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

Archive for the ‘Rafi solo’ Category


This article is written by nahm, 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 : 4178 Post No. : 15356

Mohammed Rafi : The incomparable (II) – Song No. 15
———————————————————————–
It is very much true even today that the title of ‘Sone ki chidiya” suits India very well. This guileless person, named Mohammad Rafi is one of the genuine golden feathers of this ‘Sone ki Chidiya”

“Sona” in material terms as we all know is Gold, as in precious metal. And in our country traditionally and religiously Gold is treated as Goddess Laxmi. Other cultures in the world treat it as a precious metal and metal alone. But we in india have been revering “Gold” as much more than a costly metal. It is equated with wealth and prosperity. If a percentage of the country’s household are super rich, a bigger percentage of households are comprising of the so called middle classes and all of these people have amassed gold reserves in the families. I have seen women, mostly housewives saving up to buy gold jewelry. My own mother used to save up to years, so that she could get some small gold jewellery pieces. My mother’s savings habit has saved many a rainy day, if we believe the stories she tells of this event or that event. Many times the relatives will be in trouble and some or the other need will arise in the household and her savings or even gold jewellery was the only thing to be cashed.

It boggles the imagination to ascertain the quantum of gold stashed away in small or minute holdings even, over crores of households. And most of it will hopefully be useful in their hours of need. If a small token of wealth is not useful in saving a life or a way of paying a child’s school fees, than it is not ‘laxmi’, not really.

Southern India and it’s cultural make up is famous for flaunting its obsession with gold. Temples and shrines all over the country are reportedly laden with gold and jewelry, naturally donated by the devotees.

Since ancient times, the regions of present day india were part of the larger region broadly known as ‘Hind’ or ‘Hindustan’. This region is sometimes described as ‘sone ki chidiya’ in legends and ‘daastaan’. By now even if it has broken into many pieces and fragments, with conflict and strife spread over the whole region, with malice towards one and all, inside these fragmented nation states and elsewhere, it is worth reminding ourselves of the history and cultural heritage of our ancestors. A sense of preservation needs to prevail in our collective deeds, if this flourishing civilized society, invaded for centuries on end, and yet surviving all trials and tribulations, because of its thinkers, philosophers, poets, musicians and sant mahatma’s, is to continue the journey into eternity. Languages, arts and cultural values and music has always been the backbone of this heritage.

Some months ago I had written one article in hindi titled “sone ki chidiya” for the office magazine. I am including that article here for the readers benefit and contemplation.

– सोने की चिड़िया –
मकानी हूँ के आज़ाद –ए-मकां हूँ
जहां में हूँ के ख़ुद सारा जहाँ हूँ
वो अपनी लामकानी में रहें मस्त
मुझे इतना बता दें मैं कहाँ हूँ
कुछ दिन पहले मैं अपनी बहन के साथ एक मॉल में गयी । वहाँ घूमते हुए और दुकानों की चकाचौंध देखते हुए अचानक मेरी बहन जो वर्षों से गल्फ में बसी है, कहने लगी की यह बात बहुत उपयुक्त है की यह देश पिछले दो से तीन सौ सालों में दोबारा से ‘सोने की चिड़िया’ बन गया।
प्राचीन काल में हमारा भारत देश सोने की चिड़िया के नाम से मशहूर था यह सब तो हम ने किताबों में बचपन से पढ़ा है। यही वजह थी की हजारों सालों से इस सर – ज़मीन पर विदेशी हुकमुरानों ने बार बार आक्रमण किए । कुछ लोगों ने लूट मार की तो कुछ लोगों ने यहां की तहजीब में रच बस कर इसे और निखारा और संवारा और इस धरती का ‘सोने की चिड़िया’ खिताब को सदियों से बने रहने में अपनी अपनी भूमिका निभाई।

यह भी सम्झना आवश्यक है की ये वो ज़माना था जब सब तरफ ‘ माइट इस राइट ‘ का चलन था , जो कोई भी अपनी भारी भरकम सेना ले कर किसी दूसरे के राज्य पे आक्रमण कर फतेह कर ले वो राज्य उस का हो गया । और इस तरह इस फतेह किए हुए राज्याओं पर राज्य बनाए रखने के लिए ‘फ़िज़िकल माइट’ का बहुत महत्व होता था ।

ऊपर मैंने आक्रमण करने वाले हुकमूरानों के संदर्भ में न चाहते हुए या यूं कहें की बड़ा हिचकिचाते हुए विदेशी शब्द का प्रयोग किया। उस काल में तो हर क्षेत्र के लोग अपने आस पास के इलाक़ो के बाहर हर जगह को विदेश ही समझते होंगे । जबकि यह देश और विदेश की कल्पना उन्नीसवी / बीसवीं सदी में ही जागृत हो कर पूरे विश्व में फैल गयी और एक प्रकार का विभाजन हुआ और अलग अलग ‘nation states’ का चलन चला, चल क्या निकला , पूरा विश्व छोटे छोटे टुकड़ों में बट गया। कहीं मज़हब, कहीं भाषा, कहीं संस्कृति तो कहीं कुछ और, हर एक मुल्क अपनी अपनी सीमाओं में बंद हो गया । यह कैसा सोचों का, विचारों को, नदियों का, हवाओं का, पहाड़ों का, खेतों का, शहराहों का, शहर-क़स्बों का, तंग घाटियों का, द्वीपों का, क़िस्से कहानियों का, गीतों और रागों का, और जाने क्या क्या कुछ….. बटवारा हो गया । साथ ही बंटवारा हुआ प्राकृतिक संसाधनों का और कुदरत की दी हुई बेशुमार नयमतों का । बट गईं मानवता की धार्णएं और 21वी सदी में तो ऐसा लगता है की यह धरनाएं सिर्फ किताबों में सीमित हैं। पिछले युग के राजे महाराजे अपनी ताक़त के बल बूते राज्य करते और आज भी नेशन स्टेट्स अपना ‘पॉलिटिकल माइट ‘ इस्तेमाल कर न सिर्फ स्टेट पर बल्कि दूसरे स्टेट्स की प्रकृतिक संसाधनों पर भी अपना नियंत्रण बनाते हैं और उसे बनाए रखने के लिए हर एक मानव्य/अमानव्य हत्यारों का इस्तेमाल करने से बिलकुल संकोच नहीं करते। और इसी से ज़मीर के साथ conflict वाली स्टीथि भी है की जो कोई कार्य या विचार धारणा मेरे लिए सही है तो वही सोच और धारणा दूसरे के लिए गलत है । मुझे नहीं लगता की इस सृष्टि की रचना का उद्देश्य यह होगा की मानविक समाज इस तरह देशों, प्रान्तों ,भाषाओं और इन सब के प्रेम की आड़ में अपने अपने अहंकारों की, आत्महित के दायरे में, और चक्रव्युह में फंस कर, एक दूसरे से सदैव संघर्ष और तुछ लड़ाईयाँ लड़ता रहे। क्यूंकी आज भी जब हम आपस के संघर्ष को , अपने नजरियों का दायरा बड़ा कर के देखें तो यह सब तुछ ही हैं।
आज मानवता पूरी तरह से बटी हुई है । यह वो मनुष्य जाति है जो इस ब्रह्माण्ड में ईश्वर की सर्वश्रेष्ठ रचना है । सारी की सारी रचनाओं में सर्वश्रेष्ठ होना क्या होता है ये शायद हम मनुष्यों को रास न आया।

ऐसी अंतर्राश्त्र्य अनुशासन तथा सामाजिक तंत्र के चलते किसी एक व्यक्ति, कोन्सोर्टिउम, कॉर्पोरेट, या व्यवस्था या कोई नेशन-स्टेट को सोने की चिड़िया बने रहने में जो मनव्य मूल्यों के त्याग की आवश्यकता थी वो तो हमारी अर्थव्यवस्था कर ही चुकी है और इस की मानवता ने भारी क़ीमत भी चुकाई है और चुका रहें हैं हम सब ही व्यक्तिगत सतह पर। सिर्फ यह है की इस क्षति का और उस के परिणामों का आभास कुछ ही लोग कर पा रहे हैं।

एक और अनुभव जो पिछले कुछ महीनों में मुझे छू गया , उस का विवरण यहाँ करना उपयुक्त है।

मैं मुंबईकर हूँ और यही पली बढ़ी होने के कारण मुझे यहाँ के विद्यालयों के प्रति लगाव है। मेरे माता पिता के बाकी परिवार के सभी लोग बेलगाम (कर्नाटक) में रचे बसे हैं और हर तरफ फैल गए हैं। मेरे छोटे मामा के बेटे ने कुछ वर्ष पूर्व बेलगाम से पढ़ाई पूरी की थी, और नेत्र विशेषज्ञ के रूप में केरल में प्रशिक्षण कर रहा है। मैं ने उसे फोन किया यह पुछने की मैं मेरे बेटे के लिए मुंबई के अलावा कौन से कॉलेज में प्रवेश को प्राथमिकता दूँ। सारी औपचारिकताएँ समाप्त होते ही मैं ने मुद्दे की बात छेड़ दी । मेरी सारी बात सुनते ही पहली बात जो मेरे ममेरे भाई ने कही वो यह थी की आप अपने बेटे को बेलगाम में क्यूँ नहीं दाखिला दिलाते? मैं इस प्रश्न को सुन परेशान हो उठी, की यह सवाल मेरे दिल-ओ-दिमाग में दूर दूर तक नहीं आया। मैं ने अपने लहजे के पूरे आश्चर्य को बिलकुल भी न छिपाते हुए कहा की मुंबई और महाराष्ट्र में इतने अच्छे और नामचीन कॉलेज के होते हुए भी मैं मेरे बेटे के लिए बेलगाम का कॉलेज क्यूँ चुनुंगी । पर वो तो बिलकुल भी प्रभावित न हुआ मेरी बात से और अपने बिन्दु पर टिका रहा और कहा “क्यूँ बेलगाम की जीएमसी तो कर्नाटक के चोटी के 3 कॉलेज में है अच्छे कॉलेज की शिक्षा से काफ़ी फर्क पड़ता है “ । मैं ने कहा की ऐसा होगा लेकिन जब मैं मुंबई निवासी हूँ और यहाँ के 5 में से 4 कॉलेज पूरे देश की किसी भी सूची में चोटी के पंद्रह या बीस के अंदर ही आती हैं तो बेलगाम के कॉलेज के बारे मुझे विचार की भी आवश्यकता नहीं लगती।

इतनी बातचित के बाद भी मेरा ममेरा भाई मेरे दृष्टिकोण को नहीं समझ पा रहा था, तो अंत में मैं ने उस से कह दिया के वो अपने मित्र मण्डल में जो की महाराष्ट्र में पढे हैं उन से सलाह कर के मुझे यहां के कॉलेज की आपस में श्रेणी की सही सही जानकारी दे दे ताकि मेरे बेटे को उस के श्रेणी के अनुकूल मुंबई या मुंबई के बाहर के कॉलेज में प्रवेश मिल सके।

इस वार्तालाप के बाद मैं सोच में पड़ गयी कि वो एक चिकित्सीय व्यवसायिक होने के बावजूद क्यूँ नहीं समझ पा रहा या मान रहा की मैं मुंबई में हूँ जो की हमारे देश की दूसरी बडी जगह है चिकित्सीय शिक्षा के लिए, दिल्ली के बाद । फिर जब सोच की इंतेहा पर समझ आया की वो तो उस का दृष्टिकोण था । ऐसा बिल्कुल नहीं था की वह मेरी बात समझने की क्षमता नहीं रखता । लेकिन यह दोष उसके दृष्टिकोण का था जो उस को उसकी सोच के दायरे से बाहर देखने ही नहीं देता। क्यूंकी वो खुद बेलगाम से हैं और पढ़ाई पूरी वही की और अब भी वहीं जा के बसने की कामना करता है, और उसे अपने शहर और कॉलेज के प्रति बहुत गर्व भी है । यह सब जब मेरे दिमाग में और यादों के पर्दों से बाहर आया, तो प्रतीत हुआ की उस का नज़रिया उस को रोक रहा था मेरे नजरिये को देखने से । उस की सोच की सीमा वहीं तक सीमित है और वो उस से आगे देख नहीं पा रहा।

यही काम तो है सीमाओं का जो की मानवता को बांधने में, इस की मानसिक रूप से मर्यादित करने में सफल हो गयी हैं। सोच की सीमाएं, चाह की सीमाएं, अनजानी चीजों को देखने परखने में संकोच और ऐसी सीमित करने वाली मानसिक पीड़ाओं से हमारा समाज और सामाजिक-तंत्र बंधा हुआ है। हर कोई अपनी सोच और अपने दृष्टिकोण के आगे, बाहर या आस पास और उस से दूर पनपने वाली बेहतर और उच्च चीजों या बातों को अपनी पहुँच से बाहर पता है। ऐसा क्यूँ है ?

और देखिये क्या कहते हैं अललमा इकबाल :

सितारों से आगे जहां और भी हैं ।
अभी इश्क़ के इम्तेहान और भी हैं ।
तिही ज़िंदगी से नहीं ये फ़ज़ाएं
येहां सैकड़ों कारवाँ और भी हैं ।
कनाअत न कर आलम-ए-रंग-ओ-बु पर
चमन और भी हैं आशियाँ और भी हैं।
अगर खो गया एक नशेमन तो क्या ग़म
मुक़ामात-ए-आह-व-फुगाँ और भी हैं।
तू शाहीन है परवाज़ है तेरा काम
तेरे सामने आसमां और भी हैं ।
इसी रोज़-व-शब में उलझ कर न रेह जा
के तेरे ज़मान-व-मकां और भी हैं ।
गए दिन के तन्हा था मैं अंजुमन में
येहां अब मेरे राज़दान और भी हैं ।
***************

Also remembering this song :

jahaan daal par sone ki chidiya karti hai baseraa
woh bhaarat desh hai meraa

The Rafi song featured here is from the film ‘Johar in Kashmir’. The word ‘Johar’ means, a jewel or a gem and pearl. ‘jawahrat’ – is a word for collection of precious jewels, diamonds, pearls etc. ‘Johar’ also means talent or stupendous ability etc.

This song is written by Indeevar and composed by Kalyanji Anandji. The tune is reminding me of Jis ka koi nahin uska to Khuda hai yaaron from Laawaris.

Rafi sahab has rendered this song with his customary gusto. ‘Gusto’ is a word that Atulji used a lot in respect of Rafi songs years ago.

The message in the song is quite apparent. The I S Johar is the dervaish, giving sermons to all and sundry that the day of judgement is not far and none of the oppressors (those committing excesses on fellow beings) will be forgiven and allowed to go scot free.

Essentially what the dervaish is doing is trying to warn the oppressors to be afraid of God almighty and his wrath, ask for his forgiveness while there is still time. It is like trying to help the oppressors, by convincing them to stop the bad deeds and obtain forgiveness from the God Almighty.

Like this hadith:

Allah’s messenger (pbuh) said, ‘Help your brother, whether he is an oppressor or he is an oppressed one.”
People asked “O Allah’s Messenger! It is all right to help him if he is oppressed, but how should we help him if he is an oppressor?”
The Prophet said, “By preventing him from oppressing others.”

Video :

Song-Aanewaala hai din qayamat kaa… koi zaalim na bakhsha jaayegaa (Johar in Kashmir)(1966) Singer-Rafi, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

Begunaahon ka lahu hai
ye rang laayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koi zaalim na bakhsha jaayegaa
koi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

hamaare bhai huye ham na huye
karbala ke sitam to kam na huye
zulm duniya mein ab bhi zinda hai
aadmeeyat hai ke sharminda hai
aadmeeyat hai ke sharminda hai
maa shaheedon ki ab bhi roti hai
zulm ki hadd bhi koyi hoti hai
haqq paraston ko bhi na-haqq maara
haay dil gham se hai paara paara
haay dil gham se hai paara paara
yazid ki ho hukumat ya kisi zaalim ki
har ek zulm ka insaaf kiya jaayegaa
har ek zulm ka insaaf kiya jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

zarre zarre mein guzar rakkhta hai
sab ki harkat pe nazar rakkhta hai
nek aur bad chhupaa nahi uss se
khudaa to sab ki khabar rakkhtaa hai
khudaa to sab ki khabar rakkhtaa hai
meher pe aaye to gaffar bhi hai
qehar pe utre to jabbar bhi hai
yun to har deen se upar hai khudaa
qadmeeyat ka tarafdaar bhi hai
aadmeeyat ka tarafdaar bhi hai
sholey nafrat ki dilon mein
na tu bhadkaa zaalim
apni hi aag mein tu
aap hi jal jaayegaa
apni hi aag mein tu
aap hi jal jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

nahin kaafi hai musalmaan honaa
bas nahin hafiz-e-quraan honaa
Allah ta’alaa ka pyaar paane ko
laazmi hai teraa insaan hona
laazmi hai teraa insaan hona
amal to saathh tere ho le gaa
khoon to sar pe chadh ke bole gaa
khudaa mazhab hi na dekhegaa teraa
teri insaaiyat bhi toley gaa
teri insaaiyat bhi toley gaa
pyaar par rakkhi hai buniyaad har ek mazhab ki
koyi talwaar pe rakkhegaa to kya paayegaa
koyi talwaar pe rakkhegaa to kya paayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

tu ne pyaason se Pyaale chheene
tu ne honton se niwaale chheene
tu ne sham’ean jalaayin qabron par
aur makaanon se ujaale chheene
aur makaanon se ujaale chheene
dilon mein farq iss qadar daale
tu ne dariyaa bhi khoon se bhar daale
ek dharti banaayi Allah ne
tu ne tukde hazaar kar daale
tu ne tukde hazaar kar daale
tunaah kartaa hai tu kis ke liye soch to le
thaali haathon hi tu tanhaa yehaan se jaayegaa
khaali haathon hi tu tanhaa yehaan se jaayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

ye padosi se ladaayi kaisi
sabhi bhaai hain judaayi kaisi
ye tabaahi ki saari baaten hain
iss mein insaan ki bhalaayi kaisi
iss mein insaan ki bhalaayi kaisi
nek neeyat ko tu armaan kar le
aadmeeyat ko tu imaan kar le
yahi islaam ki naseehat hai
apne dil ko bhi musalmaan kar le
apne dil ko bhi musalmaan kar le
hadd se aage na tu badh waqt hai kar le taubaa
roz samjhaane ko darvesh nahin aayegaa
roz samjhaane ko darvesh nahin aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa


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 : 4178 Post No. : 15354

Yesterday (25 december 2019) was the birth centenary of Naushad (25 december 1919- 5 May 2006). The special occasion called for a post but my internet connection let me down and that day ended up becoming a dot day- the third such day in the year.

According to my calculations Naushad had composed music for 601 songs in 64 Hindi movies.

61 out of these 64 movies are represented in the blog. The first four movies where Naushad was the music director are “Prem Nagar”(1940), “Darshan”(1941), “Maala”(1941) and “Nayi Duniya” (1942). All available songs of these movies are covered in the blog but still some songs (unavailale as of now) are not posted so these movies are unYIPPEED. After that, each and every Naushad movie beginning from “Sharda”(1942) till “Ganwaar”(1970) are already YIPPEED in the blog ! Moreover, two more movies viz “Aaina”(1974) and “Dharam Kaanta”(1982) are also YIPPEED.

The only Naushad movies (apart from the four movies of 1940s), whose songs are not fully covered in the blog are “Paakeeza”(1971), “Taangewaala”(1972), “My Friend”(1974), “Sunahra Sansaar”(1975), “Chambal Ki Raani”(1979), “Love and God”(1986), “Aawaaz De kahaan Hai”(1990), “Teri Paayal Mere Geet”(1993), “Guddu”(1995) and “Taj Mahal”(2005).

Overall 535 out of 601 Naushad compositions are already showcased in the blog.

On this occasion, here is a song from “Taangewaala”(1972). This song is sung by Rafi. Majrooh Sultanpuri is the lyricist. Music is composed by Naushad.

The song is picturised as a Tanga song, with Rajendra Kumar playing the Taangewaala and driving the taanga holding a small child his arms. It is very risky, according to present day safety standards. Rajendra Kumar would get fined heavily and his tonga driver licence cancelled by traffic police if he was to operate in present day India. 🙂

This song is an appropriate song for the occasion because Rafi too had his birth anniversary on 24 december, one day prior to Naushad’s birth anniversary.


Song-Thhap thhup thhip ki taal pe mera ghoda chaal dikhaaye(Taangewaala)(1972) Singer-Rafi, Lyrics-Majrooh Sultanpuri, MD-Naushad

Lyrics

Thhap thhup thhip ki taal pe mera ghoda chaal dikhaaye
lipat lipat ke taange ke sang raah guzarti jaaye
Thhap thhup thhip ki taal pe mera ghoda chaal dikhaaye
lipat lipat ke taange ke sang raah guzarti jaaye
daada daan
daadaa daan
daada daan
daadaa daan

chhail chhabeela ghhoda hai
chaal chale hai saajan ki
chhail chhabeela ghhoda hai
chaal chale hai saajan ki
peechhe peechhe taanga hai
doli jaise dulhan ki
peechhe peechhe taanga hai
doli jaise dulhan ki
zaalim yoon lehraaye ke jaise
koi sharaabi jaaye ae ae
Thhap thhup thhip ki taal pe mera ghoda chaal dikhaaye
lipat lipat ke taange ke sang raah guzarti jaaye
kaaka jee
o maamaa jee
ho zara bach ke
ho zara hatt ke

mandir koi jaata hai
masjid se koi aata hai
mandir koi jaata hai
masjid se koi aata hai
ye dilwaala sabko hi
manzil tak pahunchaata hai
ho ye dilwaala sabko hi
manzil tak pahunchaata hai
taanga mera pyaar bhara dil
jo chaahe aa jaaye
Thhap thhup thhip ki taal pe mera ghoda chaal dikhaaye
lipat lipat ke taange ke sang raah guzarti jaaye
hurr
ho ho


This article is written by nahm, 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 : 4176 Post No. : 15352

Mohammed Rafi : The Incomparable (II) – Song No. 14
———————————————————

Remembering Mohammed Rafi Sahab on his 95th birth anniversary :

Someone once told me that to become cynical you first had to be an idealist and it was the loss of those ideals that created the disillusionment. But than what is an idealist if not an individual with independent thinking and with the added ability to incorporate diverse ideas. And cynicism is bound to be an integral part of any ideological theory if it seeks to negate the perceived or real concepts of injustice against humanity. Critical analysis of any ideological concepts will possibly make the ideologist a cynic if the said ideology is not perfect enough or as perfect as the ideologist wanted it to be. Cynical person is often very critical of things and situations and their repercussions. While as an idealist, will find a lot to express about the idea rather than focusing on criticism of anything else. That makes cynicism the anti-thesis of idealism. On the other hand, idealism if it seeks to unilaterally implement a social order in a given society is regressive to its intellectual and overall progress as a civilization, since it seeks no introspection and encourages narrow thoughts. Whereas a cynic will look at all things surrounding it and might even be able to look beyond it.

It looks like I want to have my cake and eat it too. Isn’t it ?

Of course, in the complex scheme of nature, nothing is as simple as the above monologue. Things are almost always multi-layered and multi-hued. There is also the matter of view-points, one can put in a blob of prejudices and rigidity. But overall there is also a certain accounting for taste.

I am remembering a word of Urdu which is “zarf”. This word is almost always pre-fixed with “aa’laa” and it becomes “Aa’la Zarf”. Urdu is the language of ‘adab’ i.e. respectfulness and ‘adaab’ i.e. principles. Any student or seeker of these two qualities will end up with the ‘zarf’, which is better taste, with or without the prefix.

It can be as domestic as the idealism of my brother against the cynicism/pragmatism/practicality of my own.

And what does one call people who do not expect anything from anyone? Not loyalty, not goodness of heart, nothing. And these are often the neediest, in terms of attention and togetherness.

This was certainly Rafi sahab. This type of personalities which who have refused to claim any material benefits, were without ambitions or nor made demands on anyone. It must have been so easy to convince him that he has sung so many songs that he can approach the “Guinness book of world record” for singing highest number of songs.

The other day I saw a video on youtube, where the presenter is trying to analyse, what made Mohammed Rafi such an exceptional person. He says this about Rafi Sahab : “ Unhen pata hi nahi thha ke duniya mein sharafat ke ilaawa bhi koyi cheez hai ”. “Sharafat” is too simple a word in my understanding which just is a way of life that includes simplicity, honesty and integrity. But when I googled it, I found nobility, civility, good manners. So my own definition is more integral and personal than google’s definition. To be “Shareef” on personal level is one thing, but to believe that there is no other thing in the world apart from “Sharafat” is another thing altogether. We see quotable quote which say similar things like to think and believe the best about others also. These type of exhortations are common is all social, religious set ups across the board.

To be on that plane where you see the best in others and believe the best about others, discarding all negative notions about anything and anybody, what a blissful state that must be. Rafi Sahab had this inherent quality without trying to achieve it. Truly blessed by the Almighty. Where is the ‘Zarf” in all this ? ‘zarf’ cannot be left behind, because it is also high ideals and values. By all accounts Rafi Sahab never let go of his ‘zarf’, without ever realising those high ideals/values were chronicled widely in literature and philosophies. I hope that he was always giving thanks to the Almighty for these known and unknown blessings. It is a fact that we the ignorant humans are unable to know in what all ways the Almighty has blessed us all.

I am presenting a solo song by Rafi song from the film ‘Mera Geet’ (1946). The composer is Shankar Rao Vyas and Ramesh Gupta is the lyricist. My favourite period for Rafi Sahabs songs in actually 1950’s. It is picturised on Susheel Kumar as per the excel sheet. I am aware that huge no of Rafi songs from 50’s are yet to be posted in the blog. There are a few songs from 40’s also are available for posting. For the last few months I was trying to do the series of ‘Dheere dheere” songs and some other newer songs of post-Rafi era.

Hopefully, the new year we will see more songs by Rafi Sahab in the blog,

The audio link available is reasonably clean and clear, unlike most songs of this period.


Song-Aapas ke jhagdon ne dekho Bharat ko barbaad kiya(Mera Geet)(1946) Singer-Rafi, Lyrics-Ramesh Gupta, MD-Shankar Rao Vyas

Lyrics

aapas ke jhagdon ne dekho
bharat ko barbaad kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya
aapas mein ham rahen jhagadte
gairon ne aa raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere iss bharaat mein bhi jee
doodh ki nadiyan behti thhi
thhi doodh ki nadiyaan behti thheen
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
thha kuber ka bhandaar yahaan
heeron ki hoti kheti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
aaj ussi gulshan ko dekho
kusum(?) ? ? ka raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere gulshan ki daaliyaan
hari bhari lehraati thhin
haan hari bhari lehraati thhin
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
thhaa saraswati ka vaas yahaan
daulat insaan ki daasi thi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
sur mein thhe sab saaz mere
ye kis ne besur aaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

naye taraane sunte sunte
bhool gaye ham apnaa taal
gairon ke sang chalte chalte
bhool gaye ham apni chaal
aish mauj fashion mein phans kar
aaj huaa bhaarat kangaal
aaj huaa bhaarat kangaal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti eee
roti eee
roti eeee


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 : 4166 Post No. : 15340

“Jyot Jale”(1968) was directed by Satyen Bose for Supra Pictures, Bombay. The movie had Mahaveer, Nirupa Roy, Abhi Bhattacharya, Tarun Bose, Pardesi, Kundan, Asit Sen, Krishan Dhawan, Shahu Modak, Shanu, Seeta, Anoop, Bhandari, Rajendra, Azeez, Anwar, Farooq Merchant, Mehmood, Farooq Kadawala, Arun Kumar, Prakash Mishra, Bhola, Jerry, Updesh, Vallabh, Manik Dutt, V Gopal, Anil Kumar, Madhup Sharma, Lalit Kapoor, Champaklala, Shekhar Purohit, Vinod Sharma, Ravikant, Bazid Khan, Kesari, Moolchand, Ujagar Singh, Darshan, Bihari, Vasundhara Devi etc in it.

The movie had seven songs in it. One song has been covered in the past.

Here is the second song from “Jyot Jale”(1968) to appear in the blog.

This song is sung by Rafi and chorus. Govind Moonis is the lyricist. Music is composed by Basant Prakash.

The song is picturised on several actors who are unfamiliar. I request our knowledgeable readers to help identify them.


Song-Koi bhala kahe chaahe koi bura maane(Jyot Jale)(1968) Singer-Rafi, Lyrics-Govind Moonis, MD-Basant Prakash
Chorus

Lyrics

hey
koi bhala kahe chaahe koi bura maane
man jo kahe wo hi karen hum to wo deewaane
hum to wo deewaane
hey
koi bhala kahe chaahe koi bura maane
man jo kahe wo hi karen
hum to wo deewaane
hum to wo deewaane

hum chalen to aise jharna koi jaise
parwaton ko tod phod chal paden
chal paden
bhaad mein bahaaren ret mein mila den
raah mein agar kahin koi ade
koi ade
roke nahin ruken kabhi koi baadha ni jaane
man jo kahe wo hi karen hum to wo deewaane
hum to wo deewaane
hey hey
koi bhala kahe chaahe koi bura maane
man jo kahe vo hi karen
hum to wo deewaane
hum to wo deewaane

laakh tum pukaaro haath paanv maaro
jaal se nikal ke kaun phir phanse
hahahaha
baat hai puraani sab ki jaani maani
chook jo gaya usi pe jag hanse
jag hanse
jaao ji bichhaao jaake kahin aur daane
man jo kahe wo hi karen hum to wo deewaane
hum to wo deewane
koi bhala kahe chaahe
hey hey
koi bura maane
man jo kahe wo hi karen
hum to wo deewaane
hum to wo deewaane

hum to hain wo baadal jo sada hi chanchal
poochhte magar nahin disha kabhi
disha kabhi
gher gher aate surya ko chhipaate
ya sajaate chaandni nisha kabhi
nisha kabhi
indr dhanush rache kabhi kalah lage dhaane
man jo kahe wo hi karen hum to wo deewaane
hum to wo deewaane

aha
koi bhala kahe chaahe koi bura maane
man jo kahe wo hi karen
hum to wo deewaane
hum to wo deewaane
aaaa haa

ae he
aaha haha
aa haa
o ho ho
oho
o ho ho ho
aha
aaaa aaha
ae hey
aaaa aaha
aa ha
o oho
o ho
o o o ho
aha
aa aaha
ae he
aaha aaha


This article is written by nahm, 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 : 4163 Post No. : 15335

Today is 97th birthday of the thespian Dilip Kumar. Dilip Kumar, real name Yusuf Khan is the most revered and copied star of this film Industry. The second most inspiring and copied star would be Mohammed Rafi’s voice. Because truly the voice was the star in Rafi Sahab’s case.

Dilip Kumar has had a fruitful and successful career of more than 50 years. This has again been equalled only by Amitabh Bachchan in recent years.

Dilip Kumar is like a lone man standing from the pre-independence era. Again he has only Lata Mangeshkar for company. Also yesteryears actress Nimmi(Born 1933) is giving him company, but she is more than a decade younger than Dilip Kumar. Nimmi was a co-star in significant films in Dilip Kumar’s career, namely Amar, Aan and Deedar. I feel she was type cast in this as the third angle in a triangle.

Dilip Kumar is the true ‘Gulfaam’ of the hindi film world. There was a Urdu Magazine by that name back in the 80’s which I had thought was dedicated to Dilip Kumar, as almost every issue had Dilip Kumar on its cover. I found a very interesting article on “The lost world of Urdu film magazines” in the net, link is here.

Dilip Kumar has often been described as an institution, by many of the later day film stalwarts, especially by the actors.
I have found the genesis of acting style of all the major superstars of hindi film industry can be found in Dilip Kumar’s style of acting.
As per the excel sheet of “Mohammed Rafi songs”, there are roughly 60 songs where Rafi Sahab gave playback for Dilip Kumar. This include one small ditty from Ganga Jamuna and the small snippet of a beautiful song from ‘Insaaniyat’ (1955). The list misses a song from “Kranti” (1981), “chana jor garam baabu” where Rafi Sahab sang just this line for Dilip Kumar :

Mera chana hai apni marzi ka
Ye dushman hai khudgarzi ka
Sar kafan baandh ke nikla hai
Deewana hai ye pagla hai
Mit jaane ko mit jaayega
Aazaad watan kar jaayegaa

I am presenting here the small snippet from the film ‘Insaaniyat”(1955) , which is composed by C. Ramchandra. Lyrics are by Rajendra Krishan and Dilip Kumar is singing this with obvious enjoyment while driving a bullock cart. I tried finding a whole song, which was not available. It may have been recorded as a full- fledged song, but I could not find it on youtube.
Some of my favourite songs by Rafi songs on Dilip Kumar are :

1. Dil mein chhupa ke pyaar ka toofaan le chale
2. maan mera ehsaan arre naadaan
3. Huye ham jinke liye barbaad
4. Meri kahaani bhoolne waale
5. Nain lad jainhe to manwa maa kasak
6. Ude jab jab zulfen teri
7. Ye desh hai veer jawaanon ka
8. Na tu zamaneen ke liye hai

So presenting a small but appealing ditty in Rafi Sahab voice to celebrate Dilip Kumar Sahab’s 97th birthday today.


Song-Gori kar le tu aaj singaar (Insaaniyat)(1955) Singer-Rafi, Lyrics-Rjinder Krishan, MD-C Ramchandra

Lyrics

Hoye ye ye
Ha haa aaa haa
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu
Ho Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Ho oo ooo
Ah haa aaa haa


This article is written by Peevesie’s mom, 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 : 4161 Post No. : 15330

Hullo Atuldom

“Tum Haseen Main Jawaan” produced and directed by Bhappie Soni, released in 1970. The movie had six songs of which three were written by Hasrat Jaipuri, two by Indivar and one by Rajinder Krishan with Shankar Jaikishan as music directors. The cast was headed by Hema Malini and Dharmendra with Helen, Anjali Kadam, Helen, Sulochana Latkar, Rajendranath, Dhumal, Anwar Hussain, Mohan Choti, Iftikhar and PRAN. The story screenplay etc was the handiwork of Sachin Bhowmick. I have seen this movie a long time ago on Television and this is the basic storyline-

Sunil (Dharam) is a merchant navy officer (if I remember right), and has had numerous affairs with a number of attractive young women. One day he meets with beautiful Anuradha (Hema), and falls in love with her. Anuradha too loves him, and she is introduced to his mom (Sulochana). Anuradha has another admirer in Ranjeet (Pran), who informs Sunil and his mom, that Anuradha is deceiving them, and is the mother of a baby boy. Sunil and his mother are shocked, and will have nothing to do with Anuradha. Then the child, in question, is kidnapped, and held for ransom. It is then Sunil comes to know the shocking truth behind the abduction, which will change his life forever.

The movie had other typical masalas in it – like Helen a dancer with a golden heart, a sobbing sister, a family missing their elder daughter etc.

The movie made its blog debut with this song. I heard that song after years today as I was writing this and felt the song reminded me of the song “mere paas aao nazar toh milao” from “Sunghursh” (I don’t mind if people say I am wrong). Atulji followed this up with song. I would like to make it clear here that Dharam is asking Hema’s help to look after the baby that he has found i.e. he wants her to be its Nanny. And let me also add, that it suits Hema’s purpose as she is looking for a safe haven for that child whom she is shielding from its uncle played by Pran.
The last song from this movie came with a post by Rajaji to wish Hema Malini on her 69th birthday.

The song with today’s post is something I love to watch for its cuteness. Hema Malini was supremely sweet, cute etc. in those days (none of which has lessened with age, mind you). On hearing it without the video one would expect Shammi Kapoor enacting it but we have a very handsome Dharam on-screen. And the “jhatakdaar” steps is the cutest part of the song IMHO.

And why are we having this song today ? To wish the He-man, Garam Dharam on his 84th birthday. Dharmendra who started his career in the early 60s is a huge Dilip Kumar fan. He has acted in close to 300 movies in all these years. He was nominated 4 for the best actor Filmfare award but won only the Life Time achievement award in 1997. He is a Padma Bhushan recipient and has been darling of the masses who have lapped up his pairing with Meena Kumari, Nutan, Sharmila Tagore, Asha Parekh and Mala Sinha etc, but nothing to match the pairing with Hema Malini. They did about 35 films together and were romantically paired in 31; of these 20 were hits and 15 flops.

Let us have a song of this super-hit jodi today and say (belatedly) “Happy Birthday Dharmendraji”

Audio

Video

Song-Chehra tera Allah Allah (Tum Haseen Main Jawaan)(1970) Singer-Rafi, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

chehra tera allah allah
baaten teri maasha allah
badi badi aankhonn waali
jaadoo kiya toone vallah
aa
idhar toh aa
o meri jaan gale laga
chehra tera allah all
ah baate teri maasha allah
badi badi aankhon waali
jaadoo kiya toone vallah
aa
idhar toh aa
o meri jaan gale laga

dono jahaan mein tujhsa nahin hai
meri rahegi mujhko yakeen hai
donon jahaan mein tujhsa nahin hai,
meri rahegi mujhko yakeen hai
aahhaa aaa aaa
chehra tera allah-allah
baaten teri maasha-allah
badi badi aankhon waali
jaadoo kiya toone vallah
aa
idhar toh aa
o meri jaan gale laga
aa
idhar toh aa
o meri jaan gale laga

tu hai hamaare pyaar ki duniya
aa ke basa de yaar ki duniya
tu hai hamaare pyaar ki duniya
aa ke basa de yaar ki duniya
aahhaa aaa aaa
chehra tera allah allah
baaten teri maasha allah
badi badi aankhon waali
jaadoo kiya toone vallah
aa
idhar toh aa
o meri jaan gale laga
aa
idhar toh aa
o meri jaan gale laga

tu toh khuda ke hosh bhula de
chain chura le neend uda de
tu toh khuda ke hosh bhula de
chain chura le neend uda de
aahhaa aaa aaa
chehra tera allah allah
baaten teri maasha allah
badi badi aankhon waali
jaadu kiya toone vallah
aa
idhar toh aa
o meri jaan gale laga
aa
idhar toh aa
o meri jaan gale laga
a aa
idhar toh aa
o meri jaan gale laga


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 : 4158 Post No. : 15327

“Street Singer”(1966) was directed by Chandrashekhar for Bhavdeep Films, Bombay. The movie had Chandrashekhar, Sarita, K N Singh, Manmohan Krishna, madan Puri, David, Sundar, ratna, Jeewan Kala, Keshav Rana, Agha, Tuntun, Polson, Bimal Chadha, Brijmohan, Ridku, Kundan, Sheikh, Amrit Patel etc in it.

This movie had seven songs in it. One song from the movie has been covered in the past.

Here is the second song from “Street Singer”(1966). This song is sung by Rafi. Hasrat Jaipuri is the lyricist. Music is composed by Suraj.

It is popularly thought that Suraj was Shankar of Shankar Jaikishan. But Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia tells us that Suraj was a pseudonym taken by Dattaram, Sebastian D’souza and Enoch Daniels. All these musicians, who were assistants of Shankar Jaikishan had only this movie to their credit under the name of Suraj.

Shankar had given music in a Marathi movie “Tee mee navhech” (1970) under the name of Suraj, and that is how this confusion about Shankar being the music director of “Street Singer” (1966) arose.

This song is picturised as a studio recording song on Chandrashekhar.


Song-Aa aaja aaja (Street Singer)(1966) Singer-Rafi, Lyrics-Hasrat Jaipuri, MD-Suraj

Lyrics

aa
aaja aaja
aa gale laga
aa
aaja aaja
aa gale laga
aise mein tu to kahaan chala
kahaan chala hai saathiyaa
aa
aaja aaja
aa gale laga
aise main tu to kahaan chala
kahaan chala hai sathiya

dil mein hai tu
teri chhavi
phir kyun nazar pyaasi rahi
phir kyun nazar pyaasi rahi
aa
aaja aaja
aa gale laga
aa
aaja aaja
aa gale laga
aise mein tu to kahaan chala
kahaan chala hai saathiya

aankhen teri
masti bhari
tarsa na tu
ham ko pila
tarsa na tu
hamko pila
aa
aaja aaja
aa gale laga
aa
aaja aaja
aa gale laga
aise mein tu to kahaan chala
kahaan chala hai saathiya


This article is written by Arunkumar Deshmukh, 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 :

4156 Post No. : 15324 Movie Count :

4221

Today’s song is from film Utho Jago-1947, a completely obscure film.

1947 was a very important year, not only for India, but also for the Indian Film Industry. Creation of Pakistan , on the basis of Religion, and Partition of India prompted an unprecedented exchange of people across the borders. Millions of people left their life earnings and ran to the other side of the border to save their lives. In this melee, millions died and millions lost their properties. More than any other industry, film line was affected more because it had the maximum mixture of Muslims with Hindus and films were made at Bombay as well as Lahore. These two centres now belonged to different countries and the film industries at both places were in turmoil.

However, in India, there was a second line of artistes ready to fill in the gaps created by the migration of Muslim artistes to Pakistan. Further, there were more centres of film making- other than Bombay- available in India, like Madras, Calcutta, Poona, Kolhapur, Bangalore etc. Therefore the damage to Indian film industry was redeemable faster, compared to Pakistan, which was left with only Lahore as a film centre. All they had now was what was left by Indians who left Pakistan, in addition to people who went from India to Pakistan- without a second line of artistes to take over after this generation was out.

The partition of India was expected for an year or so, ahead of actual happening, so film makers were in a hurry to complete their projects, before migration started. This led to making of films in quantity at the cost of quality. This resulted in the highest number of films being made in 1947- a total of 181 Hindi films. This was a record for a period of 54 years (1931 to 1985). This was broken only in 1985 when 187 Hindi films were made in one year.

Even in 1947, some good and musical films were made like Aap ki sewa mein, Bhook, Do Bhai, Doli, Dard, Elaan, Gaon, Jugnu, Kasam, Leela, Meera, Mehandi, Mirza Sahiban, Netaji Subhash, Pagdandi, Parwana, Saajan, Shadi se pehle, Shehnai, Sindoor etc etc. In this year maximum films made were obscure and made in haste.

Amongst all these films, film Utho jago came and went without notice. It neither had well known popular actors, nor a famous music director. The cast of the film included, Shehzadi, Ashiq Hussain, Jamshed ji, Baby Nalini, Aziz khan and others. The director was Pramod Chandra and the music was composed by Aziz Khan and Ibrahim. I do not know if this Ibrahim was the younger brother of Music director Ghulam Mohd. Ibrahim was an excellent harmonium player and he worked with Naushad for a very long time. Ibrahim had died even before Ghulam Mohd. died.

The hero Ashiq Hussain had started his career with film Talash-E-huq-1935, in which Nargis made her debut as a child artiste Baby Rani. He went on doing 25 films. Utho jago was his last film.After this film he married its heroine Shehzadi and both migrated to Pakistan. He had also sung 32 songs in 13 films in the beginning. Even in film Utho Jago-47, he had sung 2 solos and 1 duet with Amirbai Karnataki.

The other interesting name that appears in the cast is of Shehzadi. The original actress Shehzadi was the sister of Alam Ara-31 heroine Zubeida and Sultana. All 3 sisters retired from films in or around 1936.

This Shehzadi was different. She was born in Bombay and was well conversant with Hindi, Marathi, Urdu, Gujarati, Bangla and English. She joined Bombay Talkies and made her debut in film Jhoola-41. She was in the famous Dance-song ” Main to Dilli se dulhan laya re” along with Mumtaz Ali. She worked in films of Chitra productions,Saubhagya Pictures, Star Productions and Asiatic productions. She was Heroine of Gope in film ” Haso Haso aye duniya walon”-47.

Her acting in Saheli-42 and Yaad-42 was much appreciated. She did 26 films from 41 to 47 period. She started her own Ratnakar Productions in 1947 and made film ” Utho Jaago”-47, with actor Ashiq Hussain as a Hero. Soon after Partition, she married Ashiq Hussain and they migrated to Pakistan.

There is one new name in the cast – Jamshed ji. His full name was Jamshed ji Bairam ji, Khan Saheb. In some films, he was credited as Khan saheb also. He was born in Bombay in 1889 as a typical Parsee. He was one of the oldest and most experienced actors having worked with several directors and over 25 years of acting by that time.

He started with Silent films like Pyari Mamta, Madhuri, Sohni Mahiwal, pooran Bhagat, Gulshan E Arab, Hoor E Baghdad and Indira. His first talkie film was Daulat ka nasha-31 and Noorjahan-31. He acted in about 50 films. His last known film was Andaz-1949.

Jamshed ji, also gave music to 3 films- Naya Zamana-35, Zaate Shareef-36 and Jagat kesari-37.

Today’s song is sung by Mohd. Rafi. This is from his early years as a singer. Rafi came on the scene in 1944. for the first few years, he had to struggle but he came into films when it was going through a transition. Older generation actor singers had to stop singing because the public tastes were changing and newer composers opted for newer singers who were exclusive singers and not 2 in 1, like earlier actor singers.

These days I was reading a book “Rafinama” by noted film Historian and author Isak Mujawar. In this book he has brought out some very interesting facts about Rafi. The book is more a statistical data book than his biography. In today’s post I would bring out to you few of these interesting details. When Rafi started his singing in 1944, many of the erstwhile actor singers took the opportunity of stopping their singing – which was thrust on them – and Rafi actually replaced them. The book gives the details. Few cases are here…

Ashok Kumar’s singing spree stopped when Rafi sang for him in film Saajan-47.

Ishwarlal stopped singing when Rafi sang for him in film Sharbati Aankhen-45

Shahu Modak stopped after Chakradhari(1954).

W.M.Khan after Aalam Ara (1956).

Master Nissar ater Boot polish(1954).

G.M.Durrani after Lal Pathar(1971).

Karan Dewan after Duniya(1949).

N M Charlie after Zameen ke Tare(1960).

Balak Ram after Shri Ram Bharat Milan (1965).

Moti Sagar after Paak Daman (1957).

Man Mohan krishna after Basant bahar (1956).

Mohd. Rafi even sang for some composers who used to sing in films
S N Tripathi -Pawanputra Hanuman (1957).
Snehal Bhatkar-Bawre Nain-(1950) ( he was doing a Beggar’s role) and
Sudhir Sen- Saat Phere (1970)

Rafi was the only male playback singer who sang with 3 major singer actresses
Noorjehan-Jugnu (1947).
Khursheed- Aage Badho- (1947) and
Suraiya- many (13) films.

Rafi sang with some old time female singers, about whom the new generation may not know much. He sang with Nirmala Devi, Paro, Shamim, Uma Devi, Chandbala, Chand Burke, Gandhari(Rane), Laxmi Roy (sister of Geeta Roy), Kumudini Dikshit, Kaumudi Munshi, Laxmi shankar, Pramodini Desai, Vinodini Desai, Malti Pande (Popular Marathi singer), Pushpa Huns, Kamal Barot, Jagjit kaur, Minu Purushotham, Madhubala Zaveri, Usha Timothi, Krishna Kalle, Chandrani Mukherjee, Dilraj kaur, Sushama Shreshtha Kanchan, Sulakshana Pandit etc etc.

Mohd. Rafi sang maximum songs with Asha Bhosle-806 ….Maximum in O P Nayyar’s films-92 duets. In film Basant-60 he sang 11 duets with Asha Bhosle.
Rafi sang maximum songs with (First five)..Laxmikant Pyarelal…369 songs, Shankar Jaikishan…341, Chitragupta…247, Ravi…235 and O P Nayyar…197 songs.

There are many more aspects of Rafi’s singing….but more about it in some other post.

With this song film Utho jago (1947) makes its Debut on the Blog.


Song- Prem ki Naiyya dol rahi hai (Uthho Jaago)(1947) Singer- Mohd. Rafi, Lyricist- Not known, MD- Aziz Khan and Ibrahim

Lyrics

prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
bojh hriday ka taul rahi hai
bojh hriday ka taul rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai

prem mein aisi soorat bigdi
prem mein aisi soorat bigdi
sar par joote, paanv mein pagdi
sar par joote, paanv mein pagdi
izzat ke pat khol rahi hai
izzat ke pat khol rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai

Mem>aise dhanwaalon ke laal
ud gaye jinke sar ke baal
aise dhanwaalon ke laal
ud gaye jinke sar ke baal
haan haan ud gaye jinke sar ke baal
dekho, ud gaye jinke sar ke baal
sar ki taat bhi bol rahi hai
sar ki taat bhi bol rahi hai
prem ki naiyya
haaye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai

prem na aaya tumko raas
prem na aaya tumko raas
kahe ye tumse gappu daas
kahe ye tumse gappu daas
haan haan kahe ye tumse gappu daas
kya, neeat daanwaadol rahi hai
neeat daanwaadol rahi hai
prem ki naiyya
haye prem ki naiyya dol rahi hai
prem ki naiyya dol rahi hai
prem ki naiyya aa aa aa


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.

Blog Day : 4142 Post No. : 15305

———————————————–——————————-
Blog 10-Year Challenge (2009-19) – Song No. 51
——————————————————————————
Songs from following movies were covered in the blog ten years ago on 20th November’2009 (in descending order);

Song Movie title-Year Remarks
Meri saanson ko jo mahka rahi hai Badalte Rishtey-1978 03 of 05 songs posted
Tere naam ka deewaana tere ghar ko dhoondhta hai Suraj Aur Chandaa-1973 04 of 06 songs posted
Chale bajaa ke seeti jeewan ki raahon mein Zamaanaa-1957 03 of 07 songs posted
Sainyya dekh dekh dekh main hoon laakhon mein ek Police Detective-1960 03 of 06 songs posted

As we can see from above details none of the movies represented on the blog on 20.11.2009 have achieved Yippeeee’ed status so far.

I am today presenting a song from from the movie ‘Badalte Rishtey-1978’, which, as is my wont is from the seventies.

I have vague recollections of watching this movie with my parents and brothers. I must be around eleven years then. I must have liked the movie and its songs. That is why I never forgot its ‘title song’ and couple of ohter songs. When I started collecting cassettes for my music library in 1985-86, I was on the look out for the songs of this movie. Later on, I got them into my collection.

In cassette it came in combination with the songs of ‘Doosra Aadmi-1977’ when I bought it in 1997.

The songs I like most from ‘Badalte Rishtey’ includes the title song and the song ‘meri saanson ko jo …’
Another song that I liked a lot is the song being represented today.

I remember this song very well but I had forgotten that this song had Rishi Kapoor performing it on the screen. I was under the impression that it was Jeetendra. It was only when I watched the video of this song during the preparation of this post that I realized that the song was lip synced by Rishi Kapoor, while Jeetendra and Reena Roy are also present in the picturisation of this song.

I remember this movie being well appreciated and it was a good ‘entertainer’.

“Badaltey Rishtey-1978” was directed by R. Jhalani for ‘Vijayshree Pictures, Bombay’. Sudesh Kumar was the producer of this movie while it was presented by Gobindram Ahuja.

It had Jeetendra, Rishi Kapoor, Reena Roy, Asrani, A.K. Hangal, Pinchu Kapoor, Shubha Khote, Urmila Bhatt, Dina Pathak, Master Raju, Onkar, Madan Joshi, Pardesi, Raja Duggal, Makhan Singh, Chander Dhani, Mrs.Kaushal, Kheura, many others and the members of the ‘Himachal Skiing Club, Simla’.

The movie introduced Shashi Bala Saxena and Rachna Bhatt. Its dialogues were written by Madan Joshi. Editing of this movie was done by B. Prasad. Diljit Singh Bugge was the Chief Assistant Director of this movie.

Story of this movie was written by Mahendra Sarai and screenplay was written by Phani Majumdar.

This movie had total five songs in it. Lyrics for all the five songs were penned by Anjaan and music was composed by Laxmikant-Pyarelal.

Anuradha Paudwal, Kishore Kumar, Lata Mangeshkar, Mahendra Kapoor, Mohd Rafi and Suman Kalyanpur had given their voices to the songs in this movie.

Three songs from this movie have been posted on the blog as given below;

Song Posted on
Na jaane kaise pal mein badal jaate hain 19.11.2008
Meri saanson ko jo mahka rahi hai 20.11.2009
Tum chaahe hamko pasand na karo 01.06.2019

Today’s song is the fourth song from this movie to appear on the blog.

Though the title song of this movie was quite popular, other songs too were quite nice, hummable and popular. However, only the title from this movie make it to the annual Binaca Geetmala list of the year 1979, and it ranked on number four that year.

This movie was passed by Censor Board on 03.11.1978.

Let us now enjoy this beautiful song in Rafi Saab’s voice, and Rishi Kapoor (at his best in such situations 🙂 ) lipsyncing in an accusing tone for his lost love and pretending to sacrifice his love to save many from destroying their lives. 🙂

He befriends Jeetendra specifically so that he could sow seeds of ‘nafrat’ in Reena Roy’s mind about him who otherwise was not able to forgot her past life when she was in love with Rishi Kapoor.
Lots of twists and turns, but we only come to know about him when Asrani discloses his reality towards the end of the movie.

Video

Audio

Song-Wo wo na rahe jinke liye ham thhe beqaraar (Badalte Rishtey)(1978) Singer-Rafi, Lyrics – Anjaan, Music – Laxmikant-Pyarelal

Lyrics

Wo wo naa rahe
Jinke liye ae ham thhe beqaraar
Wo wo naa rahe
Jinke liye ae ham thhe beqaraar
Ab kiskaa intezaar
Aji kaisa intezaar
Wo wo naa rahe
Jinke liye ae ham thhe beqaraar
Wo wo naa rahe

Hona thha jo huaa jo huaa
Kya buraa huaa aa aa aa
Hona thha jo huaa jo huaa
Kya aa buraa huaa aa
Kya buraa huaa aa
Achchha hi huaa
Toot gaya jhoothha aitbaar
Ab kiskaa intezaar
Aji kaisa intezaar
Wo wo naa rahe
Jinke liye ham thhe beqaraar
Wo wo naa rahe

Ik phool tootne se to
Ujdaa nahin chaman n n
Ik phool tootne se to
Ujdaa nahin chaman n
Ujdaa nahin chaman n
Gulshan mein aur bhi hain
Haseen phool beshumaar
Ab kiskaa intezaar
Aji kaisa intezaar
Wo wo naa rahe
Jinke liye ham thhe beqaraar
Wo wo naa rahe ae

Nakaamyaab ishq sahi
Zindagi ee nahin
Ee ee ee
Nakaamyaab ishq sahi
Zindagi nahin ee
Zindagi nahin ee
Hai zindagi to
Aur milenge hazaar yaar
Ab kiskaa intezaar
Aji kaisa intezaar
Wo wo naa rahe
Jinke liye ham thhe beqaraar
Wo wo naa rahe

——————————————————–

Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————
वो वो ना रहे
जिनके लिए ए हम थे बेक़रार
वो वो ना रहे
जिनके लिए ए हम थे बेक़रार
अब किसका इंतज़ार
अजी कैसा इंतज़ार
वो वो ना रहे
जिनके लिए ए हम थे बेक़रार
वो वो ना रहे

होना था जो हुआ जो हुआ
क्या बुरा हुआ
आ आ आ आ आ
होना था जो हुआ जो हुआ
क्या आ बुरा हुआ
क्या बुरा हुआ आ
अच्छा ही हुआ
टूट गया झूठा ऐतबार
अब किसका इंतज़ार
अजी कैसा इंतज़ार
वो वो ना रहे
जिनके लिए ए हम थे बेक़रार
वो वो ना रहे

इक फूल टूटने से तो
उजड़ा नहीं चमन
इक फूल टूटने से तो
उजड़ा नहीं चमन
उजड़ा नहीं चमन
गुलशन में और भी है
हसींन फूल बेशुमार
अब किसका इंतज़ार
अजी कैसा इंतज़ार
वो वो ना रहे
जिनके लिए ए हम थे बेक़रार
वो वो ना रहे

नाकामयाब इश्क सही
ज़िन्दगी ई नहीं
ई ई ई ई
नाकामयाब इश्क सही
ज़िन्दगी नहीं ई
ज़िन्दगी नहीं ई
है ज़िन्दगी तो
और मिलेंगे हज़ार यार
अब किसका इंतज़ार
अजी कैसा इंतज़ार
वो वो ना रहे
जिनके लिए ए हम थे बेक़रार
वो वो ना रहे


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 : 4129 Post No. : 15287

Today’s song is from a Musically Iconic film Bazaar-1949.

The film was made by Madhukar Pictures. It was based on a story by K.Amarnath, who also directed this film.The 16 songs of the film were written by Qamal Jalalabadi and the Music Director was Shyam Sundar- one of my favourite composers in Hindi.

1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to be heard. The sale of records registered a Record of Sales in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his film.

This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was on its peak. Though CR is my favourite composer, during the period 47 to 49, it was all the way Naushad who was the undisputed Numero Uno as far as quality and number of hit films were concerned. Here is a chart…

composer Year Number of films Hit films
C Ramchandra 1947 8
1948 3
1949 7
Total 18 4
Naushad 1947 2
1948 3
1949 4
Total 9 8

In this period Naushad’s strike rate of Hit films was more than double, compared to C Ramchandra percentagewise.

The year 1949 had absolutely heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and few other landmarks in Hindi film industry.

The cast of bazaar -49 was Nigar Sultana, Shyam, Gope, Cuckoo, Badri prasad, Yakub etc etc. Shyam was a very handsome actor. However, just like Ashok kumar, he too was first rejected in the screen test by Bombay Talkies. In the case of Ashok kumar, this rejection was overruled by Himanshu Rai- owner of Bombay Talkies and he became a Hero immediately. In case of Shyam, he had to wait for some more time.

Sunder Shyam Chadda (20 February 1920 – 25 April 1951) was born in Sialkot, now in Pakistan on February 20, 1920. Shyam’s grand father was a village Patwari, while his father worked as a store keeper with the Indian medical Service. So the young Shyam had to keep moving with his father in different cantonment towns of Punjab. A graduate from the Punjab University Shyam had a great fascination for films right from early childhood. It was Shyam’s uncle, late Tarachand Chadha, a subedar with the British Army who convinced Shyam’s father to allow Shyam to join the film line. Shyam came to Poona and worked with Prabhat cinema and stayed in lane no-9 Prabhat road in Adhar Bungalow.
In 1941 Shyam was called for a screen test by Bombay Talkies but met with no success. Determined to work in films, he took up the job of assistant director to JK Nanda and appeared in a Punjabi picture from Lahore. Shyam’s first film was Mann ka meet-44. Saigal’s death in 1947 created a void in the film world which was soon filled up by one of the leading heroes of those times, Ashok Kumar. Shyam ruled the world of celluloid from 1948 and 1951, when he was killed in a tragic accident.

With super hits like Dillagi, Patanga, Kaneej, Samadhi, Man Ka Meet and Shabistan under his belt, Shyam had scaled dizzying heights of super stardom in his late 20s. He was a true achiever in every sense of the word.

After Dillagi, in which he stared opposite Suraiya, which was released in 1949, he shot to stardom with the popular song Tu Mera Chand Mai Teri Chandni, a rage in those days.( this song was sung by singer Shyam kumar and not by actor Shyam)

He married a Muslim, Mumtaz Qureshi (nickname “Taji”), with whom he had a daughter, Pakistani TV actress Sahira Kazmi, married to actor Rahat Kazmi, and a son named Shakir (born two months after his death), a psychiatrist based in UK. His wife migrated to Lahore, Pakistan, after his premature death in 1951, along with her elder sister, Zeb Qureshi, who was an actress in Bombay. Mumtaz later married a gentleman, Ansari after Shyam’s death.

He acted with Munawar Sulltana in many films like Kaneez and Majboor. A highly educated person, Shyam wrote an article for Blitz, a leading film magazine of those times on his favourite heroines. He was a close personal friend of Saadat Hasan Manto and was the inspiration of many of his stories. Even after partition, their bond of friendship endured.

He died after a nasty fall from horseback, at the young age of 30 when destiny snuffed the life out of this versatile actor. It was an ill-fated day when he was shooting for Filimistan’s Shabistan directed by Vibhuti Mitra at Ghodbunder road near Borivali when the reins of the horse slipped from Shyam’s hand. He was thrown off the horse and received major injuries on his head and was rushed to the Bombay Hospital where he succumbed to his wounds.

Fans from all over thronged to pay their respects to their loved hero at the Sonapur crematorium at the Bombay Kings road.

Even the BMC (Bombay Municipal Corporation) named the place where Shyam stayed in Chembur as Shyam Park. Though younger than Ashok Kumar , he played roles of the latter’s elder brother. After Ashok Kumar, Dilip Kumar, Raj Kapoor and Dev Anand , Shyam and Rehman are remembered most for their contribution to the field of Hindi cinema.

Shyam is incidentally survived by Younger brother, Harbans Chadha. Shyam was fond of his daughter Sahera but he did not live long to see his son, who was born a couple of month after his death. His son Shakir, who now lives in Pakistan with his mother Taji, who had migrated there after partition.

Filmography of Shyam’s films as a lead hero:

1948-Majboor,Shikayat,Bazaar,Chandani Raat,
1949- Char Din, Dada, Dillagi, Kaneez, Naach, Patanga, Raat Ki Rani,
1950- Choti Bhabiu, Meena Bazaar, Nirdosh, Samadhi, Sangeeta, Suraj Mukhi, Wafa , Kale Badal,
1951- Shabistan
Shyam acted in 24 films, in all.

There are many versions of how Shyam died during the shooting. However , here is the report from an eye witness, who was present there on that day and this happened before his eyes. The horse Shyam rode, was owned by him.

Jimmy Bharucha, one of the best Horse Trainers in India, had himself been trained in foreign countries. He had opened a Horse Training School in Poona. Yesteryear actor SHYAM was one of his earliest students. For all his films, Shyam used the same horse from Bharucha. Actor Shyam had died while doing a stunt for film Shabistan-51.

Whenever he talked about Shyam, Bharucha got emotional. The truth about Shyam’s death….

That fateful day, Shyam was in a very cheerful mood. He joked with other artists as usual. The film was SHABISTAN. He had to do a stunt scene on a horse. His double was kept ready. However Shyam insisted on doing that dangerous shot himself that day. The scene started and was also completed successfully. There was a round of applauding claps.

Shyam was getting down from the horse and suddenly,the horse started running. Shyam’s foot got stuck in the stirr-up and he was dragged some distance before people ran and stopped the horse. Shyam was unconscious. He was immediately taken to the hospital, but he died-with his make up and costume still on him ! ( from an article by Vasant Bhalekar in book ‘Ruperi Smaran Yatra’ by Prof. Subhash Savarkar and article ‘Anipals’ by Mala Doshi ).

Film Bazaar was released on 4-3-1949 at Excelsior Cinema in Bombay. The Film India magazine of May 1949 had published a review of this film. Once for a change, Baburao Patel had good words about a film and its music. The story of the film, as outlined in this review is this…

An impecunious poet, Parwana (Shyam), runs away from home in company with his pal Jagu (Gope) to join a theatrical company. On the way, they come across a gypsy camp and Jagu succeeds in picking up Koel (Cuckoo), a gypsy dancer, as his sweetheart. Parwana and Jagu soon cross swords with Khanna ( Yakub) of Khanna Theatres, whose main attraction is Bijli ( NIgar Sultana), a beautiful and temperamental dancer. Bijli is attracted by Parwana’s poetry and physique and we soon see Parwana, Jagu and Koel working in Khanna Theatres.
Parwana and Bijli begin to love each other and Khanna doesn’t like the look of things, being himself in love with Bijli. Things soon reach a show-down stage and Bijli walks out of Khanna Theatres arm-in-arm with Parwana and his stooges. The new team tries to start its own theatre business, but the love-stricken Khanna becomes vindictive and with his influence and money hounds them out from place to place till Parwana and Bijli are ruined and heartbroken. In a desperate attempt to save Parwana’s poetic soul, Bijli, sacrificing her love for him, compromises matters with Khanna, who helps to put Parwana on the stage once again. But, Parwana needs more than mere success to feel happy and very soon he returns heartbroken to his parental home, a sadder but wiser man.

Now Parwana dedicates himself to national service and we soon come to the climax, in which Khanna, realizing the intensity of Bijli’s love for Parwana, gracefully gives her up and all rush to a public meeting for their individual professions and confessions. Evidently, anyplace seems to be good enough for the Punjabis to vomit their love and a large crowd does not deter Bijli from vomiting her love for Parwana on a public platform. It ends well.

Film Bazaar was remade as ‘Naya Andaz-1956’ starring Kishore kumar and Meena kumari . This film also had excellent music by O P Nayyar. Interestingly, this film also was directed by same K.Amarnath only.

Film Bazaar-49 had 16 songs. 14 are already discussed here. Today’s song is the 15th song.( I am surprised how this song remained uncovered so long. May be my good luck !) . The only song now remains to be covered is ” Nazar se mil jayegi nazar”. HFGK is silent about its singer, but also has a note that this song was removed from the film. This song’s record number is also not given, leading to a guess that, may be this song, having been removed from film, was not made into a record. In that case, today’s song is the last song of this film to be covered. Worth thinking.


Song- Maang raha hai Hindustan Roti Kapda aur Makaan (Baazaar)(1949) Singer- Mohd. Rafi, Lyricist- Qamar Jalalabadi, MD- Shyamsunder
Chorus

Lyrics

watan ki raah mein jo moti lutaaye jaate hain aen
to motiyon se jawaahar banaaye jaate hain aen
tu dekh Dilli mein jaa kar samaadh Baapu ki
ke is pe phool nahin
dil chadhaaye jaate hain

maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai

millon mein jaao aur dekho
millon mein jaao aur dekho
kya hai Hindustan
dekh ke bangle mein raunaq
dekh ke bangle mein raunaq
mazdoor ka ghar veeraan aan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai

kheton mein jaao aur dekho
kya hai Hindustan
kheton mein jaao aur dekho
kya hai Hindustan
zameendaar ke bhare hain kothe
zameendaar ke bhare hain kothe
bhookhha mare kisaan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai

mehlon mein jaao aur dekho
mehlon mein jaao aur dekho
daawat ka saamaan
neeche raste par soya hai
neeche raste par soya hai
ik bhookha insaan aan
maang raha hai Hindustan
Roti kapda aur makaan
Roti kapda
Roti kapda aur makaan
maang raha hai

Hindustan ko aaj banaa den
aisa Hindustan
sab ko mile roti kapda
sab ko mile makaan


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 15400 song posts by now.

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

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(© 2008 - 2020) 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.

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