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

Archive for the ‘“Get together” song’ Category


“Manchali” (1971) is a movie that is indelibly etched in my mind mainly because of its title song O manchali kahan chali(Manchali)(1973). This song appeared to me to be playing in Binaca geetlmala all the time, though this song did not figure in the final. This movie also had the wonderful song Gham ka fasaana ban gaya achcha(Manchali)(1973) in it. The naughty song Tan man dhan sab hai tera(Manchali)(1973) is also in this movie.
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I have listened to the audio of this song many a times, and this song never fails to cheer me up. This is indeed a “feel good” song.

This song is from the movie “Jeene Ki Raah”(1969) and seeing that the title figues in the lyrics, the son can be called the title song as well as the theme song of this movie as well. This song is a get together song on the occasion of silver jubilee of a mill, where Jeetendra sings this song in the gathering. Yes this song wears so many hats !
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“Anita”(1967) is a movie starring Manoj Kumar and Sadhana. it was the third part of a trilogy of mystery woman movie that Raj Khosla made. The other two being Wo Kaun Thi and Mera Saayaa. But much has changed by 1967 when this movie was released. But much had changed in all these years. Sadhana, who looked so pretty and stunning with a glowing face, had lost much of her facial glow and charm following some illness. This movie, to the best of my knowledge, was not as much of a success as the other two movies.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie songs and a regular contributor to this blog.

When a cricketer hits a fast paced century (in any form of the game), that is stuff for headlines. Newspapers will carry that item on front page. (Btw fastest century record is held by Shahid Afridi, scoring an ODI century in 37 balls; for test cricket Vivian Richards with a century in 56 balls.)

We have stuff for a similar headline news on this blog. We have a new record for the fastest century of songs. Welcome to the 4200th offering of what is increasingly becoming a misnomer, Song-A-Day blog. With an average of over 7 songs posted per day, the musical journey from 4101 to 4200 has been covered in 14 days flat. This beats the previous record of 16 days. Congratulations ALL. 😀
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Here is an absolute gem of a song that has been lying hidden all these decades.

This song is from “Nayi Kahaani” (1943). I am not only surprised that music lovers have forgotten this song, I am even more surprised at the fact that the print of this movie is still available and that too in a reasonably pristine condition, going by the print quality of this picturisation. So kudos to the people who have preserved the print of this movie in such a good condition.
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It is a song that I have heard many a times right from my younger days, and I in fact had noted down the lyrics of this song in a diary that I used to maintain in 1970s. This diary had lyrics of songs noted down by me from radio as well as scorecards of test matches (noted down through radio commentary) that India played those days. 🙂
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This article is written by Sudhir, a fellow enthusiast of Hindi movie songs and a regular contributor to this blog.

Parbat Pe Apna Dera (1944) is one of the more important creations of V Shantaram. The film deals with the concept of ‘maya’ the enduring allurement of the material world that spares no one. The theme also deals with the consequences fo desires, which are mostly painful and damaging. Briefly, Ulhas is an ascetic who lives alone on a hilltop, and does not allows any visitors or passersby to come to him. Once, Vanmala chances to come face to face with this ascetic, in one of her treks. She is injured, and the ascetic has some cure that relieves her of pain. She is the daughter of a rich person, probably used to having her way. She insists on continuing to meet Ulhas, against his wishes, and continues to bring him gifts, almost setting up a household on the hilltop, once where there was an abode of renunciation. One thing leads to another, and the ascetic ties the nuptial knot with this rich lady, leaves his ‘parbat’ (symbolically the high vantage point of human experience), and comes down to ‘civilization’ to live with his newfound family.
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