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

Archive for the ‘Lata song’ Category


“Jal Bin Machhli Nritya Bin Bijli” (1971) was a V Shantaram Production movie. It was produced and directed by V Shantaram. The movie had Ravindra, Vasant Parekh, Minal, Abhijeet, Vastala Deshmukh, Iftekhar, Sandhya, Dina Gandhi, Raja Paranjpe, Nanda, Birbal, Praveen Kumar, Sushant Ray etc in it.
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This article is written by Shekhar Gupta, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

A year before she arrived at the zenith of playback singing with Aayega aane waala in Mahal (1949), a still-teenage Lataji vocalized her first ghazal – the mind-blowing Dil-e-naashaad ko jeene ki hasrat ho gayee tumse under the baton of Hansraj Bahl in Chunariya (1948). Her superb rendition of this none-too-easy a number with expression, enunciation and mastery on its many murkis in all octaves is just breath-taking.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

It is a known fact that popular thumris (or ghazals) ascribed to the original classical and ghazal singers have also been sung by a few other doyens of Hindustani classical and ghazal singers. For instance, Bade Ghulam Ali Khan sang two thumris – ‘yaad piya ki aaye’ and ‘aaye na baalam kaa karu sajani’ to express his grief over the loss of his beloved wife in 1932, which became so popular that many classical singers in the concerts would get ‘farmaish’ to sing these two thumris. Similarly, Shakeel Badayuni’s ghazal ‘ae mohabbat tere anjaam pe ronaa aaya’ which was made immortal by Begum Akhtar’s rendition in early 50s, has been sung by many renowned ghazal singers. In the filmy parlance, these become version renditions of thumris and ghazals.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Having stayed in Mumbai for over 60 years, I have a fair knowledge of Marathi but not as good as Hindi and English being my medium of instructions in school and college days respectively. In my younger days, I used to often listen to some non-filmy Marathi songs on the radio as also during some public functions like Ganesh festival. Of these, two Marathi songs which created interest in me to listen to more Marathi songs were “mee dolkar dolkar dolkar dariya cha raaja” ( I am a boatman, the king of sea) sung by Hemant Kumar and Lata Mangeshkar and “ne majsi ne matrabhumi laa, sagara praan talmal laa” (O sea, take me back to my motherland. My heart aches for her) sung by all the five Mangeshkars – Lata, Asha, Usha, Meena and Hridaynath. Both these songs were composed by Hridaynath Mangeshkar probably in the late 60s or early 70s. These two songs were my first introduction to Hridaynath Mangeshkar.
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“Ek Phool Chaar Kaante” (1960) was a Parbat Films Production. It was produced by Hardeep Chatrath and Shyam Dhawan and directed by Bhappi Sonie. The movie had Sunil Dutt, Waheeda Rehman, Johnny Walker, Dhumal, David, Bela Bose, Rashid Khan, Krishan Dhawan, Bir Sakhuja, Iqbal Singh, Tun Tun, Mumtaz Begum, Radhika, Sulochna, Rita Roy, Keval Kapoor, Mohan Choti etc in it.
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“Baabla”(1953) was an M P Production movie. It was directed by Agradoot. The movie had Manju Dey, Master Niren, Paresh Banerji, Ashit Baran, Molina, Pahari Sanyal, Tulsi Chakraborty, Hiralal, Sova Sen etc in it. Not much is known about this movie which has by and large been forgotten by now.
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This musical bandwagon continues to roll on unabated (touchwood !) and we continue to pass milestones at regular intervals.

Century of songs is the most basic and common kind of milestone for this song. In the earlier days of the blog, we just counted the number of songs posted in the day and every 100th song was a cause for celebration.
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“Dooj Ka Chaand”(1964) was a Filmasia Production movie. It was directed by Nitin Bose. The movie had Ashok Kumar, Raj Kumar, Bharat Bhushan,Pritibala, B. Saroja Devi, Ratna, Ullhas,Agha, Sulochana, Azra, Prabhat Kumar, Iftekhar, Chandrashekhar, Murad etc in it.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

This is a story of the only son of a wealthy jagirdar ( feudal land owner) Choudhary Fazal Mohammed and Sardar Begum, one of his wives. The jagirdar had almost deserted Sardar Begum but he wanted his only son in his custody for which he was prepared to pay a handsome monetary compensation to his estranged wife. But she was not prepared to part with her son. The matter went to the court and the judge asked their 9 year old son to make a choice as to whether he would stay with his father or mother. He had to make a choice between a wealthy father and a poor mother who was facing difficulties in sustaining on a day to day basis. The young boy preferred his poor mother to his wealthy father. In preferring to stay with his poor mother, the young boy may have perhaps made a statement of intent to his father that ‘tu itnaa ameer nahin banaa abba ki tu apne bête ko khareed sake’ – a similar type of dialogue used in the film ‘Deewaar’ (1975). The boy was Abdul Hayee later known as Sahir Ludhianvi.
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