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

Archive for the ‘Munawwar Sultana Songs’ Category


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.

Blog Day :

5121 Post No. : 17070

Today’s song is from the film Intezar ke baad-1947.

1947 was the year of our Independence and this was also the year in which the highest number of Hindi films were made-187 ! This record remained unbroken till 1985 when 187 Hindi films were made. That means from 1931 to 1984 – a span of more than 50 years – thi record remained unbeaten. Even for the All India film count of all languages was the highest till 1947 – it was 280 films. This of course was broken sooner when in 1949, a total of 291 films of all languages were made in the country.

When the quantity increases without a valid reason, it usually damages the quality.Although few landmark Hindi films were made in 1947, like Jugnu,Do Bhai, Dard, Mirza Sahibaan, Shehnai, Elaan, Parwana, Saajan, Neelkamal, Aap ki sewa mein,Meerabai (of M.S.Subbulaxmi), Naatak, Sidoor etc., most others were below par. This possibly happened as there was a deluge of migrating Muslim film artistes from India to Pakistan and they completed their films somehow to fulfil ther contractual responsibilities. Thus not much attention was given to quality, but to complete the film.

Intezar ke baad-47 was also one such film. Based on an unbelievable flimsy story, directed by a veteran of silent films and a lusterless musical score made this film an ordinary movie to remember. The film was directed by G.P.Pawar, a fall out of the silent era. The music was by Aziz Khan aka Aziz Hindi. A point to note was, however, that few old time artistes like Shantarin, Shanta Kumari and madhav kale etc. featured in the film. The cast, besides these artistes, consisted of Jeevan, Rahaman,Husn Ara, Gope, Rajkumar, madhukar gupte, Shanta Patel, Vijaya etc. The story of this film was….

The Zamindar of Ratanpur had no child for a long time. At last he got a charming daughter. His wife fought with him bitterly when he was drunk and left the home with the baby. She left the baby at the doorsteps of Dada patel- a kind gentleman and then she committed suicide. Eventually the baby grows up into a beautiful girl-Shama. The zamindar also adopts an orphan-Mohan, who too grows up.
A local merchant Fakirchand wants to marry his daughter Shaila to Mohan- who is a wayward wasted young boy and he wants to marry Shama. Shama loves another good person-Dr. Ajay who also loves her. The Dewan of the zamindar blackmails zamindar to expose that his son Mohan is actually the dewan’s own son. He also blackmails Dada patel to expose that Shama is not his daughter. When Mohan learns all this, he kills Dewan.
The police arrest him. In the court everything is exposed and Mohan is jailed for 2 years. Dr. Ajay and Shama get married. After Mohan comes out he is a reformed person. He gets married to Shaila. All’s well that ends well ( and the audience is happy that the film has ended ! ).

2 names from this film attracted me. One was actress Shanta kumari. To get some information on Shanta Kumari, I had spent a few years and had scanned several sources like books and sites etc. Finally, here is her information that I collated from several sources.

Miss Shanta Kumari , a forgotten name of early Bollywood, who championed in both silent and talkies (please do not confuse with the South Indian actress of the same era).
Miss Shanta Kumari was born in 1904 to a family of ten and entered silent movies at the age of sixteen (1920). She worked in 1920 s with the Sharada film company ( Kala Pahad, 1927) with Master Vitthal and later joined Delhi’s Great Eastern film company ( Bhai ki Kasai, 1928, Pilgrims of Love 1929, Kumud Kumari 1929). She later joined the Ranjit film company ( later Ranjit Movietone) and acted with Eddie Billimoria in Prince Charming (1930) & Castles in the Air (1930). In 1930 also she worked with Kohinoor Film Company for the movie Arya Kanya (1930). Since she was a very accomplished singer and dancer she hadn’t got any difficulty in entering Talkies and excelled in Talkies. She made her debut talkie with Shri Krishna Film Company’s Heer Ranjha (1931). Her some other memorable early Talkies were Lanka Dahan (1933), Hatim Tai (1933), Bulbul-e- Punjab(1933), Bhoola Shikar (1933), Aaj Kal (1934), Sinhasan (1934), Baal Hatya (1935)

Shanta Kumari was very beautiful. After her first Talkie film Heer Ranjha-1931, came many films, including 4 parts of the film Hatimtai-33, in which she was Heroine Husnbanu. In film Sant Tulsidas-34, she sang along with even G N Joshi, famous classical singer of those times and later on an officer in H.M.V. Recording section. Due to her good singing, till 1936 she sang on A.I.R. Bombay. In 1940, she got married to Sound Recordist Kothari. In the later period, she acted in some famous films like Bharat Milap-42, Ramrajya-43, Prithvi Vallabh-43, Gwalan-46, Ram Vivah-49 and Grih Laxmi-49. After a gap, she appeared in the film Toofan aur Diya-56. She acted in few C grade films and her last film was Toofani Tarzan-62. She acted in 27 films and sang 21 songs in 8 films. She died on 18-1-2006 ( information collated from Beete kal ke sitare by Shriram Tamrakar, MuvYz,interview by V S Nigam on medium.com and book The lost Treasure by K.Pasupuleti with thanks).

The other name was singer Munawar Sultana. There was an actress Munawar Sultana working in Indian films from 1941 (Khazanchi) to 1956 (Jallad), but she never sang and the singer Munawar Sultana never acted in any film-here or in Pakistan. Still, due to similarity in names, people mixed up these two artistes. Here is the singer’s information.

Munawar Sultana was a film playback singer of Pakistan active in the 1950s. She was born on 8-11-1924 at Lahore. She started her career in the mid-1940s as a radio and film playback singer. She used to take music lessons from the renowned music director Ghulam Haider. She started singing in Hindi films. She sang 25 songs in 14 Hindi films. The films were Shukriya-44,Dhamki-45, Behram Khan-46, Aai Bahar, Pagdandi-47, Mehendi, Intezar ke baad, Ek roz, But Tarash, Rooprekha, Reet, Patjhad, Chup chup ke and Barsat ki ek raat-48.

After independence of Pakistan in 1947, Lahore film industry had to rebuild itself because most of the Hindu film studio owners decided to migrate to India and they left Lahore, Pakistan. Music Director Ghulam Ahmad Chishti, Munawar Sultana and Inayat Hussain Bhatti are mostly credited with bringing the dead music industry of Lahore back to life again.She also worked with music directors Rashid Attre, Safdar Hussain besides Ghulam Haider and Baba Chishti to produce many super-hit film songs in the 1950s.

She continued to work at the Radio Station, Lahore and recorded many popular Punjabi folk songs there as well. Munawar Sultana was known for her melodious voice among the Pakistani public. In the late 1950s,she married the then Station Director of Radio Pakistan, Lahore-Ayub Roomani.

Her marriage coupled with arrival of new playback singers-especially Zubaida Khanum and Naseem Begum ended her singing career. She started focusing more on her family life and kids. She died on 20 May 1995 in Lahore,Pakistan. (Information adapted from pak.mag and IMDB, with thanks.)

Today’s song is sung by Munawar Sultana. This is the second song from this film here.


Song- Meri beete jawaani mastaani (Intezaar Ke Baad)(1947) Singer-Munawar Sultana, Lyricist- C.Zaman, MD- Aziz Khan Hindi

Lyrics

Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye
Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye
mera dhak dhak ye nanha sa dhadke jiya
mera dhak dhak
mera dhak dhak ye nanha sa dhadke jiya
joban aaya
joban aaya
magar tum na aaye piyaa
haan
joban aaya
joban aaya
magar tum na aaye piyaa
kaun roothhi jawaani ko manaaye
haaye
kaun roothhi jawaani ko manaaye
haaye Raama
mere baanke balam nahin aaye
Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye

gore gaalon ka
gore gaalon ka rangat gulaabi gayi(?)
baanke naina mere ab sharaabi nahin
ab to saawan bhi man ko na bhaaye
haaye
ab to saawan bhi man ko na bhaaye
haaye Raama
mere baanke balam nahin aaye

haaye aana naa
aana naa
hai sooni nagariya meri
ab to lelo piyaa jee khabariya meri
haaye na aana
aana aana
hai sooni nagariya meri
ab to lelo piya jee khabariya meri
aag birha ki man ko jalaaye
haaye
aag birha ki man ko jalaaye
haaye Raama
mere baanke balam nahin aaye
Meri beete
Meri beete jawaani mastaani
haaye Raama
mere baanke balam nahin aaye


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.

This article is the 16700th article in the blog.

Blog Day :

4898 Post No. : 16700

Publishing the blog century post brings some anxious moments. One has to worry about the song that should be used for the occasion. It also calls for more efforts than usual as far as writeup is concerned.

But once the century post is published, one tends to relax for the next 99 songs. The next century post occasion will not arrive for many months, so I can relax- this is the usual feeling. But sooner or later, even those “many months” are over and yet another blog century occasion presents itself.  🙂

That occasion is upon us. And this post is post number 16700th for the blog.

I have discussed it in the past that I begin to worry about the century post only at the eleventh hour and 59th minute. When the time for worrying arrived, I found that I had no idea what song to discuss. Then I remembered that I sometimes come across rare songs and I note down their details, hoping to use these songs at special occasions. These details are stored away in text files titled “rare songs”, “rare songs latest”, “rarest songs” etc.

I located these files and realised that I had several songs in these files. I checked them up and finalised a song. Just when I sat down to prepare a writeup, I found out that the song had already been used up on a past occasion. So I had to switch over to another song.

The song that I have chosen as the 16700th song for the blog is from “Pagdandi”(1947). This movie was directed by Ramnarayan Dube. The movie had Akhtar, Padma, Gyani, Kalawati, G N Butt, Om Prakash, Shyam Lal, Durga Mota Sudarshan, Raza Meer etc in it.

The movie had ten rare songs in it. HFGK does not contain details of the singers for any songs. Only the record numbers of the songs are available. That is how rare these songs are.

However, the blog has so far covered as many as eight songs from the movie.

This song, the ninth song from “Pagdandi”(1947), like other songs does not give details of the singer. But the uploader mentions the singer as Munawwar Sultana. Lyrics are by D N Madhok. Music is composed by Khursheed Anwar.

The song is a fun song to listen to. It is a “Sainyya bhaye kotwal ab dar kaahe ka” genre of song, which was fairly popular in Hindi movies those days. I remember “Daroga jee”(1949) containing several songs of this genre. In these songs, the lady would tell everyone that her beau had become a big shot government employee and now others better start paying respect and tributes to the lady. Sainyya becoming “kotwal” (read policeman) was preferred the most. Next preference was for sainyya to become patwaari (which is the case here).

In all these songs, others would be warned to behave themselves, else “thhaane mein rapat” may follow.  🙂 In this case, one is threatened with “bhaari jurmaana”.  🙂 Such misuse of powers vested with officials was considered normal those days. 🙂

In small remote places, even today small time policemen and government officials wieid considerable influence over public. If they go to the local market, the shopkeepers treat them as VIPs. Some of them, mainly policemen do not even pay for stuff they take from shops. Kids who watch all this dream of becoming policemen. People who are a bit more aware dream of becoming IAS or IPS, but such people are not found in these remote places.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Only one more song from the movie is left to be covered. But that record number of that song “Rukhsat hua jo god ka paala” is not mentioned, which suggests that this song was only there in the movie and its records were not issued. So unless the prints of the movie miraculously become available, this tenth and final song from the movie is not available and has been lost.

With this song, we reach blog post number 16700. This is the 167th blog century for the blog. Now we are just three centuries away from 17000 mark. At the present rate, we should be there in another six months or so.

I take this opportunity to thank one and all. The continous support, patronage and encouragemnent that we get from one and all is the fuel that drives this musical bandwagon. I take this opportunity to thank one and all. I take this opportunity to especially thank our regulars whose contributions are enriching the blog and taking it to newer heights. Here is hoping that we keep reaching many more landmarks in the times to come.


Song-Balma patwaari ho gaye (Pagdandi)(1947) Singer-Munawwar Sultana, Lyrics-D N Madhok, MD-Khursheed Anwar

Lyrics

balma patwaaree ho gaye
naukar sarkaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye

arre o dagar chalne waale
are o
are o dagar chalne waale
meree matkee dhulkee jaaye
uthha le
meree matkee dhulkee jaaye
uthha le
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye

arre o gaanv waalon aawo
arre o
arre o gaanv waalon aawo
khud jahaan dekh lo ghus ghus jaao
khud jahaan dekh lo ghus ghus jaao
patwaaree sabka afsar hai
yeh bade saab kaa kehna hai
aardar bhee jaaree ho gaye
patwaaree sabka afsar hai
yeh bade saab kaa kehna hai
aardar bhee jaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye

arre o dagar chalne waale
arre o
arre o dagar chalne waale
meree matkee dhulkee jaaye
uthha le
meree matkee dhulkee jaaye
uthha le
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
mat ghoor ghoor ke dekho hamen
jis jis ne yoon dekha hamko
jurmaane bhaaree ho gaye
balma
balma patwaaree ho gaye
naukar sarkaaree ho gaye


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 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 :

4778 Post No. : 16530

We are in the midst of Saawan, the 5th month of the Hindu calendar. Besides, being a holy month for Hindus, it is also a month for romanticism. After experiencing the scorching summer for a couple of months, rains bring a great relief to the people. By the time, the month of saawan starts, the rains have already transformed not only the dry agricultural fields into green but also the surroundings areas. Also, in the saawan month, the intensity of the rains gets reduced allowing the inter-play of showers and soft sunrays. All these changes in the climate make the atmosphere congenial for romanticism. Longing, rejoicing and separation become the part of the romantic month of saawan for those in love. Poets, writers and artists have been inspired by the romaticism of saawan in their works.

In ‘Meghdoot’, written by Kalidas about 1600 years ago, there is no direct reference to ‘saawan’ in the poems. But the reference to the clouds gives an indication of the rainy season when the exiled Yaksha on a mountain sees a cloud perched on the peak. He requests the cloud to deliver his message to his beloved in the Himalayan city of Alaka. Probably, this was the inspiration for some ‘saawan’ songs in Hindi films, the popular one being saawan ke baadalon unse ye jaa kaho from ‘Rattan’ (1944).

In the 14th century, Amir Khusrau wrote a ‘saawan’ poem, ‘amma mere baba ko bhejo ri ke saawan aaya’. The poem was written in a form of the conversation between the mother and her newly married daughter staying in her sasural (in-law’s place). The full song is as under:

amma mere baba ko bhejo ri ke saawan ayaa
beti tera baba to boodha ri ke saawan ayaa

amma mere bhai ko bhejo ri ke saawan ayaa
beti tera bhai to baala ri ke saawan ayaa

amma mere mamu ko bhejo ri ke saawan ayaa
beti tera mamu to baanka ri ke saawan ayaa

Probably, Amir Khusrau wrote this piognant poem in the background of a convention among the some of the Hindu families that the newly married daughters stay with their parents during the month of saawan, among other reasons, to celebrate the festivals like Naag Panchami, Teej, Raksha Bandhan, Shri Krishna Janmashtmi etc. for the first time after the marriage. In olden days, it was either father, brother or the maternal uncle who would bring the newly married girl to her parent’s house. Khusrau’s poem is the reflection of a newly married girl who is longing to visit her parent’s house in the month of saawan but unable to visit as her father is too old and her brother is too young to undertake the journey to fetch her.

As against this, for the girl whose marriage has been fixed, the month of saawan is the longing for her fiancé. There is an eagerness to meet him. The mood of joie de vivre is well expressed in Shailendra’s lyrics in aaye re din saawan ke in the film ‘Gaban’ (1966).

The rejoicing mood in Meerabai’s bhajan, barse boondiyaan saawan ki which Lata Mangeshkar sang, became very popular though it was a non-film song. I will not be surprised if other poets of Bhakti movements at that period also wrote on the month of saawan.

In the Urdu drama, ‘Inder Sabha’ (1850s) which was written in verses by Amanat Lucknawi, there is a ghazal praying for the early arrival of ‘saawan’. He had used the metaphor of saawan in various romantic instances, like the swirling of beloved’s ‘zulfen’ and ‘dupatta’ to that of the clouds of saawan. A somewhat similar metaphor was used by Raja Mehdi Ali Khan in the mukhda of the song, zulfon ki ghata lekar saawan ki pari aayi in ‘Reshmi Roomaal’ (1961).

This was an unique ghazal in the sense that it had two matla (the first she’r) and had used ‘radif ‘(repeat words) – ‘saawan ki’ in all the 11 she’rs of the ghazal. One can say that it was a ‘saawan dominated’ ghazal. The first two she’rs of the ghazal are as under:

dil ko marghoob hai thandi hawa jo saawan ki
maangta hoon main sada haq se duwa saawan ki

yaad aata hai wo sabza wo ghata saawan ki
shaql dikhlaaye kahin jald khuda saawan ki

And lastly, Amanat Lacknawi writes:

ae ‘Amanat’ yah nikaali hai zameen tu ne nayi
pahle thhi kiski ghazal tere siwa saawan ki

Not all the poets used in their poems, the context of ‘saawan’ in the conventional sense of romance, separation and rejoice. Neeraj used the month of saawan in one of his ghazals to depict the ironies of life. He said:

ab ke saawan mein ye sharaarat mere saath huyi
mera ghar chhod kar kul shahar mein barsaat huyi
zindagi bhar to huyi guftugoo ghairon se magar
aaj tak hamse na hamaari mulaakaat huyi

Hindi film music has also been influenced by ‘saawan’ songs since the sound films appeared in 1931. Unfortunately, in the initial period of sound films, the songs were rarely released on gramophone records. Due to non-availability of the films’s print, most of songs from the films of early 1930s have been lost. The earliest ‘saawan’ song’ from the Hindi films for which I could get the mukhda of the song is from ‘Maharani’ (1934) in which the song ‘saawan ghan barse chaatak kyun tarse’ was listed. However, the song is not available. As far as I know, the earliest ‘saawan’ song from Hindi films that is available for listening (also for watching) is naahin aaye ghanshyam from the film ‘Devdas’ (1935). There has been a steady flow of ‘saawan’ songs in Hindi films since the inception of sound films.

Some of the ‘saawan’ songs in Hindi films which are of my liking (not an exhaustive list) are as under:

saawan aaye na aaye – Sadhana (1939)

saawan ke nazaare hain – Khazaanchi (1941)

kayi din se saawan barasta hai rimjhim rimjhim – Samaaj (1954)

thandi thandi saawan ki phuhaar – Jagate Raho (1956)

do boonden saawan ki – Phir Subah Hogi (1958)

garjat barsat saawan aayo re – Barsaat Ki Raat (1960)

deewaana huwa baadal saawan ki ghata chhaayi – Kashmir Ki Kali (1964)

saawan ke din aaye sajanwa aan milo – Bhumika (1977)

saawan ki aayi bahaar re – Junoon (1978)

lagi aaj saawan ki phir wo jhadi hai – Chaandni (1989)

Notwithstanding my above list, if someone was to ask me to instantly give one example of ‘saawan’ song from the Hindi films, the first song that will invariabnly come to my mind is rimjhim gire saawan sulag sulag jaaye man from ‘Manzil’ (1979) The reason is that I had watched the film and the song was picturised on Amitabh Bachchan and Maushumi Chatterjee in the midst of real rains. This song gives a real feel of the atmosphere of the month of saawan.

Our Blog has covered as many as 99 ‘saawan’ songs. The count could be more as tagging of few ‘saawan’ songs may have been missed. I am presenting today, a lovely ‘saawan’ song, ‘barkha ki rut hai baanke balamwa saawan ka aaya mahina’ from the film ‘Papeeha Re’ (1948). HFGK is silent on the singers of the song. However, I am fairly sure that the two voices sound like that of Munawwar Sultana and Zeenat Begum.

From the lyrics of the song, it appears that Zeenat Begam is singing for an actress doing a male character in this song sequence.

Audio Clip:

Song-Barkha ki rut hai baanke balamwa saawan ka aaya maheena (Papeeha Re)(1948) Singers-Munawwar Sultana, Zeenat Begam, Lyrics-Mulkraj Bhakri, MD-Dhaniram
Both

Lyrics

barkha ki rut hai baanke balamwa
saawan ka aaya maheena

o na jaa pardes
o na jaa pardes
na jaa
na jaa haan
mera mushqil tum bin jeena
saawan ka aaya maheena

tum to chale pardesiya
yahaan laagega kaise jiya
o piya
kaahe ka jadoo kiya
jo thhaa jaana chhod ke hamko
jo thhaa jaana chhod ke hamko..o o o
kaahe ka jaadoo kiya
o raaja
phir kaahe ka jaadoo kiya
barkha ki rut hai baanke balamwa
saawan ka aaya maheena

naukri karne ko jaana zaroori
gori jaana zaroori
aayi badi majboori
dil mein tu apne aake basaa le mori
aake basaa le
phir kaahe ki doori sajaniya
phir kaahe ki doori

barkha ki rut hai baanke balamwa
saawan ka aaya maheena

maar tu goli naukari ko
o raaja naukari ko
morey raaja
rah jaa tu mere paas
dekh sooratiya bhookh mitegi mori
bhookh mitegi
nainon ki jaayegi pyaas
o morey raaja
nainon ki jaayegi pyaas
barkha ki rut hai baanke balamwa
saawan ka aaya maheena

na ro tu na ro
na ro tu na ro
o meri raani na ro
o meri raani
kaahe bhayi tu udaas
ab to karoonga teri main chaakri
ho teri main chaakri
tera banoonga daas
o meri raani
tera banoonga daas

barkha ki rut hai baanke balamwa
saawan ka aaya maheena


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.

Muslim socials, one of the genres of Hindi films, came into prominence during 1940s when ‘Qaidi’ (1940), produced by Film Corporation of India, Calcutta became a box office hit. Thereafter, in the 1940s, films like ‘Maasoom’ (1941), ‘Yaad’ 1942), ‘Naukar’ (1943) ‘Najma’ (1943), ‘Ismat’ (1944), ‘Zeenat’ (1945), ‘Pehli Nazar’ (1945), ‘Nek Parween’ (1946), ‘Shama’ (1946), ‘Dard, (1947), ‘Elan’ (1947), ‘Kaneez’ (1949) etc were released and most of them which became box office successes.
Read more on this topic…


This article is written by Avinash Scrapwala, 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.

‘Barsaat Ki Ek Raat’ from 1948 was directed by G Singh. The star cast of this film includes Pran, Amarnath, Asha Posley, Shahzadi, Durga Mota and Shyam Lal amongst others.
Read more on this topic…


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 FOURTEEN years. This blog has over 17100 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17162

Number of movies covered in the blog

Movies with all their songs covered =1329
Total Number of movies covered=4609

Total visits so far

  • 15,464,622 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,976 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: