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

Archive for the ‘“Ganga” song’ Category


This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4720 Post No. : 16428

Today’s song is from the film Ekadashi-1955, a Mythological film.

Culture and Religion have a close relationship. The commonest points of Religion, followed by a majority for time immemorial, becomes the culture of the nation. Raas Garba, Ganesh Utsav, Diwali celebrations and Indian Calendar New Year days in respective regions are no more a matter of Religion by now. They have become the cultural heritage of the country. A good example is Holi or lighting done on Deepavali or touching the feet of the elders…all these constitute Culture, though its roots are traceable to religion.

Today, Religion, for most people in the world, I feel,is limited to one’s personal space and I believe, in today’s setup it is also very appropriate to limit the religion to one’s home. One should not get confused between Religion and Bhakti. Mythological films are based essentially on stories from the Holy books, like Ramayana, Mahabharat or the Puranas. Bhakti pradhan films are based on personalities engaged in devotion to their Deity. Thus, films like Narsi Bhagat or Sant Tukaram are Bhakti pradhan films, whereas films like Pawanputra Hanuman or Veer Arjun are Mythological or Pauranik films. Films on saints like Kabir, Soordas, Tulsidas or Tyagaraja are not religious but Mythological films are surely religious films.

The film Ekadashi-55 was made by All India pictures. produced by R.L. and M.L.Arora, it was directed by V.M.Gunjal. The music director of Ekadashi-55 was Avinash Vyas, ably assisted by Jayanti lal. There were 8 songs in the film. The cast of the film was Trilok Kapoor, Mala Sinha ( her only Mythological film), Sulochana, Gope, Badri Prasad etc etc. The Heroine of this film was Mala Sinha. It is mentioned in HFGK and also features in the credits of the film. However,strangely, she always avoided accepting that she ever worked in this film.

Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangada-54’ in Bangla and Hindi. In 54 again, she did her first film in Bombay, Badshah-54 (released on 15-10-54), then came Hamlet-54 (released on 7-1-55), Riyasat-55 and Ekadashi-55.

In all her interviews, Mala Sinha always quoted “Rangeen Raten”-56 with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film Riyasat-55, her Hero was Mahipal and in film Ekadashi-55 it was Trilok Kapoor. She always hid this fact. There are many Heroines who want to hide their struggling days. For example,in the film “Professor”-62 Shammi Kapoor’s Heroine was Kalpana. Though touted as her first film, her first film was Pyar ki Jeet-62, opposite Mahipal- a fact which Kalpana always hid from everyone.

Similarly, A grade Heroine Meena Kumari also had done several Mythological and costume films before Baiju Bawra took her high up and above other Heroines. Films like Veer Ghatotkach-49, Shri Ganesh Mahima-50, Laxmi Narayan-51, Hanuman Paataal vijay-51 and Alladin aur Jadui Chirag-52 had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.

Even comedian Johnny Walker, who is supposed to have made a beginning with Baazi-51, had earlier worked in “The last message or Aakhri paigham”-49. However this fact is not told by anyone.

Not only actors, but even singers do this. They hesitate to say that they first sang for C grade films. Take the case of Sudha Malhotra, who used to declare Arzoo-50 as her first film, under Anil Biswas, but she never told that earlier she had sung 3 songs in film Aakhri paigham-49, under the baton of Abid Hussein Khan, composer.

Lyricists are not far behind. Gulzar’s first song was not from Bandini – 63, as is claimed. He has written lyrics in films Choron ki Baraat-60, Diler Haseena-60 and Shriman Satyawadi-60. He wrote these songs as Gulzar Deenvi. Then he wrote lyrics in the film Kabuliwala-61 and Prempatra-62 in the name of Gulzar. Even then he claims Bandini-63 as his first film- which is wrong.

It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with a less known film or a composer. This is because they are ashamed of it. I feel the blame also goes to people who take their interview, because the interview takers do not do proper homework. Many times they do not know anything and simply note down whatever is told by the artiste.

Coming back to today’s film Ekadashi-1955, many of the younger generation may not know what Ekadashi means. Not their fault. Children learn from what goes around , first in the family and then in the world around them.

What is Ekadashi ?

Ekadasi, is the eleventh lunar day (Tithi) of the shukla (bright) or krishna (dark) paksha (fortnight) of every lunar month in the Hindu calendar (Panchang). In Hinduism and Jainism it is considered a spiritually beneficial day. Scriptures recommend observing an (ideally waterless) fast from sunrise on the day of Ekadashi to sunrise on the day following Ekadashi. Hindu scriptures teach that it is especially important to avoid all beans and all grains on this day because on the day of Ekadashi these two foods are contaminated by sin, one should eat only fruits and vegetables and milk products on this day. Ekadashi day is recognized as the best of all days to fast because it is on this day of the moon phase in which the rays of the moon actually nourish the subtle nerves and feelings of the heart.

Two Ekadashis occur in one month according to positions of the moon. The progression of the moon from full moon to new moon is divided into fifteen equal arcs. Each arc measures one lunar day, called “tithi”: The time it takes the moon to traverse that distance is the length of that lunar day. Ekadashi refers to the 11the tithi, or lunar day. The eleventh tithi therefore corresponds to a precise phase of the waxing and waning moon: In the bright half of the lunar month, the moon will appear roughly 3/4 full on Ekadashi, and in the dark half of the lunar month, the moon will be about 3/4 dark on Ekadashi.

Bhagavata Purana (sk. IX, adhy. 4) notes the observation of Ekadashi by Ambarisha, a devotee of Vishnu.

Ekadashi Vrat is supposed to be very important. In Maharashtra, the Ekadashi falling in the month of ASHADH is celebrated at Vitthal Mandir in the Holy city of Pandharpur. Lakhs of devotees walk for 21 days,barefoot, to reach the temple. It is called VAARI. Here is more information-

Ashadhi Ekadashi , Pandharpur

The Pandharpur yatra is held on Aashadi Ekadashi (June- July). One of the most famous pilgrimages in Maharashtra, Pandharpur Ashadhi Ekadashi Wari has been taking place for more than 700 years. This is a religious padyatra,which comprises over 1 million pilgrims traveling for 21 days to Vithoba temple by foot. Numerous palkhis (processions) from various towns and villages join the main palkhi that starts from Sant Tukaram Temple at Dehu in Pune district. The yatra culminates at the Vithoba temple on Ashadi Ekadasi at Pandharpur. The annual Pandharpur Yatra to the famous Vithoba Temple at Pandharpur in Maharashtra is an unparalleled pilgrimage that breaks the barriers of caste, creed, rich and poor. The main rituals are performed in the early morning (0300hrs).

This is not unique to Maharashtra. Almost in every state of India, such pilgrimages are undertaken. Speaking of the South, the pilgrimage to Lord Ayyappa on Sabarimala Hills in Kerala is famous. After 40 days of Penance and Abstinence, devotees walk-in Black Clothes- to Sabari Malai. In the North the pilgrimage to Mata Vaishno Devi is well known. In the East people visit Kamakhya Devi on a Pilgrimage. Not millions, but Billions of Indians do these pilgrimages.

The film was directed by a veteran – Dada Gunjal. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education,so after passing his matriculation,he joined the film industry. Initially he worked in various capacities,but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake,he shifted to Directing films for Vishwesh film company,Bombay making silent films like Bharati, The Bandit, Vijeta,Bewafa Qatil, Khabardar, Bhedi Khanjar etc.

When Talkie films started ,he directed Bhakta ke bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were,Bhakta Dhruv, Panihari, Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baaraat, Kirti, Pati patni, Alakh Niranjan, Mother india -1938 etc.

Dada Gunjal died in 1968.

The story of film Ekadashi-1955 was-

In the days of the King Rukmangad of Ayodhya, the King and all his subjects, Proud or Humble, adhered to this Fast and as a result, while they lived on this planet they had Peace of Mind and therefore Temporal Bliss and after death ascended to Heaven. Now that all Ayodhya people went to Heaven-and Ayodhya was a vast and populous kingdom-the population of Hell fell colossally. This caused great anxiety to the King of Hell-YAMRAJ, as his Prowess as King narrowed down with the diminished numbers. He took upon himself to create a breach in the strict observance of the fast by the King Rukmangad: as like King, like subjects, all would follow suit and prosperity would reign supreme in Hell. But all the manoeuvres of Yamraj fell flat against the religious fervour with which the King followed the observance. As a last resort, Yamraj got Mohini by supplicating to Brahma. Mohini-beauty incarnate in female form-was a power that subdued all it saw; sages or saints, high or low. The ordeal of putting up resistance to this force was too much for Rukmangad and he staggered. Diamond cuts diamond and woman does likewise. The Maharani Sandhyavalli knew this and her efforts and sacrifices to save her lord proved all in vain. The King’s heroic struggles against beauty aroused were wasted and when all seemed black for this holy pair their son, Dharmangad, rose to the sally of beauty. Child against beauty-both the highest creations of the Almighty were arrayed face to face. Finally,it was the victory of Good over Evil. Mohini accepted her defeat and withdrew. Thus the importance of Ekadashi Vrat remained intact.

Here is a song from this film sung by Lata Mangeshkar and chorus.


Song- Man ka mail tu dho le re dhobaniya (Ekaadashi)(1955) Singer- Lata, Lyricist- Pt. B C Madhur, MD- Avinash Vyas
Chorus

Lyrics

Man ka mail tu dho le re dhobaniya aa aa
Man ka mail tu dho le
Man ka mail tu dho le re dhobaniya aa aa
Man ka mail tu dho le
jag ke praani roz badalte
apne apne chole re dhobaniya aa aa
Man ka mail tu dho le
Man ka mail tu dho le re dhobaniya aa aa
Man ka mail tu dho le

Moh maaya ka bojh uthhaa kar
nainon ke panghat par jaa kar
kaam krodh mad lobh ko dho le
ghaat ghaat kyun doley re dhobaniya aa aa
Man ka mail tu dho le
jai Gange
jai Gange
har har Gange jai Gange
jai Gange
jai Gange
har har Gange jai Gange

kapde dhote umar khoyegi
karmon ka kab mail dhoyegi
ek aasraa us dhobi ka
teri wo gathhri khole re dhobaniya aa aa
Man ka mail tu dho le
jai Gange
jai Gange
har har Gange jai Gange
jai Gange
jai Gange
har har Gange jai Gange

Bramha Vishnu Shiv is jal mein
uske paap katenge pal mein
ek baar jo patit paavan
Ganga ki jai boley re dgobaniya aa aa
Man ka mail tu dho le
jai Gange
jai Gange
har har Gange jai Gange
jai Gange
jai Gange
har har Gange jai Gange
jai Gange
jai Gange
har har Gange jai Gange
jai Gange
jai Gange
har har Gange jai Gange


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4627 Post No. : 16278 Movie Count :

4421

Today’s song is very special. It is from a totally unknown film- Sach hai-1939. Still, it is a special song. I say so because it is the First song sung by Suresh babu mane on this Blog. I know, nay, I am sure that 99 % of our readers may raise their eyebrows with this name, because they will not know who he was.

Suresh Babu Mane was an expert Classical singer in the late 30’s and 40’s decades. He was the first child of Abdul Karim Khan c- founder of the Kirana Gharana. The name of Kirana Gharana came because Abdul Karim Khan was born in village Kirana in Uttar Pradesh.

It is as if Hindustani Classical Music and Hindi Film Music have inimical or hostile relationships. Hindi film music is music for the masses, where as classical music was born in Palaces and Temples and had Royal patronage. It was understood and enjoyed by and meant only for the connoisseurs. For the common public, classical music was anethema and they could never identify themselves with it. As a result, classical music was kept at a distance by common people.

When the Film Music prospered, spread everywhere and became the people’s choice, the classical singers kept a distance with it. Most were averse to singing for films. It was considered below their dignity to sing for films. If you see the Hindi film song list, you will find that songs by the well known classical singers are not even 1 % of the total songs, so far !

I just casually found out the number of songs that some well known classical singers have sung in Hindi films and this is what I found (not an exhaustive list) –

S No Singer Films No. of songs
1. D.V.Paluskar 1 1
2. Bade Ghulam ali khan 2 3
3 Bhimsen Joshi 6 12
4. Ram Marathe 6 11
5. Shobha Gurtu 16 19
6. Manik Verma 13 17
7. Hirabai Badodekar 3 9
8. Saraswati Rane 11 26
Total Songs 98

From Carnatic Musicians, I only know that M.S.Subbu Lakshmi sang 17 songs in her only Hindi film ” Meera”-1947. They were all Meera Bhajans. Singer Ram Marathe’s 11 songs mentione above are only as a Child Artiste. Once he left films and dedicated himself to Classical music, he never sang again in Hindi films, as far as I know. Experts may know better. There may be some more classical singers and songs other than what is shown above as only an example, but the end result would not change in any case !

It was Naushad, who first understood this predicament and strongly advocated mixing classical music (Raagas) and Folk music for film songs. He actually did this in his films, like Baiju Bawra and some others and we can see that he honestly tried successfully too. Shankar-Jaikishen, C. Ramchandra, S.D.Burman and some other composers followed suit and we had some excellent songs based on classical music (Raagas).

No wonder, then, thast Suresh Babu Mane the Classical singer ( elder brother of Hirabai Badodekar and Saraswati Rane), gave music to only 2 Hindi films in the 30′;s period. Let us know more about Suresh Babu Mane.

According to archives in history, Tarabai Mane was the daughter of Sardar Maruti Rao Mane, one of the brothers of the Rajmata of Baroda.

During her childhood years in the early 19th century, Tarabai Mane used to learn music from Ustad Abdul Karim Khan, who was a mere court musician in Baroda. The two gradually fell in love, a feeling that was not supported by any of the family members precisely because of the gap between their status and ranks in the society. The couple had no other option but to flee Baroda to settle in Bombay city. Ustad Abdul Karim Khan and Tarabai Mane, had fled from the city of Baroda to settle in Bombay after their affair was not accepted by their extended families. However, their fleeing away from their roots did not mean the end of the road to the music career their children had. Tarabai Mane and Abdul Karim Khan married in Bombay and gave birth to five children, two sons and three daughters.

Khansaheb became very busy with his many tasks and concert tours throughout India. As a result, he could not attend to the needs and music education of his children. Compounded with some household family problems, Tarabai decided to separate from him and left him in 1918. In the beginning, she stayed in Bombay for some time and then moved to Pune with her five children.

She decided to change their Musilm names. She was the daughter of Sardar Mane of Baroda state. She used Mane and Barodekar as the surnames. Barodekar was derived from her native place whereas Mane was her surname before marrying Khansaheb. Thus Abdul Rahman became Suresh (god of music notes) babu Mane. Out of her 5 children, Champakali became Heerabai Badodekar, Sakina or Chhotu tai became Saraswati Mane and after marriage Sarawati Rane.

The original name of Suresh Babu Mane was Abdul Rahman. He was the eldest son of Ustad Abdul Kareem Khan and Tarabai Mane alias Tahirabibi, born in 1902. His pet name, in house, was ‘Babu’ and later ‘Baburao’ among his friends, and family members. His first teacher was father Kareem Khan and he also learnt music along with the first batch of disciples of the Arya Sangeet Vidyalaya founded by his parents. His voice, swar lagao and style were ditto to his father. He received talim till the age of sixteen years when his parents separated. He had by then become a teacher and concert singer. Like his father, his thumri was a speciality and listeners would name it as a ‘Maharashtri’ thumri. He was not only an expert vocalist but also could play harmonium, tabla, sarangi, tabla tarang, kashtha tarang, jal tarang, shahanai, and piano.

Tarabai opened up new music school ‘Nutan Sangeet Vidyalaya’ with Sureshbabu as a teacher along with other teachers and students. Sureshbabu also began to teach his sister Heerabai. However, they were all in their teens, and hence Tarabai persuaded and appointed uncle Abdul Wahid Khan as the teacher for children. Later on, with the help of Sawai Gandharva (Rambhau Kundgolkar) she opened up drama wing of Nutan Sangeet Vidyalaya. They staged several old and new drama and all brothers and sisters played roles. Sureshbabu and Heerabai also played roles in Hindi and Marathi films during 1930-40. Sureshbabu also gave music to 2 films, composing 25 songs. (Sant Tulsidas-34 and Sach hai-39). He acted in 2 films – Amrit Manthan-34 and Chandrasena-35 and sang 7 songs in 2 films too – Chandrasena-35 and Sach Hai-39.

In 1926, with the efforts of Bai Sunderabai, HMV recorded two songs sung by Sureshbabu – ‘Balam mora naina tere rasile’ (Khamaj thumri) and Marathi pad ‘Ram Ayodhya nagari’. This record (HMV P 8756) was issued on black label and is very very rare. In 1930, Odeon record company released two songs of Mr. N. S. Phadke from his drama ‘Yugantar’ staged by Nutan Natak Company. In 1940, Columbia company released four songs – ‘Balam nainoka jalim’ (Dadra), ‘Bajuband khul khul ja’ (Bhairvi), ‘Piya tirchee najariya’ (Khamaj thumri), and ‘Dekho Jiya bechain’ (Tilang thumri). He has sung for Marathi film ‘Devayani’ and Hindi film ‘Sach Hai’. His voice from these two films is available on the gramophone records. One record featuring ‘Chandrama ha saticha’ song from Marathi drama ‘Khalvadhu’ written by Barrister Khasgiwale is also available. He used to broadcast from All India Radio frequently. Shuddha Kalyan recording of a radio program is a collector’s item.

Sureshbabu was not successful as a performer and he did not pursue this as a career. However, he was an excellent teacher. Some of his welknown disciples are: Heerabai Barodekar, Saraswati Mane/Rane, Prabha Atre, Vasantrao Deshpande, Menkabai Shirodkar, Vitthalrao Sardeshmukh, Bhimsen Joshi, Arvind Mangrulkar, Dattopant Deshpande, Madhu Kanetkar and Gajananrao Watve. Towards the end of his career he turned to mysticism and alchemy. This had a very bad effect on his health. At the young age of just fifty years, this ‘Cursed Gandharva’ left this world, leaving behind just over one hour’s recordings. He died on 15-2-1953.

Film Sach hai-1939 was made by Saraswati Cinetone of Dadasheb Torne (who had earlier introduced Indurani also). It was directed by a veteran R.S. Chaudhari and the cast was Motilal, Rose, Jagdish Sethi, Usha and others. i do not know what was the film story, but from the advertisement of this film in 1939 issues of Film India, I guess it was a Love story which was unusual and which wins at the end.

With this song, film Sach Hai-39 makes its debut on this Blog. The lyricist makes his debut as well in the blog. Suresh Babu Mane, who had earlier made his debut in the blog as a music director, makes his debut in the blog as a singer with this song.


Song- Bahti ganga Kashi teerath aaya (Sach Hai)(1939) Singer- Suresh babu Mane, Lyricist- Pt. Niranjan Sharma ‘Ajit’, MD- Suresh babu Mane

Lyrics

Bahti Ganga
Kashi teerath aaya
Bahti Ganga
Kashi teerath aaya
Bahti Ganga
Kashi teerath aaya
Bahti Ganga
dho le sadho mann ki maaya
dho le sadho
dho le sadho
dho le sadho
dho le sadho
mann ki maaya
jhoothh hai kanchan kaaya
bahti Ganga
Kashi teerath aaya
Bahti Ganga
dho le sadho
mann ki maaya
dho le sadho
dho le sadho
mann ki maaya
jhoothh hai kanchan kaaya
bahti Ganga
Kashi teerath aaya
bahti Ganga
Kashi teerath aaya
devi thakur poojen saare
devi thakur poojen saare
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
devi thakur poojen saare
man ke andar Ram ko paaya
man ke andar
man ke andar Ram ko paaya
jhoothh hi man bharmaaya
bahti Ganga
Kashi teerath aaya


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4583 Post No. : 16200

So it is that day again. The day when we reach a blog century. Though the going is quite slow now a days, still we are regular (no DOT days since 2020) and so we keep clocking our blog centuries every five to six weeks or so.

This article is blog post number 16200. This century took us exactly 50 days to reach.

I have mentioned it in the past that I remain tension free on most days but I get a bit tensed up when the century post arrives, because we need to look for a special song for the occasion. And I began worrying about locating the special song only at the eleventh hour and 59th minute. 🙂 This is an old habit of mine. My preparation for Examinations also used to be on similar lines. 🙂

The song that I have chosen for the occasion has been on my radar for several months. I considered covering it on many occasions during the last few months, but I backed off every time. There were many reasons.

One main reason why I could not cover this song earlier was its lyrics. Noting down the lyrics of this song has been a great challenge, mainly because the words are totally unfamiliar. At the same time, the words are not gibberish. They have definite meanings. So effort was needed to try and note them down as well as one could.

The second challenge was writing about the song. It is a special song, at at the same time a lesser known song. People have not been able to appreciate this song because this song is difficult to locate and secondly because of lack of information about what makes this song special.

This song is from “Patraani”(1956). “Patraani”(1956) was produced by Shankarbhai Bhatt (the elder brother) and directed by Vijay Bhatt (the younger brother) for Prakash Pictures, Bombay. The movie had Vyjayantimala, Pradeep Kumar, Omprakash, Shashikala, Durga Khote, David, Jeevan etc. in it. The story was written by Kanhaiyalal Maneklal Munshi.

The story, losely based on a real life story of 11th century has been narrated by Mr Arunkumar Deshmukh, our beloved inhouse encyclopedia, while discussing a previous song from the movie. Here is the story as narrated by him:-

King Karnadev Solanki, king of Gujrat(Pradeep Kumar) had many queens but no issues. The Rajmata(Durga Khote) insisted that he marry another girl after ascertaining astrologically her capability to give children.

The king had seen one princess in Somnath temple once and wanted to marry only her.But he does not know who she is. Actually she is princess Mrinal(Vyjayanti Mala) daughter of King Jai keshi(Ramesh Sinha) of Karnatak. She was on a Teerth yatra when she saw Karnadev. She also wanted to only marry him, but did not know who he was.

Munjal Mehta (David), Mahamantri of Karndev goes on a mission and soon finds out Mrinal. She is beautiful, but her skin becomes black in the sunlight. Munjal knows Karndev’s dislike of black. Mrinal is astrologically also fit. He tells her and shows the sketch of Karandev, after which she is happily ready to marry him.

They all travel to Gujarat, but during travel Mrinal’s skin becomes black. During marriage, there is a veil, but after marriage Karndev sees that she is black and rejects her.

She is good natured and becomes Raj mata’s pet. When the King falls sick, Mrinal serves him very well and slowly the King realises that outer skin colour does not make a person good or bad. He accepts her as she is and all’s well that ends well.

The movie was a musical blockbuster, with as many as ten songs in it. Nine songs have already been covered in the past. Here are the details of the songs already covered:-

Blog post number Song Date of posting Remarks
5560 Chandrma madbhara 2 March 2012 Lata solo. Based on Raag Shivranjani
11601 Arre koi jaao ree piya ko bulaao ree 27 November 2015 Three Mangeshkar sisters singing together
12206 Na jaane tum kaun meri aankhon mein sama gaye 12 July 2016 Lata solo
12453 Ho balma tum bedardi 15 October 2016 Lata solo
12521 Rang rangeeli pagiyaa baandhe aaye rituraaja 4 November 2016 C Ramchandra-Lata duet
12678 Dil gaya dard raha seene mein 10 December 2016 Lata solo
13758 Saat samandar paar haaye re mera sapnon ka sansaar 22 November 2017 Lata solo
15438 Kabhi to aa 15 February 2020 Lata solo
15812 Raaja pyaare mat karo pyaar ka mol 17 August 2020 Lata, Usha Mangeshkar duet

One can notice that the voice of Lata Mangeshkar was present in all the songs of the movie. Even the final song being discussed today contains her voice. So this movie was one of those special movies where one singer sang all the songs. All ten songs- in this case !

While most Hindi movie songs have classical music elements in them, the songs of “Patraani”(1956) were specifically so. Shankar Jaikishan, the most popular music directors of the golden era, seem to have composed the songs of this movie as a labour of love, rather than as a means to score another box office success. It appears that the songs were not promoted well during its time and they did not become as popular with music lovers of those days who already had many more popular songs to chose from.

The tenth and final song from the movie is listed in HFGK as “paawan ganga sir pe sohe”. The song begins with these words, and these words are among the few words that most music lovers can understand. Then the song gets transformed into a pucca classical song, namely Tarana. Tarana is a genre of pure classical Hindustani music which was created by Amir Khusro (1253–1325 AD). Amir Khusro was also the creator of a more popular form of semi classical music namely qawwaali. He was also the creator of Ghazal.

Unlike Qawwali and ghazal, Tarana is far less known and heard in Hindi movies and elsewhere. Hindi movies have had very few Taranas in them. One such tarana was covered by me in the blog in 2015 when I had started a series on Classical music. There I had given some information about Tarana. That song from “Ladki”(1953) was sung by Lata and it was picturised on Vyjyanti Mala.

The video of the final “Patrani”(1956) songs does not seem to be available, which is a shame. I am sure that the song, like the Tarana song from “Ladki”(1953) was picturised on Vyjyanmti Mala. I request our knowledgeable readers, who may have seen the movie, to throw light on the picturisation of the song.

The song is mentioned in HFGK as a Lata solo, but one can detect a male voice too who sings one full stanza of tarana bols. The song also has long passages sung by chorus, before Lata Mangeshkar resumes singing. Not just Shankar Jaikishan, even Lata Mangeshkar must have drawn considerable creative satisfaction in recording this song.

I request our knowledgeable readers to throw light on the identity of the male voice.

I have tried my level best to note down the lyrics of the song, but I have fallen short. I request our readers to help correct the lyrics wherever applicable.

Shailendra is the lyricist. If he actually came up with the tarana bols then that is a fantastic achievement for him. With this song, Shailendra completes 700 songs in the blog as a lyricist.

With this song, all the ten songs of “Patraani”(1956) are covered in the blog. The movie joins the list of movies that have been YIPPEED in the past. The movie becomes the 1248th movie to get YIPPEED in the blog.

With this one song, now all the Shankar Jaikishan compositions in HFM, each and every Shankar Jaikshan movie from 1949 to 1968, viz from “Barasaat”(1949) to “Shikaar”(1968)-all 94 of them- have been YIPPEED in the blog. Now one will have to look at movies of 1969 to find the earliest Shankar Jaikshan movie not yet YIPPEED in the blog.

So, this one song helps tick many invisible boxes in the blog.

This blog has survived for more than 12 years, and it has survived the COVID 19 year as well. With so much of musical treasure already covered, and with so much of musical treasure still to be covered, I am sure this musical bandwagon will continue to see many more milestones in the days to come. I take this opportunity to thank one and all whose continued support and encouragement serves as the fuel for this musical bandwagon and keeps it moving.


Song-Paawan ganga sir pe sohe (Patraani)(1956) Singer-Lata, Lyrics-Shailendra, MD-Shankar Jaikishan
Chorus
Unknown male voice

Lyrics

paavan ganga
sir pe sohe
maathe pe chandr chhata pyaari ee
jai jai shiv shankar tripuraari

tanitam tititam
jyotitakthaam
tadhita
tanata
dhunu ta
dhit ta
tatadhi
tatanajhum
titititadhi
ta
tanatana
ta
jhunu jhunu
ta
dhimi dhimi
ta
dhitata dhitata
tana tana
tajun
jhunu
tadhimi
dhimitakita ta
ta dhit ta
dhita ta
dhim
trimatam dha
dhit ta dhit
ta ta dhimi
tramadhita
dha ti ta
dhita ta
dhim trinadhum

dheem
dheem tanana
mu dha na ti
tim dheena na
na dhi dhim
dheem tananana
dheem
dheem tanana
tan udana theem
dhinana
na dir dheem
dheem tanana
na dir dheem dheem
tanana
odana dheem
dhi ra na
na dir dheem
dheem ta na na
na dir dheem
dheem tanana
na da na dheem ta
dhi na na
na dir dheem
dheem tanana

taam takitatam
ni dha ma
na ta ni dha
ni sa
tadam takam
ni dam
ma dha ni paa
na ta ki ta dum
ni dha ma ga
sa ni sa ra
tha
takadhum
takanam
ni dha ma da ni
ni ta jam jam
ma dhi ma hi
dhum
dha ni sa paa
ma ga sa ni
ma ga sa ma
ga ma ga ni sa
jhana jhunu
dhi na pama
ni ma ga sa
tadhi pa ta
tam ta
ni dha
tagum tari
dheem tiratam
ma ni dha ma ga
tam dhim dhinam

dheem
dheem tanana
u da na dheem
ta dhir ra tam
na dir dheem
dheem
ta na na dheem
dheem tanana
u da na dheem
na dhu na
na dhir dheem
dheem
tanana
dheem
dheem tanana
u da da dheem
dhi na na
na dir dheem
dheem tanana
na dir dheem


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4511 Post No. : 16060

Today (23 november 2020) is the 90th birth anniversary of Geeta Dutt (23 November 1930- 20 July 1972). I was aware of this fact yesterday itself, seeing that I had received several contributions for the occasion. Moreover, this date, which happens to be a monday, is also a day when I present my weekly series of Lata Mangeshkar songs sung in a particular calender year- a very research heavy project. So, my hands were full on sunday (22 november) preparing for all these articles to be published on 23 november 2020.

By late night on 22 november 2020, I had four articles ready, one for Lata Mangeshkar and three for Geeta Dutt, to be published on the morning of 23 november 2020. I had plans to post another article on Geeta Dutt (this one), as that article was going to be a special article on the occasion of Geeta Dutt’s birth anniversary.

I was not the only one who was busy on sunday. It turns out that our own Gajendra Khanna was also busy. A big Geeta Dutt fan and the administrator of Geeta Dutt site geetadutt.com, Gajendra Khanna had prepared a one hour long programme on the occasion and had left a link of the programme on our whatsapp group. I listened to this programme in the morning. As is his wont, Gajendra Khanna’s programme was extremely well researched and contained new, eye opening informations. It was through this programme that I realised that Geeta Dutt (nee Roy) had not made her debut in Hindi movies in 1946, but it was in 1945 in “Aadhaar”(1945). HFGK contains very sketchy information on this movie and mentions name of movie characters as singers. “Aadhaar” (1945) is her first Hindi movie as a playback singer. I notice that a song Aayi balloon waali aayi re in Geeta Dutt’s voice (alongwith S N Tripathi) is actually posted in the blog with correct attribution. That was thanks to information provide by geetadutt.com, ofcourse. HFGK mentions this song as sung by Shehzaadi. Shehzaadi could well be the name of the character who lip syncs this song in the movie.

This programme also contains some other interesting information about Geeta Dutt. For instance, she has sung over 90 songs in Gujarati. She has also sung in Bangla (her mother tongue), Marathi, Punjabi etc. What is very special is the fact that she sounds a natural in all these languages. For instance, Gajendra Khanna finds her Punjabi diction impeccable in her Punjabi language song that he played in his programme.

It is unfortunate that her married life turned out to be disastrous and such a god given singing talent like hers, that should have blossomed, instead got withered and finally got cut short prematurely, because of the after effects of her unhappy marriage with Guru Dutt.

Despite all the circumstances that impeded her after her marriage, Geeta Dutt has still left us with more than a thousand songs to savour. The blog has 899 songs so far and this article is being written to mark the 900th song of Geeta Dutt in the blog. I was wondering what song to showcase as her 900th song in the blog. Most of her well known songs, including iconic songs are already showcased in the blog. Many of the songs not yet covered either did not fit the bill, or their audio quality was not upto the mark, or the genre of the song did not suit the occasion.

I covered a song that I thought was a nice discovery. But a few hours later it was pointed out that the song was already covered in the past.

So it was back to the drawing board.

Now I have picked another special song. This song is from an obscure movie called “Putli”(1950). “Putli”(1950) was produced and directed by Wali Sahab for Punjab Film Corporation, Bombay. The movie had Mumtaz Shanti ,Pran, Yaqoob, Husn Banu, Srinath, Majnu, Prem Dhawan, Ramesh Thakur, Sheela Naik etc in it.

The movie had eleven songs in it. Four songs have been covered in the past. HFGK mentions singers only for three songs. The singers mentioned for these songs are Meena Kapoor for all three songs and a male voice in one of these three songs. There is no mention of singers for remaining eight songs.

What is special about this song is that HFGK is silent about the singers of this song. On listening to the song, it is clear that the song contains the voices of Geeta Dutt and Shamshad Begam. So this song is a “new” discovery as a Geeta Dutt song as well as a Shamshad Begam song.

Uploader of the audio of the song mentions Harikrishn as the lyricist and Aziz Hindi as the music director. While the music director matches with the entry of HFGK, the lyricist does not as HFGK is silent about the lyricist. HFGK Wali Sahab and Abid Gulrej are mentioned as the two lyricists. I think that the uploader of this song has more information about this song as he may have taken this information from the record label.

With this song, Geeta Dutt now has exactly 900 songs in the blog as a playback singer. It is befitting that she should reach this mark on the occasion of her 90th birth anniversary today. What a delightful song to bring up this occasion.

As a great coincidence, this song is the 700th song for Shamshad Begam in the blog and she too completes her century with this song.

PS-Sadanand Kamath Jee has located the video of the song. He identifies the two female dancers as Sheela Naik (lip syncing in Geeta Dutt’s voice) and Cuckkoo (lip syncing in Shamshad Begam’s voice).

Audio

Video

Song-Kabhi ganga ke paar kabhi jamuna kinaar (Putli)(1950) Singers-Geeta Dutt, Shamshad Begam, Lyrics-Harikrishn, MD-Aziz Hindi
Both

Lyrics

kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi
ho naina chaar karoongi
tohe pyaar karoongi
hoy naina chaar karoongi
tohe pyaar karoongi
chale aana
oye bhool na jaanaa
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi

kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezar karoongi

ooo tu jo dil dega balma
main jaan de doongi
haaye main jaan de doongi

aur main hans hans kar
aur main hans hans kar donon jahaan de doongi
aur main hans hans kar donon jahaan de doongi
o o o
tu jo dil dega balma
main jaan de doongi

aur main hans hans kar donon jahaan de doongi

jaan de kar bhi
jaan de kar bhi tera deedaar karoongi
jaan de kar bhi tera deedaar karoongi
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana main tera intezaar karoongi

lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la
lalalaa lalla lalla la

mere angna mein
haaye mere angna mein saavan ke mele piya
aa aa aa aa
mere angna mein saavan ke mele piya
aa aa
kaise dekhoon akele akele piya
haaye
akele piya

tum jo aao
tum jo aao main saula-singaar karoongi
tum jo aao main saul-singaar karoongi

chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar
chale aana
main tera intezaar karoongi
ho chale aana
main tera intezaar karoongi

gehri gehri nadiya hai
gehri gehri nadiya aur door kinaara re
door kinaara
gehri gehri nadiya aur door kinaara re
door kinaara
tere bina koi nahin apna sahaara re
haaye apna sahaara
apni naiyya ko
apni naiyya ko nadiya ke paar karoongi
apni naiyya ko nadiya ke paar karoongi
chale aana main tera intezaar karoongi
ho chale aana main tera intezaar karoongi
kabhi ganga ke paar
kabhi jamuna kinaar


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3953 Post No. : 15029 Movie Count :

4120

Missing Films of 1960s – 108
– – – – – – – – – – – – – – –

At 108, generally a maala is considered to be complete. So we are at the 108th episode of this series, searching for and bringing on missing films of 1960s on to our blog. Ah but, the homework is not still fully done. So there still are some films pending, to be taken care.

The story of the descent of the holy river Ganga, from the Baikunth Lok down to the earth, is very detailed and interesting. It spans four generations of kings belonging to the Suryavansh, the Sun Dynasty, in which later Lord Ram also appeared.

In the lineage of Suryavansh – Vivaswaan (also known as Vaivaswat Manu) is the son of Sun God. He had 10 sons. His second eldest son is Ikshvaku, from whom starts the primary lineage of the Sun Dynasty as we know it. His next in line is a son named Nimi. The lineage progresses and through more generations reaches Raja Harishchandra. The descendants of Raja Harishchandra in sequence, are Rohit, Vrishabh, Baahuk and then Sagar (‘सगर’).

Raja Sagar has two wives – Sumati and Keshini, but no children. Once Rishi Aurv (‘और्व’), passing through the kingdom, stayed at the palace and accepted the hospitality of Raja Sagar. When he was leaving, pleased by the selfless service done by the king, he asked the king to express his wish. The king of course expressed his desire to have sons so that his dynasty may continue. The Rishi blessed him, and said that one of his queens will give birth to one son. The second queen will be blessed with 60,000 sons. All of them will be brave and exceptional, but that they will be playful and short in temper.

With the passage of time, the blessing of the Rishi bore fruits, and the sons were born. Sumati gave birth to one sone Asmanja, and Keshini gave birth to 60,000 sons. Asmanja turns out to be a person with negative qualities.

Then after another passage of time, the King decided to conduct the Ashvamedha Yajna, to proclaim his sovereignty over all the land. The sixty thousand sons were given charge of protecting the horse of the Yajna. Now, Lord Indra, the king of the demigods, was envious of Raja Sagar. He decided to play a mischief. One night, as all the sons and soldiers were asleep, Indra stole the horse, took it, and tied it in the ashram of Kapil Muni, who was meditating at that time.

The army of 60,000 sons of Sagar reached Kapil Muni’s ashram in search of the horse. Finding the horse there, they jumped to the conclusion that Kapil Muni had stolen it. Muni was deep in meditation. Sagar’s sons started to rebuke him and call him names. They prodded him with their bows and disturbed him no end. Kapil Muni’s mediation was broken. He opened his eyes and looked at the army of 60,000 sons of Sagar. Such was the power in him, that by his mere glance, the 60,000 boys were burnt to death and turned into ashes.

When Sagar heard of this news, he was grief stricken. All his sons, save one, had perished without any proper samskaar etc. He consulted his Raj Purohit, Vashishth Muni. Vashishth said that the only way the perished sons could attain salvation was if the waters of the holy river Ganga was sprinkled on the ashes of the army of sons. For Raja Sagar, it was an unthinkable task. The grief took his life. His remaining son Asmanja was not a good person, and had been banished from the kingdom. But the son of Asmanja – Anshuman, turned out to be a very noble person. Sagar made him the King. Anshuman made a vow to bring water of Ganga to the earth. He forsook his kingdom and did mediation and penance all his life. But was not successful. He had one son, Dilip. The onus of accomplishing this task fell on to his shoulder. He too followed the path of meditation and penance, but quickly lost his health and passed away. The mantle for this task was now taken up by Dilip’s son, Bhagirath.

He prayed to Brahma for long years. Finally, Brahma was pleased, and he blessed Bhagirath with the promise that Ganga would descend from Baikunth and will come to earth. The narrative further tells us of the problem of the strength and volume of the flowing waters of Ganga. The earth or any person on earth could not withstand the force of the flow of Ganga. Then Bhagirath prayed to Lord Shiva, who agreed to let the holy river Ganga descend on to him, he would bear the main brunt of the force, and then the rest of earth and its people would then be blessed by it. There is a lot more detail in this narrative, appearing in multiple scriptures.

The film ‘Har Har Gange’ of 1968 is produced under the banner of Nitin Chitra and is directed by Babubhai Mistry. (Another film by the same name was produced in 1979, and that too is also directed by the same person.) The star cast of the 1968 film is listed as Jaishri Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bharti, BM Vyas, Arvind Pandya, Uma Dutt, Vishwas, SN Tripathi, Sudarshan, Babu Raje, Tuntun, Paulson, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopi, Prakash, Munna Bagla, Madhumati, Bela Bose, and Helen.

The film has 6 songs, all penned by Kavi Pradeep. The music is composed by SN Tripathi. The song has been rendered by Krishna Kalle. The occasion seems to be that King Bhagirath is leaving the kingdom to go to the forest to do penance and to free his dynasty from the curse that 60,000 of his ancestors had brought upon themselves. From the words in the verses, it seems as if the song is being performed on screen by the wife of King Bhagirath. I have not been able to locate her name in the related information available. I would request other knowledgeable readers to please add this information if available.

With this song, the 1968 film ‘Har Har Gange’ makes its debut on our blog. With the publication of this post we are coming to the home stretch with this series. Now just 4 more films from the 1960s remain in this project. More details about that later.

 

Song – Jaao Mere Devta, Jaao Mere Praan  (Har Har Gange) (1968) Singer – Krishna Kalle, Lyrics – Kavi Pradeep, MD – SN Tripathi
Chorus

Lyrics

jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

barson se hai ye duniya dukhi
mit jaana par karna is ko sukhi
rakhna hamaare aansoo ka maan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

parvat jo rokey to rukna nahin
bijli girey phir bhi jhukna nahin
rakhna hamesha hatheli pe jaan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

har har gange. . .
har har gange

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

जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

बरसों से है ये दुनिया दुखी
मिट जाना पर करना इसको सुखी
रखना हमारे आँसू का मान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

पर्वत जो रोके तो रुकना नहीं
बिजली गिरे तो झुकना नहीं
रखना हमेशा हथेली पे जान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

हर हर गंगे॰ ॰ ॰
हर हर गंगे


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.

“Do Bhai”(1961) was directed by Vishram Bedekar for All India Pictures. The movie had Abhi Bhattacharya, Shakila, Anil Kumar, Helen, Sulochana, Daisy Irani, Manorama, Rajan Haksar, Indira Bansal, Durga Khote, Om Prakash etc in 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.

“Pati Parmeshwar”(1958) was produced and directed by Manu Desai for M G A Productions, Bombay. This “devotional” (bhakti pradhan) movie had the usual lead pair of Manhar Desai and Nirupa Roy in it, supported by Sabita Chatterji, Mahesh, Amar, Gadadhar Sharma, Dulari, anil Ajit, Surya Kumar, Nirmal, Mumtaz, Devchand, Gangaram, Hira, Rajrani, Rooplaxmi, Sharda, Ravi Tandon etc in it.
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.

Forgotten Melodies of the 1940s – 23
———————————————————

SHANKAR PARVATI (1943) was a dance-based mythological film produced under the banner of Ranjit Movietone and was directed by Chaturbhuj Doshi. The star cast included Aroon Kumar Ahuja and Sadhana Bose in the roles of Shankar and Parvati, respectively. Kamala Chatterjee, Mahipal, Bhagwandas, Brijmala, Reva Shankar, Narbada Shankar etc were the other actors. The film is not available in VCD/DVD.
Read more on this topic…


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

# Desh ki mitti ki khushboo # 2
———————————–

In one of my earlier posts I had described how my working life took off and how I got a chance to be associated with a ‘New Delhi’ based company. One of the most important considerations that motivated me to join this company was that it gave me the opportunity to get postings in different parts of our ‘great country’ .
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.

“Basant”(1942) was directed by Amiya Chakraborty for Bombay Talkies. The movie had Mumtaz Shanti, Ulhas, Pramila, Suresh, Mumtaz ali, Pithawala, Jagannath, Kanu Roy, Ganju, Baby Mumtaz (Madhubala) etc in it.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16600 song posts by now.

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

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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16615

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

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