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

Archive for the ‘Devnagri script lyrics by Sudhir’ 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.

Songs to Tickle Your Memory – 34
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This post will go down in the blog history as probably the most peculiar and unique post. As I begin to write these words, I have absolutely no idea what song this post is going to showcase. But still, I am starting to write this, as I have been waiting for quite some time now for things to fall in place. But they are stubbornly resisting.
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This article is written by Bharat Upadhyay, 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.

Sureeli Suman – 18
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 In 1995, Gulshan Kumar of ‘T Series’ (Super Cassettes Industries Limited) published a devotional Album titled ‘Hey Govind Hey Gopal’.  It had ten very melodious Bhajans by our Sureeli Suman Kalyanpur.
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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 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.

For the last few days, I have been listening to songs of Dilshad Begum, a name I came to know only a couple of months back while searching for some rare songs of the 40s. In my view, her renditions are different from what I have been used to hear the songs from Lahore-based female singers. I found her voice to be the  softer than those of her contemporary singers like Zohrabai Ambalewaali, Shamshad Begum and Zeenat Begum. Who is Dilshad Begum?
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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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 28
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बहारों ने छेड़ा खुशी का तराना

The antecedents of this song are somewhat peculiar. As per available information, this song is listed in the Geet Kosh for the film ‘Aansoo’, an unreleased film from 1970s. Also, as I checked for online availability, I find that this song is posted for the film ‘Majboori’, that is listed for the year 1986. I went back and double checked other songs which are listed in the Geet Kosh for the unreleased film ‘Aansoo’, and sure enough, the songs listed in Geet Kosh figure in the film ‘Majboori’. The most likely scenario is that the film was started sometimes in the 1970s, with the title ‘Aansoo’, and the songs were created and released under that film name. The film would have been delayed inordinately, and finally found its release almost a decade later in 1986, albeit under a different title – ‘Majboori’.
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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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 27
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‘फ’

“फुर्र से उड़ जाती थी बुलबुल”

Although he lacked the finesse and comeliness of Shammi Kapoor, yet Jeetendra did acquire the epithet of ‘Jumping Jack’ of Hindi cinema. The film was ‘Farz’ from 1967. White shoes till then, were typically a trademark of either Rajkumar, or of the villain bosses like NK Ansari etc. In ‘Farz’, Jeetendra donned these white shoes for the song “Mast Bahaaron Ka Main Aashiq”. The image captured the imagination and clicked with the audiences. And then of course, followed a string of films with songs by Jeetendra presented with the same vigor and similar mannerisms. The ‘Jumping Jack’ epithet quite stuck on now.
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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 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.

Surajmukhi (1950) was produced under the banner of Madhuban Pictures and was directed by OP Datta. The star cast included Shyam and Rehana in the lead roles with Gope, Yashodara Katju, Randhir, Durga Khote, Hafeez Jahan, Cuckoo etc in the supporting roles. I did not get any information about the contents of the film. I guess from the songs that the film belonged to the social genre with some shades of romance in it.
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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.

nand ghar anand bhayo
jai kanhaiyya lal ki

Greetings all friends on this auspicious celebration of Nandotsav today. Just a little while back, the prayers and aartis were being held in all temples celebrating the anniversary of the appearance of Krsna, in a jailhouse in Mathura. The main telecast was coming from the Janambhoomi temple in Mathura itself. All temples were crowded with devotees who had come for the darshan of infant Krsna, who appeared to Devaki and Vasudev during their confinement in the prison of Kans, the cruel and vengeful king of Mathura.  And worse, Kans was the cousin brother of the very lady, Devaki, whom he had imprisoned. The story of that confinement and of the reasons behind it has been told many times.
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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.

All numbers are unique unto themselves – inasmuch as each number has its own claim to fame just by being what it is. And but for the imagination and fancies applied by our minds, which at times picks on certain characteristics and binds some special stature to some of them, all these numbers would be as interesting, or for that matter disinteresting, as any other number. Let me quote the instance of a number that has now become famous as the ‘Hardy – Ramanujan Number’. This anecdote is attributed to a conversation in or about 1919 (wow, ninety seven years ago), that happened in London. Indian mathematician Srinivas Ramanujan, who was based in London for some time, was ill and confined to his bed at his residence. His friend, Godfrey Hardy, another mathematician (who had invited and arranged for Ramanujan’s travel etc. to London), came visiting him. The initial conversation was about Hardy’s journey to see Ramanujan. He mentioned off hand that the number of the taxicab in which he had travelled, was 1729 – for all intents a most uninteresting and boring number. To this comment, Ramanujan replied that ‘1729’ was a very special number. In fact it is the smallest number that can be represented as the sum of two cubes, in two different ways. (I am avoiding the calculation details; interested readers can google this for more details).
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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 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 1950s, many new female singers joined Hindi film industry to try their luck in making their careers in playback singing. Many of them went into oblivion after a couple of years or so. Playback singing career of a few of them like Seeta Kalyanpur, Suman Purohit ended with one or two films. A few others like Meenal Wagh (11 songs during 1950-54), Kaumudini Munshi (10 songs during 1954-68) could remain connected with Hindi film music for longer period but their singing output was low. While some of them may not have pursued the playback singing career due to personal reasons, there is no doubt about the fact that with the emergence of Lata Mangeshkar in early 50s along with established playback singers like Geeta Dutt and Shamshad Begum, the newcomers faced tough competition from them.
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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 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.

‘Basera’ (1950) was produced under the banner of Watan Pictures and was directed by Inaayat. The star cast included Ramola, Heeralal, Veena Kumari, Roopmala, Chandabai, Budho Advani etc. I have no idea about the film’s story but going by the songs, it is apparent that the film belonged to social genre.
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