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

Archive for the ‘Theme song’ Category


This article is written by Raja, 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 (16 october 2016) is the birthday of Hema Malini, MP from Mathura.

But we will not go into her political career here. That is not of any particular interest to this blog. What we are interested in here is music and the film industry – and that is what we will focus on.
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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.

“Sati Vaishaalini”(1959) aka “Janam Janam Ka Naata” was a mythological movie with a tale from Markandeya Puraan. It was produced by P N Rangeen and directed by Sadhu Singh for Rati chitra, Bombay. The movie had Trilok Kapoor, Sulochana, lalita Pawar, Ratnamala, Krishna Kumari, Niranjan Sharma, Nand Kishore, Tiwari, Shyam, Hari, Krishna Kumar, Roshanlal etc, with Hiralal, Shiela Kashmiri, Savita Chatterji, Jyoti, Niranjan Tiwari and Kamal Kapoor in guest appearances.
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This article is written by Raja, 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.

Clearly the adage “once bitten, twice shy” doesn’t apply to Atulites.

At least not to Batulites (Bengaluru-based Atulites).

Otherwise there’s no reason they’d ask me to post a write-up on the blog, describing the recent gangout event. The last time I wrote a post on a Bengaluru gangout, it was more than six months after the event! By then, I’d forgotten some details – and possibly many had lost interest. 🙂
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This article is written by Raja, 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.

Readers of this blog might now be familiar with a certain pattern of posts on this blog.

While there are posts which focus largely on the song, or the film, or even personal anecdotes, one common pattern is the celebration of anniversaries and milestones, in a post.

The anniversaries are our way of paying tribute to the artiste concerned. Whoever the artiste, whether a composer or lyricist or actor, whatever his level of fame in the industry, we try to remember and honour him on his birth or death anniversary.
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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.

“Miyaan Biwi Raazi”(1960) was directed by Jyoti Swaroop for Anupam Chitra, Bombay. The movie had Shrikant Gaurav, Kamini Kadam, Mehmood, Seema Deo, Manorama, David Abraham, Sabita Chatterjee, Raja Gosavi, Daisy Irani, Niranjan Sharma, Shaila Vaz etc in it.
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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 article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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The Voice of Mukesh #71
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This voice has such an alluring appeal. No matter what the song may be, Mukesh ji’s voice has the quality to enliven the song with the depth of his soulful emotion. The words come alive with his rendition. Listen to any of his songs, whether they have been popularized on account of association with successful films and actors, or they belong to obscure, unheard and unsuccessful films. His songs from many such films have remained obscure and unheard. For songs of Mukesh, the unexplored era is primarily in the 1970s.  There still are many songs sung by him, that have to find their place on this blog. Many of them are unfamiliar and obscure, and some are familiar but unheard for long.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

All numbers are unique unto themselves – inasmuch as each number has its own claim to fame just by being what it is. And but for the imagination and fancies applied by our minds, which at times picks on certain characteristics and binds some special stature to some of them, all these numbers would be as interesting, or for that matter disinteresting, as any other number. Let me quote the instance of a number that has now become famous as the ‘Hardy – Ramanujan Number’. This anecdote is attributed to a conversation in or about 1919 (wow, ninety seven years ago), that happened in London. Indian mathematician Srinivas Ramanujan, who was based in London for some time, was ill and confined to his bed at his residence. His friend, Godfrey Hardy, another mathematician (who had invited and arranged for Ramanujan’s travel etc. to London), came visiting him. The initial conversation was about Hardy’s journey to see Ramanujan. He mentioned off hand that the number of the taxicab in which he had travelled, was 1729 – for all intents a most uninteresting and boring number. To this comment, Ramanujan replied that ‘1729’ was a very special number. In fact it is the smallest number that can be represented as the sum of two cubes, in two different ways. (I am avoiding the calculation details; interested readers can google this for more details).
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This article is written by Raja, 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.

A few days ago, on Shakeel Badayuni’s birth anniversary, Atul wrote a post paying tribute to him. In that post, Atul did a thorough analysis of how this blog has covered Shakeel saab. He analysed it by composer and further, by film. It made for very interesting reading.
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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.

“Dil Ki Basti”(1947) was directed by Wahid Qureshi for Aaina Pictures. The movie had Masood, Nigar Sultana, Amar, Urmila, Lalita Pawar, Tiwari etc in it.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

This is the story of a ‘self-proprietorship firm’ uniquely named ‘Atul Song A Day’ (hereinafter called the Company) which was set up on July 19, 2008 by Atul Besra. In his venture, he received encouragement from Raja, his Cricforum friend. The mission was to produce at least one song a day. However, due to abundant supply of ‘raw material’ and the demand for the ‘finished product’, the production was increased to more than one song a day within 3 months of its existence.
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