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

Archive for the ‘Number 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 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 : 4017 Post No. : 15125

Two signature melodies, one sweet voice,

Do Naina, Aur Ek Kahaani

Do Panchhi, Do Tinke, Kaho Le Ke Chale Hain Kahaan

And the voice – Aarti Mukherjee.

Celebrating Aarti ji’s birthday today – she turns 76 today. Greetings and best wishes to her for good health, and many more such celebrations to follow.

Aarti ji was born in Calcutta, in 1943. Along with her formal school education, her grooming in classical music also continued side by side, at the feet of teachers like Shri Chinmoy Lahiri, Shri Susheel Bannerjee and Ustad Mohammed Sageeruddin. It was a childhood dream for her to be a famous singer, and be counted in the same list as Lata Mangeshkar.

In her teen years – she was just 12 or 13, in 1955 she appeared in the ‘All India Music Talent Contest’ in Calcutta. Then couple of years down the road, in 1957, she participated in the Metro-Murphy Talent Search Contest held in Bombay. The panel of judges were the esteemed cream of music directors from Hindi cinema – Anil Biswas, Naushad, Vasant Desai and C Ramchandra. She was judged to be the winner in the female singer category. This recognition opened doors for her as a playback singer in the world of cinema. She was just fourteen years old.

Vasant Desai gave her the debut break when he invited her to sing for the 1958 film ‘Do Phool’. It is a chirpy lilting children’s song that she rendered so effectively – “Matak Matak Naachoon Re”. Oportunities started to come her way. She sang a duet with Lata ji, for the film ‘Sahaara’, also 1950 – “Atkan Matkan Dahi Chatokan”. Then on to ‘Schoolmaster’ in 1959, and ‘Angulimaal’, ‘Apna Ghar’ in 1960. The song “Dheere Dheera Dhal Re Chanda” is one of her earliest popular melodies.

In 1962, she got her first break in Bangla films, with the film ‘Kanya’. Her versatility and her sweet voice helped her to make a place for herself in the Bangla cinema, coming quickly to the level of popularity of Sandhya Mukherjee, who was the lead playback singer in that era. She has given playback to almost all the stalwart leading ladies of Bangla cinema of that time – Aparna Sen, Sharmila Tagore, Madhabi Mukherji, Debashri Roy, and Tanuja etc.  Her popularity was at its peak in 1970s.

Meanwhile, she continued to sing in Hindi films, such sweet renditions like – “Mat Jaiyo Piya Pardes Sajaniya Paiyaan Pade Re” (‘Vidyapati’, 1964), “Saara Mora Kajra Chhudaaya Tu Ne” (‘Do Dil’, 1965), “Kirnon Ki Dori Chaand Ka Palna” (‘Maya Sundari’, 1967), “Jaago Anjaani Rajdulaari” (‘Ek Surat Do Dil’. 1968), and more.

In 1975 came the popular and successful ‘Geet Gaata Chal’ – in which Ravindra Jain gave us such beautiful melodies – “Shyam Teri Bansi. . .”, “Kar Gaya Kaanha Milan Ka Waada” and “Main Wahi, Darpan Wahi”.

Aarti ji has won the Filmfare award for the best female playback singer in 1983 for the song of ‘Maasoom’ – “Do Naina. . .”. She has also won the Bengal Film Journalists Award for best playback singer in 1967, for film ‘Golpo Hoelo Satyi’ and 1976, for ‘Chhutir Phande’. For her vocal performance in ‘Geet Gaata Chal’ (1975), she was honored with the Mian Tansen Award.

Today, I present a very interesting and a very pleasing melody from the 1959 film ‘Schoolmaster’. The film is a Hindi remake of the 1958 hit Kannada film, of the same name. The film is produced and directed by BR Panthulu, under the banner of Padmini Pictures. The star cast for this film is listed as BR Panthalu, Radha Kishan, Ulhas, MV Rajamma, Shakeela, B Saroja Devi, Kamini Kadam, Lalita Pawar, Achla Sachdev, Karan Diwan, David, Jawahar Kaul, Raja Gosavi, Puranik, Vishwa Mehra, Shivaji Ganeshan, Baby Laxmi, Kusumlata, Kumuda, Shashikala, Venkatesh, Gopi Nath, Ganesh, Vijay, Pramod, and Ramesh. The story of the film is a typical family drama of a joint family – a retired schoolmaster with three sons, and he ends up losing his house and even a respectful accommodation with his children. This theme has been replayed in many films, earlier and later.

Geet Kosh lists 9 songs for this film. All the song have been written by Kavi Pradeep. The music is by Vasant Desai. Vasant Desai has used as many 10 playback singers in this film – Lata Mangeshkar, Manna Dey, Geeta Dutt, Talat Mehmood, Mahendra Kapoor, Pradeep, Lalita, Indu and Sarla. And then there is this one solo song in the voice of Aarti Mukherjee.

A lovely melody, and a very lovely rendition. Listen and enjoy.

Song – Ek Do Teen, Gin Bhai Gin  (School Master) (1959) Singer – Aarti Mukherji, Lyrics – Kavi Pradeep, MD – Vasant Desai

Lyrics

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
isi tarah ye jeevan chalta
shaam subah pal chhin
shaam subah pal chhin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

kismet sabko jag mein naach nachaaye
kadve meethe sabko ghoont pilaaye
ulta waqt yahaan jab aaye haaye
apne bhi hotey hain paraaye haaye
dekhne waale dekh laga ke
aankhon mein durbin
aankhon mein durbin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

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

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
इसी तरह ये जीवन चलता
शाम सुबह पल छिन्न
शाम सुबह पल छिन्न
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

किस्मत सबको जग में नाच नचाए
कडवे मीठे सबको घूंट पिलाये
उल्टा वक़्त यहाँ जब आए हाए
अपने भी होते हैं पराये हाए
देखने वाले देख लगा कर
आँखों में दुरबिन
आँखों में दुरबिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

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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.

Blog Day : 3544 Post No. : 14225

Today’s song is from the film Dhandora-41. It was a Ranjit film, directed by comedian N M Charlie. The music was by Ranjit’s resident composer Gyan Dutt. The song, penned by D N Madhok, is sung by Charlie himself.

What is the meaning of the word Dhandora ? As per the online dictionary, the simplified meaning is Elaan in Urdu, Proclamation in English. In Hindi it is Doundi and in Marathi it is Dawandi (दवंडी).

To understand this concept, we have to go back in time, when the means of communication were not many. The Public orders,Fatwas, New laws or any new announcement from the King for the public was through a Public Crier ( as he was called), with a big drum hanging from his neck onto his tummy. He would stand on a Public platform, like a Chavdi or in the middle of of a Market or Residential street. He would then start playing his drum loudly. When enough crowd had gathered, he would shout in a loud voice about the Proclamation from the authority. This entire process was called Dhandora or Dhandhora or Dhindhora ( the phrase “Dhindhora peetna” means to proclaim loudly ).

After the advent of modern and better communication means, this system was abandoned. However, in smaller villages and rural areas, its variation continued as a means of advertisements. I remember, during the visits to my Nanihal- which was a small town, in the summer holidays, in the early 40’s, we children used to run after the oxen cart in which the ‘Public crier’ or the person doing the advertisement and distributing hand bills sat. He would start banging his drum and shout the ad matter…mostly about a film.

The Hero of film Dhandora-41, who was also its Director, was Film industry’s First Superstar Comedian. Coming from a very humble family, he rose to be the king of Comedy in Hindi films, for a period of over a decade.

By the 1940s the system of Playback was firmly established. This actually came as a great relief to most composers. Till then they had to tolerate terrible non-singers. Now, except for few singing actors, all others could have playback from expert and professional singers. Despite this, in few cases, some producers insisted that their comedians sang their own songs. That is how, you can see songs by comedian Sunder, comedian Yaqub or comedian Charlie. Thank God other comedians like Master Bhagwan, V.H.Desai or Bhudo Advani did not / could not sing !

1945 was the period when Noor Mohammed Charlie was on peak of his popularity. He not only sang his songs, but he also became Hero in few pictures and stories were amended to give him more scope in the films. In the 1950s and the 1960s, this honour went to comedian Johnny Walker. Thank God, he did not sing songs ( though he spoke in his chirpy voice in some songs). Mohammed Rafi compensated enough for him by having a special style of singing and a special voice for Johnny Walker songs.

These days everyone likes the comedy of Amitabh Bachhan. His many films became Hits due to his comedy work. Today most of the Heroes do the comedy part in the film themselves. But till 1970, there used to be a separate slot for a comedian.

Today’s generation knows comedians like Paresh Raval, Anupam Kher etc. For them older comedians are Johnny Lever, Satish Shah or Rajpal Yadav. before that, they can think of Johnny Walker, Mehmood, Keshto Mukherjee, Asit Sen, Dhumal, Jagdeep, Asrani or Deven Verma. But the art of Comedy had started much earlier, in the 1930s and 1940s. Comedians like Ghori, Dikshit, Fatty Prasad, V H Desai, Bhudo Advani were famous. Amongst all the comedians of that era,there was ONE superstar of Comedy- NOOR MOHAMMED CHARLIE.

Noor Mohd. was born on 7-1-1911 at Ranavava, near Porbandar, Gujarat, in a Memon family (Later, comedian Mukri was also a Memon from Konkan area). Not intersted in studies, he was very fond of seeing films, even by stealing money from house, at times-if need be. He was sent to Bombay and worked as an Umbrella Repairer in a shop. His desire to become an actor was so strong that one day he straightaway went to Imperial Film Company’s owner and asked for a job. In the tradition of those days, he was asked if he could sing… His reply was,” I can sing, act, ride, run, fight, cry, laugh, quarrel, dance, play or swim”. He was hired instantly at a salary of Rs. 40 pm.

From 1925 to 1931 he did 9 silent films. In one of these films he did the acting of Charlie Chaplin. It became so popular that he made this get up his Trademark and developed Toothbrush Moustache ,like Charlie Chaplin. he also added ‘Charlie’ to his name. He did his first talkie film ” Zarina” in 1932 and then there was no looking back.

Initially with Sagar Movietone, he shifted to Ranjit and did 17 films with Ranjit. He became so famous and Popular that films were sold on his name. He was the First superstar amongst the comedians. He started to get special songs shot on him in almost every film-much before Johnny Walker in the 1950s. He sang his own songs. he left Ranjit and was the first actor to became a ‘Free-lance’ breaking the Studio system.

Some of his films and songs were famous over all India. In the film Sanjog, he sang ” Palat,tera dhyan kidhar hai “. This line became so famous that young boys in colleges used this line for calling girls,in those days. In the film Dhindhora, he sang ” ek do teen char panch chhe saat aath nau dus gyara bara,teri nazar ne mujhe mara”. ( Raj Kapoor used ‘Ek do teen aaja mausam hai rangeen’ and later Madhuri Dixit’s “Ek do teen” was very famous.) In the film Taqdeer he sang- “Thank you mention not” and ” I am very very Sorry”. This too became popular.

There was a time when Charlie drew more salary than even Prithwiraj kapoor ! He did about 62 films in all. he was the Hero opposite Swarnalata in Chaand Taara-45, hero opposite Leela Chitnis in Ghazal-45 and hero opposite Chandraprabha (Saraswati devi’s sister) in Dulha-46.

He directed only one film,while in Ranjit-Dhandora-41. Charlie sang 36 songs in 15 films.

After partition he opted for Pakistan. he did 6 Urdu, 2 Sindhi and 1 Punjabi films there but was not popular. He came back to India in 1960, but by then here too the position had changed. He did 3 films here. His last film in India was Ranjit’s last film ” Akeli mat Jaiyo”-63 and then that was the end of his film career and that of Ranjit studios too. Due to Visa problem, he had to leave India. He went to USA to live with his son, who had a dairy farm business. He had 6 sons and 6 daughters. Only 1 son-Latif Charlie became an actor In Pakistan. (He died on 19-7-2011). Charlie came back to Pakistan when his wife expired, but later he himself died in Karachi on 30-6-1983.

If he had not gone to Pakistan, who knows he would have prospered here. Mehmood and Johnny Walker consider him as GURU and have copied his actions in films many times. Raj Kapoor and Guru Dutt were also his fans. His film Manorama-44 was remade as Manchala in 1953 with Agha in his role. Thokar-39 was remade as Mai Baap and Taqdeer-43 was remade as Duniya ka Mela, with Mehmood in Charlie’s role.

When he died in Pakistan, no film personality from Pakistan Film industry attended his funeral. He died unsung !

The cast of film Dhandora-41 was Charlie, Husn Bano, Shameem, Dikshit, Ghori, E.Bilimorea, Bhagwan Das, Kesari etc etc.

With a plethora of Comedians in the film, one could easily make out the film’s genre. For the Heroine, Husn Bano, this was something new, because till then, she had been working only in Stunt/action films of Wadia Movietone like, Kala Gulab, Hind Kesari, Desh Deepak, Noor E Yaman etc etc. Husn Bano was the love child of actress Shareefa. Husn Banu was born in Singapore on 8-2-1919. She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daaku Mansoor-34”. After this film, Shareefa brought her to Bombay and she started getting roles in Wadia films.

When she was selected for Dhandora as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie. All her experience was for stunt films only.

Husn Bano acted in 53 films and sanf 44 songs in 16 films. She had married Wadia’s director Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house “Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy Irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the Police.

The story of film Dhandora-41 was by Charlie himself. He was the Hero and also the Director. Dialogues and most lyrics were by D N Madhok. The story of the film was…..

Two young persons, Pyare (Charlie) and Mansukh(Dikshit) are working as Extras in films. They are actually nobodies, but crave for publicity in some way or the other. Pyare and Mansukh give it a long thought and come up with a crazy idea. It is planned that Mansukh should ‘murder’ Pyare. Then Mansukh will be caught and their names will be flashed on front pages of Newspapers and on Radio news. Thus they will become famous. The murder, of course , has to be only a fake one. Then Pyare would go out of Bombay and appear directly in court, when Mansukh would be convicted.

Everything takes place as planned. Mansukh is arrested. Pyare leaves secretly for Calcutta. In the train Pyare meets Banwari (Bhagwan Das)-a Theatre Manager and his beautiful daughter Kumud (Husn Bano). They continue meeting in Calcutta also and as expected, fall in love. In all this jhamela, Pyare forgets about Mansukh.

One day Pyare comes across a stupid fellow-Uttam ( Charlie’s double role), who looks exactly like him (naturally!). Uttam is the son of Calcutta’s rich person Sir Niranjan (E.Billimoria). For a better period of the film,after Interval, there are many scenes depicting the inevitable and sometimes intentional confusions due to the look-alikes.

In Bombay, Mansukh is dragged to the court and his case starts. There is no Pyare anywhere,as planned. Pyare loses all hope. He is convicted and sentences to death by hanging. Fortunately, when Mansukh is dragged to the Hangman’s rope, Pyare appears and clarifies that he is alive and there was no murder at all. Mansukh is released Baa-ijjat.
The Happy End !

For a long time, the songs of this film were not available anywhere. Luckily Mr. Shalin Bhatt uploaded 4 songs on You Tube, this month only-on 9th March 2018, to be precise. He is one of the few collectors, who upload full and complete songs. May his tribe grow ! There were 9 songs in the film, written by Madhok and Buta Ram Sharma. The music was by Gyan Dutt.

GYAN DUTT (Born 1915/1920 – Died on 3 December 1974) was an early Indian Film Composer and Music Director. He was Music Director for films such as Thokar (1939), Achhut (1940), Bhakta Surdas (1942), Sunehre Din (1949) and Ghayal (1951). Many of his songs were sung by K. L. Saigal. In 1948 he composed seven songs for a young Geeta Roy in the films Chanda Ki Chandani and Hua Savera, although their most notable collaboration was Dilruba (1950) in which Geeta Roy had 10 songs, seven of which were solos for Geeta Roy.

There were a few composers who were neither here nor there. Gyan Dutt was one of them. True, in his time there was no Parallel cinema, but Critics were very much there. Though he operated from 1937 to 1965-almost 30 years, he never became famous as some of his contemporaries like, Anil Biswas, C.Ramchandra, Naushad etc. He was a Bengali born in Bangalore. There are conflicting reports not only about his Birth year (1915 or 1920),but also about Birth place. Some sources say he was born in East Bengal.

As was the practice those days, Gyan Dutt ( real name Jnanan Dutt) was employed by Ranjit studios ( “we have more stars in our studio that there are in the sky”), along with other composers. He composed music for 25 films in Ranjit from 1937 to 1940. Khemchand Prakash, who replaced him in Ranjit did 20 films from 1940 to 1945 and then it was Bulo C Rani who did about 25 films after 1945 onwards. For most films of Gyan Dutt in Ranjit the film directors were Gujaratis like, Jayant Desai, Chaturbhuj Doshi, Chandulal Shah, Manibhai Vyas etc. He was called Pandit Gyan Dutt.

In those days, hero and Heroines used to sing their own songs. Thus his songs were sung by Waheedan bai, Khatoon, Kalyani,Sunita Devi, Ila Devi, Madhuri, Sitara, Indubala, Vasanti, Savita Devi, Miss Rose, Meera, Gauhar, Snehprabha Pradhan etc.Among males it was Ishwarlal, Kantilal, Ghori, Bilimoria, Charlie etc.

Gyan Dutt gave music to 58 films, but songs from only Saigal’s Bhakta Surdas-42 and Raj kapoor’s Sunehre Din 49 are well known. Actually songs of Aapki Marzi-39 and Sant Tulsidas-39 were also popular in those days. Khursheed sang many songs for him. He also sang a few songs himself. His last film was janam janam ke Saathi-1965.

Gyan Datt remained employed with Ranjit Movietone and gave music is many films including Toofani Toli(1937), Bazigar (1938), Gorakh Maya (1938), Nadi kinare (39), Musafir (1940). In Toofani Toli he made Wahidan bai (Mother of Nimmi) sing “Kyon Naianan mein neer bahaye”. Many singers like Kantilal, Kalyani, Rajkumari, Khursheed and Manna Dey sang his songs. His last film was Janam janam ke saathi (1965) in which duet was sung by Mukesh & Suman Kalyanpur, Hemant Kumar &Indrani Roy.The most notable among his compositions being Sunehre Din (1949) and the song – Maine Dekhi Jag Ki Reet Meet Sab Jhoote Pad Gaye sung by Mukesh and Shamshad Begum.

His death came on 3-12-1974 in Bombay. Unfortunately except for a small time less known composer Sapan Chakravarty,no one from the film industry attended his funeral and a good composer died unsung, unknown and all alone.

Here is a song which is a precursor to many subsequent songs of Hindi films. It starts counting straight up to Twelve… a typical comedy song. Enjoy…..


Song-Ek Do Teen Chaar paanch chhe saat aathh (Dhandhora)(1941) Singer-Noor Md Charlie, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne
mujhe maara
teri nazar ne
mujhe maara
teri nazar ne
mujhe maara
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne mujhe maara
teri nazar ne mujhe maara
teri nazar ne mujhe maara

ek ek hain do
ek ek hain do
murge ?? dil mat ro
do do hain chaar
do do hain chaar
mujhe tera intezaar
do do hain chaar
mujhe tera intezaar
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
teri nazar ne mujhe maara
teri nazar ne mujhe maara
teri nazar ne mujhe maara

chaar aur do chhe
chaar aur do chhe
jee bhar ke deedaar le
chaar aur do chhe
jee bhar ke deedaar le
jee bhar ke deedaar le
Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah

dus aur dus bees
aur dus tees
aur dus pachaas
ae dus chaalees
aur dus pachaas
aur dus saath
aur dus sattarrr

chaudhvin ke chaand se mera yaar nahin kamtar
chaudhvin ke chaand se mera yaar nahin kamtar
andheriya hai raat
sajan aao mere ghar
andheriya hai raat
sajan aao mere ghar
andheriya hai raat
sajan aaibo ke jaibo
andheriya hai raat
sajan aiyo ke jaiyo
andheriya hai raat
sajan aibo ke jaibo

assi aur bees sau
chup kyon ho
kuchh kaho
assi aur bees sau
chup kyon ho
kuchh kaho
chup kyon ho
kuchh kaho
chup kyon ho
kuchh kaho

Ek Do Teen Chaar
paanch chhe saath aathh
nau das gyaarah baarah
baarah gyarah das nau
aath saat chhe paanchh
chaar teen do ek
meri taraf zara dekh
meri taraf zara dekh
meri taraf zara dekh


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.

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“Dil Deke Dekho” (1959) was a Filmalaya Production movie. It was produced by S Mukherji and directed by Nasir Hussain. The movie had Shammi Kapoor, Asha Parekh, Sulochana Latkar, Raj Mehra, Siddhu, Malka, Rajendra Nath, Wasti, Randhir, Tahir Khan, Mumtaz Ali, Indira, Kewal Kapoor, B. K. Mukherjee, Surendra etc in it.
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Today India follows the decimal system as far as currency is concerned where 100 paise = 1 rupee. But that was not always the case. The decimal systen was adopted by India in 1957. Before that one rupee was equal to 64 paise, and one anna equalled 4 paise. Thus half a rupee was 8 anna and so on. To differentiate between the paisa of the decimal system from the paisa of earlier days, the decimal system paisa was called “Naya Paisa” (new paisa). After 1964, the prefix naya was dropped, but in day to day life, usage of the term “naya paisa” continued well into 1970s. In fact, the coins itself had the word “naya paisa” or “naye paise” written on them.
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Many of the songs of Hindi movies deal with rather “advanced” topics viz Husn, Ishq,Pyaar,bewafaayi etc. Youngsters and those young at heart often much prefer songs that deal with much simpler topics, viz topics dealt in their schools, such as alphabets, arithmetics etc. 🙂 There may be school kids who would disagree with me, but there is no denying the fact that songs that deal with A,B,C (or their Hindi/urdu equivalent) or “ek do teen” often become quite popular.
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I have posted as many as six songs from “Aawaaraa” (1951) in this blog, which are mostly sung by Lata and Mukesh. But this movie has other songs sung by other singers too.
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I have posted two songs from “Teen Batti Chaar Raastaa” (1953) in the past. Those songs were picturised on the leading lady viz Sandhya.
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I knew that Johny Walker has sung in the voice of Rafi. But I was not aware that he had sung a song in the voice of Kishore Kumar too. Now I know.
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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 ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15212

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4181

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Active for more than 4000 days.

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