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

Archive for the ‘“Mela” song’ Category


This article is written by Sudhir, 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.

Blog Day : 3681 Post No. : 14576

Greetings to all friends and readers, as India celebrates another anniversary of its freedom from foreign domination.

A lot can be and has been said and debated about this theme, in the press, in the media, in personal conversations. . . there is never a perfect closure to these discussions. Yes, the honor of the nation is an emotion that should and almost always does, transcend all other emotions. I say almost, because, at least in my evaluation of an individual’s relationships with the surroundings and the society, the matters of culture and humanism would at times weigh in more than national pride. In my mind, the definitions of national boundaries are quite artificial. They are more often than not, drawn by vested and many a times malicious intentions. Humanism, on the other hand, has no boundaries, period, none whatsoever across the planet. And culture – well it is defined more by environmental forces and the flow of historical compulsions. Culture grows. It develops and spreads driven by natural boundaries, and human acceptance of that which correctly conforms to the natural affinities and tendencies.

History, they say, is always written by the victorious. And they also say, that the Gods favor the righteous. One would thus expect the flow of human experience should be more correct and righteous. But it is not. The history of the human experiences is fraught more with misery and evil, than anything else. In the circumspect analysis, one would then conclude contrary to “. . . the Gods favor the righteous”, that might is right. Because more often than not, the victorious generally are the stronger contender, and also, more often than not, they are ruthless in their beliefs. And if not, the victory brings them to that point where they become so. Power corrupts – invariably.

Of all the good and bad topics in the history of what we call the struggle for independence of India, for me, the most punishing act inflicted on our nation, and more importantly, our culture, was the partition of our land. And lest we forget, our nation was partitioned more than once, and quite surreptitiously, before the much celebrated and bloody events of 1947.

First, in 1896, the Durand Line was drawn that created Afghanistan. For millennia before that, even before the Muslim and Mughal clans invaded India, the kings of this subcontinent had ruled over the land of Afghans and beyond, and had the regions of Samakkand and Bukhara in their regime. That was the first cut.

Then, in 1914, a conference was held in Simla. The McMahon line was announced and the Tibetan regions were delinked from India, formally by creating an international boundary. The next cut came in 1937 – the boundaries on the east were redrawn and Burma was carved out as a state, separate from India. And then, of course the cruelest cut of all, came in 1947 with the adoption of the Radcliffe line and the creation of a separate nation of Pakistan in two parts, the West and the East. Over a period of just about 50 years, a grand continent nation with its grand culture, that stretched from the Pamirs in Central Asia, to as far as Siam (now Thailand) and Cambodia in the Far East, was reduced to half its original spread.

Going across a vast region of land, having a variety of geographies – plains, mountains and deserts, having people speak more than a thousand dialects, having people with a plethora of contrarian food habits – still this vast expanse of land was united by a single seminal culture that arose from the earth of this sub-continent.

Couple of days back, when I was doing some research on ‘Urvashi’ and Ramdhari Singh Dinkar, for the post by Bharat Bhai, my eyes caught another related reference – a historical treatise of major proportions, authored by the same Dinkar. The title – ‘संस्कृति के चार अध्याय’ (‘Sanskriti Ke Chaar Adhyaye’ – a history of our culture in four chapters). In this path break historical thesis, Dinkar has charted the course of evolution of the culture of this subcontinent. The first segment talks about the Vedic origins of our culture. The second segment examines the rise of Buddhism and Jainism – the conflict and then the subsequent coming together in a single society. The third segment documents the advent of Islam, the reign of the Islamic dynasties – once again, the conflict and then the subsequent genesis of the Ganga-Jamni culture of peaceful co-existence. The fourth segment studies the invasion by the European kingdoms and the associated arrival of Christanity to the shores of this nation. Yet once again, discusses the conflict and the eventual prevalence of the merged society.

Over the ages, the culture of this land has exhibited a remarkable resilience to external influences, even potentially destructive influences. In the four phases of the history researched and documented by Dinkar, each phase establishes the thought supremacy of the tolerant and humanist culture of this land, that imbibed all that came to it, accepted them as different and yet the same, allowed a peaceful coexistence outside of the political machinations, and made the foreigners love it, and blend into it. That, in my opinion, is the superlative strength of this culture. And just because of this strength, I believe this culture will never be, it cannot be – destroyed. No wonder, our forefathers called it the ‘सनातन संस्कृति’ – a culture that is timeless, without a beginning and without an end.

I have a dream. Generally it is said – dreams are dreams. And nothing more. But still – I have a dream. And the dream comes from my desire to be able to go back to the land of my familial ancestors, to the places where my parents and grandparents were born and where they lived and thrived. The partition of 1947 was a disaster of proportions much greater than the Holocaust that was wreaked upon Europe by Hitler and his Germany. The number of people who suffered at the hands of the Third Reich is of the order of 5 million. The 1947 partition consumed anywhere between 10 to 20 million people on both sides of the border. And yet, the world historians do not discuss this monumental human tragedy as what it really is.

That is the power of subjugation and slavery that our self serving political leadership has always accepted and acquiesced to. There are many examples in world history, where nations have been partitioned and separated, and then they have come together once again, because the people wanted it to be so. The US has seen its own flavor of this partition during the Civil War (1861 – 1865), but they fought to bring it back together. Germany was partitioned in 1945 and the people finally toppled the Berlin Wall in 1989. Vietnam was divided and it fought the greatest superpower for decades, so it could be one once again. And now the efforts for Korea are beginning to be heard.

I have a dream, which I am quite sure will always remain a dream.

The song I present today is from a film that needs not introductions. Three songs of this musical bonanza are already showcased on our blog. I picked this film and this song for this post, because this film, as recently as 14 years ago, made a very courageous attempt to call out a spade, a spade. It is this and other similar literary and cultural expressions that give a breath of life to the dream I have. And the thing that I simply love about this film and this song, is the unabashed expression that confirms that the two neighbors are the same land and the same culture.

aisa des hai mera
ho oo
jaisa des hai tera

Ah yes, this song confirms my dream. But I also know that my dream will always remain a dream. . .

The film is ‘Veer Zaara’ from 2004. It has been a popular hit in its time, and I am sure I do not need to cover more details – friends and readers are likely already familiar. The song is written by Javed Akhtar. The music has been adapted from the unused tunes created by the late Madan Mohan, which are now in the collection of his son, Sanjeev Kohli. The singing voices are those of Udit Narayan, Lata Mangeshkar, Pritha Majumdar, and the famous Punjabi folk singer and actor Gurdas Maan, who makes a brief cameo appearance in this song itself.

Today morning, I read an article written by Anupam Sinha, that was carried in the Indian Express newspaper. Readers will be familiar with this name – he is the director of ‘Mulk’, the Rishi Kapoor starrer that is released just recently – on the 3rd of this month itself. In the film and the in the article, Anupam Sinha is raising many uncomfortable questions about the direction of the destiny of this nation and this land. Questions that today are becoming more and more difficult to articulate in the evolving ethos of the culture of this sub continent. That says quite a bit, doesn’t it. Yes, it is becoming more and more difficult to raise such questions.

That is the source of my fears – that my dream is always going to remain a dream. . .

Song – Aisa Des Hai Mera (Veer Zaara) (2004) Singer – Gurdas Mann, Udit NarayanLata Mangeshkar, Pritha Majumdar, Lyrics – Javed Akhtar, MD – Madan Mohan
Female Chorus
Male Chorus

Lyrics

oo ooo oo oo
ooo oo oo oo oo
oo ooo ooo ooooo

amber hethaan
dharti vasdi
aithe har rut hasdi
ho oo oo oo

kinna sohna
des hai mera
des hai mera
des hai mera. . .
kinna sohna
des hai mera
des hai mera
des hai mera. . .

dharti subehri ambar neela. . . ho oo
dharti subehri ambar neela
har mausam rangeela
aisa des hai mera
ho oo aisa des hai mera
aisa des hai mera
haan aisa des hai mera
boley papiha koel gaaye..ey..ey..ey
boley papiha koel gaaye
saawan ghir ke aaye
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera

mundere mere
kaaga boley wey
chithi mere maahi di
chithi wich mera naam wey
chithi mere maahi di

gehun ke kheton mein
kanghi jo karen hawaayen
rang birangi kitni
chunariya ud ud jaayen
panghat par panihaaran
jab gagri bharne aaye
madhur madhur taanon mein
kahin bansi koi bajaaye
lo sun lo
kadam kadam pe hai mil jaani..ee..ee
kadam kadam pe hai mil jaani
koi prem kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera

ooo oo oo oo oo oo
oo oo oo oo oo oo
oo ooo ooo oooo oooooo
ho meri jugni de taaghe pakke
jugni os de munh to fabbe
jinun satt ishq di lagge
o saain mere..aa o jugni
(hooo oooo  ooooye)
veer mere..aa o jugni kehndi ai
o naam saain da lendi ai

hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
oy dil kadd litta ee jind meri..aa

baap ke kandhe chadh ke
jahaan bachche dekhen mele
melon mein nat ke tamaashe
kulfi ke chaat ke thele
kahin milti meethi goli
kahin churan ki hai pudia
bhole bhole bachche hain
jaise gudde aur gudiya
aur inko
roz sunaayen daadi naani..ee..ee
ho oo
roz sunaayen daadi naani
ik pariyon ki kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera

sadke sadke jaandi e mutiyaare ni
kanda chuba tere pair baanki e naare ni
oy
ni adee e

kanda chuba tere pair baanki e naare ni
kaun kadde tera kaandra mutiyaare ni
kaun sahe teri peed baanki e naare ni
oy
ni adee e

kaun sahe teri peed baanki e naare ni

ho oo
ho ho
ho ho ho ho ho
mere des mein mehmaanon ko
bhagwaan kaha jaata hai
wo yahin ka ho jaata ha
jo kahin se bhi aata hai

aaa haa aaa aaa aaa aaa
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
jaane kyon ye lagta hai
mujhko jaana pehchaana
yahaan bhi wahi shaam hai
wahi savera..aa..aa ho oo
wahi shaam hai wahi savera
aisa hi des hai mera
jaisa des hai tera
waisa des hai mera
haan
jaisa des hai tera

aisa des hai mera
ho oo
jaisa des hai tera

aisa des hai mera
haan
jaisa des hai tera

aisa des hai mera
ho oo
jaisa des hai mera

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओss ओ ओ
ओss ओ ओ ओ
ओ sओ ओ ओss ओssss

अम्बर हेठां
धरती वसदी
ऐथे हर रूत हसदी
हो ओ ओ
किन्ना सोह्णा
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰

धरती सुनहरी अम्बर नीला॰ ॰ ॰
हो ओ
धरती सुनहरी अम्बर नीला
हर मौसम रंगीला
ऐसा देस है मेरा
हो ओ ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
बोले पपीहा कोयल गाए॰॰ए॰॰ए॰॰ए
बोले पपीहा कोयल गाए
सावन घिर के आये
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा

मुंडेरे मेरे
कागा बोले वे
चिट्ठी मेरे माही दी
चिट्ठी विच मेरा नाम वे
चिट्ठी मेरे माही दी

गेहूं के खेतों में
कंघी जो करें हवाएँ
रंग बिरंगी कितनी
चुनरिया उड़ उड़ जाएं
पनघट पर पनिहारिन
जब गगरी भरने आए
मधुर मधुर तानों में
कहीं बंसी कोई बजाए
लो सुन लो
कदम कदम पर है मिल जानी
कदम कदम पर है मिल जानी
कोई प्रेम कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा

ओss ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
ओ ओss ओss ओsss ओsssss
हो मेरी जुगनी दे तागे पक्के
जुगनी ओस दे मुंह तो फब्बे
जिनूं सट्ट इश्क़ दी लग्गे
ओ साईं मेरे॰॰आ ओ जुगनी
(हो॰॰ओ॰॰ ओए)
ओ साईं मेरे॰॰आ ओ जुगनी कहंदी ऐ
ओ नाम साईं दा लैंदी ऐ

होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
ओ दिल कड्ड लित्ता ई जिंद मेरी॰॰आ

बाप के कंधे चढ़ के
जहां बच्चे देखें मेले
मेले में नट के तमाशे
कुल्फी के चाट के ठेले
कहीं मिलती मीठी गोली
कहीं चूरन की है पुड़िया
भोले भोले बच्चे हैं
जैसे गुड्डे और गुड़िया
और इनको
रोज़ सुनाएँ दादी नानी॰॰ई॰॰ई
हो ओ
रोज़ सुनाएँ दादी नानी
इक परियों की कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा

सड़के सड़के जानदी ए मुटियारे नी
कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
ओय नी अड़ीए

कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
कौन कड्डे तेरा कांडड़ा मुटियारे नी

कौन सहे तेरी पीड़ बाँकी ए नारे नी
ओय नी अड़ीए
कौन सहे तेरी पीड़ बाँकी ए नारे नी

हो ओ
हो हो
हो हो हो हो हो

मेरे देस में मेहमानों को
भगवान कहा जाता है
वो यहीं का हो जाता है
जो कहीं से भी आता है

आs हाs आs आs आs आs
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
जाने क्यों ये लगता है
मुझको जाना पहचाना
यहाँ भी वही शाम है
वही सवेरा॰॰आ॰॰आ हो ओ
वही शाम है वही सवेरा
ऐसा ही देस है मेरा
जैसा ये देस है तेरा
वैसा देस है मेरा
हाँ
जैसा देस है तेरा

ऐसा देस है मेरा
हो ओ
जैसा देस है तेरा

ऐसा देस है मेरा
हाँ
जैसा देस है तेरा

ऐसा देस है मेरा
हो ओ
जैसा देस है मेरा

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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.

Blog Day : 3565 Post No. : 14293

In the continuum of the vast annals of history, there are tales and legends in every civilization and every system of knowledge and learning, that identify the supreme importance associated with the very support system that we rest upon. In practically every system, this support system, this concept, is endowed with divine qualities – qualities that are almost always endowed with the mother, as the provider of all that is required in life, and more.

In the Greek wisdom, this concept is name as Gaia. In the Roman legends, she is called by the name Terra. In the Norse mythology, she is named as Erda. In the east, in China, she is known as Houtu or Houtushen – the Goddess Queen of Earth. In the Buddhist scriptures that span the South East Asian region, she goes by the name Phra Mae Thorani. She is worshipped as Atira or Awitelin Tsta amongst the native tribes of the Americas, who gives birth to all life. On the African continent, she is known as Odudua, the beautiful black goddess of Earth with a skin of deepest dark ebony.

In our own land and in our culture, she is known by many names, the most important ones being Bhoo Devi – that which makes possible and supports all existence, and Vasudha – the provider of all wealth and riches.

Wherever, in whichever part of the world one may seek, there is a revered acknowledgement of the divinity of the earth as the mother, and the provider of all things. If one may sit down to list all the things that we need, we desire, and we dream – other than the light energy that comes from the Sun, Moon and the stars, the life breath that is the air that swirls around us, and the waters of rain that descend from the skies – all else, and I mean everything else comes forth from the very earth that we stand upon. Our existence and sustenance is – because the earth is.

The world is celebrating today as the Earth Day. The western dogmas consider a once in a year celebration to be an adequate measure of honor and gratitude. In our belief system, it is a celebration and honor that happens on a daily basis. And we celebrate and seek blessing, not just for our family or our country, but for the entire planet as a whole.

The reminder for this celebration and the suggestion of this song came in yesterday from Avinash ji. The film name itself is so appropriate – ‘Dharti Ke Laal’ from 1946. The music is by Pt Ravi Shankar, who was later destined to be the world famous sitar player from India. No other information relating to singer(s) or songwriter is readily available.

The song is in praise and honor of Mother Earth. It is depicted as a folk song in the tradition of Bengal, being performed at the village fair. It is such a wonderful expression of veneration towards the entity that makes all life possible.

A salute to Mother Earth – today, and every day of the year.

Song – Jai Dharti Maiya Jai Ho  (Dharti Ke Laal) (1946) Singer – Unidentified Male Voice 1, Unidentified Male Voice 2, Lyrics – [Unattributed], MD – Pt Ravi Shankar

Chorus

Lyrics

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

yahi maati mein jiyan hamro
yahi mein maran hai bhaiyyaa
yahi sagri poonji
yahi hai hamro dhan hai bhaiyya aa
aa aa aa
ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

god mein tori sukh ke saagar
khelat maiyyaa
aa
yahi mein sona upjey
yahi mein barse amrit maiyyaa
aa aa
ho

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

ab maiyya vardaan se tore
sang jiyenge sang marenge
tori chhaati se atyaachaari ko
door karenge ae
ho

jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho
jai ho
jai dharti maiyyaa jai ho

jag taaran haari jai ho
jai ho
jag paalan haari jai ho
jai ho

jag taaran haari jai ho
jag paalan haari jai ho
jag taaran haari jai ho
jag paalan haari
jag taaran haari
jag paalan haari

jag taaran haari
jag paalan haari
jag taaran haari
jag paalan haari

jai ho
jai ho
jai ho
jai ho

jai ho
jai ho
jai ho
jai ho

jai ho
jai ho
jai ho
jai ho

jai ho

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwaala)
———————————————————
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

यही माती में जियन हमरो
यही में मरण है भैय्या
यही सगरी पूँजी
यही है हमरो धन है भैय्या आ
आ आ आ
हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

गोद में तोरी सुख के सागर
खेलत मैय्या

यही में सोना उपजे
यही में बरसे अमृत मैय्या
आ आ
हो

जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

अब मैय्या वरदान से तोरे
संग जियेंगे संग मरेंगे
टोरी छाती से अत्याचारी को
दूर करेंगे ए
हो

जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो
जय हो
जय धरती मैय्या जय हो

जग तारण हारी जय हो
जय हो
जग पालन हारी जय हो
जय हो

जग तारण हारी जय हो
जग पालन हारी जय हो
जग तारण हारी जय हो
जग पालन हारी
जग तारण हारी
जग पालन हारी

जग तारण हारी
जग पालन हारी
जग तारण हारी
जग पालन हारी

जय हो
जय हो
जय हो
जय हो

जय हो
जय हो
जय हो
जय हो

जय हो
जय हो
जय हो
जय हो

जय हो


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.

“Nakhre”(1951) was produced by Mohanlal Wahai and directed by Surya Kumar for Paro Pictures, Bombay. This movie had Geeta Bali, Nasir Khan, Jeewan, David, Heera Sawant, Vijaya, Badri Prasad, Ramesh, Laxmanrao, M S Pathak, Paro etc 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.

The strongest image that remains in the mind is that of the film director Sinha Saab, a bedraggled man in tattered garments, with ruffled grey hair and white beard, a leathery skin on face lined with wrinkles that appeared much before time – a young person who aged too rapidly for his years. With help of a walking stick, he climbs down from the shadows of the scaffolding where he has perched himself, watching the action on the floor below – the same floor where once, not too long ago, he was the ringmaster, and everyone bowed to him. Not anymore. Today, he is a ‘has been’, who lost his touch of Midas, and the same world that once clamored to him, has quickly forgotten and relegated him, literally, to the garbage heap.

With difficulty, he negotiates the narrow ladders that lead down from the scaffolding to the studio floor. Once there, he shuffles to the chair, his chair, in the days of glory; the chair with the word ‘Director’ written across its back. He sits. And then he is immobile, never to get up again, never to wake up.

When the crowd of workers return after lunch, everyone is shocked to see this grimy old man, sitting motionless in the director’s chair. Everyone is known to him, but today no one recognizes him, now that he is gone. None, save one light-boy, who remembers and recognizes his earliest benefactor – Sinha Saab.

The power of these images and these sequences now have a cult following, not only in India but worldwide. Remembering Guru Dutt on his seventy seventh anniversary. (9th July)
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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.

“Daastaan” (1972) was produced and directed by B R Chopra. The movie had Dilip Kumar, Sharmila Taogore, Iftekhar, Bindu, I. S. Johar, Jayshree T., Padma Khanna, Madan Puri, Nana Palsikar, Manmohan Krishnan, Keshav Rana, Prem Chopra, Badri Prasad, Sachin etc in it.
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“Ramkasam” (1978) was a Narang Films combines production. It was produced by S D Narang and directed by Chaand. The movie had Sunil Dutt, Rekha, Bindiya Goswami, Amjad Khan, Nirupa Roy, Bindu, Ajit, Dev Kumar, M Raajan, Sudhir, D.K.Sapru, Jankidass, Jagdish Raj, C.S.Dubey, Jeevan, Suhel, Jairaj, Hercules, Lalita Kumari etc on it.
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“Sapnon Ka Saudagar” (1968) was a Screen Gems production movie. It was produced by B Ananthswami and directed by Mahesh Kaul. The movie had Raj Kapoor, Hema Malini, Jayant, Tanuja, Achala Sachdev, David Abraham, Durga Khote, Nadira, Rupesh Kumar, C. S. Dubey, Satyendra Kappoo etc in it.
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“Us Paar” (1974) is an obscure movie by now, even though this movie is a recent movie by the standards of this blog. This movie was a Cine Eye Films Production. It was produced and directed by Basu Chatterji. The movie had Vinod Mehra, Mausami Chatterji, Raja Paranjape, Padma Khanna, Jalal Agha, Lalita Kumari, Paintal, A.K.Hangal etc in it.
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Among poor section of society, especially in rural areas, being a policeman is the ultimate dream of unemployed youths. They want to become policemen because to them policeman symbolises unlimited power and authority, which enables them to bully and harass ordinary public. Whenever there are recruitments for policemen there are thousands of aspirants for a limited number of posts. And all these aspirants look dreamy eyed at the policeman and wish- “Only if I can somehow become a policeman. Then see what I will do.” I have actually heard a desperate aspirant utter such words in a police recruitment drive. 🙂
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“Ye Dil Kisko Doon” (1963) is not a well known movie as far as I am concerned. This movie had Shashi Kapoor and Raagini in it. May be that has something to do with the obscurity of this movie. 😀
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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 over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14707

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4018

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Active for more than 4000 days.

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