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

Archive for the ‘Love song’ Category


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

Saga Of Sleepless Nights -1
– – – – – – – – – – – – – – –

oo oo. . neend na mujh ko aaye,
dil mera ghabraaye
chup ke chup ke, koyi aa ke,
soyaa pyaar jagaaye

कोई तो ऐसी उमर रही होगी, कोई तो ऐसा मुकाम आया होगा ज़िंदगी में, जब किन्हीं जज़्बातों के चलते, कुछ (या फिर कई) रातें आप ने जाग के गुज़ारो होंगीं।

There must have been an age, a time in life, a passage of emotional intensities, when you may have spend a few (or maybe many) sleepless nights – thinking, waiting, contemplating. Yes, they visit us all, the nights of the wide open eyes, when a cloudy sky is an irritating bore – for if the skies were clear, at least you would be able to start counting the stars.

The level and quality of the anxieties may be different, but yes, all of us have experienced such flavors of anxieties, that have kept us awake when we should not have been. Sleep is such a dear and an essential passage, without which our very survival is threatened. And yet, there are compulsions of overriding emotions that sometimes force us to forsake even this essential commodity.

Sometimes we are sleepless because we are too sad; sometimes we are sleepless because we are too happy; and then again, sometimes we are sleepless for we are not sure. And mostly, we are sleepless when we are in love. Sometimes it is because we are agonized over the apparent cruelties of the person we love. And sometimes we are sleepless because we are ecstatic for the messages and favors of love received. And then there are uncertainties that keep gnawing us from the inside – uncertainties of the type that say “he loves me, he loves me not”, or “will I meet her tomorrow again?”.

Such vagaries of love take over the reins of the mind. The body discounts, nay forsakes, the fatigue of the day. The eyes may be clamoring for some rest, but the mind insists on keeping awake. For some reasons, it is the comfort and the pleasure of being alone in the silences of the night. For some other reasons, it is the only time one may have of a private expression of personal sadnesses. Or the only time of private tribulations of anxieties, as one waits for an arrival or a happening. The newly-father-to-be is seen pacing outside the delivery room, sleepless, anxiously awaiting to hear the sounds of the outcome 🙂 (pun intended). It is interesting to recall; of all the childbirth scenes picturized in the Hindi Cinema, the most such scenes are happening in the night. More sleeplessness for all.

Another creature of sleeplessness is – yes, it is the poet. Ask any poet about sleepless nights, and you will be handed over a few sample verses immediately. Long nights and poets have an association that predates even history. A sleepless mind, of the creative type, is sure to string together some words and make a song, eulogizing all the characteristics and the experiences of a sleepless night. Every poet of note, and also those not of note, have all penned verses about tackling sleeplessness – some may enjoy it, others may bemoan it, but none can ignore it or overlook it. A number of sonnets by Shakespeare touch upon this subject of sleeplessness; I shall try to bring that into one of this series.

And Hindi cinema. Of course, yes. Scores of situations where one comes across songs and verses that tell the stories about sleepless nights. The poets and the composers have labored hard to bring us some very beautiful songs that are driven by lack of any comfortable rest. Ah yes, a number of such songs will immediately come to mind. In this series, my effort is to present some real wonderful, but obscure gems that talk about the loneliness of sleepless nights, or yes, even otherwise. What I mean by ‘otherwise’ is the songs that are the tellings about the sleeplessness by one person to the other. Eg. “Ibtidaa e Ishq Mein Hum Saari Raat Jaage. . .” (‘Hariyali Aur Raasta’, 1962) or “Mein Kyaa Kahoon Raat Ki Baat Sakhi Ri” (‘Tilasmi Duniya’, 1946). So yes, we shall be meeting some very familiar songs, and some lost memories in this series.

Today’s song is from an as yet unrepresented film on our blog. The film is ‘Talwaar Ka Dhani’ from 1956. The song is penned by Gopal Singh Nepali, and the music is from the mind of the magic melody maker – Chitragupt. The singing voice is that of Asha Bhosle. Earlier today, Atul ji has an observation about GS Nepali – Chitragupt – Asha Bhosle combination that has come together to create some very memorable songs in the 1950s. This song is one of their best, I must say.

It is GS Nepali’s birth anniversary today (11th August). A lot has already been written about this poet, by me and by Atul ji in earlier posts – “Hum The Intezaar Mein, Ghaayal Tere Pyar Mein” (‘Sultanat’, 1954), and “Jab Sur Alag Ho Saaz Se” (‘Sati Madalsa’, 1955). So I will not repair to the details herein, and will move on with a grand salute to this lesser known poet, who has recently clocked a century of posts on our blog.

The song – well something needs to be said about it. I was actually searching for a song for GS Nepali Sb’s anniversary. In my searches, I came across the film ‘Talwaar Ka Dhani’ of 1956. As has happened so many times before, the songs of this film are sitting with me but I have not heard them. Or not all of them. As I played this song, getting to hear it for the first time, I was simply bowled over. I played it again and again, but I simply do not seem to be getting enough of it into myself. Simply said, this song is a beauty – a beauty of soft melodious expression of some very lovely and meaningful poetry. This song simply is not going away from the mind. The theme being sleepless nights, I then just got hooked on to initiate this series today, with this song – a series that I have been contemplating for more than a year now. The wait simply has been that I have still to fully plan and chalk out the series. But the encounter with this song last night just fast forwarded the decision for me. One song of this film is already posted here on our blog. This is the second song to find its place here.

Listen to this lovely beautiful aria. The starting bars themselves, even before the words start, have such a soothing comforting effect on the mind. I am sure you will fall in love, as I have. And then the voice comes along, with the words. Asha ji is trying to be soft, but simply cannot keep out the playful expectations, that make the sound of this song so cute and endearing. Let me stop my words and let you click the play. And be in love, all over again.

[Ed Note: Ah yes, one more ‘Raja’ song. 🙂 ]

Song – Neend Na Aaye Raja, Tum Yaad Aaye  (Talwar Ka Dhani) (1956) Singer – Asha Bhosle, Lyrics – Gopal Singh Nepali, MD – Chitragupt

Lyrics

neend na aaye raja
tum yaad aaye
thandi hawaaon mein bhi
soya na jaaye. . .
neend na aaye raja

laakhon sitaare
dilkash nazaare
phir bhi kami hai piya
bina tumhaare
nazron mein tum ho to
chaand na bhaaye
thandi hawaaon mein bhi
soya na jaaye
neend na aaye raja

dil nahin bas mein
pyaar nas nas mein
neend chura ke meri
khaao na kasmen
dil nahin bas mein
pyaar nas nas mein
neend chura ke meri
khaao na kasmen
mujhko papiha tere naghme sunaaye
thandi hawaaon mein bhi
soya na jaaye
neend na aaye raja

teri judaai
meri tanhaai
yaad puraani phir se
taaza ho aayi
teri judaai
meri tanhaai
yaad puraani phir se
taaza ho aayi
aise royen kaise
palken milaaye
thandi hawaaon mein bhi
soya na jaaye
neend na aaye raja

neend na aaye raja
tum yaad aaye
thandi hawaaon mein bhi
soya na jaaye. . .
neend na aaye raja
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नींद ना आए राजा
तुम याद आए
ठंडी हवाओं में भी
सोया ना जाये॰॰॰
नींद ना आए राजा

लाखों सितारे
दिलकश नज़ारे
फिर भी कमी है पिया
बिना तुम्हारे
नज़रों में तुम हो तो
चाँद ना भाए
ठंडी हवाओं में भी
सोया ना जाये
नींद ना आए राजा

दिल नहीं बस में
प्यार नस नस में
नींद चुरा के मेरी
खाओ ना कसमें
दिल नहीं बस में
प्यार नस नस में
नींद चुरा के मेरी
खाओ ना कसमें
मुझको पपीहा तेरे नग़में सुनाये
ठंडी हवाओं में भी
सोया ना जाये
नींद ना आए राजा

तेरी जुदाई
मेरी तनहाई
याद पुरानी फिर से
ताज़ा हो आई
ऐसे रोएँ कैसे पलकें मिलाये
ठंडी हवाओं में भी
सोया ना जाये
नींद ना आए राजा

नींद ना आए राजा
तुम याद आए
ठंडी हवाओं में भी
सोया ना जाये॰॰॰
नींद ना आए राजा

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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.

This article is a tribute to an actor whom I started admiring for his acting calibre only a couple of years back. He became a star actor without having any godfather in Hindi film industry. During his filmy career of less than 15 years (1934-48), he donned the different kind of roles, mostly in negative shades, in around 30 films most of which became box office hits. Had there been a concept of super star in his days, he would have been the one among K L Saigal, Motilal, Surendra etc. The actor is Chandra Mohan and today, July 24, 2017 happens to be his 111th birth anniversary.

During my younger days, the only information I knew from words of mouth about Chandra Mohan was that he was the most handsome actor of his time. Even until a couple of years back, my awareness about him was restricted to his being from a Kashmiri Pandit family, about his filmography, watching him in VCD of films like ‘Pukaar’ (1939), ‘Roti’ (1942), ‘Humayun’ (1945) and ‘Shaheed’ (1948). Each of his roles in these films impressed me of his acting skill, the dialogue delivery and the expressions.

Chandra Mohan rarely got opportunity to work as hero in a conventional sense in his 30 odd films. Even in the films like ‘Bharosa’ (1940) and ‘Apna Ghar’ (1942) in which he was in the lead roles, he had some shades of negative characters like a seducer of his best friend’s wife and an autocratic husband, respectively. It is said that his facial features and cat eyes always created the shades of villain in him. His eyes were so powerful that even his innocuous smiles gave an impression of villainous smiles.

During the last two years or so when I was more into songs of the films of 1940s, I became aware of some of the important film personalities of that era and one of them was Chandra Mohan. I had read an interview of him taken by Hyacinth, a name under which Susheela Rani Patel wrote articles in ‘Filmindia’ magazines (November 1941). The interview was taken on the eve of the release of his film ‘Roti’ (1942). This was also a period when his career was at its peak. The interview gave me an impression of Chandra Mohan being a short tempered person, a self-centred egoistic man and a man of strong likes and dislikes.

Recently, I came across a moving obituary on Chandra Mohan written by Khorshed Dhondy, a film journalist who knew Chandra Mohan personally. The article appeared in April 1949 issue of SOUND Magazine, (Courtesy: Professor Surjit Singh’s Website). After reading the article, I had a different impression of Chandra Mohan – a kind hearted man, helped needy persons anonymously, a spend thrift during financially good times but accepted the life as it came in bad times. He was not arrogant but his frank talks may have given that impression.

Chandra Mohan Wattal (24/07/1906 – 02/04/1949) was born in Narsinghpur (presently in MP) in a Kashmiri Pandit family. His grandfather was the Diwan of Karauli State (now in Rajasthan) and his father was a member of the darbaar of Maharaja of Gwalior. Chandra Mohan lost his mother when he was a child. He was brought up by his maternal grandmother at Narsinghpur. His grandmother pampered him so much that he had become a spoilt child. It is not known whether he completed his high school.

Sometime in the 1930, after his father’s death, Chandra Mohan realised that his views and his grandparents views were poles apart. So he ran away from his house and reached Delhi. After changing job many times, he joined a film distribution company at Delhi at a monthly salary of Rs.35/-. The job entailed travelling for meeting film producers for negotiating terms for their film distributions.

On one such assignment, Chandra Mohan travelled to Kolhapur to discuss with the owners of Prabhat Film Company for negotiating the terms for distribution of their film ‘Sairandri’ (1933). V Shantaram saw in him the artistic potential – a handsome young man with his blue-greenish eyes which spoke more than his voice. He offered him a contract for the film which he refused. However, when Baburao Pendharkar left Prabhat, Chandra Mohan was asked to reconsider his decision. This time, Chandra Mohan met V Shantaram in Poona (Pune) and accepted the offer at a monthly salary of Rs.75/-. Thus he got his first role of a fanatic priest in Prabhat’s ‘Amrit Manthan (1934).

Chandra Mohan’s role in ‘Amrit Manthan’ (1934) was very much appreciated by both the cinegoers and the film critics. With his very first film, he had become a star. Thereafter, he worked for Prabhat’s ‘Dharmatma’ (1935) as an evil priest, in ‘Amar Jyoti’ (1936) as a tyrannical minister, and in ‘Wahan’ (1937) as autocratic Aryan king. Sometime in 1936, Chandra Mohan had differences with Shantaram over his remuneration which had remained the same despite the box office successes of his three films in a row. So he left Prabhat and joined Huns Pictures of Master Vinayak in 1937 on profit sharing basis.

After completing ‘Jwaala’ (1938), he quit Huns Pictures and joined Sohrab Modi’s Minerva Movietone. He got the role of Mughal Emperor Jehangir in ‘Pukaar’ (1939). His role had created so much impression that Maharaja of Kashmir, Hari Singh who was a close friend of Chandra Mohan, used to receive him personally at his royal palace and address him as Jehangir. In Minerva’s ‘Bharosa’ (1940), his role as a seducer of his friend’s wife was critically appreciated in the film’s review in ‘Filmindia’.

Keeping with his temperament, Chandra Mohan left Minerva Movietone too after doing just two films and became a free-lancer. During his free-lancing phase, he had done a double role in negative character in ‘Geeta’ (1940) – as Durga Khote’s husband and her son. His role of a ruthless businessman in ‘Roti’ (1942) and an autocratic husband in ‘Apna Ghar’ (1942) who ‘conveys more from his actions than the words’ were well appreciated. In ‘Shakuntala’ (1943), his portrayal of role as King Dushyant had many shades of emotions.

The World War II period (1939-45) brought significant speculative gains for businessmen. Some of them channelled the money in film productions. During this time, the remunerations of the star actors went up significantly. Chandra Mohan was one of the major beneficiaries of this trend as he did nearly 20 films during this period. According to a film journalist I referred to earlier, Chandra Mohan earned as much as Rs.18 lakhs during this period which was a big sum at that time.

However, Chandra Mohan’s good earnings came at a cost which was reflected in his career later. During the boom, he had accepted roles in the films of all sorts, some of which flopped at the box offices. During this period, he tried his hand in producing a film ‘Jhankar’ (1942) in partnership with his close friend M Kumar. This film too flopped at the box office.

Once the war was over, there was a slump in business activities which also got reflected in the film industry. However, keeping with his temperament, Chandra Mohan would not lower his remuneration nor would he approach film production banners for roles. The result was that he did not get any films during 1946 and 1947. During this period, whatever he had earned was majorly lost in gambling like horse races which he was very fond of. Also his lavish life style and partying with his close friends continued until all his earnings were exhausted. He had to sell his personal belongings like cars, race horses etc to maintain his routine expenses.

It was during this period that Chandra Mohan was afflicted with some kind of mental illness (probably depression) resulting in losing his mental balance. It is said that during this period, he used to get hallucinations quite often. It is during this time, he became extremely religious person as against the atheist earlier. He spent whatever little money he had for going on pilgrimage all over India and visiting places of all faiths.

In the film industry, when the chips are down for an artist, even his close friends desert him. Chandra Mohan was lucky that he had some close friends like Motilal, M Kumar, Ulhas, Ranjan Haksar who were genuinely attached to him irrespective of his financial conditions. They used to visit his house in Churchgate periodically to inquire about his well being.

I guess that the moral support (perhaps, discreetly financial too) which Chandra Mohan got from his close friends during his difficult times might have brought him to normalcy. After about 2 years of hiatus, he got an important role in Filmistan’s ‘Shaheed’ (1948). His stunning performance as a duty bound Deputy Commissioner whose son (Dilip Kumar) has become a revolutionary, was as memorable as that of Dilip Kumar in ‘Shakti’ (1982). His monologue in a court scene where, for the first time, he supports his son for his actions, is unforgettable. He also acted in Prakash Picutres’ ‘Raam Baan’ (1948) in the role of Ravan and ‘Dukhiyaari’ (1948) etc.

Unfortunately, Chandra Mohan’s second innings was short lived. On the morning of April 2, 1949, he breathed his last due to heart attack after a short illness of about 15 days. Baburao Patel, editor of ‘Filmindia’ wrote in his tribute to Chandra Mohan – ‘the lambs of the day can never reach the stature of the lion that died’.

Chandra Mohan’s untimely death was one of the main reasons for further delay of K Asif’s magnum opus, ‘Mughal-e-Azam’ (1960) in which he was playing the role of Emperor Akbar. Some reels of the film was already shot.

Coming to the song for the occasion, from the VCDs of his films I have watched, I could not find any song which Chandra Mohan had lip synced on the screen. At last, I have settled for a background song picturised on him. The song is ‘Na Jaane Kahaan Ka Ye Jaadu Kiya Hai’ from the film ‘Shakuntala’ (1943). The singer of the song is not identified. My guess is that the singer is Khan Mastana.

There were 13 songs in the film written by Deewan Sharar and Ratan Piya. However, the song under discussion has not been identified as to which of the two lyricists had written the song. My take is that the song may have been written by Deewan Sharar as I find that 8 songs for which Ratan Piya have been accredited, have pure Hindi lyrics whereas the song under discussion have words like ‘adaayen’ ‘nighaayen’, ‘jahaan’ ‘jaam’ which a purist Hindi poet would generally avoid. Vasant Desai composed music for all the songs. Six songs from the film have been covered in the Blog.

‘Shakuntala’ (1943) was the first film produced and directed by V Shantaram after he left Prabhat films and set up Rajkamal Kala Mandir . The star cast included Jaishree, Chandra Mohan, Nimbalkar, Zohra, Ameena, Raja Pandit, Nana Palsikar, Shantarin etc. The film was a box office hit. It ran for 104 weeks in Swastik theatre in Bombay (Mumbai).

Interestingly, for his first film under his own banner, V Shantaram chose Chandra Mohan for the role of King Dushyant in the film despite their earlier disagreement in 1937 because of which Chandra Mohan had left Prabhat Films in 1937. Chandra Mohan had acknowledged in his interview that V Shantaram was the best director among the directors he worked with.


Song – Na Jaane Kahaan Ka Ye Jaadu Kiya Hai (Shakuntala) (1943) Singer – Unidentified Male Voice, Lyrics – [Unattributed], MD – Vasant Desai

Lyrics

na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai
na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

wo baanki adaayen
wo meethi nighaahen aen
wo baanki adaayen
wo meethi nighaahen
chale…en
chale phir wahaan par
jahaan dil diyaa hai
jahaan dil diyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

inhin ne kiyaa aa mast
saare jahaan ko o
inhin ne kiyaa aa mast
saare jahaan ko o
jin aankhon kaa..aa
jin aankhon kaa
ik jaam hamne piya hai
hamne piya hai
kisi ne
mere dil mein
ghar kar liyaa aa hai
na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

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

ना जाने कहाँ का ये जादू किया है
किसी ने मेरे दिल में घर कर लिया है

वो बाँकी अदाएं
मीठी निगाहें
वो बाँकी अदाएं
मीठी निगाहें
चले॰॰एन
चलें फिर वहाँ पर
जहां दिल दिया है
किसी ने मेरे दिल में घर कर लिया है

इन्हीं ने किया मस्त सारे जहां को॰॰
इन्हीं ने किया मस्त सारे जहां को॰॰
जिन आँखों का॰॰
जिन आँखों का इक जाम हमने पिया है
हमने पिया है
किसी ने
मेरे दिल में
घर कर लिया है
ना जाने कहाँ का ये जादू किया है
किसी ने मेरे दिल में घर कर लिया है


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

Today is a special day for Atulites and each one of us on our Whatsapp Group knows that it is Blog’s 9th anniversary. The Blog’s anniversary is the mother of all other celebrations connected with it. Otherwise how would it be possible to celebrate century songs, artists’ centuries, artists’ birth anniversaries, the remembrance days, other special occasions etc without the existence of the Blog?
Read more on this topic…


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

A voice, that is as soft and pleasing as cool breeze. And a singing that is most natural, with no efforts for any artificial embellishments to the rendition.  A voice that is not formally trained. And yet, this voice and the persona behind it, have become synonymous with being the first lady of Bangla cinema.

Remembering Kaanan Devi on her remembrance day. She passed away this day (17th July) in 1992.
Read more on this topic…


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

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

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

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

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

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

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


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

Last of the Music Moguls. Not that there have not been more prolific artists and music directors after him. One can readily name a few – Anu Malik, AR Rahman, Ilayaraja. But me, personally speaking, will not put the follow on ‘champs’ in the same bracket. Something ended when he left us, twenty three years ago. Times were-a-changing even as the 1960s played itself out. And he himself was singularly instrumental in that transformation.
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This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In a calendar year we celebrate special anniversaries of personalities related to HFM in almost all the months. Moreover, we pay our respect and homages on the remembrance day of such personalities too.

We also celebrate birth anniversaries of our team members and their family members and other ‘special days’ in their life, through posts/songs on the blog.
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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from film ‘Anban’ (1944) (pronounced as un-bun). So far, only one song from this film has been discussed on our blog in 2011. This is, therefore, the second song from this film. No songs of this film are available anywhere like You Tube etc. Then, how did I get introduced to  this song ? There is a story behind this.
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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.

In the 1940s, Lala Jagat Narayan of Jagat Talkies Distribution was one of the biggest controller of the chains of theatres and film distributions network in Northern India having his office at Chandni Chowk in Delhi. He was regarded as an undisputed king of film distribution and exhibition. By virtue of his experience in film distribution and exhibition business, he was in a better position to assess the likes and dislikes of the film audience.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

अब क्या मिसाल दूँ में इस प्यारी आवाज़ की
इन्सान बन गई है तरंग वीणा के तार की

वीणा, माँ सरस्वती के हाथ की वीणा – जो सब ज्ञान का स्रोत है, जो समस्त सृष्टि के संगीत का उद्गम स्थान है, जो वाणी और ध्वनि का आरंभ है।

Veena, that is in the hand of Goddess Saraswati; veena, that is the source of all knowledge and all that is music in this creation.

Yes, the voice of Lata ji. A voice that is adorned in many a thousand ways, a voice that lives in the minds and memories through many a thousand songs, in Hindi films, in films of other regions, and songs that don’t belong to films. The legacy is a treasure. Quite so much has been written about this voice, my adding more would simply be repeating what has been said before. And much of that discussion is an overbearing analysis of the phases and careers, that are after all moot points, when arrayed against the qualities of the voice itself. That discussion is like ‘गूंगे की शक्कर’ – the description of the sweetness of sugar as expressed by a person who cannot speak. He would place the sugar on your palm, and tell you silently, to taste it, to eat it. After that tasting, no words are necessary, to discuss what sugar is. 🙂
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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13500 song posts by now.

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

Total number of songs posts discussed

13529

Number of movies covered in the blog

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

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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