queen, crooked wazir, loyal knights and a jungle tribe chief having an unusually beautiful, good looking daughter etc. The cast of the film was Baburao, Krishna Kumari, Sheikh, Afghan Sandow, Habib etc.

During the period between 1950 and 1960, I was very fond of seeing stunt films – both Hindi and English. Hindi stunt films were easily identified by two things – one, the producer or director’s names and two, from the cast. Actors and actresses working in stunt/action films were fixed. Names like Kamran, Nadia, Baburao Pehelwan, Afghan Sandow, Habib, Ismail, Master Bhagwan, Dalpat, John Cavas, Dilawar, Leela Pawar, Leela Gupte, Shanta Patel, Usha Shukla, Azeembhai, Vasantrao Pehelwan, Madhuri, Dhondu, Sheikh, Sayani, Naazi, Nishi etc. were a guarantee of 2-3 hours of exciting times. Forget the music or a coherent sensible story. Fighting, fencing, riding and a mix of comedy and dance was an assured entertainment.

However, there was a small but genuine problem. There were two actors with the name Baburao. One was Baburao Pehelwan and the other was Baburao Pendharkar. Both were at times billed as Baburao. We needed to see the other cast and decide which Baburao it was. While Baburao Pehelwan was working in only C grade stunt/action, costume or fantasy films, Baburao Pendharkar, though worked in B or C grade films worked mainly in social films.

Baburao Pehelwan, hailed from Kolhapur – famous for wrestlers due to royal patronage from King Shahu Maharaj. He started his career with the Wadias as an extra doing small roles and as a duplicate for Fearless Nadia. Master Bhagwan picked him up from there and made him a hero in his stunt pictures like, ‘Badla’ (1943), ‘Madadgaar’ (1947), ‘Laalach’ (1948), ‘Jalan’ (1948), ‘Bhedi Bungla’ (1949) etc. After the eclipse of stunt and action films, by the 60s, he joined fight master Azeem Khan’s team as a fighter and a duplicate. In the film ‘Howrah Bridge’ (1958) he was Ashok Kumar’s duplicate in the final scene, where he is to climb the Howrah Bridge.

Baburao Pehelwan operated in an era when there was a spate of actors calling themselves “pehelwan”. They were in great demand in stunt and action films. At one time there were actors like Baburao Pehelwan, Vasantrao Pehelwan, Sadiq Pehelwan, Nandram Pehelwan, Maane Pehelwan, Amir Khan Pehelwan. There was one more actor in the 30s named Marutirao Pehelwan. He was a handsome person. He was the hero in the first Gujarati talkie film, ‘Narsi Mehta’ (1932). He married his co-star of many films Tara, elder sister of dancer Sitara Devi. After retirement, Marutirao Pehelwan settled in Dhule in Maharashtra and opened a dairy. World famous dancer Gopi Krishna was their son.

Baburao Pendharkar had a better lineage. He too was from Kolhapur. He was the second son of singer Radhabai and a local doctor Dr. Gopal Pendharkar. He was born in 1896. His elder brother Bhalji Pendharkar, was a famous film maker. His mother Radhabai later married Damodar Karnataki and Master Vinayak was born to them. Kamlabai -younger sister of Radhabai, married Rajaram Vankudre and V. Shantaram was their son.

Baburao Pendharkar started in the silent era and his first talkie was Prabhat’s ‘Maya Machhindra’ (1932). He worked in 69 films. His role in ‘Dr. Kotnis Ki Amar Kahani’ (1946) was famous. His last film was ‘Amrapali’ (1966). He worked in several Marathi films too. He died in 1967.

The music for the film ‘Simba’ is by DC Dutt. His name is not known to many. All of us know that Lata Mangeshkar had to struggle very hard in her initial attempts for getting into playback singing in Hindi films. In her early struggle, 3 Duttas helped her. The first is of course Datta Davjekar who gave her the first opportunity to sing  a song for his film ‘Aapki Sewa Mein’ (1947). The second is K Datta or Datta Korgaonkar. K Datta took Lata under his wings and gave her opportunity to sing after his favourite singer Noorjehan left India. The third Dutta is DC Dutt. No information is available about him whatsoever , except what is printed in HFGK and its duplication in Pankaj Raag’s book ‘Dhunon Ki Yatra’. Thanks to this, we know that his debut film was ‘Sona Chandi’ (1946). Out of 12 songs of the film, only two were his and one of them was by Lata Mangeshkar.

This Lata song, which is a song on Gandhi ji, has a history. Film ‘Sona Chandi’ was censored first on 19-7-46 and released. That time these 2 songs of DC Dutt were not present in the film. In January 1948,when Gandhi ji’s death took place, many songs on Gandhi ji were recorded by many singers and composers. One of the most famous, popular and successful song was “Suno Suno Ae Duniya Waalo, Bapu Ki Ye Amar Kahani” sung by Mohd. Rafi in 4 parts and composed by Husnalal-Bhagatram. In this spate, DC Dutt also recorded a Gandhi ji song by Lata in 1948. Producers of film ‘Sona Chandi’ acquired this and one more song (by Saroj Borkar), and included them in the film. The film was re-certified by censor on 9-4-48. Thus an early song of Lata was in a film, because of DC Dutt.

DC Dutt later did some more films like, ‘Sarai Ke Baahar’ (1947), ‘Dil Ki Awaz’ (1948), ‘Anjana’ (1948) (in which he acted also), ‘Ram Darshan’ (1950), ‘Aahuti’ (1950), ‘Simba’ (1951), ‘Ranee’ (1952) and lastly ‘Saahil’ (1959). Very surprisingly, after film ‘Sona Chandi’ (1946), Lata did not sing a single song in any of his films. After 1948-49, Lata had become a very busy and ‘in demand’ singer and she would sing only for established composers. It is well known that she did not sing even in Madan Mohan’s debut film ‘Aankhen’ (1950), just because he was new.

Today’s song is really a good song with a good tune, but it is too slow for its type. 1947-48 onwards C Ramchandra, Naushad, Shankar Jaikishen, Husnlal Bhagatram,Vinod, SD Burman etc were all making fast paced music which was lapped up by the public. Obviously, the old slow, Saigal type songs had no room in the competition anymore. Even the singer of this song, Sulochana Kadam, became famous and popular after her lilting songs of film ‘Dholak’ (1951) only. Composers who did not or could not change, eclipsed slowly. The first clip of this song that I got from YouTube was a bruised one, with some words missing. Sadanand Kamath ji provided a better and full version of the song which is being used here now. Thanks, Sadanand ji.

Enjoy the song now…..


Song – Sunsaan Jungle, Manaaye Jaa Mangal (Simba) (1951) Singer – Sulochana Kadam, Lyrics – Indeevar, MD – DC Dutt
Chorus

Lyrics

sunsaan jungle
manaaye jaa mangal
sunsaan jungle
manaaye jaa mangal

oo ooooo oooo ooo ooo oo
ooo ooo oooo
oooo ooo oooo oo oo

raat andheri
mat kar deri
mat kar deri
raat andheri
mat kar deri
tu mera main teri re
tu mera main teri
ho tu mera main teri
sunsaan jungle
manaaye jaa mangal

jagmag karte jugnu jaise
jugnu jaise
jagmag karte jugnu jaise
deep jaley bin baati
ho deep jaley bin baati
in ko bhi hai khoj kisi ki
dhoondh rahe hain saathi re
dhoondh rahe hain saathi
ho dhoondh rahe hain saathi
sunsaan jungle
manaaye jaa mangal
raat andheri
mat kar deri
mat kar deri
raat andheri
mat kar deri
tu mera main teri re
tu mera main teri
ho tu mera main teri
sunsaan jungle
manaaye jaa mangal
sunsaan jungle
manaaye jaa mangal

kadam kadam par girne ka darr
girne ka darr
kadam kadam par girne ka darr
bichhe huye hain kaante
ho bichhe huye hain kaante
koi nahin hai aisa jag mein
jo dukh tera baante re
jo dukh tera baante
ho jo dukh tera baante
sunsaan jungle
manaaye jaa mangal
sunsaan jungle
manaaye jaa mangal
sunsaan jungle
manaaye jaa mangal
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

सुनसान जंगल
मनाए जा मंगल
सुनसान जंगल
मनाए जा मंगल

ओ ओssss ओss ओs ओs ओ
ओs ओs ओss
ओss ओs ओss ओ ओ

रात अंधेरी
मत कर देरी
मत कर देरी
रात अंधेरी
मत कर देरी
तू मेरा मैं तेरी रे
तू मेरा मैं तेरी
हो तू मेरा मैं तेरी
सुनसान जंगल
मनाए जा मंगल

जगमग करते जुगनू जैसे
जुगनू जैसे
जगमग करते जुगनू जैसे
दीप जले बिन बाती
हो दीप जले बिन बाती
इन को भी है खोज किसी की
ढूंढ रहे हैं साथी रे
ढूंढ रहे हैं साथी
हो ढूंढ रहे हैं साथी
सुनसान जंगल
मनाए जा मंगल
रात अंधेरी
मत कर देरी
मत कर देरी
रात अंधेरी
मत कर देरी
तू मेरा मैं तेरी रे
तू मेरा मैं तेरी
हो तू मेरा मैं तेरी
सुनसान जंगल
मनाए जा मंगल
सुनसान जंगल
मनाए जा मंगल

कदम कदम पर गिरने का डर
गिरने का डर
कदम कदम पर गिरने का डर
बिछे हुये हैं कांटे
हो बिछे हुये हैं कांटे
कोई नहीं है ऐसा जग में
जो दुख तेरा बांटे रे
जो दुख तेरा बांटे
हो जो दुख तेरा बांटे
सुनसान जंगल
मनाए जा मंगल
सुनसान जंगल
मनाए जा मंगल
सुनसान जंगल
मनाए जा मंगल


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.

Wow, what a song, what a lovely song, what a lovely marathon of a song; so full of words, so full of emotions, so full of insistence of emotions. Rajendra Krishan has outdone himself in writing this song. And so does C Ram, outshine himself in tying this song into threads of music. And what rendition, Lata ji outshines herself. I am hearing this song for the first time today, and have simply fallen in love with it.

The film is ‘Meenaar’ from 1954. As Atul ji and I exchanged notes about films close to ‘Yippeee’, this film turned up with two songs still to be posted, as per the listing in the Geet Kosh. As I started to explore this film and its songs, it turns out that the two pending songs are actually two parts of the same song. When I checked Geet Kosh for details, I found that these two ‘parts’ of the song are actually residing on the same 78 rpm record, further confirming that these are actually parts of one very long song.

Further searching on the YT, I am able to locate an edited composite video clip that is probably made up of three or maybe four parts – the number of times this song appears in the film, making this a multi part song.

I have not seen this film, but as I watched and played this clip multiple times to write down the lyrics, I get feeling of having encountered this theme and this scenario more than once. Listening and viewing this song brings to the mind snatches of the haunting strains of “Aayega Aayega, Aayega Aanewaala” (from ‘Mahal’ (1949)), “Naina Barsen Rim Jhim Rim Jhim” (from ‘Wo Kaun Thi’ (1964)), “Kahin Deep Jaley Kahin Dil” (from ‘Bees Saal Baad’ (1962)) and more. Watching the video brings in tremors of scenes from ‘Madhumati’ (1958), ‘Mera Saaya’ (1966), ‘Kudrat’ (1981) etc., giving a glimpse into the story line of this film. I would request other knowledgeable readers and friends who may have seen this film, to please comment on the theme and the story line of this film.

On screen this song is presented mostly as a background song, with a couple of places where one can see Beena Rai lip syncing the words in the playback.

And with this composite representation of this multi part song, the film ‘Meenaar’ now joins the ranks of films with all songs posted on our blog. Time to callout ‘Yippeee’ . . .

Song – Barbaad e Mohabbat Ko Kab Tak Ye Sazaa Dogey (Meenaar) (1954) Singer – Lata MangeshkarLyrics – Rajendra Krishan, MD – C Ramchandra

Lyrics

dil e betaab dhadakta hai
dikhaayen kaise
ik shola sa bhadaktaa hai
bujhaayen kaise
ya mere saamne aa
ya mujhe awaaz de
ya bataa de main ye parda uthaaun kaise

barbaad e mohabbat ko
kab tak ye sazaa dogey
barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

poochho to zara dil se
main kaun hoon aur kya hoon
toota hua taara hoon
sookha hua dariya hoon
ghaayal ki tadap hoon main
ghaayal ki tadap hoon main
bismil ki tamanna hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
tum shakl ho us shay ki
jis shay ka main saaya hoon
socha bhi na tha ik din
tum dil se bhula dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ik roz basaaya tha
tum ne hi jahaan mera
raaten thi mohabbat ki
har din tha jawaan mera
main tum se bichhad ke bhi
main tum se bichhad ke bhi
kuchh door nahin tum se
dekhoge agar dil mein
paaoge nishaan mera
dekhoge agar dil mein
paaoge nishaan mera
laut aayengi yaadein jab
maazi ko sadaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

dum bhar ke liye thehro
sun lo mera afsaana
yun shamma talak aa kar
jaata nahin parwaana
beeti hui ghadiyon ko
zaraa dohraayen
beeti hui ghadiyon ko
zaraa dohraayen
ik raat ka kiss hai
kal subah chaley jaana
ik raat ka kiss hai
kal subah chaley jaana
bigdega tumhaara kya
bigdi jo banaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

ye raat ye khaamoshi
ye chaand ye tanhaai
aise mein seenon mein
bajti hui shehnaai
maano to haqeeqat hai
na maano to afsaana
maano to haqeeqat hai
na maano to afsaana
jaago to zaraa zaalim
dekho main chali aayi
jaago to zaraa zaalim
dekho main chali aayi
na meri wafaaon ke
badle mein wafaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

barbaad e mohabbat ko
kab tak ye sazaa dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

kuchh dard e mohabbat ki
tum ko bhi khabar hogi
chanda ki chakori par
kab tak na nazar hogi
nazron se meri chhup kar
nazron se meri chhup kar
jaana bada mushkil hai
jaaoge to is shab ki
mushkil se sehar hogi
jaaoge to is shab ki
mushkil se sehar hogi
aakhir mujhe pehlu mein
kab tak na jageh dogey
na saamne aaoge
na apna pataa dogey
barbaad e mohabbat ko

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

दिल ए बेताब धड़कता है
दिखाएँ कैसे
इक शोला सा भड़कता है
बुझाएँ कैसे
या मेरे सामने आ
या मुझे आवाज़ दे
या बता दे मैं पर्दा उठाऊँ कैसे

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

पूछो तो ज़रा दिल से
मैं कौन हूँ और क्या हूँ
टूटा हुआ तारा हूँ
सूखा हुआ दरिया हूँ
घायल की तड़प हूँ मैं
घायल की तड़प हूँ मैं
बिस्मिल की तमन्ना हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
तुम शक्ल हो उस शै की
जिस शै का मैं साया हूँ
सोचा भी ना था इक दिन
तुम दिल से भुला दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

इक रोज़ बसाया था
तुमने ही जहां मेरा
रातें थी मोहब्बत की
हर दिन था जवां मेरा
मैं तुम से बिछड़ के भी
मैं तुम से बिछड़ के भी
कुछ दूर नहीं तुमसे
देखोगे अगर दिल में
पाओगे निशां मेरा
लौट आएंगी यादें जब
माज़ी को सदा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

दम भर के लिए ठहरो
सुन लो मेरा अफसाना
यूं शम्मा तलक आ कर
जाता नहीं परवाना
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
बीती हुई घड़ीयों को
ज़रा दोहराएँ
इक रात का किस्सा है
कल सुबह चले जाना
बिगड़ेगा तुम्हारा क्या
बिगड़ी जो बना दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

ये रात ये खामोशी
ये चाँद ये तनहाई
ऐसे में सीनों में
बजती हुई शहनाई
मानो तो हक़ीक़त है
ना मानो तो अफसाना
जागो तो ज़रा जालिम
देखो मैं चली आई
जागो तो ज़रा जालिम
देखो मैं चली आई
ना मेरी वफाओं के
बदले में वफा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

बरबाद ए मोहब्बत को
कब तक ये सज़ा दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को

कुछ दर्द ए मोहब्बत की
तुमको भी खबर होगी
चंदा की चकोरी पर
कब तक ना नज़र होगी
नज़रों से मेरी छुप कर
नज़रों से मेरी छुप कर
जाना बड़ा मुश्किल है
जाओगे तो इस शब की
मुश्किल से सहर होगी
जाओगे तो इस शब की
मुश्किल से सहर होगी
आखिर मुझे पहलू में
कब तक ना जगह दोगे
ना सामने आओगे
ना अपना पता दोगे
बरबाद ए मोहब्बत को


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.

Missing Films of 1960s – 30
– – – – – – – – – – – – – – –

Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.

The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.

Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.

Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.

The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.

Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.

 The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.

Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.

Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.

With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.

Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.

The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.

This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.
[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]

Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]

And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.

Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.

More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.

[Video]

[Audio]

Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar

Lyrics

(Video Version)
main aahen bhar nahin sakta

ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta

haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta

ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta
sukoon mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta

(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi 
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko

ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta

sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko

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

(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता

हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता

(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को


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.

One more Yippeee; the yippeee song for today. The film is ‘Gehra Raaz’ from 1971. In all, the film has four songs listed in the Geet Kosh. Today, we get familiar with the fourth song of this film.

‘Gehra Raaz’ (1971) was directed by Niranjan for Salim Productions, Bombay. This B grade suspense movie had Sujit Kumar, Sofia (a new find of that era), Sheikh Mukhtaar, Abhi Bhattacharya, Satyajit, Brahmchaari, Madhumati, Mohan Sherry, Eshwar, Dinani, Paro, Uma Dutt, Hiralal, Pardesi, Rani, Samson, Jelani, Lohani, Sadhna Khote, Sarla, Master Salim etc in it.

This movie has four songs. Two of them are composed by Salil Chaudhary and other two by a relatively unknown music director called Raj Ravinder. As I tried to search for this name in the Geet Kosh, I am unable to locate any other film where this name appears as a music director, at least in the data reviewed till 1980. And further, no information could be located about him. I request other knowledgeable readers and friends to please add more information about this unknown music director.

The three songs of this film posted earlier are

1.       Zulfon Ko Lehraa Ke Chalo Na Bikhraa Ke
2.       Aayi Hai Ghata Jhoom Ke Bal Khaa Ke Piyenge
3.       Chor chor dekho dil ka chor aaya

The first two songs in this list are composed by Raj Ravinder. The 3rd song and the song posted today are compositions of Salil Chaudhry.  Also, the songs 1, 2 and the song posted today, are written by Akhtar Romani. The song no. 3 above is from the pen of Asad Bhopali.

About the singers and performers, the first song is a duet sung by Mukesh and Krishna Kalle. On screen, this song is performed by Sujit Kumar and the ‘new find’ Sofia. The song at no. 2 is a solo song by Krishna Kalle, and on screen it is performed by the actress Raani. The identification is provided in the comments by our dear Prakash ji. The song at no. 3 is another solo, this time in the voice of Hemlata, and on screen it is performed by Madhumati. Once again, identification provided in the comments by Prakash ji.

Coming to today’s song, this song is a street dance song, which is performed by Sofia, accompanied by a couple of male actors who are playing the dholak and the harmonium. It is clearly a song in which the leading lady is searching for someone, most likely the leading gentleman, viz. Sujit Kumar. As the song progresses, we can see a momentary appearance, as Sheikh Mukhtar walks into the frame. Also, in the crowd of onlookers, there seems to be an interested party – a bearded man wearing dark glasses. I am unable to identify this person. My mind wants to say it is Abhi Bhattacharya, given the broad look of the face. But I am not sure. I request other readers and friends to confirm or suggest the right name.

Given that this is a roadside tamasha song, the expression and the performance are quite provocative. The new actress Sofia, seems to be straining hard to make an impression.

There is a very interesting side note to this video clip available on YouTube. The total duration of the song is indicated as 4 minutes and 36 seconds. However, the tracking bar takes the visual all the way up to 3 minutes and 12 seconds, after which the visual freezes, but the audio continues. The tracking dot has come to the end of the line. This is somewhat strange.

Anyway, with the posting of this song today, the film ‘Gehra Raaz’ now joins the elite club of films with all songs covered on our blog. Another film for Yippee time. 🙂

Song – Mil Ja Mil Ja, Ab To Mil Ja (Gehra Raaz) (1971) Singer – HemlataLyrics – Akhtar Romani, MD – Salil Chaudhry

Lyrics

mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
mil jaa

mera dil le ke jaane waale saajna
mere sapnon mein aane waale saajna
niraale saajna
mera dil le ke jaane waale saajna
mere sapnon mein aane waale saajna
niraale saajna
tu jo mil jaaye mujhe
choomoon jee bhar ke tujhe
kya karoon naya naya pyaar hai mera
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja

mere bachpan ka raazdaar kho gaya
arre dilwaalo mera pyaar kho gaya
pyaar kho gaya
mere bachpan ka raazdaar kho gaya
arre dilwaalo mera pyaar kho gaya
pyaar kho gaya
tumko maloom nahin
wo hai laakhon mein haseen
main phiroon gali gali dhoondhti jisey
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja

aaj hothon pe dil ki baaten aa gayin
galey milne ki jawaan raaten aa gayin
raaten aa gayin
aaj hothon pe dil ki baaten aa gayin
galey milne ki jawaan raaten aa gayin
raaten aa gayin
aa ja ae jaane jahaan
main tujhe dhoondhoon kahaan
thak gayi idhar udhar dekhte huye
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil jaa
ab to mil ja
mere roop ke singaar
mere khoye huye pyaar
mere humdum mere dildaar
mil ja
mil ja
mil ja
mil ja
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

मेरा दिल लेके जाने वाले साजना
मेरे सपनों में आने वाले साजना
निराले साजना
मेरा दिल लेके जाने वाले साजना
मेरे सपनों में आने वाले साजना
निराले साजना
तू जो मिल जाये मुझे
चूमूँ जी भर के तुझे
क्या करूँ नया नया प्यार है मेरा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

मेरे बचपन का राज़दार खो गया
अरे दिलवालों मेरा प्यार खो गया
प्यार खो गया
मेरे बचपन का राज़दार खो गया
अरे दिलवालों मेरा प्यार खो गया
प्यार खो गया
तुमको मालूम नहीं
वो है लाखों में हसीं
मैं फिरूँ गली गली ढूंढती जिसे
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा

आज होठों पे दिल की बातें आ गईं
गले मिलने की जवां रातें आ गईं
रातें आ गईं
आज होठों पे दिल की बातें आ गईं
गले मिलने की जवां रातें आ गईं
रातें आ गईं
आ जा ए जान ए जहान
मैं तुझे ढूँढूँ कहाँ
थक गई इधर उधर देखते हुये
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
अब तो मिल जा
मेरे रूप के सिंगार
मेरे खोये हुये प्यार
मेरे हमदम मेरे दिलदार
मिल जा
मिल जा
मिल जा
मिल जा


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.

“Laalach”(1960) was produced by B C Sharma and L N Desai and directed by R D Rajput for Sagar Film Company, Bombay. The movie had Kamran, Indira, Sheila Kashmiri, Majnu, Arvind Kumar, Wazeer Mohammad Khan, Jillani, Harish, Heera Sawant, Shakeel Bano Bhopali, Dubey, Badshah Chorbazari, S Badshah, Harun, Ghulab, Kadir, Dalip, Ibrahim, Robert, Anil Kumar, Govind Dada, Aashiq, Begam etc in it.

This B grade movie had five songs in it. Here is the first song from “Laalach”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Lyrics are by Aslam. Music is composed by S Kishan.

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

With this song, “Laalach”(1960) makes its debut in the blog.


Song-Aaja aaja jiya nahin laage (Laalach)(1960) Singer-Asha Bhonsle, Lyrics-Aslam, MD-S Kishan

Lyrics

aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja
jiya nahin laage
nazaare jage
nazaare jage
aaja aaja ho ho

o o o o
o o o o
dil ki duniya meri jagmagaane lagi
yaad rah rah ke phir teri aane lagi
yaad aane lagi
muskuraane lagi
gudgudaane lagi
gudgudaane lagi
muskuraane lagi
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja
jiya nahin lage
nazaare jage
nazaare jage
aaja aaja ho ho

o o o
jeevan bhar tera aur mera balam saath ho
tere haathon mein sada mera balam haath ho
ho suhaana sama
pyaar ki baat ho
pyaar ki baat ho
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja ho ho

o o o o
o o o o
hai suhaana sama
aur tu hai kahaan
ab to kismat bhi hone lagi meharbaan
aur tu hai kahaan
aaj main bhi jawaan
aur tu bhi jawaan
aur tu bhi jawaan
aaj main bhi jawaan
aaja aaja
jiya nahin laage
nazaare jaage
nazaare jaage
aaja aaja


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Naagin aur Sapera” (1966) was directed by Balwant Bhatt for Pramila Productions Bombay. The movie had Manhar Desai, Bela Bose, Padma Chavhan, Sapru, Paro, Rajan Haksar, Raja Nene, Mirza Musharraf, Leela, Shammi, Bhagwan etc in it.
Read more on this topic…


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13378

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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