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

Archive for the ‘Century songs for the blog’ 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.

“Shrawan Kumar”(1960) was produced by Ramubhai Desai and directed by Sharad Desai for Prabha Pictures, Bombay. This mythological movie had Nalini Chonkar, Anant Kumar, Achala, S K prem, Sundar, B M Vyas, Yashodhara Katju, Chaand Burque, Polson, Dabboo, Daya Devi, Kesari, Fazlu, C J Pandey, Kesarbai, V Prem, Premlata, Premi, Radheshyam, Baby Rukhsana, Cuckoo, Madhumati, Raj Prakash etc in it.

The movie, obviously based on the tale of Shrawan Kumar, had ten songs in it. Shrawan Kumar was a contemporay of Lord Ram and his mention is found in Ramayan.

Movies like this aimed to make its audience watch the movie and cry, witnessing the hardships faced by the protagonist. The movie had several songs that are heavy duty listening for me (preachy songs/ tragic songs etc).

Thankfully, there are a few songs that spare us that agony. I have chosen one such song here.

This song is a “missing the beloved” song which is sung by Lata. Bharat Vyas is the lyricist. Music is composed by Shivram.

The song is picturised on a lady whom I am unable to identify. I request our knowledgeable readers ti help identify her.
PS-She is Nalini Chonkar. I thank our knowledgeable reader Mr Suresh Patil for helping to identify her.

With this song, “Shrawan Kumar”(1960) makes its debut in the blog. As many as 111 Hindi movies were released in 1960. “Shrawan Kumar”(1960) becomes the 100th movie to 1960 to find representation in the blog. So with this song, we achieve yet another artificially made up but nevertheless a significant century in the blog.


Song-Tum kahaan chhupe ho saanwre (Shrawan Kumar)(1960) Singer-Lata, Lyrics-Bharat Vyas, MD-Shivram

Lyrics

tum kahaan chhupe ho saanwre
do naina bhaye more baawre
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre ae

tum bin ye jag kaara hai
chaaron taraf andhiyaara hai
o o o o
o o o o
aaj thhaki
man haara hai
kitni door kinaara hai
ho kinaara hai
doley jeevan ki dagmag naav re
naiyya ke khiwaiyya aao re
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre
ho saanwre
ho saanwre

tum kahaan chhupe ho saanwre
do naina bhaye more baawre
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre ae

laakh tumhen hoon bisraati
phir bhi bhool nahin paati
o o o o
o o o o
bichhad gaya jeevan saathi
tel bina jalti baati
jalti baati
aankhon se tera algaav re
hai man mein chhupa ek ghaav re
tujhe khoj khoj main haari
ab thhakne lage more paanv re
tum kahaan chhupe ho saanwre ae

dheere dheere saanjh dhale
ruk ruk meri saans chale
o o aa aa
o o aa aa
dhoondhh thhaki par tum na miley
man tadpe mere praan jaley
mere praan jaley
badi door door tera gaanv re
tere paanv ki deekhe na chaanv re
tujhe khoj khoj main haari
ab thhakne lage morey paanv re
tum kahaan chhupe ho saanwre
ho saanwre
ho saanwre

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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 our discussion of HFM, words of shringaar ras like “pyaar”, “Prem”, “ishq” etc dominate, as can be seen from the category of songs in the blog. There are as many as 2635 songs (over 20 %) of the genre of “expression of love” in the blog. That tells the story.

People who are realists will tell us that cold hard facts of life, viz “money” is quite important as well. Absence of adequate money can be a serious impediment in successful perusal of activities dealing with terms like “love” and “feeling”, the terms that the lead pair of Hindi movies use a lot.

Lead pair in Hindi movies were the only people who would not do anything to make their livings. Everyone else was a realist and was engaged in some economic activity or the other.

The villains of such movies were into “idhar ka maal udhar karna”, also known as smuggling, which meant raking in money. Suave Villain Ajit always had a helicopter ready at Mad island which he would also use to try to escape to Birmingham in the last reel of the movie.

Then there was Prem Chopra who was always interested in the zaaydaad of the heroine and not in the heroine unlike what was belived by the ladki ka baap.

Kanhaiyyalal and Jeewan would be in the moneylending business and the return on their investment would be invariably astronomical. Their descendants are now found in private banking sector.

Other lesser actors in the movie too would be seen pursuing some activity or the other. Betting cum singing in trains, boot polishing (for men), sewing, mujra and cabarat dancing (for women) were some activities that were common in Hindi movies.

With so much revolving round money, we have some “money”songs in Hindi movies. It can be noticed that “money” often had evil connotations in Hindi movies, as befitting the socialist outlook prevalent in India from 1940s till 1980s. Songs deploring the effects of money are there in Hindi movies.

By 1980s, Indian movies, as well as Indian society in general had undergone a sea change in their thinking about money. Instead of passing jugdements on money from ivory towers, one found movies and also songs that just stated facts.

Money matters have touched our lives as common citizens during the last few months. “Notebandi” was a very significant happening which affected lots of Indians. Interestingly, things seem to have gone back to normal in a matter of a few months, despite lots of adverse noises emanating from opponents of the move.

Indians are faced with money matters at least once in a year, when they have to file their income tax returns. Some very interesting facts regarding income tax have emerged in the aftermath of Notebandi. It turns out that only 20 lakh people out of a population of 125 crore Indians report an annual income of over Rs 10 lakhs. Then there are about 50 lakh people who report income between 5 lakh and 10 lakh. To imagine that only 70 lakh people give income tax in a country of 125 crores was quite astonishing, especially when one finds that as many as 2 crore Indians go abroad every year. Going abroad is monetarily not an easy proposition and common sense suggests that such people should be comfortably in the tax paying bracket, which going by the figures available is not the case.

In the wake of notebandi, many bank accounts that erstwhile had low bank balance began to overflow with cash. So it shows that Indians by and large had been avoiding to pay their taxes. As a result, the tax burden for the entire nation is being borne by a small minority of people. After notebandi, an additional 90 lakh people have come under the radar of I T department, which is a good beginning.

Seeing that income tax ( direct tax) collection is low, it is a good policy to concentrate on indirect tax, because everyone has to pay them, often without realising it. There were a whopping number of indirect taxes (nearly 17 of them) and there were different tax departments to deal with them. Just imagine the havoc that they were causing. Now, after so many decades, all these indirect taxes are replaced by a single indirect tax called GST. With some initial hiccups, it is expected that GST, after its implementation, will become the major source of tax earning for the government. It should reduce tax avoidance considerably, seeing that avenues of non transparent transactions are systematically being plugged.

It is nice to see that the tax net is being spread wider to cover those who had so far managed to stay out of it despite having earnings in taxable range.

I can visualise more steps being taken in future. From this year, income tax payers are required to link their PAN with their Aadhar. It is expected that in future Aadhhar cards will be linked with immovable properties as well. That step would see the business of “benami” properties getting affected. No wonder then that some influencial people are opposing it terming it as “invasion of privacy”. “Invasion of privacy” is a term useable in connection with inter personal relations, not useable in connection with dubious financial transactions.

Almost un-noticeably, we have reached yet another century landmark for the blog. Yes, this post is the 13500th song post for the blog. On this occasion, I have chosen a “paisa” song. This song is not at all an old song from the golden era but it is a “new” song from post golden era when songs had stopped being durable and long lasting. This song is an exception that has stood the test of time.

The song on its own is superb to listen to. Lyrics are the true stars of this song. Lyrics are by Payaam Sayedi someone who is totally un familiar to me and who makes his debut in the blog with this song. Nitin Mukesh is the singer. Music is composed by Rajesh Roshan. The movie is “Kaala Baazaar” (1989).

Picturisation of this song is great fun. I have watched the picturisation of the song several times and I can never tire of watching this song. Kader Khan is a corrupt babu in a government office and he takes money for processing every paper that comes his way. The money is collected by Johny Lever.

The picturisation shows how money can help open doors that otherwise remain firmly shut. The picturisation shows honest worker Girdharilal (Sujit Kumar) and his wife (played by Anjana Mumtaz) and son Vijay(played by a child artist and later by Anil Kapoor) suffer because of lack of money whereas Kimtilal Saxena (Kader Khan), his wife (Aparajita) and son Kamal(a child artist, later Jackie Shroff) leading comfortable lives thanks to access to money. The real attraction of this song for me is Kutti (played by Johny Lever). His dance steps in this picturisation, plus his expressions can make you watch this picturisation repeatedly.

With this superb song, we now tick one more box in the blog. We now reach post number 13500. A nice round number. As always, I thank one and all for their continous support and encouragement which is enabling this musical bandwagon to keep rolling for the last nine years and more. Here is hoping that we will see many more such milestones in this musical journey.

Part I

Part II – Sad Version

song-Ye paisa bolta hai (Kaala Baazaar) (1989) Singer-Nitin Mukesh, Lyrics-Payaam Sayeedi, MD-Rajesh Roshan
Chorus

Lyrics

Part I
thhan thhan ki suno jhankaar
ye duniya hai kaala baazaar
ye paisa bolta hai
ye paisa bolta hai

main gol hoon duniya gol ol ol
main gol hoon duniya gol
jo boloon khol doon sab ki pol
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

dhan gora ho ya kaala ho
jag uska jo paise waala ho
ghaple se miley ya rishwat se
banta hai muqaddar daulat se
saccha hai yahaan kangaal
to beimaan hai maalaamal
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aaa aa aa aa aa
aa aa aa aa aa aa

bhagwaan ke ghar bhi khot chale
pooja ke liye bhi note chale
aa aa aa aa aa
aa aa aa aa aa
jo chaahe karwaa lo dhan se
har kam bane donation se
milta hai usi ko vote
dikhaye jo voter ko note
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

paison pe agar main marta hoon
batlaao bura kya karta hoon
jab bajti hai shahnaai dhan ki
tab uthhti hai doli dulhan ki
main gangu teli ko doon raaj
main gangu teli ko doon raaj
gadhon ke sar pe rakh doon taj
ye paisa bolta hai,
ye paisa bolta hai
ye paisa bolta hai
ye paisa bolta hai

Part II – Sad Version (Lyrics provided by Prakashchandra)

jab tak naa..aaa
sifaarish ho jee
kuchch kaam nahin..een
aati degree..ee
taalim ki izzat hoti nahin
gar jeb mein daulat
hoti nahin..eeen
jab jhooth ka phailey jaal
toh hoga
desh ka phir kyaa haal
ye paisa boltaa hai
ye paisa boltaa hai ae


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 (24 july 2017) is the First Monday of the Holy month of Shravan, as observed in the Western, some Eastern and Southern states of India. On this occasion, here is a very melodious Shiv bhajan from the film Shivratri-54. Chitragupta, the King of melody, has composed this bhajan by G.S. Nepali, and is sung sweetly by Asha Bhosle.

India is simply a wonderful and unique country in this world. With 22 languages, recognized by Indian Constitution ( and 122 major and 1599 smaller languages), 9 major and 125 minor religions and over 25 states having exclusive cultures, it was a wonder that Independent India survived after the British left in 1947.

India not only survived but is becoming and recognized as one of the developing countries, supplying its talents to the modern world almost for every industry. It was predicted that within 5 to 10 years after Independence, India will destroy itself with internal chaos and religious infighting. India not only proved the world wrong, but also showed the world how Unity can be achieved in Diversity !!!

This is because of Indian culture which crosses the religious boundaries. When there are killings and riots everyday in “One- Religion ” countries of the world, India is the only hope for the world with its diverse cultural diaspora. The high degree of adaptability and tolerance in the Indian Culture, leading to Peaceful Co-Existence of Religions and languages is the secret of India’s uniqueness.

Take the case of Calendar, as an example of adaptability. Throughout the world, there is uniform calendar in every country. Only in India, the Calendar is based on regional needs. More than 80% population follows a Calendar which has adapted itself to regional climatic routines and the Agricultural diversity of North and South India. The country has 2 ways of counting days. One- followed in the west,south and part of east, wherein the month ends on the No-Moon Day or Amavasya. The Hindi speaking belt of North, Northwest and Northeast follows the system wherein the month ends on the Full Moon Day or Pournima. There is a difference of only 15 days in these systems and due to 15 days’ counting system, all the Festivals fall on the same day all over the country. Hats off to whosoever devised this methodology which unites while maintaining the individuality of different states.

This year in Andhra Pradesh, Telangana, Goa, Maharashtra, Gujarat, Karnataka, Tamil Nadu, West Bengal, Assam and Tripura ( Amavasyant states), Shravan month will be started from Monday, 24th of July 2017 which will be observed as the 1st Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. 24th of July, 31st of July, 7th of August, 14th of August and 21st of August which will be the last day of Shravan Month as well.

Shravan month has already started from Monday, 10th of July, 2017 which will be observed as the 1st day of Shravan Month as well as 1st day of Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. on 10th July, 17th July, 24th July, 31st July and 7th August which will be the last day of Shravan Month for Delhi, Rajasthan, Uttar Pradesh, Madhya Pradesh, Punjab, Himachal Pradesh’, Bihar, Chhattisgarh, Odisha and J&K. ( Purnimant states)

This entire period will be very auspicious for Lord Shiva Devotees and almost everyone of them will observe fast either for the entire month or at least on every Monday which falls during this period. The month of Shravan ( Saawan) is considered a very Holy month, especially for the Shiv Bhakts and every Monday is auspicious for Lord Shiva’s Pooja, Vrat or Fasting etc.

Shiv literally means auspiciousness, welfare. He is the third God of the Hindu Trinity, representing darkness. Because he is often portrayed as the angry god and the God of destruction, Lord Shiv is one of the most feared and worshipped Gods in Hinduism. He is said to play a complementary role to Brahma because he is protector of souls until they are ready for recreation by Lord Brahma. Shiv has eight forms: Rudra, Sharva, Bhava, Ugra, Bhima, Pashupati, Ishana and Mahadeva; which, according to the Shiv Purana, correspond to the earth, water, fire, wind, sky, a yogi called Kshetragya, the sun, and the moon respectively.

Shiv symbolically represents the tamasic quality. This happens to be one of the gunas in Hinduism, symbolizing inactivity. His body color, which is white, denotes his purity and association with the snowy mountains. His three eyes represent the sun, the moon and the earth, the three paths of liberation and the triple nature of creation. The third eye is actually the eye of wisdom or occult knowledge. Epithets note his distinctive hairstyle; he has matted hair which holds the flowing Ganges River and a crescent moon. Shiv is said to be the essence of the Vedas and the creator of the Word. He is also the creator of Dance. Shiv’s dance of anger is called the Roudra Tandava and his dance of joy, the Ananda Tandava. He dances both the dance of destruction and the dance of creation. The rhythms he dances to are that of a world continuously forming, dissolving and re-forming.

The legend of marriage of Shiv and Shakti is one the most important legends related to the festival of Mahashivaratri. The story tells us how Lord Shiv got married a second time to Shakti, his divine consort. According to legend of Shiv and Shakti, the day Lord Shiv got married to Parvati is celebrated as Shivaratri – the Night of Lord Shiva.

Legend goes that once Lord Shiv and his wife Sati or Shakti were returning from sage Agastya? ashram after listening to Ram Katha or story of Ram. On their way through a forest, Shiv saw Lord Rama searching for his wife Sita who had been kidnapped by Ravana, the King of Lanka. Lord Shiv bowed his head in reverence to Lord Rama. Sati was surprised by Lord Shiv’s behavior and inquired why he was paying obeisance to a mere mortal. Shiv informed Sati that Rama was an incarnation of Lord Vishnu. Sati, however, was not satisfied with the reply and Lord asked her to go and verify the truth for herself.

Using her power to change forms, Sati took the form of Sita appeared before Rama. Lord Rama immediately recognized the true identity of the Goddess and asked, “Devi, why are you alone, where’s Shiv?” At this, Sati realized the truth about Lord Ram. But, Sita was like a mother to Lord Shiv and since Sati took the form of Sita her status had changed. From that time, Shiv detached himself from her as a wife. Sati was sad with the change of attitude of Lord Shiv but she stayed on at Mount Kailash, the abode of Lord Shiv.

Later, Sati’s father Daksha organised a yagna, but did not invite Sati or Shiv as he had an altercation with Shiv in the court of Brahma. But, Sati who wanted to attend the Yagna, went even though Lord Shiv did not appreciate the idea. To her great anguish, Daksha ignored her presence and did not even offer Prasad for Shiv. Sati felt humiliated and was struck with profound grief. She jumped into the yagna fire and immolated herself.

Lord Shiv became extremely furious when he heard the news of Sati’s immolation. Carrying the body of Sati, Shiv began to perform Rudra Tandava or the dance of destruction and wiped out the kingdom of Daksha. Everybody was terrified as Shiv’s Tandava had the power to destroy the entire universe. In order to calm Lord Shiv, Vishnu severed Sati’s body into 12 pieces and threw them on earth. It is said that wherever the pieces of Shakti’s body fell, there emerged a Shakti Peetha, including the Kamaroopa Kamakhya in Assam and the Vindhyavasini in UP.
Lord Shiv was now alone undertook rigorous penance and retired to the Himalayas. Sati took a re-birth as Parvati in the family of God Himalaya. She performed penance to break Shiv’s meditation and win his attention. It is said that Parvati, who found it hard to break Shiv’s meditation sought help of Kamadeva – the God of Love and Passion. Kaamadeva asked Parvati to dance in front of Shiv. When Parvati danced, Kaamadeva shot his arrow of passion at Shiva breaking his penance. Shiv became extremely infuriated and opening his third eye that reduced Kaamadeva to ashes. It was only after Kamadeva’s wife Rati’s pleading that Lord Shiv agreed to revive Kaamadeva.

Later, Parvati undertook severe penance to win over Shiv. Through her devotion and persuasion by sages devas, Parvati, also known as Uma, was finally able to lure Shiv into marriage and away from asceticism. Their marriage was solemnized a day before Amavasya in the month of Phalgun. This day of union of God Shiv and Parvati is celebrated as Mahashivratri every year.

I have been fasting on every Monday during Shravan and Mahashivratri since I was a child. Our family was a staunch Shiv Bhakt and we had our own big Shiv Temple in the compound of our Bungalow in Hyderabad. My father had spent some time in Banaras studying Vedas. I too was there for 2 years when I was a small kid. Anyway, all this had immense impact on me and I follow whatever is possible in the month of Shravan.
This time there are 5 Mondays in Shravan. We will try to discuss one Shiv Bhajan on every Monday from 24th July onwards.

Let us enjoy today’s Bhajan which is very sweet indeed. This song is the 2300th song of Asha Bhonsle as a playback singer in the blog.


Song-Shankar ki pooja chhoote na (Shiv Ratri)(1954) Singer-Asha Bhonsle, Lyrics-Gopal Singh Nepali, MD-Chitragupta

Lyrics

Shankar ki pooja chhoote na
chhoote na
Shankar ki pooja chhoote na
chhoote na
shambhu ke bina
bulbula bhi jal mein phhoote na
ho o
shambhu ke bina bulbula bhi jal mein phhoote na
ho Shankar ki pooja chhoote na
chhoote na

raaja roothhe
taqdeer phhire
duniya badle
ho o
raaja roothhe
taqdeer phhire
duniya badle
kailaashpati saubhaagyawati se roothhe na
ho o o
kailaashpati saubhaagyawati se roothhe na
ho Shankar ki pooja chhoote na
chhoote na

shiv ko pooje jo
apne piya ki matwaali
shiv ko pooje jo
apne piya ki matwaali
shambhu ka trishool kare nit uski rakhwaali
ho o o o
shambhu ka trishool kare nit uski rakhwaali
vrat toote na to
phir suhaag koi loote na
ho o o
vrat toote na to
phir suhaag koi loote na
ho Shankar ki pooja chhoote na
chhoote na

harihar chaahe to janmon ka phera chhoote
harihar chaahe to janmon ka phera chhoote
bandhan toote
taala toote
ghera toote
ae ae ae
bas janam janam natwar se naata toote na
ho o o
bas janam janam natwar se naata toote na
ho Shankar ki pooja chhoote na
chhoote na


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.

This song is the 100th duet of Rafi Sb and Geeta Dutt to be posted here on our blog.

As I was browsing the net earlier in the day, checking for articles and source material on Guru Dutt, I came across this she’er (couplet) which was written by the poet Kaifi Azmi in 1964, on hearing the news of Guru Dutt’s demise.

रहने को सदा दहर में आता नहीं कोई,
तुम जैसे गए ऐसे भी जाता नहीं कोई
माना की उजालों ने तुम्हें दाग़ दिये थे,
बे रात ढले शमा बुझाता नहीं कोई

rehne ko sadaa dehar mein aata nahin koi
tum jaise gaye aise bhi jaata nahin koi
maana ki ujaalon ne tumhen daagh diye the
be-raat dhale shama bujhaata nahin koi

It is true, no one comes in this world
To reside for ever
But the way you departed
No one even leaves that way
Granted that the brightness of flame
May have inflicted painful burns
But still, no one douses the lamp
Before the night comes to an end

Remembering Guru Dutt, the vital genius of Hindi cinema, on his anniversary today (9 july 2017). Had he been alive, he would have been 92 today.
Read more on this topic…


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

Today, July 7, 2017 is the 103rd birth anniversary of Anil Biswas (07/07/1914 – 31/05/2003) who defined the Hindi film music at its incipient stage in Bombay film industry. It is a double celebration for him as the song to be discussed today will be his 300th song on the Blog.
Read more on this topic…


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.

Have you ever wondered. . .

how a song gets constructed?

and why a song is termed as a tip of the iceberg?

You must now be thinking – this is a peculiar but a very interesting intro to the 134th century post on the blog. So yes, before getting into the discussion on the proposed topic, congratulations are in order. Welcome all to the 13 thousand 4 hundredth post on our blog. The musical bandwagon rolls on – toiling, pleasing, emotionally invigorating – it continues to move tirelessly. Because. . . because music – must be there. The world, this nature – all are moving to a rhythm, and a melody. Music is instilled in everything every entity we know, we touch, we think of. But come to think of it, we do not often think of this world that way i.e. music in everything, everyday of our lives. We are so consumed with the process of existence and living day to day, that we forget to stop and smell the flowers (or smell the coffee, if you are in America). And the music of life gets hidden behind the other sundries. Often we forget to think about it.
Read more on this topic…


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.

“Gaurav”(1947) was directed by K J Parmar for Mukti Productions, Bombay. This obscure “social” movie had Zeenat, Ghanshyam, Raj Mehra, Munshi Khanjar, Charubala, Shobharani, O P Gaud, Baby Rajni, Hira Date, D Babulal, Pinakin Shah, Pratap Ojha, Anant Acharya etc in it.
Read more on this topic…


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.

After the partition in 1947, prominent music directors like Ghulam Haider, Khwaja Khursheed Anwar, G A Chisti, Feroze Nizami, Rafique Ghaznavi , Innayat Hussain migrated to Pakistan. Most of them were born or brought up in western part of Punjab of undivided India which became a part of Pakistan. So rather than calling the process as migration, they actually returned to their original places.
Read more on this topic…


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. 🙂
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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.

“Majboori” (1954) was directed by Ram Daryani for Murli Movietone, Bombay. This forgotten movie had Balraj Sahani, Shyama, Gope, Kumar, Jeevan, Gulab, Pramila etc in it.
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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 nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13529

Number of movies covered in the blog

Movies with all their songs covered =1015
Total Number of movies covered =3712

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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