Archive for the ‘“How did I forget to post this song earlier” song’ Category
- In: "How did I forget to post this song earlier" song | Duet | expression of love | Feelings of heart | How come this song was not posted earlier | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Songs of 1970s (1971 to 1980) | Songs of 1975 | Theme song | Title song | Yearwise breakup of songs
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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.
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Blog Day : |
5700 | Post No. : | 18218 |
Ameen Sayani (21 December 1932- 20 February 2024) recently left for the heavenly abode on 20 february 2024. It goes without saying that Ameen Sayani was easily one of the most important personalities in the field of HFM. Instead of coming up with a hastily prepared article as a tribute to Ameen Sayani, I thought that I should pay him a tribute by discussing Binaca geetmala, a programme that was a musical phenomenon of our times. When we think of Ameen Sayani, we think of Binaca geetmala and vice versa.
But while most of us have heard of both, our recollections may have faded with time or may be we may not have gone into much details. Here I would like to go into some depth of Binaca geetmala and discuss facts about it that we may or may not be aware of.
Binaca geetmala programme had started on 3 december 1952. It was a wednesday. It was half an hour programme on Radio Ceylon from 8 PM to 8:30 PM. It covered seven songs. It was not a countdown programme at that time. It just had a collection of popular songs. It was sort of like chitrahar programme of today. The very first song that was played in the programme was Tu Ganga ki mauj main Jamuna kaa dhaara (Baiju Baawra) .
Instead of creating their own original signature tune, part of the song Pom pom pom baaja boley (Aasmaan) was used as signature tune of the programme.
Five programmes were broadcast on five wednesdays of 1952. All were half an hour programmes. At that time Binaca geetmala was not the programme that it subsequently evolved into.
After nearly one year and half, the format of the programme underwent a serious change in the middle of 1954. It became one hour programme from 8 PM to 9 PM. It became a countdown programme that began to play songs based on their popularity. Sixteenth most popular sung was played first whereas the most popular song was played last.
The programme did not just cover popular Hindi movie songs, it also added new words to the language that people spoke. The word “geetmala” itself was a creation of Ameen Sayani. He also came up with word like “Paaydaan”. Subsequently as the programme evolved further, he created words like “sartaaj geet”, “punar praveshi geet”, etc.
As Binaca geetmala became a countdown radio show towards the middle of 1954, the next logical evolution was analysing the popular songs of the year to come up with the sixteen most popular songs of the year and play that list on the last wednesday of the year. 29 December 1954 was the first time when final programme of Binaca Geetmala was broadcast. Sixteen songs were played. There were songs composed by Naushad (3), Hemant Kumar (3), C Ramchandra (2), O P Nayyar (2). There were one composition each of Avinash Vyas, Salil Chaudhary, Timir Baran, Ravi, Anil Biswas and S D Burman. S D Burman had just one song, but his one song had the distinction of becoming the winner of inaugural Binaca geetmala final programme. The song was Jaayen to jaayen kahaan (Taxi Driver) . This song has two versions. Male solo was sung by Talat Mehmood and female solo by Lata Mangeshkar. Sahir Ludhianvi was the lyricist.
Till end of 1956, only one final programme was being broadcast. But from 1957 onwards two final programmes began to be broadcast covering twice the number of songs. Penultimate programme of the year typically covered song number 32 to 17, whereas the highest ranked songs of the year were covered on the next wednesday viz the last wednesday of the year. The number of songs was not strictly fixed. It varied from 15 to 18 or so in annual programmes.
Popularity of songs were assessed based on sales of record as stated in the programme. It is not clear what was the methodology. They apparently took details from retail sellers of records. How the details were collected and how data were compiled to come up with the list every week is not known to us. A record has more than one song in it. How it was decided which song of the record was more popular than the other is not known to us. All this data processing in those pre computer days must have been quite a task and I wonder if Ameen Sayani had people to assist him in these tasks. I wonder if any of our readers have any information about it.
The other method of assessing the popularity of songs was by taking the views of “shrota sanghs”. When I read this explanation, I feel that the list preparation may not have been very rigourous and objective, seeing the logistical, technical and other challenges of those days.
During the early days, the songs could get included in the Binaca geetmala weekly programmes as many times as they could be based on their popularity. But 1966 saw a major change. In that year, a limitaion was set that any song could be included for 18 times only and no further. It was then retired giving it the name of “Sartaj” geet. Unlike in the past when songs kept figuring in the programme for even two years (100 plus times), this limitation of cutting off a song from contention after one third of a year seemed unfair to many listeners. Ameen Sayani justified it by explaining that more songs got the opportunity to get represented in the programme by this new rule. The first song that was eased out of Binaca geetmala at the peak of its popularity by this new rule was Choo lene do naazuk hothon ko(Kaajal)(1965). Ultimately this song ended up as 13th in the final programme of the year.
I feel that record companies may have influenced this decision. If a popular song could be taken off from Binaca geetmala after one third of the year then potentially three times the number of songs would play in a year which meant potentially three times the number of records would sell. It is my guess. I request our knowledgeable readers to chip in with their opinions.
There were people who would try to note down the list of songs that were played in the programme. while most people would be unable to note down the lists from all programmes, there were some hardcore Binaca geetmala fans who would be able to note down the list of each and every programme. One such person was Mr Anil Bhargav of Jaipur. He noted down the list of songs played in all the 2081 programmes from 3 December 1952 till 4 april 1994, when the last Geetmala programme was broadcast.
Mr Anil Bhargav later wrote a book “Binaca Geetmala ka sureela safar” where he gives invaluable information about Binaca geetmala. I have used the content of this book heavily while collecting details on Binaca geetmala.
Personally I too tried to note down list of songs in weekly programmes but without much success because I missed out on listening to many programmes. It was the final programme that I (and lots of other music lovers) tried not to miss. I have given an account of how I got to listen to Binaca geetmala final programme of 1971 in this article:-, Zindagi ek safar hai suhaana (Andaaz).
Somewhere else, my would be brother in law was also into noting down the list of songs in Binaca geetmala. Much later, My wife got me some page from his notebook that contained the list of songs from the annual programme of 1971 or 1972. I have forgotten what year it was, as I have misplaced that sheet of paper. He by the way was a hardcore farmaish sender to Radio Ceylon, even though he was not from Jhumri Tilaiyya.
Incidentally, that brother in law of mine told me an interesting tale. They lived in Etarasi at that time in 1950s. He as a kid got a head injury while playing. He was urgently rushed to the nearest doctor who treated him and cured him. That Doctor was One Dr Nayyar, who was brother of music director O P Nayyar. 🙂
When one looks at the list of songs that appeared in the final programme of the various years, one notices some interesting facts. During the initial years, Hemant Kumar was the surprise topper among music directors. He had three songs in the final in the last week of 1954 and four songs in the final week of 1955.
By late 1950s , Shankar Jaikishan began to dominate. 1959 saw as many as 8 songs in the final being Shankar Jaikishan compositions. They repeated this feat in 1962 final as well. Laxmikant Pyarelal, who appeared in 1963 began to dominate towards the end of the decade of 1970s and beyond. They had 9 songs in the final wednesday of 1970. R D Burman had 8 songs in the final of 1973. All the songs in that final were composed by just four music directors, viz R D Burman (8), S D Burman (4), Laxmikant Pyarelal (4) and Kalyanji Anandji (3).
Just like we in our blog sometimes have dot days when no post appears, Binaca geetmala too sometimes failed to be broadcast on its appointed day and time. There were about 80 such occasions. Sometimes, older programme was played to fill in. For example the programme of 12 June 1974 was repeated on 19 june 1974 as well. Sometimes the day and time got changed. For excample the programme scheduled for wednesday 4 december 1974 was broadcast on sunday 8 december 1974 at 13:00 hrs in the afternoon. In case of DOT wednesdays, the list of songs of that missing wednesday was read out in the next programme.
There were about 35 occasions when Ameen Sayani was unable to record a particular programme and that programme was recorded by some other announcer. Manohar Mahajan ( about 20 programmes), Gopal Sharma, Shiv Kumar Saroj, Vijay Kishore Dubey, Bhajbhushan were the announcers. Personally I found it a let down because others were no match to Ameen Sayani as far as my opinion was concerned.
Year 1977 was silver jubilee year of Binaca geetmala. To mark the occasion, the two final episodes of the year had an enormously large number of songs, viz 42 songs, spread over two wednesdays. The final wednesday saw 21 songs being covered. The winner that year was Madan Mohan composition Koi patthar se naa maare mere deewaane ko (Laila Majnu) . It was the first and only time that a Madan Mohan composition reached the top of Binaca geetmala final but sadly Madan Mohan was not around to savour this success.
To mark the silver jubilee of the programme, three special programmes were broadcast on sundays (8 , 15 and 22 January 1978) between 11:00 hrs to 12:00 hrs where history of Binaca geetmala was covered. Special messages from important personalities were covered. This was a collectors’s item but sadly no recordings of these programmes were made available.
This year saw another major change in policy about playing of songs. From this year onwards, songs were allowed to play 25 times (instead of 18) before they were called “Sartaj” geet and retired. Till 18 times, the songs would be played fully and for the next seven occasions only their snippets (jhalki) would be played in the programmes. As a result, the number of songs being covered in a weekly programme became more than 16 songs, because of snippets of additional songs. “Ankhiyon ke jharokhon se(Ankhiyon ke jharokhon se)” became the number one song of the year in 1978.
The end of 1970s and beginning of 1980s saw the golden era of HFM coming to an end and the radio age too began to get eclipsed by TV at around the same time. Binaca geetmala slowly began to feel the heat. By that time Vividh Bharati radio stations had been set up in lots of places in India and they too had been allowed to air sponsored programmes. Under these changed circumstances, advertisers began to favour Vividh Bharati in place of Radio Ceylon (by now called SLBC).
On personal front, I too had begun to lose track of Binaca geetmala (as also Hindi movies). I do not feel that I may have missed much though, because the golden era of HFM was in any case behind us. Binaca geetmala kept being aired but Binaca geetmala of 1980s were not the same Binaca geetmala of yore. Binaca geetmala, in addition to being inundated by disco songs also opened its doors to non film songs. 12 August 1981 saw “Disco Deewaane” becoming the first non film song to get played in Binaca geetmala. Other songs of this album also began to get played in subsequent programmes and they even figured in the final programme of the year.
The songs that began to become the top songs in HFGK final programmes from 1981 onwards were quite lowbrow in quality in comparison to the songs of the past. 1981 topper was Mere angne mein tumhaara kya kaam hai (Laawaaris), 1982 topper was Angrezi mein kahte hain ki I love you (Khuddar) , 1983 topper was Shaayad meri shaadi ka khayaal dil mein aaya hai (Sautan). One can see that chaalu kind of songs had begun to find favour with music lovers.
Binaca geetmala on SLBC was renamed Cibaca geetmala with effect from 21 may 1986. It began to be broadcast on thursday from 27 october 1988 between 9 PM to 10 PM. From 6 april 1989, number of songs were reduced from 16 to 14.
All these were changes for the worse and these were signaling the decline of the programme in line with changing times. While the programme tried to continue gamely on SLBC, Vividh Bharti too saw Cibaca Sangeetmala being presented by Ameen Sayani from 6 november 1989. It was not quite Binaca geetmala. It was presented on Vividh Bharati (24 stations) on monday at 9 PM.
Finally, 4 april 1994 saw the last broadcast of Cibaca geetmala. That finally brought down curtains on an iconic radio programme that had a marathon run of 42 years (2081 programmes), almost all presented by just one individual namely Ameen Sayani. Ameen Sayani was 20 when he began the programme. He was 62 when the programme finally came to an end.
End of an era indeed.
I decided that I should discuss a Binaca geetmala finalist song with this writeup. When I began to search for songs that have figured in Binaca geetmala finals, I kept scanning songs after songs years after years beginning from 1954. I found that all the finalist songs from 1954 onwards have been covered in the blog. In fact, not just the songs, even the movies that the songs were from have been YIPPEED in the blog.
Finally my search ended in the list of songs in the year 1975. Here is a song from the Binaca geetmala final 1975.
When I reveal what song I am going to discuss, I expect regulars to gasp with surprise and exclaim how come this song was not posted till now.
The song is from “Julie”(1975). “Julie”(1975) was produced by A Chakrapani and B Nagi Reddy and directed by K S Sethumadhavan for Vijaya Productrions private Limited, Madras. This movie, billed as “A Bold daring true-to-life story of young love” had Lakshmi(aka Laxmi),Vikram (aka Vikram Makandar),Nadira, Utpal Dutt, Achala Sachdev, Rita Bhaduri, Jalal Agha, Rajendra nath, Om Prakash, Sridevi, Umesh Sharma, Master Satyajeet, J.N.Anand, Udaya Lakshmi, A.Abdul Hameed, C.J.Anand, Sulochana senior(aka Ruby Myers) etc in it.
“Julie”(1975) had five songs in it. Three songs have been covered so far. The last song from the movie was covered exactly 10 years and one month ago on 25 January 2014.
Here is this iconic song from “Julie”(1975). This song is sung by Kishore Kumar and Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Rajesh Roshan.
The song is picturised on Lakshmi(south fame) and Vikram.
Lyrics of the song and other details were sent to me by Prakashchandra.
This song was third in the Binaca geetmala final programme of 1975 (broadcast on 31 december 1975).
Today is the 5700th day of this blog. On this occasion, we pay our tribute to the great legend Ameen Sayani and thank him for providing us with decades of musical bliss. You will remain in our hearts all the time.
audio link (longer):
video link:
Song-Bhool gaya sab kuchh yaad nahin ab kuchh (Julie)(1975) Singers-Kishore Kumar, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-Rajesh Roshan
Lyrics(Provided by Prakashchandra)
bhool gaya sab kuchch
hmm hmm mmm
bhool gaya sab kuchch
yaad nahin ab kuchch
oho o
hmm..mmm
hey aey hey aey
ek yehee baat na bhoolee ee
Julie ee ee
aa aaa aaa aa aa aaaa
I love you
aa aa aa aa aa aa
bhool gayee sab kuchch
yaad nahin ab kuchch
oho o
hmm..mmm…mm oho o o o ho o o o
ek yehee baat na bhoolee ee ee
Julie aaa aaa aaa aaa aaa
Julies loves you
aa aaa aaa aaaa
aa aaa aaaa
aa aaa aaa aaaa
aa aaa aaa aaaa
itna bhi door mat jaao oo
ke paas aanaa aa mushqil ho
ho o o ho
itna bhi paas mat aao oo
ke door jaanaa aaa mushqil ho
jaaney bhi do kahaa maano meraa
aisaa lagaa badan chhoo ke teraa
koyi chingaari chhoo lee eee
Julie ee ee
aa aaa aaa aaa aaa aaa
I love you
aaaa aaa aa aa aa aaaa
aisa na ho tadap tadap ke
ye pyaar pyaasaa aaa mar jaaye ae
ho o o o
aisa na ho hum donon ko
ye shaam ruswaa aa kar jaaye..ae
achchaa to main ye zid chhod doon bolo
achcha main ye qasam tod doon bolo
baat hai ye maamoolee ee ee
Julie ee
aaa aaa aaa aa aaaa aaa
Julie loves you
aa aaa aaa aaaa
aaa aaa aaa
bhool gaya sab kuchch
hmm hmm mmm hmmm mmm
bhool gaya sab kuchch
yaad nahin ab kuchch
oho o
hmm mm
hey aey ae ae
ek yehee baat na bhoolee eee
Julie ee ee ee
aa aaa aaa aa aa
I love you
aaaa aaa aa aaa
aaa aaa aaa
hmmm mmmm mmmm
ho o oo ho
hmmm mmm
hmmm mmm mmm
aaa aaaaa aaaaa aa
hmmm mmm mmmm mmm
- In: "How did I forget to post this song earlier" song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | How come this song was not posted earlier | Love song | Lover's tête-à-tête | Lyrics by Sudhir | Lyrics contributed by readers | Missing gems from the golden 50s | Moti Sagar - Sudha Malhotra Duet | Moti Sagar Songs | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1955 | Sudha Malhotra songs | Yearwise breakup of songs
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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.
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Blog Day : |
5667 | Post No. : | 18172 |
Today’s song is from the film ‘Shikar’ (1955).
Films with the title ‘Shikar’ were made in 1955, 1965, 1999 and 2001. Then there were films called ‘Shikari’, made in 1932, 1946, 1963 and 1991. To top it all, there was a film with the title ‘Shikar Shikari Ka’ made in 2010. I am not giving these details for fun, but after you read this film’s story, you will yourself say that the title of this film should have been ‘Shikar Shikari Ki’ !
The film was made by Tara Films, Bombay. It was produced by the owner of the banner Rajveer Singh Tara and Dhanwant Shah. It was directed by Ravindra Dave – an expert in crime and mystery films. He was called Ravinbhai in the Bombay film industry and Bappa in the Gujarati film industry.
Director Ravindra Dave was born in Karachi on 16-4-1919. After graduation, he joined Dalsukh Pancholi’s distribution empire as a Manager. Pancholi was his Mama (maternal uncle). Here only he learnt the art of editing from Shaukat Hussein (husband of Noorjehan). He wrote screenplays for Pancholi’s films till 1941. In 1943, he got his first break as a joint director, with Vishnu Pancholi ( Dalsukh Pancholi’s brother) for film ‘Poonji’. After that there was no looking back.
After partition he came to Bombay with Pancholi. His first film here ‘Nageena’, with Nutan as heroine, was a hit film. Ravindra Dave directed 30 Hindi films. Some of his films are ‘Nageena’ (1952), ‘Agra Road’ (1957), ‘Post Box 999’ (1958), ‘Guest House’ (1959), ‘Satta Bazaar’ (1959), ‘Raaz’ (1967). His last Hindi film was ‘Road to Sikkim’ (1969). He also wrote the story and screenplay of ‘Saajan’ (1969), produced by Mohan Saigal.
For his 30 Hindi films, he used 19 different MDs. He was able to work with major stars like Nutan, Nalini Jaywant, Raagini, Veena, Suraiya, Meena Kumari, Meena Shorey, Nargis, Shakila, Mala Sinha, Sadhana, Babita etc. Among male actors, he worked with Raj Kapoor, Rajesh Khanna, Shyam, Sunil Dutt, Al Nasir, Vijay Anand, Balraj Sahni, Nasir Khan. It was during the shooting of his film ‘Post Box No.999’ Sunil Dutt married Nargis secretly and came back for shooting, without anyone knowing it (just like Dev Anand married Kalpana Kartik secretly, during shooting of ‘Taxi Driver’ (1954)). He helped and encouraged newcomers like Sunil Dutt, Rajesh Khanna,Vijay Anand, Subi Raj, Kalyanji-Anand ji, Anju Mahendru etc.
He handled mainly mystery/crime stories during the 1950s decade, because the trend was like that. After 1969, he was almost jobless. He was advised to make Gujarati movies. From 1971, he turned to Gujarati films with ‘Jasal Toral’ (1971) and he directed some 26 Gujarati films. His period in Gujarati cinema is considered as the Golden Era for Gujarati films. He liked to work with known artistes generally. In 16 films out of his 26 Gujarati films, the hero was Upendra Trivedi and in 17 films, his MD was Avinash Vyas. In Hindi films he worked with 19 MDs.
He had married Jasumati Ben. He had 2 sons and 4 daughters. He passed away in Bombay on 21-7-1992.
[My Thanks to Harish Raghuwanshi ji for a Gujarati article on Ravindra Dave.]
Filmography-
Hindi Films
1943: ‘Poonji’; 1945: ‘Dhamki’; 1948: ‘Chunaria’; ‘Patjhad’; 1949: ‘Naach’; ‘Sawan Bhadon’; 1950: ‘Meena Bazaar’;
1951: ‘Nagina’; 1952: ‘Lal Kunwar’; ‘Moti Mahal’; 1953: ‘Naina’; 1954: ‘Bhai Saheb’; 1955: ‘Shikar’; ‘Lutera’;
1956: ‘Char Minar’; 1957: ‘Agra Road’; 1958: ‘Farishta’; ‘Post Box 999’; 1959: ‘CID Girl’; ‘Ghar Ghar Ki Baat’; ‘Guest House’; ‘Satta Bazaar’;
1962: ‘Aankh Micholi’; ‘Girls’ Hostel’; 1963: ‘Band Master’; 1964: ‘Tere Dwar Khada Bhagwan’; ‘Dulha Dulhan’; ‘Punar Milan’;
1967: ‘Raaz’; 1969: ‘Road to Sikkim’;
Gujarati Films
1971: ‘Jesal Toral’; 1973: ‘Raja Bhartrahari’; 1974: ‘Hothal Padmini’; ‘Kunwarbai Nu Mameru’; 1975: ‘Sant Surdas’; ‘Shetal Ne Kanthe’; ‘Bhadar Tara Vehta Pani’;
1976: ‘Bhaibandhi’; ‘Malavpati Munj’; 1977: ‘Jai Randalma’; ‘Maa Avret Jivrat’; ‘Paiso Bole Chhe’; ‘Son Kansari’; 1978: ‘Chundadi Odhi Tara Namni’; ‘Patali Parmar’; ‘Bhagya Lakshmi’; 1979: ‘Suraj Chandra Ni Sakhe’; ‘Preet Khandani Dhar’;
1980: ‘Koino Ladakvayo’; ‘Virangana Nathibai’; 1981: ‘Jagya Tyanthi Savar’; ‘Seth Jagadusha’; ‘Dukhda Khame Ee Dikri’; 1983: ‘Palavde Bandhi Preet’; 1984: ‘Nagmati Nagvalo’; 1985: ‘Malo Naagde0’
[Taken from Encyclopedia of Indian Films,with Thanks.]
‘Shikar’ had the cast of Nimmi, Shekhar, Smriti Biswas, Moti Sagar, Ameena Bai (sister of actor B Nandrekar), Ratan Gaurang and others. Those days the lead pair of Johnny Walker and Shyama was very popular (4 films during 1954 to 1958). They made guest appearances in this film. The cast shows a name Moti Sagar. Today’s song is also a duet of Moti Sagar, but he never became famous.
In the Hindi film industry,there are 4 types of people. The first type is those people, who join this industry, struggle very hard and succeed in fulfilling their dreams, for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now. The second type of people are those who join the industry, struggle very hard, do not succeed and leave dejected. The third type is those people who have a filmi connection or a strong luck, who join, struggle a bit and succeed like for example, Raj Kapoor, Dev Anand, Dilip Kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc.
And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else, to keep them sustaining here. The industry is full of people of the 4th type. People who come with dreams in their eyes, but end up doing something else. People who start as a hero in 2-3 films, settle for side roles and finally character roles,like Rehman, Dev Kumar, Sujit Kumar, Jeevan etc.
Not only this but we have examples where they started with one thing and ended with a totally different thing and succeeded. For example, Guru Dutt started as a choreographer/dance director – ‘Lakharani’ (1945) and ended up as an actor/director, Ashok Kumar started as a lab technician in photography but became a great actor and Amiya Chakravarty who started as a Bangla teacher and a canteen manager at Bombay Talkies, the production house for which later he directed finest movies.
In olden days, when the studio system was prevalent, artistes used to be employed on a monthly basis and they had to do whatever work was given as per their capability. For example, in Ranjit Studios over 700 people were on the rolls at one time. The Government had to open a ration shop inside the studio premises for them. A Ranjit, actors were made out of script writers and the director wrote songs ! So people joined the industry with a mind prepared to do whatever job, just to succeed in their ambition.
Moti Sagar was one such person who came to the industry to become a hero, but ended up doing sundry roles, singing songs, writing stories and scripts and producing films. He could not get great success in any of these and ended up being ‘jack of all trades, mster of none’.
He was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films. There he met composers Inayat Hussain and GA Chishti, and he loved singing. He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established, and Mukesh was trying very hard.
Moti Sagar did a second hero’s role in ‘Malhar’ (1951). He sang his first song under Bulo C.Rani in ‘Gul Sanobar’ (1953) with Kalyani. Then came ‘Pamposh’, ‘Shikar’, ‘Deewali Ki Raat’, ‘Makhichoos’, ‘Jai Mahadev’, ‘Salgirah’, ‘Filmi Duniya Filmi Log’, and ‘Prerana’. When he stopped getting songs and roles, he switched over to writing. He wrote stories for ‘Badal’, ‘Lalkaar’, ‘Charas’, ‘Ram Bharose’. He acted in 13 films. He directed 2 films, namely ‘Prerana’ (1984) and ‘Tanya’ (1994). He wrote songs also for the film ‘Prerana’. He sang 13 songs in 9 films. When this stopped he produced 2 films ‘Hum Tere Ashiq Hain’ and ‘Badal’. So, Moti Sagar was an Actor, Director, Producer, Lyricist, and a Singer. After 1994, he retired. He died on 14-3-1999. Preeti Sagar is his daughter. She too was a struggling singer.
Some people feel that Moti Sagar, son of Ramanand Sagar and the actor-singer Moti Sagar are the same. However there is no connection and these are two different people. Ramanand Sagar was born on 29-12-1917 and the actor-singer Moti Sagar was born on 16-4-1925. Obviously, he can’t be his son as Ramanand was just 8 year old when this Moti Sagar was born ! Moreover, Ramanand took the surname Sagar only in 1950. Originally he was a Chopra.
Here is the story of this film,
Raisahab Kailash Chandra is a Jagirdar only for name sake, not being a well to do person. However, he adopts Kamini, daughter of a recently deceased rich couple. His home is managed by his niece Rita. He has an idiotic son Deesh. His secretary is cunning Chunilal.
Some distance away, lives a loving couple Kammo and Shekhar. Kammo and Kamini are look alikes. Shekhar as well as Raisaheb have erred many times because of their similarity. Raisahab gets an idea to end his poor financial condition by marrying Kamini with his son Deesh. As Kamini feels obliged to him, she also agrees.
Just one day prior to the marriage, Kamini dies suddenly by heart attack. To continue his plan, Raisaheb and Chunilal decide to abduct Kammo and get her married to Deesh. They kidnap her, drug her and hide her in the house. Shekhar is told that his wife Kammo is dead and her body is kept in the morgue. When Sheklhar sees the body, he realises it is Kamini and soon sees through Raisaheb’s plan. Meanwhile Kammo comes to senses and pretends to be drugged. She manages to write a small note to Shekhar. Next day, Shekhar comes to the marriage venue with police and stops the marriage. Raisahab and Chunilal are arrested. Kammo unites with Shekhar and the film ends.
Today’s song is a very melodious duet, which had become quite popular in the mid 50’s and had also featured in Binaca geetmala for several weeks. Bulo C Rani had composed 2 beautiful songs. One is today’s song and the other was the famous qawali of the film Al Hilal (1958) – “Hamen To Loot Liya Mil Ke Husn Waalon Ne“). I am actually surprised how today’s song had not yet featured on this Blog. Hence it surely deserves the category of “How did I forget to post this song earlier”, in my opinion.
Enjoy this duet sung by Sudha Malhotra and Moti Sagar. . .
Song- Bahaar Dekh Ke Dil Aur Beqaraar Hua (Shikar)(1955) Singers – Sudha Malhotra, Moti Sagar, Lyricist – Indeewar, MD – Bulo C Rani
Sudha Malhotra + Moti Sagar
Lyrics
bahaar dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
teri marzi jahaan
mujhe le chal wahaan
o o o
o o o
teri marzi jahaan
mujhe le chal wahaan
teri do aankhon par nisar do jahaan
teri do aankhon par nisar do jahaan
dil pe mere tera ikhtiyaar hua
aa aa aa
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
chhaanv aanchal ki ho
phir aasmaan kya
ho o o o
chhaanv aanchal ki ho
phir aasmaan kya
tu jiska saath de
usey toofaan kya
tu jiska saath de
usey toofaan kya
wo bina patwaar ke hi paar hua
aa aa aa
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
dekh ke dil aur beqaraar hua
ummeed utni badhi jitna intezaar hua
tum jo aaye zindagi mein zindagi se pyaar hua
bahaar dekh ke
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
बहार देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
तेरी मर्ज़ी जहां
मुझे ले चल वहाँ
ओ ओ ओ
ओ ओ ओ
तेरी मर्ज़ी जहां
मुझे ले चल वहाँ
तेरी दो आँखों पर निसार दो जहां
तेरी दो आँखों पर निसार दो जहां
दिल पे मेरे तेरा इख्तियार हुआ
आ आ आ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
छांव आँचल की हो
फिर आसमान क्या
हो ओ ओ ओ
छांव आँचल की हो
फिर आसमान क्या
तू जिसका साथ दे
उसे तूफान क्या
तू जिसका साथ दे
उसे तूफान क्या
वो बिना पतवार के ही पार हुआ
आ आ आ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
देख के दिल और बेक़रार हुआ
उम्मीद उतनी बढ़ी जितना इन्तज़ार हुआ
तुम जो आए ज़िंदगी में ज़िंदगी से प्यार हुआ
बहार देख के
Jhuke hain baadal baalon ke
Posted on: June 18, 2023
- In: "Aankh" song | "Baal"/hair song | "How did I forget to post this song earlier" song | Asha Bhonsle songs | Body part song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Gaal song | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rafi songs | Rafi-Asha Bhonsle duet | Songs of 1950s (1951 to 1960) | Songs of 1959 | Yearwise breakup of songs
- 4 Comments
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.
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Blog Day : |
5448 | Post No. : | 17852 |
The decade of the 1950s was a time when, having got our independence in 1947, the whole nation was now busy reconstructing our country to our choice. This was the time when family values, importance of joint families, religion, law and order, Nehru’s socialistic pattern etc. were being reestablished. With all this, the turmoil in the society could not be isolated. It had its effects on the social atmosphere, markets, businesses, housing and of course the films.
It is said that whatever happens to the society is reflected in the films made. If you take a look at the films made in the period of 1950 to 1960, you will find that the films were made on the issues mentioned in the para above i.e. family values, joint families, girl’s education, socialism, religion, law and order etc. Most of the film industry was influenced by Nehru’s socialism. Some of the big names like Mehboob, Kardar, Bimal Roy, V. Shantaram and the band of the Bangla Directors in Hindi films were sold to the Nehruvian values and they made films around these themes.
There is a true and documented story about Mehboob. When the Partition took place, studios of some Muslims like Nazir Ahmed Khan- Hind Studio at Dadar in Bombay, were burnt in his presence, during the communal riots. There were also different rumours circulating in the industry. Frightened by these incidents some major stars like Dilip Kumar and Mehboob khan were thinking of migrating to Pakistan. Dilip first sent his brother- Nasir Khan to assess the prospects. Mehboob Khan went to Pakistan himself to plan his settlement there.
Following partition in 1947, AR Kardar and his co-brother Mehboob Khan both left for Pakistan. However, according to Bunny Reuben, as quoted by Mihir Bose, they returned to India, but no reason was given for their return.
Journalist and author of several books, Ambarish Mishra writes, “when I asked Kardar about his Pakistan visit, he told me that after the Partition, Mehboob immediately went to Pakistan. He was disturbed with the news of Hindu-Muslim conflicts in Bombay Film Industry. It was said that Hindus will not allow Muslims in the film industry – which was totally wrong and only a rumour. He wanted to get an idea about his future in this new country. He was keen on settling there. After a month or so, I went there. Being from Lahore, I understood that the film conditions were not conducive for our growth there, as nothing was in order. Everything was in a mess there. I convinced Mehboob somehow and we both came back for good. I told him, as long as Nehru and the Congress were there, Muslims had no problems in India.”
By coincidence, Nehru died (in 1964) and the next day Mehboob also died .
The point is, films in the 1950s were made with some thoughts and the titles of such films indicate this. For example – ‘Aadmi’, ‘Aai Phir Se Bahaar’, ‘Anand Bhavan’, ‘Andolan’, ‘Asha’, ‘Astik’, ‘Awaaz’, ‘Azaad’, ‘Aazadi Ke Baad’, ‘Ab Dilli Door Nahin’, ‘Adhikar’, ‘Amar Shaheed’, ‘Baap Bete’, Baap Beti’, ‘Bade Bhaiyya’, ‘Bhabhi’, ‘Bhai Behan’, ‘Bhai Bhai’, ‘School Master’, ‘Farishta’, ‘Mother India’, ‘Naya Daur’, ‘Insan Jaag Utha’ etc. – the list would be a very long one. I hope you got the point by now.
This decade was also known for two things – music and religious films.
Today’s film ‘Kal Hamara Hai’ (1959) was also one such film, trying to stress that the future is bright, irrespective of whast was happening then. “Aaj Apna Ho Na Ho, Kal Hamara Hai” was a favourite phrase in those days. Unfortunately the poor is still where he was then and films like ‘Kal Hamara Hai’ were being made not only in 1959, but also in 1981 and 2016 ! God knows when that ‘Kal’ will come !
The film was made by producer K Amarnath under his own banner K Amarnath Productions, Bombay. It was directed by a faceless name SK Prabhakar, for whom it was the first and last film as a director. The cast was Madhubala, Bharat Bhushan, Jayant, Leela Chitnis, Hari Shivdasani, WM Khan etc. The story of the film was….
Bharat, a young man, works as a puppet for greedy and wealthy Seth Hiralal. Hiralal once asks him to kill an old man who knows the truth of Hiralal’s black marketing and show this as an accident, to which Bharat refuses. However, Hiralal himself knocks the old man down with his car and blames Bharat for this. Bharat is imprisoned but soon runs away from the jail with a thought of revenge. When he is about to murder Hiralal for destroying his life, Bharat meets a girl who is also hidden behind a pillar in order to steal something from Hiralal’s house. She introduces herself as Madhu, and tells him that the purpose for stealing is she does not have money to buy medicines for her father, who met with a fatal accident just few days ago.
Bharat decides to help Madhu and buys her medicine for her father. To his shock, her father is no one other than the old man whom Hiralal had asked to kill. Madhu’s father is somehow not able to recognise Bharat.
Madhu has a sister named Bela, who looks just like her and is sent to study in Delhi. One day, she sends a letter to Madhu telling her that she left the college as she was not able to pay the fees, and moreover, she is not interested in studies anymore. She began working as a dancer in a club to earn money. Hiralal notices Bela while she is dancing and tries to buy her. However, Bela is beauty-with-brains; she backs off Hiralal’s plan, which infuriates him.
On the other hand, in spite of no relation, Bharat begins helping Madhu financially and they fall in love. Madhu asks him to bring Bela back home and he promises her the same.
Bharat goes to Delhi at once and tries to make Bela understand and succeeds. Bela, too like her sister, is impressed by his personality and falls for him. When Bela learns that Madhu also loves him, she leaves her sister’s house; on her way is murdered by an infuriated Hiralal.
Bharat is framed by Hiralal for murdering Bela. During the courtroom drama when Bharat is tried, it is revealed that he is the son of none other than Hiralal; his jealous relative had kidnapped him when he was an infant.
As Bharat is imprisoned, Hiralal reveals to the court that Bela was killed by him. He also tells the court that throughout his life he earned money by wrong ways. He framed Bharat several times; he is regretting now.
In the end, Bharat reunites with his family, marries Madhu and Hiralal is jailed.
The film was not successful at the Box Office. It seems Manoj Kumar was a regular visitor on the sets of this film. Later on he admitted that his film Upkar was inspired by this film and he had taken his screen name as Bharat from this film only !
All the 7 songs of this film are good. 5 songs were composed by the Melody Maker Chitragupt and 2 were composed by Gajanan. Now who was this Gajanan ?
This Gajanan was Gajanan Karnad, one of India’s premiere violin player. While searching for information on this Gajanan, I came across an article on him, written by his daughter Sudnya Patkar and published on site ‘Swar Aalaap’ on 25-3-2021. It also confirms that he was Gajanan Karnad, who was Music Director for two films in Hindi. Here is the adapted article for you….
Pandit Gajanan Madhav Karnad was born in a middle-class Chitrapur Saraswat Brahmin family on 28th April 1923. A distant relative visiting the Karnad family noticed the child would just not let go of the harmonium photo. He managed to get such a tiny instrument, which had a keyboard with just one octave. Family and friends were spellbound at this child prodigy who knew the musical notes so well without any formal training. Little Gajanan was God-blessed and music ran in his blood.
Gajananrao’s talent bloomed with the passing years.
As a child, he would attend music concerts and listen to great composers like Govind Rao Tembe. Buying tickets for such concerts was out of the question for this boy who came from a middle-class family, but he managed to squeeze into the auditorium and listen to the concert, sometimes by standing in the wings or sitting on the steps.
In one such program, there was a competition of young artists, but Gajanan failed to qualify as he was just seven. But his enthusiasm to participate was so much that he waited in the wings, and when one of the competitors finished his performance and the next one was to take the stage, Gajanan rushed onto the stage and started playing whatever little he knew about music. The confused organizers rushed to the stage and tried to take the child away, but he would not budge. When the judges saw the child’s determination, they asked the organizers to allow the child to play. This was the first public appearance of Gajananrao Karnad at the age of seven. He was lauded by the judges and the audience and was even given a consolation prize, as he was not a registered participant.
Thereafter, at the age of 10, Gajananrao participated in the first music conference held in Mumbai. His debut was sensational that left the audience and the press spellbound. The Maharaja of Dharampur awarded him a special prize in appreciation of his talent.
Unlike some child prodigies, Gajananrao did not fade away. On the contrary, as he grew up, and switched from harmonium to violin when the All India Radio brought out a rule that harmonium will not be allowed as an accompaniment to vocalists. He mastered several other instruments like the flute. But he never had a ‘guru’. He had mastered music and all these instruments all by himself.
Despite being a matriculate, Gajananrao took up a job with HMV (His Master’s Voice) and thereafter with AIR (All India Radio). At 21, he was already a master of Hindustani classical music and specialized in khayals, thumris, and light folk music. He gave performances on AIR for several years and had several concerts to his credit. His forte was raagdari and he even composed his own ‘raagas’.
Pt. Gajananrao was married to Vijaya, who was an artist in her own right – she was a painter. Gajananrao himself was extremely good at sketching and enjoyed his time on the drawing board on and off. They had two daughters Sudnya and Anjali, but unfortunately, neither of the daughters inherited the musical legacy of their father.
Panditji felt that while Hindustani classical music was extremely precious to him, he could not make a good living by merely giving concerts on and off. He, therefore, made headway into film music. He played the violin for almost all the music directors of his time including Madan Mohan, C Ramchandra, OP Nayyar, Shanker Jaikishan, Naushad, Laxmikant Pyarelal, Kalyanji Anandji, etc.
He had the honor of giving accompaniment to the legends like Lata Mangeshkar, Asha Bhosle, Mohammed Rafi, Kishore Kumar, Manna Dey, Mahendra Kapoor, Mukesh, etc. Those days, when songs were recorded in single takes, Gajananrao’s violin (song violin) rendered support to these singers to give their best shot in each take.
When V Shantaram was producing the film ‘Do Ankhen Barah Haath’ in 1957, he wanted his actress Sandhya, who sells toys to little children, to play a ‘tuntuna’, (तुणतुणे) a crude instrument with a single string. He and his music director Vasant Desai were clueless about searching for a musician who could play something like this. They called Pandit Gajananrao and asked him whether he could play this on his violin, but without it sounding like a violin. Without hesitation, Panditji assured them that needful will be done. When the film was screened at the Cannes Festival, viewers were curious about the instrument played in this song. V Shantaram revealed that this was played by a great violinist in India on his violin, but he had made it sound like a ‘tuntuna’. He did not add, however, that Gajananrao had done this by merely running down the strings of his violin so that it did not sound like a violin. Some of his solo violin pieces are heard in songs from films like ‘Sargam’ (1950), ‘Musafir’ (1957), and ‘Ujaala’ (1959).
One of the founder members of the Cine Musician Association, Pt. Gajananrao was a man of few words and a noble heart. Besides music, he was a fan of Hollywood movies, some favorites being movies made by Charlie Chaplin, Alfred Hitchcock, William Wyler, and Billy Wilder, and musicals produced by Metro Goldwyn Mayer, among others. On the days there was no recording and he had free time, he would rush to theatres like Regal, Metro, Eros, or Strand and watch films back-to-back, without getting tired or bored.
After dedicating his life to music and the film industry, Pt. Gajanan Karnad passed away on October 28, 1996, at the age of 73, after a brief illness. The unfortunate part is that he has not left behind the recordings of the innumerable performances he gave on the radio or in concerts.
His name appears as MD in 2 films. The first is ‘Shadi Se Pehle’ (1947), in which he composed along with Paingankar (a pseudonym of C Ramchandra) as Karnad. It is, however, not known which songs were composed by whom. The second film was ‘Kal Hamara Hai’ (1959), in which he composed 2 songs as Gajanan.
[This is an adaptation of the article written by his daughter Sudnya Patkar. It appeared on the site Swar Alaap, on 25-3-2021].
Today’s song is a lovely duet of Rafi and Asha. In those days it was very popular. I am surprised how we missed this song so far. Surely it deserves the category of “How did I forget to post this song earlier ?”
Song- Jhuke hain baadal Baalon ke (Kal Hamaara Hai)(1959) Singers- Asha Bhonsle, Rafi, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics
jhuke hain baadal
baalon ke
khile hain gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
sambhal ke chalna
kya jaane
yahi to mausam
masti mein jeene ka hai
phero nazar aati hai mujhe angdaaiyaan
qismat se milti hai pyaar ki tanhaiyaan
chaahat ka ye din suhaana suhaana
bhool na jaana jee bana ke deewaana
jhuke hain baadal
baalon ke
khile hain gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
sambhal ke chalna
kya jaanen
yahi to mausam
masti mein jeene ka hai
ghaayal si hoon koi teer mat maarna
haaye mar jaaunga na yun pyaar se pukaarna
aise mein dekho humen na sataana
bhool na jaana jee bana ke deewaana
jhuke hain baadal
baalon ke
khile hain gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
arre sambhal ke chalna
kya jaanen
yahi to mausam
masti mein jeene ka hai
main to chali dekho pyaar ki ada liye
loot ke hum ko na aur daaka daaliye
dil ko churaaya nazar na churaana
bhool na jaana jee bana ke deewaana
jhuke hain badal
baalon ke
khile hai gulshan
gaalon ke
yahi to mausam
aankhon se peene ka hai
suno ji kehna
kyun maanen
sambhal ke chalna
kya jaanen
yahi to mausam
masti mein jeene ka hai ae ae
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है
फेरो नज़र आती हैं मुझे अगड़ाइयाँ
किस्मत से मिलती हैं प्यार की तनहाइयाँ
चाहत का ये दिन सुहाना सुहाना
भूल ना जाना जी बना के दीवाना
झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है
घायल सी हूँ कोई तीर मत मारना
हाय मर जाऊंगा ना यूं प्यार से पुकारना
ऐसे में देखो हमें ना सताना
भूल ना जाना जी बना के दीवाना
झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है
मैं तो चली देखो प्यार की अदा लिए
लूट के हमको ना और डाका डालिए
दिल को चुराया नज़र ना चुराना
भूल ना जाना जी बना के दीवाना
झुके हैं बादल
बालों के
खिले हैं गुलशन
गालों के
यही तो मौसम
आँखों से पीने का है
सुनो जी कहना
क्यों मानें
संभाल के चलना
क्या जानें
यही तो मौसम
मस्ती में जीने का है
- In: "How did I forget to post this song earlier" song | Artist century song in blog | Asha Bhonsle songs | Century songs for the blog | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | How come this song was not posted earlier | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1975 | Yearwise breakup of songs
- 3 Comments
This article is written by Peevesie’s Mom, 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.
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Blog Day : |
3996 | Post No. : | 15090 |
Hullo to all of Atuldom
Welcome to a post which will get a reaction of “Yeh gaana baaki hai???” And I am sure Atulji will put this song under the category “How did I forget to post this song earlier?”.
In the 70s, and for all the 43 years since, this song has been extremely popular. It is a love song where the young couple meet on the sly, in the middle of the night. It was sung by Asha Bhonsle and Kishore Kumar for a sweet seventeen Neetu Singh and a handsome/ charming 23-year-old Rishi Kapoor. It had very simple choreography by PL Raj that made the pair look very adorable. It was written by Gulshan Bawra and set to tune by our today’s birthday boy.
27th June our dear RD Burman would have turned 80. Like I have written in my post which accompanied the song to remember Kishore Kumar on his last birthday, how I wish Pancham or RDB had not left this world when he did. Then the treasure trove of wonderful songs would have been overflowing. But then that was not to be and we lost him in 1994. But there is still a treasure trove which gives us a lot of songs which if played continuously will last us for days on end. There is a song for every mood. Currently as I write this, I have chosen some random songs on amazon prime music which began with “Chaand Churaa Ke Laya Hoon” (‘Devta’, 1978) went on to “Meri Bheegi Bheegi Si Palkon Pe” (‘Anaamika’, 1973) followed by “O Maanjhi Re” (‘Khushboo’, 1975) and has another 20 songs which include “Bangle Ke Peeche Teri Beri Ke Neeche” (‘Samaadhi’, 1972), “Roz Roz Dali Dali” (‘Angoor’, 1982), and “Mera Pyaar. . . Shalimar” (‘Shaimar’, 1978). Now I must admit I love RDB songs and what I chose to hear were songs which I have not heard in a while. I am totally impartial in my selections. 🙂
Now on to today’s song. Thank you, RD Burman, for bequeathing to us a huge set of songs to remember you with.
Editor comment-With this song, Asha Bhonsle completes 2600 songs as a playback singer in the blog.
Audio
Video
Song – Ek Main Aur Ek Tu, Dono Miley Is Tarah (Khel Khel Mein) (1975) Singer – Kishore Kumar, Asha Bhosle, Lyrics – Gulshan Baawra, MD – RD Burman
Kishore Kumar + Asha Bhosle
Lyrics
ek main aur ek tu
dono miley is tarah
ek main aur ek tu
dono miley is tarah
aur joh tan mann mein ho raha hai
ye to hona hi tha
ek main aur ek tu
dono miley is tarah
ek main aur ek tu
dono miley is tarah
aur joh tan mann mein ho raha hai
ye to hona hi tha
yoon nahi
milte hai yaar yaar se
de.. mujhe..
pyaar ka jawaab pyar se
dhadkanen hui jawaan
waqt bhi hai meharbaan
phir ye kaisi dooriyan
bolo bolo bolo bolo bolo bolo
ssshhh
ek main aur ek tu
dono miley is tarah
ho oo ek main aur ek tu
dono miley is tarah
ek main aur ek tu
dono miley is tarah
aur joh tan mann mein ho raha hai
ye to hona hi tha
lalalalalalaaa
lalalalallalaaaa
ho.. dooriyan
waqt aane pe mitaayenge
ek.. din..
itna paas paas aayenge
intezaar tab talak
beqaraar tab talak
yoon hi pyar tab talak
bolo bolo bolo bolo bolo bolo
sshh sshh sshh
ek main aur ek tu
dono miley is tarah
haan ek main aur ek tu
dono miley is tarah
aur joh tan mann mein ho raha hai
ye to hona hi tha
dillagi
ban gayi hai dil ki lagi
hey.. zindagi
naam hai isika zindagi
ho khel khel main sanam,
aa gaye jahaan pe hum
rok le wahin kadam
bolo bolo bolo bolo bolo bolo
sshh sshh sshh
ek main aur ek tu
dono miley is tarah
ek main aur ek tu
dono miley is tarah
aur joh tan mann me ho raha hai
hmmm hmmm hmmm hmmm hmmmmm
ye to hona hi tha
. . to hona hi tha
ye to hona hi tha
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
एक मैं और एक तू
दोनों मिले इस तरह
एक मैं और एक तू
दोनों मिले इस तरह
और जो॰ह तन मन में हो रहा है
ये तो होना ही था
एक मैं और एक तू
दोनों मिले इस तरह
एक मैं और एक तू
दोनों मिले इस तरह
और जो॰ह तन मन में हो रहा है
ये तो होना ही था
यूं नहीं
मिलते हैं यार यार से
दे॰॰ मुझे॰॰
प्यार का जवाब प्यार से
धड़कनें हुईं जवां
वक़्त भी है मेहरबान
फिर ये कैसी दूरीयां
बोलो बोलो बोलो बोलो बोलो
शशश
एक मैं और एक तू
दोनों मिले इस तरह
हो ओ एक मैं और एक तू
दोनों मिले इस तरह
और जो॰ह तन मन में हो रहा है
ये तो होना ही था
लालालालालाला॰ ॰ ॰
लालालालालाला॰ ॰ ॰
हो दूरीयां
वक़्त आने पे मिटाएँगे
एक॰॰ दिन॰॰
इतना पास पास आएंगे
इंतज़ार तब तलक
बेक़रार तब तलक
यूं ही प्यार तब तलक
बोलो बोलो बोलो बोलो बोलो
शश शश शश
एक मैं और एक तू
दोनों मिले इस तरह
हाँ एक मैं और एक तू
दोनों मिले इस तरह
और जो॰ह तन मन में हो रहा है
ये तो होना ही था
दिल्लगी॰॰
बन गई है दिल की लगी
हे ज़िंदगी॰॰
नाम है इसी का ज़िंदगी
हो खेल खेल में सनम
आ गए जहां पे हम
रोक ले वहीं कदम
बोलो बोलो बोलो बोलो बोलो
शश शश शश
एक मैं और एक तू
दोनों मिले इस तरह
एक मैं और एक तू
दोनों मिले इस तरह
और जो॰ह तन मन में हो रहा है
हम्म हम्म हम्म हम्म हम्म हम्म
ये तो होना ही था
॰॰ तो होना ही था
ये तो होना ही था
Aao Baadal Chain Se Royen
Posted on: April 19, 2019
- In: "baadal" song | "How did I forget to post this song earlier" song | "weepy" song | 15K Song Milestone Celebration Posts | Aansoo song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | How come this song was not posted earlier | Lyrics by Sudhir | Lyrics contributed by readers | Melancholic song | Poignant Song | Post by Mahesh Mamadapur | sad song | Songs of 1960s (1961 to 1970) | Songs of 1967 | Talat Mehmood solo | Talat Mehmood songs | Yearwise breakup of songs
- 11 Comments
This article is written by Mahesh Mamadapur, 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 : |
3927 | Post No. : | 14996 |
= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 6
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Carl Sagan, in his book, ‘Pale Blue Dot’ talks about the picture taken by Voyager I before it left the solar system. Planet Earth, the only home we have known so far appears less than a fraction of a pixel in the picture. It’s on this speck of dust like object in the vast cosmos lived every human, plant and animal we ever know and every civilization.
On this planet the greatest men in a wide variety of fields have left behind their legacies both good and bad. Their lives however great or condemnable have been spent here. In the vastness of time and space, a few years spent by great men may mean nothing. However, the legacy left behind by such men are recognized and appreciated for generations.
Theatre and entertainment arenas have also seen many a great men and women contribute their art and expertise to mankind. Quite a few are well known and many others are often not credited to the extent to which they should be.
Narrowing down to a movie and further restricting ourselves to Hindi film and non-film songs, the essence of this blog, we are now at the doorsteps of 15 thousand representations.
By these 15k representations, we all have tried to contribute our little efforts in bringing to the fore, the works of film artists – popular, less known and unknown. Amongst the main contributors, the nearly impossible tasks are taken up more experienced and knowledgeable such as Arunkumar ji, Sudhir ji, Sadanand ji etc. The painstaking efforts in collecting accurate information from various sources and contacts and posting in a concise manner is definitely not an easy task.
Then, there are specialists such as Nalini ji for reminding us of the artist’s anniversaries and Prakash ji for identifying lesser known actors on the screen. Raja ji, whose marathon posts never bore us and we have Avinash ji who pours his heart out in the posts. We have Bharat ji with his expertise and first-hand experience.
There have many others who were more contended with sending only lyrics and a few who keep giving home-works to others. 🙂 A few are more than happy to suggest corrections to the posts and lyrics etc. in the comments section. Then, there are also contributors who vanish for a while and re-appear for special occasions (pun about self intended). 🙂
And, finally we have Atul ji, the fulcrum of our activities and the force that binds us together. Atul ji marches along from one milestone to another. And when he reaches the next milestone, we are all automatically teleported there. 🙂
I never planned for any special song for this occasion. (That again, the leaders will have a plan). But seeing that a great gem of an even greater singer is yet to be posted, I decided to go for his solo.
The singer is Talat Mahmood, of whom quite a lot has already been written on the blog.
My father, an avid fan Talat saab often says that his voice is for royal people. By royal, he means to say people with special taste and I can’t agree with him more. Talat Saab’s melancholic songs sung in blue mood are a class apart, the likes of which one will never get to hear from any other singer.
There are several such songs of Talat Saab which one can hear multiple times and can only admire the grace and dignity in his voice for songs pertaining to even dejection.
- Doob Gaye Aakash Pe Tare
- Raat Ne Kya Kya Khaawb Dikaye
- Jab Kisi Ke Rukh Pe Zulfen Aake
- Beraham Aasmaan Meri Manzil Bata Hai Kahan
- Ae Dil Mujhe Aisi Jagah Le Chal
- Yeh Kis Manzil Pe Le Aayi
- Chand Mera Badalon Mein Kho Gaya
- Jab Chhaaye Kabhi Saawan Ki Ghata
- Aa Ja Ke Bulate Hain
- Phir Wohi Sham Wohi Gham
- Ashqon Mein Jo Paya Hai
- Sham-E-Gham Ki Kasam
- Ye Hawa Ye Raat Ye Chaandni
- Meri Yaad Mein Tum Naa Aansoo Bahaana
- Yaadon Ka Sahaara Na Hota
The list seems to be endless, but it’s a fact that he sang quite fewer songs compared to his other well-known contemporaries. However, Talat Saab’s voice will always be the triumph of quality over quantity.
The present song which I had not heard in the recent past is also amongst my many favourites of Talat Mahmood. There are stars and the moon in the song in case people are wondering what Carl Sagan had to do with this song in the first place. 🙂 (Kya karein, some starting problems in writing this post)
I pray for the continued longevity on the blog, active participation of all the contributors and readers as well.
Hearty Congratulations to one and all on this great achievement.
Audio
Video
Song – Aao Baadal Chain Se Royen (Aawaara Ladki) (1967) Singer – Talat Mehmood, Lyrics – Rajnikant, MD – Dhaniram
Lyrics (Provided by Sudhir)
baa..aadal aa..aaawo
baadal aawo
aawo baadal aawo. . .
aao baadal chain se royen
aao baadal chain se royen
jalti dhoop
jalti dhoop
jalti dhoop mein main hoon akela
aao baadal chain se royen
aao baadal chain se royen
khush rahen
khush rahen. . .
khush rahen ye duniya waale
khush rahen ye duniya waale
khatm hua mera mela
khatm hua mera mela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen
armaan the dil mein mere kitne
chanda ke
haaye chanda ke saathi taare jitne
haaye chanda ke saathi taare jitne
dooba dil armaan bhi doobe
dooba dil armaan bhi doobe
toofaan ka dekha rela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen
din the chaar jo beet gaye mere
din the chaar jo beet gaye mere
honge dukh ke ab derey
honge dukh ke ab derey
darr nahin par hanse bhi kaise
darr nahin par hanse bhi kaise
gham se ab tak khela
main hoon aaj akela
aao baadal chain se royen
aao baadal chain se royen
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
बा॰॰दल आ॰॰आवो
बादल आवो
आवो बादल आवो॰ ॰ ॰
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
जलती धूप
जलती धूप
जलती धूप में मैं हूँ अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
खुश रहें
खुश रहें॰ ॰ ॰
खुश रहें ये दुनिया वाले
खुश रहें ये दुनिया वाले
खत्म हुआ मेरा मेला
खत्म हुआ मेरा मेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
अरमान थे दिल में मेरे कितने
चंदा के
हाए चंदा के साथी तारे जितने
हाए चंदा के साथी तारे जितने
डूबा दिल अरमान भी डूबे
डूबा दिल अरमान भी डूबे
तूफाँ का देखा रेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
दिन थे चार जो बीत गए मेरे
दिन थे चार जो बीत गए मेरे
होंगे दुख के अब डेरे
होंगे दुख के अब डेरे
डर नहीं पर हँसे भी कैसे
डर नहीं पर हँसे भी कैसे
ग़म से अब तक खेला
मैं हूँ आज अकेला
आओ बादल चैन से रोएँ
आओ बादल चैन से रोएँ
- In: "How did I forget to post this song earlier" song | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | How come this song was not posted earlier | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Lyrics contributed by readers | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1975 | Yearwise breakup of songs
- 11 Comments
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3701 | Post No. : | 14623 |
Hullo to all in Atuldom
The song with this post is the perfect candidate for the “how did I forget to post this song earlier?” category.
As of today (at the time of writing this) the blog is 3699 days young and 14618 posts strong. And we still keep finding songs popular during their time and afterwards too and say with surprise – Yeh gaana baaki hai? But then in the ocean of Bollywood songs & movies there are close to 1000 movies released each year with an average of about 4-5 songs in each of them. And in the 105-year history of Indian movies (all languages put together) Bollywood might account for just about 105000 and at the average of 4-5 songs per film we are seeing an ocean of 52500 songs only. All figures are approximate, not accurate at all. Given the kind of selection we have at our disposal there are bound to be songs which we would have previously thought that it is already present on the blog. So as has been said in many posts before this we are still at the bottom of the barrel that we need to fill or our bucket is still in the top rung of an ever-overflowing bottomless- well. So that should explain why this song is making its appearance only now! 🙂
Now, this movie (‘Khel Khel Mein’) had five songs, all fairly popular at that time and two or three of them still rule the air waves across TV and Radio but surprise (seems to be no end to surprises as far as songs of this movie are concerned) I couldn’t find even one out of the five on that years’ Binaca Geetmala list. This was the era when whatever RD Burman composed went straight into the heart and mind of the listener. Whatever Kishore Kumar sang was lapped up by the audience. And young and upcoming actors and strugglers and established stars yearned for this combo to create songs for their movies.
One such actor was Rishi Kapoor. He had made a debut into movies in the year 1970 as an adolescent in love with his teacher in ‘Mera Naam Joker’; not to forget the brief walk in the rain, that he undertook in the company of his older siblings in his father’s ‘Shri 420’ in 1955, when he must have been about 2 years old. His first role as an adult was in the 1973 hit – ‘Bobby’. In that movie where Laxmikant Pyarelal scored music, Shailendra Singh was his playback voice. But subsequent films saw Laxmi-Pyare mostly use Mohd. Rafi for Rishi Kapoor and RD Burman favouring Kishore Kumar. And this association of Kishore Kumar or Mohd Rafi for Rishi went on till the two singers passed away but by then Chintu, as Rishi is addressed fondly, had made a place for himself on the Bollywood firmament.
Now coming to todays’ song, its from a movie which has a story attached to it in my personal life which I have related in a post to another song from this movie – “Hamne Tumko Dekha, Tumne Hum Ko Dekha“. The movie had a thriller or mystery or whodunit kind of story. It featured a set of college students who love to play pranks on unsuspecting people. They play such a prank on a stingy, wealthy jeweller (Jankidas) by sending him a typewritten ransom note. They find from the newspapers the next day that the wealthy Seth has been murdered and they could be the prime suspects as the police find the ransom note on the dead man. Then the all-fun-n-frolic movie turns into a thriller where one of their fellow students and prankster – Rakesh Roshan – is also murdered followed by his girl friend and bar dancer Aruna Irani. As a child I found the movie gripping and find it cute even now. The movie was directed by Ravi Tandon, Gulshan Bawra was the lyricist and RD Burman the composer. The playback singers for this song are Kishore Kumar and Asha Bhonsle pictured on a drunk couple – Neetu Singh and Rishi Kapoor.
So, with this song I would like to wish the cutely handsome Rishi Kapoor a very Happy Birthday (4th September). He is only 66 this year and still has looks that make any girl miss a heartbeat. Saw him recently in the company of another of my favourite actor – Amitabh Bachchan- in ‘102 Not Out’ (2018) and fell in love with this actor all over again. Must admit here that I have a weakness for any movie featuring these two together and ‘102 Not Out’ is no exception.
Happy Birthday Chintu ji 😊
Audio
Video
Song – Khullam Khulla Pyaar Karenge Hum Dono (Khel Khel Mein) (1975) Singer – Asha Bhosle, Kishore Kumar, Lyrics – Gulshan Baawra, MD – RD Burman
Asha Bhosle + Kishore Kumar
RD Burman
Lyrics
arre dekh rahe hain
to dekhne do
jal bhi rahe hain
arre to jal ne do
khuli sadak hai baba
to ya hua bhai
haa to ho jaaye
ho jaaye
khullam khulla pyar karenge hum dono
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono
aaa pyar hum karte hai chori nahi
mil gaye dil jora jori nahi
ham wo karenge jo dil kahe
hamko zamaane se kya
koo koo
khullam khulla pyar karenge hum dono
is duniya se nahi darenge hum dono
aaa pyar hum karte hai chori nahi
mil gaye dil jora jori nahi
ham wo karenge jo dil kahe
hamko zamaane se kya
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono
ae
dekh wo
ishq chhup chhup ke farma rahe hai
hai
kya mazaa
dil hi dil me to ghabra rahe hai
ae
dekh wo
ishq chup chup ke farma rahe hai
hai
kya mazaa
dil hi dil me to ghabra rahe hai
lagta hai dono padosi hai wo
rishta hi aisa hai jaane bhi do
hum wo karenge dil jo kahe
hamko zamaane se kya
khullam khulla pyar karenge hum dono
is duniya se nahi darenge hum dono
he
sun zara
yeh bhi jodi hai kaisi niraali
hai
saath kya
peeche lala chale aage laali
ae
sun zara
ye bhi jodi hai kaisi niraali
hai saath kya
peeche lala chale aage laali
dono me shaayad banti na ho
apni tarah in mein chhanti na ho
hum wo karenge dil jo kahe
hamko zamaane se kya
arre dhat
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono
ae
bolo na
pyar ka hai ye dushman zamaana
arrey sun
haan bata
sabko milta nahi ye khazaana
ae
bolo na
pyar ka hai ye dushman zamaana
arrey sun
haan bata
sabko milta nahi ye khazaana
jinko aji ye khazaana mile
dekh dekh unko ye duniya jale
hum wo karenge dil jo kahe
hamko zamaane se kya
huu. . .
khullam khulla pyar karenge hum dono
iss duniya se nahi darenge hum dono
pyar hum karte hai chori nahi
mil gaye dil jora jori nahi
ham wo karenge jo dil kahe
hamko zamaane se kya
khullam khulla pyar karenge hum dono
is duniya se nahi darenge hum dono
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अरे देख रहे हैं
तो देखने दो
जल भी रहे हैं
तो जलने दो
खुली सड़क है बाबा
तो क्या हुआ पह्ई
हाँ तो हो जाये
हो जाये
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
आ॰॰ प्यार हम करते हैं चोरी नहीं
मिल गए दिल जोरा जोरी नहीं
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
कू कू
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
आ॰॰ प्यार हम करते हैं चोरी नहीं
मिल गए दिल जोरा जोरी नहीं
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
ए
देख वो
इश्क़ छुप छुप के फर्मा रहे हैं
है
क्या मज़ा
दिल ही दिल में तो घबरा रहे हैं
ए
देख वो
इश्क़ छुप छुप के फर्मा रहे हैं
है
क्या मज़ा
दिल ही दिल में तो घबरा रहे हैं
लगता है दोनों पड़ोसी हैं वो
रिश्ता ही ऐसा है जाने भी दो
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
हे
सुन ज़रा
यह भी जोड़ी है कैसी निराली
है
साथ क्या
पीछे लाला चले आगे लाली
हे
सुन ज़रा
यह भी जोड़ी है कैसी निराली
है
साथ क्या
पीछे लाला चले आगे लाली
दोनों में शायद बनती ना हो
अपनी तरह इन में छनती ना हो
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
अर्रे धत्त
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
ए
बोलो ना
प्यार का है दुश्मन ज़माना
अरे सुन
हाँ बता
सबको मिलता नहीं ये खज़ाना
ए
बोलो ना
प्यार का है दुश्मन ज़माना
अरे सुन
हाँ बता
सबको मिलता नहीं ये खज़ाना
जिनको अजी ये खज़ाना मिले
देख देख उनको ये दुनिया जले
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
हू
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
प्यार हम करते हैं चोरी नहीं
मिल गए दिल जोरा जोरी नहीं
हम वो करेंगे दिल जो कहे
हमको जमाने से क्या
खुल्लम खुल्ला प्यार करेंगे हम दोनों’
इस दुनिया से नहीं डरेंगे हम दोनों
- In: "chaand" song | "How did I forget to post this song earlier" song | "wooing" song | Actor singing his song | Actor-Singer song | Artist century song in blog | Blog century song | Calling the beloved | Century songs for the blog | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | How come this song was not posted earlier | Kishore Kumar solo | Kishore Kumar songs | Love song | Lyrics by Peevesie's mom | Lyrics contributed by readers | One singer singing for two actors | Post by Raja | Songs of 1960s (1961 to 1970) | Songs of 1968 | Thousandth song for the artist | Thousandth song in the blog
- 13 Comments
This article is written by Raja, 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.
As I write out this post today, I have strong emotions attached to it.
It is a huge honour for me to write this post. I have to thank Atul for giving me the opportunity to do so.
Just a few days ago, Atul sent me an e-mail asking me if I could do a write-up for Kishore Kumar’s 1000th song on this blog. And of course, I immediately mailed back “Sure”. I wouldn’t miss this opportunity – it is indeed a very special occasion and a huge honour for me.
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Reshmi salwaar kurta jaali kaa
Posted on: April 7, 2012
- In: "Garment" song | "How did I forget to post this song earlier" song | "teasing" song | Asha Bhonsle songs | Duet | Lyrics by nahm | Lyrics contributed by readers | Shamshad Begam Asha Bhonsle duet | Shamshad Begam songs | Songs of 1950s (1951 to 1960) | Songs of 1957 | stage dance | Stage song | Yearwise breakup of songs
- 6 Comments
Here is one more song of the popular unofficial genre viz “how come this song was not posted earlier” 🙂 . During my younger days I was only into listening current songs and any song created before 1968 was old song for me. then one fine day in mid 1970s I decided to become mature, viz. become interested in old songs. It was then that I learnt about O P Nayyar. The fact that he made his career without using the voice of Lata voice impressed me a lot. Then I heard O P Nayyar compositions from movies like “CID”(1956), “Naya Daur”(1957) etc.
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Dhal chuki shaam e gham
Posted on: February 29, 2012
I am coming round to the view that the popular category of songs, viz “How come this soong was not posted earlier” contains not just hundreds, but thousands of songs. There are so many great songs that have not yet figured in the blog, despite this blog boasting of over 5500 songs.
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It happens quite often in this blog that when a song is discussed, readers exclaim- “what ! How come this song was not discussed as yet !”. My explanation is that there have been tens of thousands of great songs in Hindi movies, and we have discussed just a small portion of that huge collection of songs, so omission of many great songs should come as no surprise. Hopefully the number of omitted songs will gradually come down as we add more and more of such songs.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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