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

Archive for the ‘Song from unreleased movie’ Category


This article is written by Shekhar Gupta, 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 :

4409 Post No. : 15801 Movie Count :

4353

Rehnuma, starring Rehana Sultan and Vinod Mehra, is an uncompleted movie of the early 1970s. I haven’t been able to find any more details about it on the Internet, and would request knowledgeable Atulites to throw some light on it.

In 1972, Madan Mohan recorded four songs for this film penned by Naqsh Lyallpuri, but the movie got shelved for some reason … and the songs were just lost. But later they were found on his tapes after his demise and released by his family on a rare LP … and were included in the album Tere Bagair released by YRF Music.

Mere Ashqo.n Ka Gham Na Kar Aye Dil is one of the four soulful numbers from that ill-fated movie, vocalised by Sur Saraswati Lata Mangeshkar as only she can. This emotional ghazal with a typical Madan Mohan style melody is presented with modern arrangements as was perhaps the requirement of the film.

The link here is of a brief audio clip of Madan Mohan trying out different variations of tunes when composing this song before finalizing the version recorded in Lata’s vocals. It is accessible on YouTube here.

If this number was actually filmed, it’s reasonable to assume that it would have been on Rehana Sultan. Its actual video clip is not available, but a version of the song voiced-over on the Bollywood Venus Madhubala from an assortment of clips from her various movies can be viewed here.

Singer Bella Sulakhe presented this number credibly in a live show which is worth a watch here.

YouTube link:

Song–Mere Ashqon Ka Gham Na Kar Ae Dil (Rehnuma)(UR)(1972) Singer-Lata, Lyrics-Naqsh Llayalpuri, MD-Madan Mohan

Lyrics

Mere ashkon ka gham na kar ae dil
Mere ashkon ka gham na kar aye dil
Apni barbaadiyon se dar ae dil
Apni barbaadiyon se dar ae dil
Mere ashkon ka gham na kar aye dil

Silsila rok beeti baaton ka
Silsila rok beeti baaton ka
Silsila rok beeti baaton ka
Warna tadpega raat bhar ae dil
Mere ashkon ka gham na kar ae dil

Raah sunsaan hai andhera hai
Raah sunsaan hai andhera hai
Raah sunsaan hai andhera hai
Kaise tay hoga yeh safar ae dil
Mere ashkon ka gham na kar ae dil

Teer barsaaye chaand ki kirnen
Teer barsaaye chaand ki kirnen
Teer barsaaye chaand ki kirnen
Raat ke nange jism par ae dil
Mere ashkon ka gham na kar ae dil
Apni barbaadiyon se dar, ae dil
Mere ashkon ka gham na kar ae dil
Ae dil
Ae dil
Ae dil
Ae dil


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4322 Post No. : 15610 Movie Count :

4301

During the course of my exercise to pick up Hindi songs in Bangla films, I have gone through many Bangla films with their basic details such as the director, story writer, star cast, lyricist, music director, playback singers etc. In the list of lyricists in any Bangla film, if I find the name of the lyricist from Hindi films, I am almost certain that there would be at least one Hindi song in that Bangla film. In some cases, I found that though the name of the Hindi film lyricist was not mentioned, still one or two Hindi songs were found in such Bangla films.

During one of such exercise, I got to know of a Bangla film ‘Sorry Madam’ (1962). The film was directed by Dilip Bose. Although, I could not find the name of Hindi lyricist for the film, the names of playback singers like Manna Dey, Mukesh, and Asha Bhosle gave me a glimmer of hope that there could be at least one Hindi song in the film. The music director for the Bangla film was Ved Pal. But I scored a blank on this count. However, during the searching the songs on the internet, I came across not one but three Hindi songs under the film’s title ‘Sorry Madam’ (Unreleased). Some further searches on the internet revealed a story behind this unreleased film which I was not aware of it. The film was to be a remake of Bangla film ‘Sorry Madam’ (1962) which was a box office success. Hindi remake with the same title was to be produced and directed by Dilip Bose who had also directed its Bangla version. But the film remained unfinished because the director, Dilip Bose went into deep depression after a personal tragedy.

Dilip Bose started his filmy career as actor in Bangla films ‘Kashinath’ (1943) and ‘Bichar’ (1943). I could not get any lead as to what he did during 1943-1960. In 1960, he directed his first Bangla film ‘Dui Bechaara’ (1960). The next Bangla film which he directed was ‘Sorry Madam’ (1962) with Biswajeet and Sandhya Roy in lead roles. ‘Chaandi Ki Deewar’ (1964) was his first directorial venture in Hindi film. During his filmy career, he directed 5 Bangla films, 6 Hindi films and 10 Bhojpuri films. He also acted in about a dozen Bangla films which included Satyajit Ray’s ‘Charulata’ (1964). He also did some smaller roles in a few Bhojpuri films besides story and screen-play writing.

In 1979, after directing Hindi films like ‘Chaandi Ki Deewar’ (1964), ‘Sansaar’ (1971), ‘Thokar’ (1974), ‘Badnaam’ (1975) and ‘Sikka’ (1976), he decided to produce and direct the Hindi remake of his Bangla film ‘Sorry Madam’ (1962) with Raj Kiran and Kajal Kiran in the lead roles. Six songs, all rendered by Mohammed Rafi (some with Asha Bhosle) were recorded in December 1979 under the music direction of Chitragupt. However, Dilip Bose was struck with a personal tragedy when he suddenly lost his wife. Being a sentimental person, Dilip Bose was so much devastated by this tragedy that he went into deep depression for a long time and the film remained unfinished. After recovering from the depression, Dilip Bose concentrated mainly on directing Bhojpuri films. Dilip Bose died in 2002.

Even though 6 songs of the unfinished film ‘Sorry Madam’ (1979) were recorded in December 1979, no gramophone records or CDs were issued. So, they remained unavailable to the public. It was only after the death of the music director, Chitragupt in January 1991 that the tape containing the songs were discovered.  It was decided to release the song in an album. However, by that time, Hindi film music scene had changed and composition style of these six songs sounded old to the music companies who were not interested in releasing the songs. It was only after the success of ‘Veer Zara’ (2004) in which the old-style song composition of Madan Mohan became a hit that a fresh effort was made to release the songs. A music publishing company agreed to release the songs. The tape of the songs were sent to Belgium to digitally restore them to the highest sound quality. Thus,  the songs which were recorded in December 1979 had to wait for 30 years to get them released in an album ‘Teri Adaa’ in 2009.

I am presenting one of the six songs, “Dekho Ji Waado Karo Ke Door Kabhi Tum Na Rahoge” from the unfinished film ‘Sorry Madam’ (1979). The song is written by Kaafil Aazar which is set to music by Chitragupt.

[Acknowledgements:  Some of the information about the background history of the film with 6 unreleased songs are sourced from silkrd.files.wordpress.com and about Dilip Bose, from the book, ‘Cinema Bhojpuri’ by Avijit Ghosh.]

 

Song – Dekho Ji Ye Waada Karo (Sorry Madam) (UR) (1979) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Kaafil Aazar, MD – Chitragupt
Asha Bhosle + Mohammed Rafi

Lyrics

dekho ji ye waada karo..o..o
dekho ji ye waada karo. . .
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
phoolon mein jaise khushboo
itne kareeb hain
phoolon mein jaise khushboo
itne kareeb hain
phoolon se khushboo se bhi
hum to khushnaseeb hain

ho oo
khushnaseeb hain
khaao meri aankhon ki kasam
khaao meri aankhon ki kasam
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
itna sataaya thaa kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
itna sataaya thha kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
raaten sajegi apni palkon ki chhaaon mein
raaten sajegi apni palkon ki chhaaon mein
utarega chanda mere sapnon ke gaaon mein
ho oo
sapnon ke gaaon mein
dekhega ye chaand sadaa..aa
dekhega ye chaand sadaa
ke door kabhi hum na rahenge

dekho ji ye waada karo..o..o
dekho ji ye waada karo…..
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge

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

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों से खुशबू से भी’
हम तो खुशनसीब हैं
हो ओ
खुशनसीब हैं
खाओ मेरी आँखों की कसम
खाओ मेरी आँखों की कसम
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
रातें सजेंगी अपनी पलकों की छाँव में
रातें सजेंगी अपनी पलकों की छाँव में
उतरेगा चंदा मेरे सपनों के गाँव में
हो ओ
सपनों के गाँव में
देखेगा ये चंदा सदा॰॰आ
देखेगा ये चंदा सदा
के दूर कभी हम ना रहेंगे

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे


This article is written by Avinash Scrapwala, a fellow enthusaist 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 :

4320 Post No. : 15607 Movie Count :

4299

– नमस्कार सर जी , जय श्री कृष्ण,
अविनाश बोल रहा हूँ,

– बोलिए बोलिए अविनाश भाई,

– कैसे हैं सर आप

– मुझे क्या हुआ है ?

That is our respected Bharat Bhai. I spoke to him last in this March. Just a courtesy call. But whenever I spoke to him, he was always energetic, full of life and cheerful. . .

I used to call him occasionally, in between particularly after meeting him first time in November 2016 during the Mumbai gang-out. Thereafter the second meeting happened in April 2018 at Surat when Arun ji, Sadanand ji and Bharat Bhai came to meet Harish Raghuvanshi ji at his place.

But today, on 16th May we got this sad news of his demise on 8th of this month.

We all pray to god to rest his soul in peace!!!

Our heartfelt condolences and tributes to him!!!

This song which could have been a part of his series ‘Sureeli Suman’ which I had shared to him and requested a post, but it could not happen somehow, may be because of his health issues. . .

After coming back from Kenya to India I was eager to visit Mumbai and meet him but it could not happen.

On 19th March I called him to greet him on his birthday and also to seek his blessings, as I always used to do while ending the conversation.

– मैं आऊँगा मुंबई आपसे मिलने … मुझे आशीर्वाद दीजिये,

– वो तो हमेशा ही आपके साथ है और रहेगा, इसमें तो कोई बोलने कि बात ही नहीं है,

– ठीक है सर , मिलते है फिर …

We will miss you Sir!!!

The warmth, the love you showered in every meeting and whenever I spoke to you will always remain in memory – the musical meetings, your smiling face and your lovable presence around us will always be missed.

प्रणाम सर जी !

 

 

Song – Ummeedon Se Keh Do Ke Na Aansoo Bahaayen (Jwaalamukhi) (UR) (1950s)(1959) Singer – Suman Kalyanpur, Lyrics – Dukhi Amritsari, MD – Devraj

Lyrics

ummeedon se keh do
ke na aansoo bahaayein
rone ko ab to aa gayi hain
kaali ghataayein
ummeedon se keh do

keh do ke ab na machlen
seene mein nafratein
seene mein nafratein
keh do ke ab na tadpen
haaye
dil ki hasratein
haaye
dil ki hasratein
duniya ki nigaahon mein
kahin ham na aa jaayen
rone ko to aa gayi hain
kaali ghataayein
ummeedon se keh do

keh do ke looti duniya meri
aa ke yahin par
aa ke yahin par
keh do ke padi maut hain
chaahat ki zameen par
hai kaun wo apni
jo is arthhi ko uthhaaye
rone ko ab to aa gayi hain
kaali ghataayein
ummeedon se keh do

keh do meri duniya ko
kyun barbaad kiya hai
kyun barbaad kiya hai
keh do meri khushiyon ko
kyun nashaad kiya hain
kyun nashaad kiya hain
haalat ko meri dekh ke
na nain bhar aayen
rone ko ab to aa gayi hain
kaali ghataayein
ummeedon se keh do

—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–

उम्मीदों से कह दो
के न आंसू बहायें
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो

कह दो के अब न मचलें
सीने में नफरतें
सीने में नफरतें
कह दो के अब न तडपें
हाये
दिल की हसरतें
हाये
दिल की हसरतें
दुनिया की निगाहों में कहीं
हम न आ जाएँ
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो

कह दो के लुटी दुनिया मेरी
आ के यहीं पर
आ के यहीं पर
कह दो के पड़ी मौत हैं
चाहत की ज़मीन पर
हैं कौन वो अपनी
जो इस अर्थी को उठाए
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो

कह दो मेरी दुनिया को
क्यूँ बर्बाद किया हैं
क्यूँ बर्बाद किया हैं
कह दो मेरी खुशियों को
क्यूँ नाशाद किया हैं
क्यूँ नाशाद किया हैं
हालत को मेरी देख के
न नैन भर आये
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो


This article is written by Mahesh Mamadapur, 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 :

4320 Post No. : 15606 Movie Count :

4298

I am reminded of Halley’s comet when I started writing this post. Relevance and context. . .?

Well, as they say…. samajhne waale samajh gaye hain

Anyway, coming to this unique post, all I can say is that I was surprised when I was asked to go ahead with the song by none other than Sudhir ji. There is some email interaction happening between self, Atul ji and Sudhir ji on another topic.  In this interchange of emails and out of the blue, I was suggested to take up today’s “song”.

This song is from a film that never got completed. The film was shelved and the ‘song’ technically is from an unreleased film.

I am a huge admirer and follower of the rules of this blog such as.

  1. Only Hindi film and non-film songs are represented.
  2. Every song is represented only once, no matter how important or popular it is.
  3. Lyrics are a must in each post for the song represented.
  4. Multiple-version songs from the same film are considered as one.
    Etc.

Of course, there are some exceptions, such as room for songs rendered in English in our Hindi films etc. “Wish Me Luck” from ‘Mera Naam Joker’ (1970), “My Heart Is Beating” from ‘Julie’ (1975) etc. being such examples. But then, I understand, deviations do require some permission and go-ahead from the bosses. 🙂

Well, how about a shelved and incomplete film.? Yes, we do have many such representations also. So, what’s unique about today’s song? Ok, the interesting thing about today’s song is that it is

  1. From an unreleased/incomplete/shelved film
  2. Recording of the song is not available
  3. The singer has sung the song in a concert

With this background, I bring forth a song sung in a concert by Mukesh from the film ‘Chalaak’ (some sources attribute the making year to 1966) which never saw the light of the day. Not much information is available about this film on the web, but I happened to find a very interesting and detailed article of this film authored by one Mr Karan Bali, and posted on the blog named ‘Upper Stall’. Here is the link to the full article – https://upperstall.com/features/incomplete-films-chalaak/.

Since the story behind the incomplete film is important, I am copy pasting the relevant paras from the same article. Readers are requested to read his detailed article from the link above as it also has some rare photographs taken during the shooting of this incomplete film. The sad tale of this film is linked with the equally sad life story of Madhubala, who was the heroine in this film.

Sometime around 1964, once she felt a little better, Madhubala decided to make a comeback and finish her work on yet another film that was stalled for quite some time, called Chalaak, where she was cast opposite Raj Kapoor. The film was being produced and directed by JK Nanda, who had directed singing star KL Saigal’s last film Parwana (1947), besides having worked with Madhubala earlier in films like Singaar (1949) and Dhake Ki Malmal (1956). The film also starred Agha, Om Prakash and Jeevan, while the music for the film was being scored by Raj Kapoor regulars Shankar-Jaikishan. According to the July 15, 1960 issue of Screen, some ten reels were in the can by then. Some more filming took place before Madhubala’s ailment again brought the film to a halt. It is said that she collapsed on the sets and was advised strict bed rest thereafter. Still determined to finish it, sometime around 1966, Madhubala again made a valiant attempt to complete the film. Stills of her from the film show just how ill she was, her still-beautiful face looking shrunken and heavily made up, a deep sadness in those famous twinkling eyes.

However, the physical effort to complete Chalaak proved too much for the actress. The film shut down shop for good. It was all the more tragic as it is said that Chalaak had just a few more filming days left. And in less than 3 years after its shelving, the Venus of the Indian screen left this world on February 23, 1969, when just 36. . .

While no records of the film’s music came out, Mukesh did sing a song from the film at some of his concerts. At one such function in the 1960s, he declared the film had not released but would soon be seen in the theatres. As we know that never happened. . .

The film never got released, however one solitary recording of Mukesh singing this song at a concert in Mombasa (Kenya) is thankfully available. I was aware of this song and had also heard it a few times on the net. But, for the reasons mentioned above regarding the rules of the blog, I was under the impression that I may not be entertained for posting it on the blog. However, when I was offered to represent this concert song, I grabbed it with both the hands. I thank Atul ji and Sudhir ji for giving me an opportunity to represent this unique song on the blog.

In connection with the writing of this post, I was also in touch with Shri Harish ji of Surat who as usual was quite prompt in his help and replies. I thank him for the help rendered.

I do not want to promise but can assure readers that the comet will appear soon again. 🙂

Song – Bata De Meri Jaan Tere Dil Mein Kya Hai  (Chalaak) (UR) (1960s) Singer – Mukesh, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan

Lyrics (Provided by Sudhir)

bata de meri jaan

bata de meri jaan ke tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai

roz sapnon mein tu aati kyon hai
roz sapnon mein tu aati kyon hai
apne aashiq ko sataati kyon hai
roz sapnon mein tu aati kyon hai
apne aashiq ko sataati kyon hai
ye raaz kholiye
kuchh to boliye
ye raaz kholiye
kuchh to boliye
ke aankehn tu hum se churati kyon hai
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
bata de meri jaan tere dil mein kya hai

kya tere dil mein wo gehraai hai
kya tere dil mein wo gehraai hai
jis mein hum dooben wo tanhaai hai
kya tere dil mein wo gehraai hai
jis mein hum dooben wo tanhaai hai
ik nazar daal idhar
o meri jaan e jigar
ik nazar daal idhar
o meri jaan e jigar
keh de to tod ke taare laa doon
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
bata de meri jaan tere dil mein kya hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बता दे मेरी जान

बता दे मेरी जान के तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
प्यार भरे दिल की महफिल में क्या है
प्यार भरे दिल की महफिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है

रोज़ सपनों में तू आती क्यों है
रोज़ सपनों में तू आती क्यों है
अपने आशिक को सताती क्यों है
रोज़ सपनों में तू आती क्यों है
अपने आशिक को सताती क्यों है
ये राज़ खोलिए
कुछ तो बोलिए
ये राज़ खोलिए
कुछ तो बोलिए
के आँखें तू हमसे चुराती क्यों है
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
प्यार भरे दिल की महफिल में क्या है
प्यार भरे दिल की महफिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है

क्या तेरे दिल में वो गहराई है
क्या तेरे दिल में वो गहराई है
जिस में हम डूबें वो तनहाई है
क्या तेरे दिल में वो गहराई है
जिस में हम डूबें वो तनहाई है
इक नज़र डाल इधर
ओर मेरी जान ए जिगर
इक नज़र डाल इधर
ओर मेरी जान ए जिगर
कह दे तो तोड़ के तारे ला दूँ
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
प्यार भरे दिल की महफिल में क्या है
प्यार भरे दिल की महफिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है

 

 


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 4050 Post No. : 15179

shaam-e-gham ki kasam aaj ghamgeen hain ham

The evening in the first line turned into a night of sadness when I came to know from ASAD Group that Khayyam saab is no more with us. His popular songs started ringing in my ears. Those were the songs with which I have grown up from a teenager to a senior citizen. I had a disturbed sleep last night as some of his songs resonated intermittently in my mind. In the morning, I thought that the best way to get out of such feeling is to write a tributary article for Khayyam saab.

With his death, we have lost the last icon among the music directors of the golden period of Hindi film music He created his own ‘gharana’ of Hindi film music and very rarely deviated from it. The melodious songs he composed were mainly based on Hindustani classical raagas.

As I said, some of his songs were often coming to my mind. The emotional support song tum apna ranz-o-gham apni pareshaani mujhe de do was the one which gave me goosebumps. Not only Khayyam saab and Jagjit Kaur were creators of this melody, I felt that the latter was actually the emotional support system for the former. I identify wo subah kabhi to aayegi as optimistic in the midst of pessimism. I remember Khayyam saab in bahaaron mera jeevan bhi sanwaaron for its a long prelude of nearly 100 seconds of santoor, sitar and flute which created the right ambiance for Raag Pahadi based melody. Among other songs, how can I forget ye kya jagah hai doston and the ‘haunted feel’ song with pauses, ae dei-e-nadaan arzoo kya hai?

Khayyam saab who was so much committed to the quality of his musical compositions, selected only films with good story line. His musical compositions had the benefit of poetry rather than the lyrics. This is reflected in his working mostly with poets of repute like Sahir Ludhianvi, Kaifi Azmi, Jaan Nisar Akhtar, Raja Mehdi Ali Khan, Nida Fazli, Shahryar etc.

There was something for his young listeners and audiences too. Like hai kali kali ke lab par from ‘Lala Rukh’ (1958), a teasing song, jis pyaar mein ye haal ho us pyaar ki tauba from ‘Phir Subah Hogi’ (1958), a jazzy number rut jawaan jawaan raat meherbaan from ‘Aakhri Khat’ (1966), an aspiring love song, aankhon mein hamne aapke sapne sajaaye hain from ‘Thhodi Si Bewafaayi’(1980) and many more.

Coming from a highly educated family from Jalandhar, Khayyam saab could not complete even his high school studies as he was smitten by his idol, K L Saigal and Hindi films. His wish was to become an actor-singer like K L Saigal. Expelled by his father from his house for neglecting his studies, Khayyam saab came to Delhi and stayed with his uncle. Realising his nephew’s interest in music, his uncle arranged his musical training under Pandit Amarnath and his brothers, Husnlal and Bhagatram.

A filmy career which spanned over 7 decades, Khayyam saab started as an apprentice to music Director, G A Chishti in Lahore in 1945. He came to Mumbai in January 1947 with Rahman Verma who was also assisting G A Chishti. Khayyam saab sang his first song ‘dono jahaan teri mohabat mein haar ke’ a duet with Zohrabai Ambalewali under Husnlal-Bhagatram for the film ‘Romeo & Juliet’ (1947). His first film as a music director in partnership with Rehman Verma was ‘Heer Ranjha’ (1948) under the pseudo name Sharmaji-Vermaji.

The song which brought Khayyam saab into limelight was akele mein wo ghabraate to honge from ‘Biwi’ (1950), his third film. This did not help him much in his career path. ‘Footpath’ (1953) was his first film in which he gave the music under his real name, Khayyam on the advice of the film’s director, Zia Sarahadi. shaam-e-gham ki kasam aaj ghamheen hain hum from this film became very popular as a ‘blue mood’ song. Khayyam saab had revealed that he had used western symphony based interlude in this song, especially the first interlude.

The high points in musical compositions of Khayyam saab were reflected in all the songs of ‘Lala Rukh’ (1958), ‘Phir Subah Hogi’ (1958), ‘Shola Aur Shabnam (1961), ‘Shagoon’ (1964), ‘Mohabbat Isko Kehte Hai,’ (1965) and ‘Aakhri Khat’ (1966). Still the success in terms of recognition and box office alluded him. By this time, he had already spent about 2 decades in Hindi film industry but was not in the reckoning in the list of top music directors.

Sometime in the latter half of 1960s, Khayyam saab decided to take a sabbatical from Hindi film industry when he felt that the films he was being offered were not his worth. The sabbatical continued for nearly 8 years. During this period, he devoted his time and energy to compose some of his finest non-film songs among 200 odd songs. Here also he did with the top playback singers like Talat Mehmood and Mohammed Rafi. Begum Akhtar who was very close to Madan Mohan, chose Khayyam saab for composing ghazals for her LP Ghazal album in 1974.

Generally, it is said that once a film artist remains out of film industry for a long time, it is difficult for that artist to make a comeback. I think, Khayyam saab is the only among music directors who made a grand come back with the success of ‘Kabhie Kabhie’ (1976) for which he got Filmfare Award. The next feather in his cap was the outstanding music in ‘Umrao Jaan’ (1981). He was bestowed with National Award for music in this film. In his second coming, he remained active for about 10 years.

It was interesting to know that some of his best music compositions had come from films like ‘Phir Subah Hogi’ (1958), ‘Kabhie Kabhie‘(1976), Umrao Jaan’ (1981) and ‘Razia Sultan’ (1983) where he was not the first choice as a music director. How much efforts and pain he must have taken to prove his credentials to the respective producers/directors to make the music of these film extraordinaire to justify their faith in him.

I have always felt that God has been unkind to Khayyam saab. At every stage of his life – from his childhood time onward, he had to struggle for survival. It took nearly 3 decades to come under the category of a successful music director when ‘Kabhie Kabhie’ (1976) became successful. He got recognition from the film industry as well as from the Government. But his success gave him company for less than 10 years. When he had everything for his modest living, he lost his only son, Pradeep in March 2012. But Khayyam saab had no complaint against God. In almost all his interviews I had read and watched, he had always said ‘Allah ki meharbaani hai, waah Guruji ki kripa hai, Ishawar ki kripa hai’.

Khayyam saab had also composed songs for about dozen unreleased films, one of which was ‘Anjuman’ (1986). As a tribute to Khayyam saab, I am presenting one of songs from this film, ‘kab yaad mein tera saath nahin kab tera haath mein haath nahin’ which is close to my heart. This ‘Faiz Ahmed Faiz’s song is rendered by Khayyam saab and his wife, Jagjit Kaur. I think, this is the only film song which they have sung together.

I offer my condolences to the bereaved family and his friends.

Khayyam saab, you will always be with us through your melodious music.

Video Clip :

Audio Clip:

Song-Kab yaad mein tera saath nahin (Anjuman)(UR)(1986) Singers-Khayyam, Jagjit Kaur, Lyrics-Faiz Ahmad Faiz, MD-Khayyam
Both

Lyrics

kab yaad mein tera saath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin

maidaan-e-wafa darbaar nahin
jaana munsab ki poochh kahaan

maidaan-e-wafa darbaar nahin
yahaan munsab ki poochh kahaan
aashiq to kisi ka naam nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
kab yaad mein tera sath nahin
kab haath mein tera haath nahin

jis dhaj se koi maqtal mein gaya
wo shaan salaamat rahti hai
jis dhaj se koi maqtal mein gaya
wo shaan salamat rahti hai

ye jaan to aani jaani hai
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin

gar baazi ishq ki baazi hai
jo chaaho laga do dar kaisa
gar baazi ishq ki baazi hai
jo chaho laga do dar kaisa
gar jeet gaye to kya kahna
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
ab hizr ki koi raat nahin


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4038 Post No. : 15163 Movie Count :

4166

Naseeruddin Shah, in a chat with a newspaper journalist sometime in early 2014, had revealed that there were about 35 Hindi which have been completed in all respect but remained unreleased till that day. If the numbers are correct, it could be some sort of a dubious record for a Hindi film actor. But I am not surprised. Naseeruddin Shah has been mostly associated with the ‘parallel’ and the ‘middle of the road cinemas. And for such types of films, it is very difficult to get distributors to release the films.

Out of curiosity, I searched for the list of Naseeruddin Shah’s unreleased films on the internet but drew a blank. I could trace out names of his few unreleased films which included one untitled film directed by Mrinal Sen some time in 1970s, ‘Musaafir’ (1986) ‘Libaas’ (1988) directed by Gulzar, ‘Time Machine’ (1992) directed by Shekhar Kapoor, ‘Eelctric Moon’ (1992, English), ‘101 Days (1992), ‘Private Detective : Two Plus Two Plus One’ (1997), ‘The Coffin Maker’ (2013) ‘Chambal Safari’ (2014), ‘Company Ustaad’ (2014), ‘Mastaan’ (2014), ‘Thaak Jhaank’ (2016) etc.

From the above list, I found the film ‘Musaafir’ (1986) an interesting one for more than one reason. First, the film was directed by Dr. Jabbar Patel, an imminent Marathi theatre and film personality known for producing and directing classic Marathi dramas and ‘middle of the road’ Marathi films. This was Dr. Jabbar Patel’s first association with Hindi film as a director. Second, the film’s star cast included Rekha besides Naseeruddin Shah, Moon Moon Sen, Mohan Agashe, Usha Nadkarni and Pankaj Kapoor. Lastly, the songs were written by Gulzar which were set to music by R D Burman.

The film was based on a Marathi play ‘Ashi Pakhre Yeti’ (Aise Aaten Hain Panchhi or Here Comes the Birds) written by Vijay Tendulkar who wrote the film’s screen-play. Gulzar wrote the dialogues. The film was certified by the Censor Board sometime in 1984 but it could not get a theatrical release.

I searched for the film on the net but could not locate the DVD of the full film. Finally, I located the film which has been uploaded on YT in parts. From the quality of the video, I guess, the uploader has uploaded the video clips of the film ripping off from VHS tape. I also noticed that some parts of the film got repeated in the clips. So it was difficult for me to know as to the proper sequence of the story in the film. With these limitations, I give below a gist of the story of the film:

The story of the film can broadly be divided into two parts. In the first part, the story revolves around Naseeruddin Shah and Moon Moon Sen who have recently married and have been staying in a posh locality in Mumbai. While Naseeruddin Shah is a reserved type of man, Moon Moon Sen is an extrovert and tomboyish. She likes to spend the free time with her male friends. Being a daughter of a wealthy parents and convent educated, she has been brought up in a liberal environment.

Naseeruddin Shah resents his wife’s association with her male friends. But he is unable to tell so to his wife. He feels that if they start a family, perhaps she will have more time to spend with him than with her male friends. But his wife is afraid of child birth because of her earlier trauma of mis-carriage. His resentment inside him about his wife’s behaviour get worsen day by day. He has now become so paranoid that he starts suspecting his wife having an affair with one of her male friends (Benjamin Gilani) and fears that one day she would leave him. With these kinds of paranoid thoughts, he kills his wife by poisoning her and gets her admitted to a hospital in an unconscious state. After few hours of her admission, she dies. The doctors and police are waiting for the post-mortem report. Naseeruddin Shah decides to run away.

The second part of the story starts in a village in Kerala where after wandering all over India, Naseeruddin Shah decides to settle in a village in Kerala. Impulsively, he visits a house of a middle class family and introduces himself as one of the past students of a local school where he had studied during his childhood and where the patriarch of the family was a teacher. He gets this idea to introduce himself from the photographs displayed in the varandah of the house. With this, a comfort level between the family consisting of father (Mohan Agashe), mother (Usha Nadkarni), daughter (Rekha) and son (Pankaj Kapoor) and himself have been established. The family allows him to stay with them for few days.

During his stays, Naseeruddin Shah comes to know that all four of them suffer from different problems arising from lack of confidence. With his wits and persuasion, he changes their lives to make them confident. In the meanwhile, the parents are scouting for a groom for their daughter (Rekha). She is presented to the prospective groom who has come to see her with his family. The groom’s family approves of her but she rejects the groom as she has fallen in love with Naseeruddin Shah who has taken shelter in her house.

Naseeruddin Shah tries to bring the rejected groom and the bride together to discuss as to the reason for her rejection of him. In this process, Naseeruddin Shah comes to know that the Rekha has developed a soft corner for him. He decides to leave the house without the knowledge of the family. But Rekha comes to know of his plans and confronts him as to why he leaving the village. Naseeruddin Shah gives many excuses but Rekha is not convinced. Finally, he reveals that he is a murderer and the police forces are looking for him. Rekha still thinks that he is lying just to justify his leaving the village. Knowing that he is determined to leave, she tells him that she would not now stop him for leaving the village.

Naseeruddin Shah returns to his apartment in Mumbai where he used to stay with his wife. He is overwhelmed with the nostalgia. While standing in front of a mirror in his bedroom watching his own reflection, images of his wife and Rekha come. The faster interchanges of images in the mirror of Moon Moon Sen and Rekha make him emotionally unstable. He commits suicide by a gun shot at his own head.

The film has three melodious songs of which I have chosen to present the song ‘thhak gaya hoon mujhe sone do’ sung by Kishore Kumar. This song is played as a background song which comes in the film at a crucial stage. Naseeruddin Shah is running away from Mumbai after killing his wife. The song symbolises the transition from his Mumbai story to the next story in a Kerala village to start his life afresh.

The song is also available in studio recording version with somewhat different orchestrations with an additional antara. I like this version more than the film’s sound track version for its orchestration. From the studio version, one can notice that before Kishore Kumar starts singing, there is a faint voice (probably of R D Burman) saying ‘1, 2, 1, 2, ‘start’. After the second antara of singing, Kishore Kumar makes a mistake by repeating the second antara. There is a faint voice saying ‘cut’ and he stops singing. Some instructions to Kishore Kumar, probably from R D Burman in faint voice can be heard after which R D Burman repeats his part of singing and Kishore Kumar takes over his singing of third antara. In the lyrics given below, I have omitted the repeat portion.

It is a melancholic song in keeping with the situation in the film. Gulzar saab’s lyrics are simple but conveys the depressing situation in his trade-mark style. The tune is melodious and the orchestration is good in the context of the song.

Audio (Studio recording version)

Video

Song-O bahut raat huyi (Musaafir)(1986)(UR) Singers-Kishore Kumar, R D Burman, Lyrics-Gulzar, MD-R D Burman

Lyrics(Based on the studio recording version)

o bahut raat huyi
thhak gaya hoon
mujhe sone do
o bahut raat huyi
o chaand se keh do utar jaaye
bahut baat huyi
chaand se keh do utar jaaye
bahut baat huyi
thhak gaya hoon
mujhe sone do
o bahut raat huyi

zindagi ke sabhi raaste sard hain
zindagi ke sabhi raaste sard hain
ajnabi raat ke ajnabi dard hain
yaad se keh do guzar jaaye
bahut baat huyi
yaad se keh do guzar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi

aashiyaan ke liye chaar tinke bhi thhe
aasre raat ke aur din ke bhi thhe
dhoondhte thhe jise wo zara si zameen
aasmaan ke tale kho gayi hai kahin
dhoop se keh do utar jaaye
bahut baat huyi
dhoop se keh do utar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi

o maloya….aa
chalo dheere dheere
o maloya….aa
chalo dheere dheere

yaad aata nahin ab koi naam se
yaad aata nahin ab koi naam se
sab gharon ke diye bujh gaye shaam se
waqt se keh do guzar jaaye
bahut baat huyi
waqt se keh do guzar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi
main thhak gaya hoon
mujhe sone do
(o maloya….aa)
main thhak gaya hoon
(chalo dheere dheere)
main thhak gaya hoon
(o maloya….aa)
mujhe sone do
(chalo dheere dheere)


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 : 3684 Post No. : 14589

“Imaan”(UR)(1951), a Moti Pictures production, was a movie whose songs were recorded in 1951 (july-september) but the movie was unreleased viz the movie was not presented before Censor board for release.

The movie had more than eight songs in it though mukhda of only eight songs are known.

Here is the first song from “Imaan”(UR)(1951) to appear in the blog. HFGK describes it as sung by Asha Bhonsle and Talat Mehmood. On listening to the song, it is clear that the song is an Asha Bhonsle solo.

Priyadarshi is the lyricist. Music is composed by Pt Moriram.

With this song, “Imaan”(UR)(1951) makes its debut in the blog.


Song-Bachpan ka zamaana yaad hai (Imaan)(1951) Singer-Asha Bhonsle, Lyrics-Pt Priyadarshi, MD-Motiram

Lyrics

bachpan ka zamaana yaad hai
bachpan ka zamaana yaad hai
gaya bachpana aayi jawaani
wo bhi din wo bhi din
aur ye bhi din haaye
wo bhi din yaad hai
bachpan ka zamaana yaad hai

pyaari maiyya roz sawere mujhko
doodh pilaati thhi
haan mujhko doodh pilaati thhi
shaam ko thapak thapak kar
mujhko apne saath sulaati thhi
haan apne saath sulaati thhi
sapne jaise beet gaye hain wo bhi din
wo bhi din aur ye bhi din
haaye wo bhi din mujhe yaad hai
bachpan ka zamaana yaad hai

aayine mein dekh dekh baalon ko
sanwaaroon khadi khadi
baalon ko sanwaaroon khadi khadi
raste chalne waalon ko dekha karti thhi khadi khadi
haath pakad maa le jaati thhi
wo bhi din
wo bhi din
aur ye bhi din
haaye
wo bhi din mujhe yaad hai
bachpan ka zamaana yaad hai

laad pyaar aur mamta maa ki dekhi hai
na dekhoongi
haan dekhi hai na dekhoongi
unhi ke charnon ki sewa mein duniya ka
sukh dekhoongi
haan duniya ka sukh dekhoongi
jaise sundar nikal gaye hain wo bhi din
wo bhi din aur ye bhi din
haaye
wo bhi din mujhe yaad hai
bachpan ka zamaana yaad hai
gaya bachpana aayi jawaani
wo bhi din wo bhi din
aur ye bhi din
haaye
wo bhi din yaad hai
bachpan ka zamana yaad hai


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 : 3511 Post No. : 14105

“Muqaddar Ki Baat” was produced by Bimla L Khaitan and directed by Kamal H Thakur. The movie had Neeta Mehta, Deepak Parashar, Rameshwari etc in it. This movie never saw the light of the day, though its records were released in 1983. There were eight songs in a 33 RPM record. These songs were sung by Mahendra Kapoor and Pushpa Pagdhare. Indeewar, Noor Ahmad and Bimla Khaitan (producer) were the three lyricists. Music was composed by O P Nayyar. Mahendra Kapoor had three solos, Pushpa Pagdhare had two solos, while there were three duets by the two.

Here is the first song from “Muqaddar Ki Baat”(1983) to appear in the blog. This song is sung by Mahendra Kapoor, Bimla Khaitan is the lyricist. Music is composed by O P Nayyar.

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

With this song, “Muqaddar Ki Baat” (1983)(unreleased) makes its debut in the blog. Now, all O P Nayyar movies (except one) have found representation in the blog. Now, “Zidd”(1994) is the only movie with O P Nayyar’s music that is not represented in the blog.


Song-Mere pyaar ka faisla likhne waale (Muqaddar Ki Baat)(1983) Singer-Mahendra Kapoor, Lyrics-Bimla Khaitan, MD-O P Nayyar

Lyrics

mere pyaar ka faisla likhne waale
tujhe kya pata kitne majboor thhe hum
sitamgar zamaane ne bade zulm dhaaye ae ae
muhabbat ne kya kya humko diye gham
mere pyaar ka faisla likhe waale
tujhe kya pata kitne majboor thhe hum
sitamgar zamaane ne bade zulm dhaaye ae ae
muhabbat ne kya kya humko diye gham
mere pyaar ka

ye duniya hai zaalim
badi bewafa hai
ki humdard hum ne
kahin bhi na paaya
ye duniya hai zaalim
badi bewafa hai
ki humdard hum ne
kahin bhi na paaya
huye hum akele
bhari zindagi mein aen
huye hum akele
bhari zindagi mein aen
muhabbat ne kaisa sitam hum pe dhaaya
ki din raat dil ye dua maangta hai
ki kadmon mein tere nikle mera dam
mere pyaar ka faisla likhe waale
tujhe kya pata kitne majboor thhe hum
sitamgar zamaane ne bade zulm dhaaye ae ae
muhabbat ne kya kya humko diye gham
mere pyaar ka

bade shauk se dil ki duniya luta di
siva pyaar ke humne kuchh bhi na chaaha aa
bade shauk se dil ki duniya luta di ee
siva pyaar ke humne kuchh bhi na chaaha
chaahat mein teri huye ghar se beghar
chaahat mein teri huye ghar se beghar
muqaddar ne humko kahaan laa ke maara aa
ye duniya rahe na rahe kaun jaane
mera pyaar tumse na hoga kabhi kam
mere pyaar ka faisla likhe waale
tujhe kya pata kitne majboor thhe hum
sitamgar zamaane ne bade zulm dhaaye ae
muhabbat ne kya kya humko diye gham
mere pyaar ka


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.

Today(4 august 2017) we remember ‘The Versatile Genius – Kishore Kumar’ on his birth anniversary (04th August 1929 – 13th October 1987). Had he been alive today he would have been celebrating his eighty-eighth birth anniversary.
Read more on this topic…


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

#the Decade of Seventies – 1971 – 1980 #
——————————————————————
# Bhoole-Bisre Geet # 54 # Qawwalis – 6#
———————————————–—————-

Today I present a ‘qawwali’ which I was not aware until a year ago till I took up presenting the ‘qawwalies’ from the seventies. Neither have I heard this qawwali anywhere before.
Read more on this topic…


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15900 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.

Total number of songs posts discussed

15938

Number of movies covered in the blog

Movies with all their songs covered =1224
Total Number of movies covered =4367

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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