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

Archive for the ‘S Balbir song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

This is the last song from film Bhabhi-57. The film had 10 songs which included a 3 part song-Chal ud ja re Panchhi….
It has already been posted and with this song all songs of Bhabhi-57 will be complete.
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This article is written by Sudhir,a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

A gem of a comedy song, from a film I do not know anything about. This song, apparently performed on the screen by two friends, looking for romance in life, and bemoaning the fact that there is possibly no love in this world without money. The poet has turned this emotion into a set of comical verses, and the music director has arranged a very fast paced music, and the appropriate sounds to make this hilarious statement on the state of affairs of young hearts pining for romance. By the time this riotous song comes to end, I am sure you will be ripping with laughter, at the fate of these two gentleman friends with a very lopsided view of what this world and this youth is all about.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Listening to the lines in this qawwaali, one can get a feeling that they are coming from the pen of Sahir Ludhianvi, such is the power and the style of messaging that his poetry ensconces. ‘Dharamputra’ (1961) is one of the best films I remember, on the theme of social integration, and the oneness of humanity. Coming from the banner of BR Films, Bombay and directed by Yash Chopra, who was a novice and a very young director way back then. After ‘Dhool Ka Phool’ (1959) this was only his second venture as a full director. And he had not yet seen his 30th birthday.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

This post is in response to a comment and a farmaish posted by Lalitha ji more than two years ago on 6th January, 2009 (details further down).

Children’s Day is variously celebrated in different parts of the world, on different days. In India, it is celebrated on this day (14th November) every year. (This day also is the birth anniversary of the first Prime Minister of India, Jawaharlal Nehru.) There are other dates on which International Children’s Day (1st June) and Universal Children’s Day (20th November) are celebrated. 20th November is the day on which the Declaration of the Rights of the Child was adopted by UN General Assembly in 1959.
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Barsaat Ki Raat (1960) – just take away everything else, all the story, the screenplay, the characters, the histrionics, all the songs and music, and on screen plays, just take it all away, and leave just the three qawwaalis, and the greatness of this film will not be dimmed one bit. The three qawwaalis are the epitome of what this music and art form is all about. The first in the sequence, Nigaah e naaz ke maaron ka haal kyaa hogaa was discussed yesterday. The third, and the best known iconic qawwali of the three, Na to kaarwaan ki talaash hai…ye ishq ishq hai(Barsaat ki raat) has been discussed almost a little over three years ago, and then recently updated to its complete form. We are now left with the second offering in sequence, which is the subject of this post.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The mention the word ‘qawwaali’ to a Hindi film buff, and 95 out of 100, the response will be the humming sounds of ‘Ye Ishq Ishq Hai Ishq Ishq. . .’. As a poetry form, qawwali originated in Persia and traveled to the subcontinent, during the emergence of the Sufi philosophers in the 12th and 13th centuries. In its original form, its intent is to sing the praises of Allaah, the Almighty, Prophet Muhammad, and other saints. The art was exclusively performed at places of religious worship and at dragaahs (mausoleums) of revered saints and teachers. The poetry is implicitly intended to be spiritual in its context, and its central themes are love, devotion and longing (of man for the Divine).
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