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

Archive for the ‘Vagaries Of Love’ Category


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.

Mukesh and his co-singers – 4
————————————————

A song recorded and composed by Roshan in 1950, was the topic of discussion on a TV program nearly 5 decades later. The singer (judge on the show) was requested by none other than Anil Biswas, to sing a few lines of the famous song. The specific reference was to the word “ib” in the song “Sun Bairi Balam Sach Bol Re Ib Kyaa Hoga” from ‘Bawre Nain’ (1950). She rendered the song in an effortless manner without any background music. It is difficult to believe that she could sing so well at the spur of the moment.

Her career was cut short for various reasons. She has given quite a few interviews and when asked to sing few lines was always so very melodious in spite of her old age. Yes, I am talking about Rajkumari Dubey.

Here is her mini-biography, aptly written by Shri Sadanandji and with comments added by our Arun Kumar ji. I am also herewith providing the link to her wiki-page.

Many singers such as Suraiyya, Shamshad Begum, Amirbai Karnataki, Geeta Dutt et al may not be the most favourite singer of music lovers. But, there is no doubt whatsoever that such singers are always held in high esteem, because, whatever few songs they sang, remain classic, as most of them were sung in the golden era when music was given utmost importance. Rajkumari for sure is one such gifted singer.

Of the many songs sung by her and liked by me, “Main Wo Dulhan Hoon Raas Na Aaya Jise Singaar” from ‘Mahal’ (1949) tops the list. Rajkumari has sung quite a few memorable songs in the film, but the tsunami caused by Lata with her solos, unfortunately never allowed Rajkumari to come to the fore.

For this post, I bring to the readers, her duets with Mukesh. There are 8 of them in total as listed below and also confirmed by Shri Harish Raghuwanshi ji. I am thankful to him for his ever-ready attitude to help me with this series.

7 out of the 8 songs are already posted on the blog. I have given the respective links of the 7 songs in the table, in case anyone wants to enjoy all the songs of the two singers. It’s interesting to note, that out of the 8 songs, 4 have been composed by Snehal Bhatkar and as many as 5 written by Kidar Sharma.

Again, I suppose, it’s the duet from ‘Bawre Nain’ (1950), which most people would remember, and associate with this pair of singers. There is excellent restraint and comfort amongst the singers in delivering this duet. It is definitely one of the first question-answer type of songs. But then, I cannot confirm if it’s the very first.

The duets from ‘Thhes’ (1949) are also often played on Radio Ceylon. I am very fond of Ghulam Mohammed’s compositions and the one from ‘Hanste Aansoo’ (1950) is a personal favourite. Needless to say and as often said in this series, the numbers could have been much more. But unfortunately, we find that the duets of Mukesh with such vintage era singers do not even touch the two figure mark.

Today’s duet is of a more recent discovery in the sense that it does not figure in Mukesh Geet Kosh. Two songs from this film ‘Ram Darshan’ (1950) have been posted on the blog. Both the songs are solos sung by Mukesh and posted by our Sudhir ji.

There are some 16 songs in this film. With this post, 3 of them will be posted. A couple of more songs from the movie (one sung by Manna Dey) are available on the internet. So out of the remaining 10-11 songs, are there any other Mukesh numbers that are yet to be traced? Even though it seems very unlikely, anything new discovered pertaining to the voice of Mukesh will always be welcome news. Interestingly, Cineplot website has not included the duet of this post, but speaks of another song from the film titled “Ram Ram Ram Ram…Ho Moree Mann”. I have sought clarifications or any other info which Shri Harish ji may be having and will keep the feedback posted.

Here is the third song from the movie to be posted on the blog; a duet which Mukesh has sung with Rajkumari. My next short post will be on 27th August and will be a stand-alone song (not featuring in either of my two series).

 

Name of song Movie (year) Music Director Lyricist
Hamaare Sainyya Daaru Pee Ke Aaye Do Dil (1947) Pt Govindram DN Madhok
Ye Bura Kiya Jo Saaf Saaf Keh Diya 

 

Suhaag Raat (1948) Snehal Bhatkar Kidar Sharma
Bolo Bolo Sajan

 

Thhes (1949) Snehal Bhatkar Kidar Sharma
Chhup Chhup Ke Teer Chalaaye Na Koi

 

Thhes (1949) Snehal Bhatkar Kidar Sharma
Is Patange Ki Haqeeqat

 

Thhes (1949) Snehal Bhatkar Kidar Sharma
Maine Sapna Jo Dekha

 

Hanste Aansoo (1950) Ghulam Mohammad Majrooh Sultanpuri
Mujhe Sach Sach Bataa Do Baawre Nain (1950) Roshan Kidar Sharma
Sakhi Ri Mo Se Rooth Gayo Ri Mero Shyam Ram Darshan (1950) Rij Ram-Balmukand Ramesh Gupta

[Ed Note: In my opinion, Cineplot has correctly identified this song, as the song no. 7 listed for this film, in the Geet Kosh. Clearly, at the time of publication of volume 2 of the Geet Kosh, the information about the singers of this song was not available. And hence, this song did not get included in the Mukesh Geet Kosh. Later, when the actual gramophone record of this song was traced, the voices of the singers were identified. But it also created a discrepancy, regarding the leading lines of this song. The song, as heard on the gramophone record, starts with the words “rooth gayo ri mero shyam“. Whereas the song listed in the Geet Kosh starts with the words “Ram – 8, Ho Morey Mann Kab Sumroge Ram, Rooth Gayo Ri”.

As we scan the lyrics of the song, we find that the line “Ho Morey Mann Kab Sumroge Ram” appears almost midway in the song, in the voice of Mukesh. That gives us a clue. It is likely that the song as appearing in the film, (and also as listed in the information booklet of the film) starts in the voice of Mukesh, uttering the name of Lord Ram, and then saying the line “Ho Morey Mann Kab Sumroge Ram”. Then the voice of Rajkumari takes over with the words “Rooth Gayo Ri. . .”. However, on the gramophone record, the leading words in the voice of Mukesh have been omitted, and the song starts directly with the lines sung by Rajkumari. It is clear from the words in the song that the male protagonist has gone away seeking solace in the name of Lord Ram, in his quest for ‘Ram Darshan’. The female protagonist is obviously waiting and pining for him to come back. The male person is seeking Lord Ram, and the female person is seeking her beloved, using the name of Shyam (Lord Krishna).

If we agree with this explanation, then the music director for this song is identified as the duo of Rij Ram-Balmukand. As I scan the songs posted on the blog, I find that this the first time this music director’s name is appearing here. So this is a debut song for this music director duo. I request our more knowledgeable readers to please add more information about this music director duo.]

Song – Sakhi Ri Mo Se Rooth Gayo Ri Mero Shyam  (Ram Darshan) (1950) Singer – Rajkumari, Mukesh, Lyrics – Ramesh Gupta, MD – Rij Ram-Balmukand

Lyrics

rooth gayo ri mero shyam
sakhi ri mo se
rooth gayo ri mero shyam
sakhi ri mo se
rooth gayo ri mero shyam

jab se gayo
paati hoon nahin deenhi
jab se gayo paati hoon nahin deenhi
nirmohi ne
sudh hoon na leenhi
nirmohi ne sudh hoon na leenhi
aiso bhayo ri anjaan
sakhi ri mo se
aiso bhayo ri anjaan
sakhi ri mo se
rooth gayo ri mero shyam
sakhi ri mo se
rooth gayo ri mero shyam

jhoothi mamta
jhoothi maaya
jhoothi mamta
jhoothi maaya
satya usi ka naam
satya usi ka naam
kab sumroge raam
o morey mann
kab sumroge raam
o morey mann
kab sumroge raam

nis din naina
dars ko tarsen
saawan bhaadon se sakhi barsen
saawan bhaadon se sakhi barsen
chheen le gayo ri muskaan
sakhi ri mo se
chheen le gayo ri muskaan
sakhi ri mo se
rooth gayo ri mero shyam

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रूठ गयो री मेरो श्याम
सखी री मो से
रूठ गयो री मेरो श्याम
सखी री मो से
रूठ गयो री मेरो श्याम

जबसे गयो
पातिहुं नहीं दीन्ही
जबसे गयो
पातिहुं नहीं दीन्ही
निर्मोही ने
सुधहुं ना लीन्ही
निर्मोही ने
सुधहुं ना लीन्ही
ऐसो भयो री अंजान
सखी री मो से
ऐसो भयो री अंजान
सखी री मो से
रूठ गयो री मेरो श्याम
सखी री मो से
रूठ गयो री मेरो श्याम

झूठी ममता
झूठी माया
झूठी ममता
झूठी माया
सत्य उसी का नाम
सत्य उसी का नाम
कब सुमरोगे राम
ओ मोरे मन
कब सुमरोगे राम
ओ मोरे मन
कब सुमरोगे राम

निस दिन नैना
दरस को तरसें
सावन भादों से सखी बरसें
सावन भादों से सखी बरसें
छीन ले गयो री मुस्कान
सखी री मोसे
छीन ले गयो री मुस्कान
सखी री मोसे
रूठ गयो री मेरो श्याम

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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 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.

In my previous article on the song “Kat Gayi Waadon Mein“, I have talked about Mulkhraj Bhakri, writer, producer and lyricist from the Lahore film industry, who became one of the many victims of the country’s partition in 1947 . In Bombay (Mumbai), due to his hard work, he regained his position in the Hindi film industry.  In this article, I propose to talk about one more victim of partition who was born with a silver spoon in a Gujarati family settled in Karachi and actively connected with the Lahore film industry in the 1940s. I am not talking about Dalsukh M Pancholi but director, Ravindra Dave who happened to be his nephew. Let me unfold Ravindra Dave’s story.

Ravindra Dave (also known as Ravin Dave, Ravinder Dave) was born on April 16, 1919 at Karachi in an affluent family. His father Seth Ratilal Dave had a flourishing business of film distribution for North Indian territories. Later, it became a well-known film distribution company, Empire Talkie Distributors, which specialised in importing American films for distribution in Northern India. This was the first film distribution company which undertook to distribute India’s first talkie ‘Alam Ara’ (1931) in Northern India. (I have found in some references on the internet which say that Pancholi’s were also connected with Empire Film Distribution).

Ravindra’s heart was already in the film distribution work and wanted to be like  his father. So he left school half way and joined his father’s company. His first assignment was to get the distribution of Prabhat’s films. He successfully concluded distribution deals for ‘Mahatma’ (1935), ‘Amar Jyoti’ (1936), and ‘Duniya Na Maane’ (1937).

With the success of the film distribution work, Ravindra became interested in film making. He persuaded his uncle Dalsukh Pancholi to make him Production Manager for his film ‘Chaudhary’ (1941). In his next film ‘Poonji’ (1943), Pancholi gave him the chance to co-direct the film along with Vishnu Pancholi. With his talent firmly established in film making, Pancholi gave him the assignment of writing the script for ‘Dhamki’ (1943) and directing it.

When Ravindra Dave was directing Pancholi’s next film, ‘Patjhad’ (1948), the partition happened and the communal riots that broke out in Lahore made him and Pancholis to come to Bombay with the completed reels of the film which was later released in 1948 after completion of the film in Bombay (Mumbai). For both Pancholis and Ravindra Dave, it was like starting their filmy career afresh.

As I had mentioned in my last article, Mulkhraj Bhakri was  also a victim of partition and had come to Bombay (Mumbai) after the partition along with his brothers. He became the rallying point for displaced film artists and technicians from Lahore. Bhakri who was the ‘de facto’ producer of the film ‘Chunariya’ gave Ravindra Dave his first assignment in post-partition India to direct the film. Next, Dave got Prakash Pictures’ ‘Saawan Baadhon’ (1949) to direct.

With the business acumenship which was in his blood, Dave produced his first film ‘Chakori’ (1949) which was directed by his brother, Ramnarayan Dave. In the meanwhile, his uncle Dalsukh Pancholi who was producing his first film ‘Meena Baazar’ (1950) in post-partition India, assigned the film to Ravindra Dave to direct it.

During his Hindi film career, Ravindra Dave directed about 30 films between 1943 and 1969 which include ‘Nagina’ (1951), ‘Moti Mahal’ (1952), ‘Bhai Saheb’ (1954), ‘Shikar’ (1955), ‘Chaar Minaar’ (1956), ‘Agra Road’ (1957), ‘Post Box 999’ (1958), ‘Guest House’ (1959), ‘Girls’ Hostel’ (1962), ‘Punar Milan’ (1964),‘Dulha Dulhan’ (1964), and Raaz’ (1967). The last Hindi film which he directed was ‘Road to Sikkim’ (1969). Most of the Hindi films which he directed  were those where  either Dalsukh Pancholi or Mulkhraj Bhakri was the producer / writer / lyricist etc.

From 1970 onward, Ravindra Dave got himself completely associated with Gujarati films with his debut film ‘Jesal Toral’ (1971) which was his home production. The film was made in Eastman colour and was one of the biggest hits in Gujarati cinema. Thereafter, he was exclusively with the Gujarati films directing  20-25 films until 1985.

Ravindra Dave breathed his last on July 21, 1992.

‘Chunariya’ (1948) was a box office hit film which helped  the career revival of some of the displaced persons from the Lahore film industry. The film was produced under the banner of Kuldeep Pictures of Kuldeep Sehgal from Lahore who seems to me to be more  a financier than the producer of the film. It was directed by Ravindra Dave. The story, dialogues, screen-play and lyrics were written by Mulkhraj Bhakri, and the production controller was his brother Lekhraj Bhakri, both from Lahore.

For music director Hansraj Bahl, the success of the film was a blessing  after continuous flops of his prior 4 to 5 films. The success of the film ensured that he was kept busy in his work for the next 5 years which became the busiest period of his career. Mohammed Rafi and Lata Mangeshkar who were yet to firmly establish themselves as playback singers, gave one of their best renditions of 1940s in this film with their hit solo songs, “Sab Kuchh Lutaayaa Hum Ne Aa Kar Teri Gali Mein” and “Dil e Naashaad Ko Jeene Ki Hasrat Ho Gayi Tum Se“, respectively.

‘Chunariya’ had 10 songs out of which 6 songs have already been covered in the Blog. Here is the 7th song “Hansi Le Ke Aaye Thhe Ro Kar Chale’ sung by SD Batish. The song is written by Mulkhraj Bhakri.

[Note: The above bio-sketch on the early life of Ravindra Dave is based on a short article written by character actor Janki Dass which appeared in May 1949 issue of ‘Sound’ magazine.]


Song – Hansi Le Ke Aaye The, Ro Kar Chale (Chunariya) (1947) Singer – SD Batish, Lyrics – Mulkhraj Bhakri, MD – Hansraj Behl

Lyrics

hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale
hum ashkon se daaman
bhigo kar chale
hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale ae
hum ashkon se daaman
bhigo kar chale

huyi duniya meri andher hai
huyi duniya meri andher hai
ho ye kismet meri ka koi khel hai
huyi duniya meri andher hai
huyi duniya meri andher hai
muqaddar ki kha kar thokar chale ae
hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale

kiya kis liye hamko qadamon se door
kiya kis liye hamko qadamon se door
o bataayaa to hotaa hamaara qasoor
kiya kis liye hamko qadamon se door
kiya kis liye hamko qadamon se door
chalen hain magar tere ho kar chale ae
hansi leke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale

tamannaayen dil ki..ee
to dil mein rahi hain. . .
meri hasraten. . .
ban ke aansoo baheen hain
milaa thha jo mushkil se
kho kar chale
hansi le ke aaye thhe
ro kar chale
hum ashkon se daaman
bhigo kar chale ae. . .

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

हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले
हम अशकों से दामन
भिगो कर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले
हम अशकों से दामन
भिगो कर चले

हुई मेरी दुनिया मेरी अंधेर है
हुई मेरी दुनिया मेरी अंधेर है
हो ये किस्मत मेरी का कोई खेल है
हुई मेरी दुनिया मेरी अंधेर है
हुई मेरी दुनिया मेरी अंधेर है
मुकद्दर की खा कर ठोकर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले

किया किस लिए हमको कदमों से दूर
किया किस लिए हमको कदमों से दूर
ओ बताया तो होता हमारा कसूर
किया किस लिए हमको कदमों से दूर
किया किस लिए हमको कदमों से दूर
चलें हैं मगर तेरे हो कर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले

तमन्नाएँ दिल की॰॰ई
तो दिल में रही हैं॰॰॰
मेरी हसरतें॰॰॰
बन के आंसू बही हैं
मिला था जो मुश्किल से
खो कर चले
हंसी ले के आए थे
रो कर चले
हम अशकों से दामन
भिगो कर चले॰॰॰


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.

Remembering Geeta Dutt.

She passed away 45 years ago on 20th July in 1972, brining to close a tumultuous and tragic life, all of 41 years. A voice that held so much promise, and yes, she gave too, so many wonderful gems to remember her by. Just going by the numbers – the decade of 1950s carries close to 850 songs sung by her. And then, in the 1960s, she has recorded less than hundred. And the majority of them belonging to the first half of the decade.

Emotional stability and personal circumstances have such big impact on the performance and output of an artist. It is difficult, and even unfair, to comment on a artist’s portfolio of work, trying to juxtapose it against the personal ups and downs. But in some cases, it stands out quite starkly. The 1950s were the heydays for Geeta Rai, later to be Geeta Dutt, when she married Guru Dutt in 1953. But then, subsequently, a film maker’s life became an impediment in the relationship. Both spouses are artists and creators par excellence, and based on what is written about them, also very sensitive individuals. Thankfully, both are non-compete. And yet, the personal affairs, and the airing of these personal matters in public and media, took a heavy toll of personal energy and emotions, impairing to an extent, their abilities to perform.

In early 1960s, we see a slowdown in Geeta’s output. And then, the tragedy strikes – come 1964 and Guru Dutt is no more. The devastation that descends on Geeta is visible simply from the quantum of her artistic output. Especially in the latter half of 1960s, the songs by her are reduced to a trickle, with just a handful being recorded each year.

The decade turns into 1970s. Just one released film ‘Anubhav’ (1971) with a set of three superb renditions. For a moment, the media, the industry watchers and the listeners, are all agog. The expectations rise once again; here a comeback seems to be in the offing. But then a more tragic news follows almost immediately. She herself is gone; just in 1971 itself. A brilliant blaze that is gone in a flash. The world would no more hear any new songs in her voice. And the songs of ‘Anubhav’ – three recordings that are so full of life, are so reminiscent of the Geeta of 1950s – these become her swansong, so unfortunately. Speculations is all that remains.

For today’s remembrance I am able to pull out this touchingly poignant rendition from one of her very early films, not easily remembered and not easily available. The year is 1947. The industry and the listening public has already stood up to the vibrant sounds of ‘Do Bhai’ that have been rendered under the baton of SD Burman. In the same year, the film ‘Jadui Ratan’ was released. And this new voice of a young girl of 16 is taken up by Chitragupt, another relatively newcomer in the industry, for this film. The film is produced under the banner of Kismet Pictures, Bombay, and is directed by Natwar Shyam. Chitragupt had young Geeta Roy sing two duets and one solo song in this film.

I am presenting today the solo song – “Rut Badal Gayi, Wo Taraana Badal Gaya”. Geet Kosh lists two songwriters for this film namely Behzaad and Kamlakant. However, the assignment of specific songs to individual songwriters has not been made.

A tender and touching melody from seventy years ago, sung by a young girl of 16 at the time of recording. Listen to this beautiful rendition, and marvel at the emotive potential this voice carried, at that young an age.

 

Song – Wo Rut Badal Gayi Wo Taraana Badal Gaya  (Jadui Ratan) (1947) Singer – Geeta Roy, Lyrics -[Unattributed], MD – Chitragupt

Lyrics

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

ye keh ke phir guzar gayi
fasl e bahaar bhi
phoolon mein tha jo apna thikaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

main kis tareh sunaaun
tumhen dastaan e dil
main kis tareh sunaaun
tumhen dastaan e dil
aankhon mein ashq aaye
fasaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

kumhla chuke hain phool
sitaare udaas hain
kumhla chuke hain phool
sitaare udaas hain
ab intezaar ka bhi
zamaana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

wo rut badal gayi
wo taraana badal gaya
tum kya gaye
ke hum se zamaana badal gaya

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

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

ये कह के फिर गुज़र गयी
फस्ले बहार भी
फूलों में था जो
अपना ठिकाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
मैं किस तरह सुनाऊँ
तुम्हें दास्तान ए दिल
आँखों में अश्क आए
फसाना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया

कुम्हला चुके हैं फूल
सितारे उदास हैं
कुम्हला चुके हैं फूल
सितारे उदास हैं
अब इंतज़ार का भी
ज़माना बादल गया

वो रुत बादल गयी
वो तराना बादल गया
तुम क्या गए
के हमसे ज़माना बादल गया


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 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, I am writing about one of the prominent actors of 1930s and 40s who started his film career in the silent film era and became producer-director during the second half of 1940s. His name – Mazhar Khan, a forgotten name not only for the current generation but also for many in my generation as well.
Read more on this topic…


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 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.

At the time of the release of National Studios’ film ‘Roti’ (1942) in August 1942, the production house was sold to KM Modi, a prominent film exhibitors of that time who had no interest in producing films. At that time, three films of National Studios were under the advance stage of completion. ‘Jawaani’ (1942) was one among the three films, other two films being ‘Lala ji’ (1942) and ‘Apna Paraaya’ (1942). Anil Biswas was the music directors for all the three films.
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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 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.

Some established producer-directors generally have their wish list to make a film or two on the subjects that are close to their hearts. The fulfilment of their wishes gets postponed until such time the producer-directors are able to make the successful films in normal course of their career. After all, they need the financial security to take risk in producing films of their personal choices irrespective of the outcome at the box office.
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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 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 post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).

In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.

If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.
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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.

“Kanchan”(1941) was directed by Manibhai Vyas for Chitra Productions, Bombay. The Movie had Leela Chitnis, Arun, Pramila, Vimla Vashishth, Mubarak, Baby Kamla, Nagendra, Keshri, Dharpure, Tarabai, Bhag Singh, Bhagwan Das etc in it.
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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.

“Nisbat”(1949) was directed by S Shamsuddin for Hindustan Art Productions, Bombay. This social movie had Yakoob, Munawwar Sultana, Mirza Musharraf, S Mazhar, Baby Zubeida, H Prakash, Sofia, Jillo etc in it.
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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.

Missing Films of 1960s – 30
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Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.
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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1015
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Blog Start date: 19 july 2008

Active for more than 3250 days.

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